Art has many different layers that overlap each other making this painting a good example of the two elements of Rococo and Baroque art.
This painting is titled, Diana and Endymion, the tools are oil paint on canvas. Painted by Michel Francois Dandre-Bardon. There is little to no information of his life as an artist. He was a French visual artist that had 77 known pieces of work. He was born 1700 and died in 1783. In the original story of Diana and Endymion, her name was Selene. Diana was the renewed Roman goddess. “The Romans have adapted Greek mythology to their own ends, and in doing so, modified the myths”(Cavendish 138). This shows the reason why the names were changed. Diana was a goddess based on Selene. In this painting it shows Endymion, …show more content…
The actual paint used was oil. The colors are lighter on the main subject but they are not too light. They are not pastels like the classical rococo way, but they are not a dark as baroque. The lighter colors are the whiteness of her dress and the skin tones. Also the nice royal blue gives an extra element of color. Part of the blue drapery and the color of their skin could be seen as a semi pastel though. The way the paint is applied and painted is thin and the brush work seems coarse. You can really see the texture and the shape of the muscles. The lighting is used interestingly. At first glance it seems as if the light source is coming from the left, almost in the way and direction cupid is angled. As you keep looking the painting becomes lighter. There is a less direct light source. This piece has both elements of baroque and Rococo art. The semi darkness of the background gives it the dramatic effects of baroque. Most of the light source is on the two subjects, but is also on cupid. The lighting is just on the subjects. It almost has the feel of baroque classicism as well. Which is popular in France. “The dramatic use of chiaroscuro is not quite evident in baroque classicism.” (Dickerson 141). Chiaroscuro, is “changes modeling as three dimensional dramatic changes in light chiaro meaning light and oscuro meaning dark” (stockstad 650). So this painting has some elements of this style …show more content…
Mythology. , 2nd nd ed., 1993, pp. 122-39.
Dickerson, Madelynn. The Handy Art History Answer Book. Canton, Visible Ink Press, 2013, pp. 135-54.
Hamilton, Edith. Mythology. Mattituck, Amerson Ltd, 1942, pp. 122-54.
Laclotte, Michel, editor. The Book of Art: French Art From 1350 to 1850. 1st ed., vol. 5, Milan, Grolier Incorporated, 1965, pp. 9-10.
Legion of Honor. Museum Label for Michel-Francois Dandre-Bardon, Diana and Endymion. San Francisco, CA, 9 April. 2017
Mikesell, Margret, and Adele Seeff, editors. Culture and Change:Attending to Early Modern Women. 1st ed., Newark, Rosemont Publishing and Printing Corp., 2003, pp. 65-73.
Monteverdi, Mario, editor. The Book of Art: Italian Art to 1850. 1st ed., vol. 2, Milan, Grolier Incorporated, 1965, pp. 11-12.
Oil Painting tip of the week . Dan Edmondson, Youtube , 2011. Accessed 18 Apr. 2017.
Schama, Simon. The Power Of Art. 1st ed., New York, Harper Collins Publishers, 2006, pp.
This painting is titled, Diana and Endymion, the tools are oil paint on canvas. Painted by Michel Francois Dandre-Bardon. There is little to no information of his life as an artist. He was a French visual artist that had 77 known pieces of work. He was born 1700 and died in 1783. In the original story of Diana and Endymion, her name was Selene. Diana was the renewed Roman goddess. “The Romans have adapted Greek mythology to their own ends, and in doing so, modified the myths”(Cavendish 138). This shows the reason why the names were changed. Diana was a goddess based on Selene. In this painting it shows Endymion, …show more content…
The actual paint used was oil. The colors are lighter on the main subject but they are not too light. They are not pastels like the classical rococo way, but they are not a dark as baroque. The lighter colors are the whiteness of her dress and the skin tones. Also the nice royal blue gives an extra element of color. Part of the blue drapery and the color of their skin could be seen as a semi pastel though. The way the paint is applied and painted is thin and the brush work seems coarse. You can really see the texture and the shape of the muscles. The lighting is used interestingly. At first glance it seems as if the light source is coming from the left, almost in the way and direction cupid is angled. As you keep looking the painting becomes lighter. There is a less direct light source. This piece has both elements of baroque and Rococo art. The semi darkness of the background gives it the dramatic effects of baroque. Most of the light source is on the two subjects, but is also on cupid. The lighting is just on the subjects. It almost has the feel of baroque classicism as well. Which is popular in France. “The dramatic use of chiaroscuro is not quite evident in baroque classicism.” (Dickerson 141). Chiaroscuro, is “changes modeling as three dimensional dramatic changes in light chiaro meaning light and oscuro meaning dark” (stockstad 650). So this painting has some elements of this style …show more content…
Mythology. , 2nd nd ed., 1993, pp. 122-39.
Dickerson, Madelynn. The Handy Art History Answer Book. Canton, Visible Ink Press, 2013, pp. 135-54.
Hamilton, Edith. Mythology. Mattituck, Amerson Ltd, 1942, pp. 122-54.
Laclotte, Michel, editor. The Book of Art: French Art From 1350 to 1850. 1st ed., vol. 5, Milan, Grolier Incorporated, 1965, pp. 9-10.
Legion of Honor. Museum Label for Michel-Francois Dandre-Bardon, Diana and Endymion. San Francisco, CA, 9 April. 2017
Mikesell, Margret, and Adele Seeff, editors. Culture and Change:Attending to Early Modern Women. 1st ed., Newark, Rosemont Publishing and Printing Corp., 2003, pp. 65-73.
Monteverdi, Mario, editor. The Book of Art: Italian Art to 1850. 1st ed., vol. 2, Milan, Grolier Incorporated, 1965, pp. 11-12.
Oil Painting tip of the week . Dan Edmondson, Youtube , 2011. Accessed 18 Apr. 2017.
Schama, Simon. The Power Of Art. 1st ed., New York, Harper Collins Publishers, 2006, pp.