This is a continuation of the overview of this current exhibit. The previous overview was really only the first half of the current exhibit. What's fascinating is the fact that these three other paints are a bit of an oddball because they are so different from each other. Even still, it's worth just to observe the individual aesthetic appeal of each artwork.
Perhaps because of the complexity of the dress, this portrait of a wealthy lady has a distinctive three dimensional effect that is accentuated by the elaborate posture. Most of the male portraits lack a expressive posture and often wear monotonous outfits with little expressive patterns. In addition, those male portraits also seem to be set against relatively mundane backgrounds with no depth. In this portrait, it is possible to make out the outlines of the wall and perceive the depth of field. Color choice also plays a role in differentiating the visual impact of different portraits - there is an abundance of white against black in this portrait, which gives it an overall brighter demeanor. Just like the progression in technical sophistication of male portraits, this female portrait succeeds in providing a more accurate anatomical depiction than the early two dimensional flat paintings of powerful men. I must praise this portrait for it's use of depth, more realistic face and body proportions.
This is not an actual portrait of a real woman; instead it's the depiction of the attractive widow Judith seducing and beheading the head of the Assyrian general Holofernes in order to protect her hometown. Immediately upon realizing the context, I couldn't help but notice Judith's blatant Caucasian features and European hairstyle. For a scene depicting events in Mesopotamia, there was a clear racial transgression on part of the painter. Even still, the anatomical precision leaves much to be desired, as such female proportions are exceedingly rare, especially for a widow in Mesopotamia. Even beyond that, the way her body turns strikes me as being unusual and not natural. Also, considering that she just beheaded someone, there was a curious lack of blood on the scene. In addition, I was able to pinpoint one aspect of the painting that bothered me. There were no light sources in the Mesopotamia or during early modern Europe that could give the lighting bestowed upon this painting. How could the background be so pitch black when Judith was practically glowing? Despite all of these flaws, it is a work of fiction and the painting does succeed at giving us a sense of anticipation - Judith appears to be motioning to someone from the light source. Who that person at the light source is unknown. It may be a servant, or it may not be - this painting is able to straddle the balance between realism and imagination.
Two babies, or cherubs are see frolicking in this painting. Why the two cherubs are bonding in this fashion is unclear; perhaps it was designed to invoke controversy in order to promote the artwork. One aspect of European art is the prevalence of using something like an arch to frame the painting again. In this case, the arch is framed by an actual golden constructed. If anything, this creates the illusion of depth because part of the frame protrudes itself from the base of the painting. To enhance the effect, the blue sky in the background is designed to increase this perception of depth. When considering this painting was set next to the other two depicted here, it may serve as foil against the seriousness of the two paintings above. Not only that, the concept of two babies embracing can be construed as an allegory for childish innocence. In allusion to it conception, these cherubs represent the blissful ignorance bestowed on the very young. Through many layers and abstracts, this painting conveys many ideas. For that reason, I find this to be a most fascinating painting.
Concluding this exhibit and the ones before it was the definition of a roller coaster; there was no clear distinct theme to differentiate and transition between each painting. This is perhaps a good thing because the later galleries are more organized and distinct. In fact, I believe that these two galleries represent the nascent development of different artistic templates and styles that would persist to the modern period. For that, I do not condone the seemingly random themes of this particular exhibit.
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