Although depicted throughout various mediums, these pieces specifically share one aspect which ties them together. You guessed it, it plants.
From left to right: Chasuble by Unknown Artist, 1750., Pastoral Landscape by Claude Lorrain, 1628-30, Still Life of Flowers in a Glass Vase by Bartolome Perez, 1670s
Chasuble by Unknown Artist, 1750.
This textile piece is so fascinating to me, because it was not something I would have assumed would have turned out into my final three. Although it can appear to some as a fancy cape, this reverent garment was used for religious and ceremonial use only. The intricate detail of the fabric and silks weaves together this harmonious depiction of peace within the beautiful natural aspects of Earth. It speaks volumes that the "unknown artist" chose to construct the fabricated embodiment of nature, especially as the garment dedicated to someone of respect and spiritual knowledge. They obviously think very highly of our environmental gifts.
Pastoral Landscape by Claude Lorrain, 1628-30
Placed within a room full of bright, vibrant paintings consisting of oranges and yellows and reds, this little underdog caught my eye. I was drawn to the artist's nod to darkness and dusk, which most interpret as a sort of premonition or source of negativity. Lorrain's presentment of sunset and the coming night does not instill the onlooker with fear or anxiety, but insinuates the environment is nothing short of relaxation and escape from the complications of the outside world. This painting was like a breath of fresh air.
Still Life of Flowers in a Glass Vase by Bartolome Perez, 1670s
I particularly loved this one, it is difficult to discern from the picture, but from certain angles it appeared as though the flowers were reaching out towards you--giving a 3D effect. The stunning juxtaposition between the lighter petals of the flowers versus the darker, more solemn background provides an illusion of movement. To me, this imagery is far from being "still," but looks rather melancholy with the downward fall of the stems.
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