dutch vs. french
When one arrives in front of the Philadelphia Museum of Art, he or she may be surprised, as I was, by its grand entrance. Upon entering this large pillared building, one is almost overwhelmed by the immense collection. Although very extensive, the museum undoubtedly concentrates on the grouping and placement of paintings and sculptures within the building. Through chronological and thematic paths, the museum takes the viewer through the major contributors to the advancement of art, from around the world. Separated by only a marble floor, the room containing Salomon Van Ruisdael's Landscape with Cattle and an Inn, differs greatly from that of Claude Monet's, Railroad Bridge at Argenteuil. These two paintings, when surrounded by the art of their contemporaries, create an environment for the viewer that parallels their original context.The halls of the Museum are set up in a long and slim rectangle with open doorways between all of them. The opening hallway to the Dutch gallery is modest in its wooden paneling until one turns and enters the first room on the right. Beautifully creased wood panels, line the walls, while intricately carved panels hold the grand window directly across from the d
oor. Rich in color, the walls make one feel very comfortable in this intimate surrounding. The feel of the wood almost brings the viewer back to 17th century Holland. Reflecting off the V-shaped wood paneled floor, light flows through the window, illuminating the Dutch landscapes. A simple wooden throne sits against one wall, and a short dresser rests along the opposite wall. Instead of being labeled directly under or beside the painting, there are simply numbers which lead one to a book of descriptions. This groups the paintings together as one description of Dutch life, removing the initial need to fin! Behind the grand entrance of the Philadelphia Museum of Art, and within its immense collection of art, lies two rooms from different cultures and timeperiods. The curator's focus on the grouping and placement of paintings is apparent, as the viewer compares 17th century Dutch landscapes, to those of 19th century France. Salomon Van Ruisdael's Landscape with Cattle and an Inn, and Claude Monet's Railroad Bridge at Argenteuil, though only separated by a marble floor, are set in their respective backgrounds. The galleries themselves, along with the surrounding works, craft an atmosphere that for the viewer, illustrates the culture of their original context. In the far corner of the adjacent wall to Monet's A Railroad Bridge at Argenteuil, lies The Sheltered Path, another of Monet's works. Painted on canvas in 1873, this painting depicts a man of unknown class following a protected path. A natural alignment of trees and bushes painted with soft brush strokes of blue, green, and a hint of red, lines the endless dirt path. As the viewer's eye follows the path, small patches of bright grass attract sunlight among the shaded bushes on the right. A man, simple and dark in figure, walks toward the soft, faded sky. The entire composition is rather calm, with the figure looking away from the viewer. It is richly painted, and everything is cast in a soft bluish green light, which texturally is characteristic of Monet's style. Because the viewer is able to view Ruisdael's Landscape with Cattle and an Inn through the doorway, even before they enter the gallery, he or she is able to recognize its importance. Thi
Some common words found in the essay are:
Bridge Argenteuil, Cattle Inn, Paulus Potter, Epte River, Monet's Painted, Museum Art, Reflecting V-shaped, Hubbema Dutch, Ruisdael's Landscape, ruisdael's landscape, landscape cattle, 19th century, landscape cattle inn, Landscape Cattle, ruisdael's landscape cattle, cattle inn, bridge argenteuil, railroad bridge, van ruisdael's landscape, century france, dutch countryside, middle class, monet's railroad, salomon van ruisdael's, monet's railroad bridge,
Approximate Word count = 1519
Approximate Pages = 6 (250 words per page double spaced)
|
