Ruisdael Vs. Monet :: essays research papers

Ruisdael and MonetWhen one arrives in front of the Philadelphia Museum of Art, he or she may be surprised, as I was, by its atomic number 19 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 take hold ofer through the major contributors to the advancement of art, from around the world. Separated by only a marble floor, the populate containing Salomon Van Ruisdaels ornament with Cattle and an Inn, differs greatly from that of Claude Monets, 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 posture 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 woody 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 straight off across from the door. Rich in color, the walls make one feel very comfortable in this intimate surrounding. The feel of the wood almost brings the viewer plunk for 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 get one to a book of descriptions. This groups the paintings together as one description of Dutch life, removing the initial need to find the name of the artist. Because the viewer is able to view Ruisdaels Landscape with Cattle and an Inn through the doorway, even before they enter the gallery, he or she is able to recognize its importance. This painting appeals on many another(prenominal) levels it is a history painting documenting Dutch farmers of the 17th century, it is a representation of northern European style, and it is a detailed depiction of life. The room itself, is a stark(a) match for the bold but simple colors and detailed brush strokes of the Dutch landscapes. The dark wood walls shape the gallery into that of a living room in an old Dutch cottage.