{"id":1672,"date":"2024-02-17T17:18:09","date_gmt":"2024-02-17T17:18:09","guid":{"rendered":"https:\/\/web.colby.edu\/ar112-spring2024\/?p=1672"},"modified":"2024-02-17T17:18:09","modified_gmt":"2024-02-17T17:18:09","slug":"2-14-reflection-2","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/ar112-spring2024\/2024\/02\/17\/2-14-reflection-2\/","title":{"rendered":"2\/14 Reflection"},"content":{"rendered":"\n<p>A large portion of this class was spent discussing Jan van Eyck, more specifically, his 1434 painting,\u00a0<em>The Arnolfini Portrait<\/em>. We used this painting to look at van Eyck&#8217;s use of &#8220;disguised symbolism.&#8221; The portrait is considered a reflection of marriage, and van Eyck hides religious and social commentary in ordinary objects; however, the detail he includes shows they are not so ordinary. One of the painting&#8217;s most prominent examples of &#8220;disguised symbolism&#8221; is the scattered shoes on the floor. While it seems that the room is just messy, the two subjects&#8217; bare feet call back to Moses removing his shoes in the presence of God in the Bible, indicating that they are on holy ground and the painting is a religious metaphor. Additionally, we looked at how he included himself and the viewer in the painting through the reflection in the painting. We also looked at other Northern European painters from the same time and how they attempted to employ &#8220;disguised symbolism.&#8221;<\/p>\n\n\n\n<p>We ended class by looking at Conrad Witz&#8217;s\u00a0<em>The Miraculous Draught of Fishes<\/em>\u00a0from 1444. The painting merges two events from the Bible, the Miraculous Draught of Fishes and Christ Walking on Water, into one scene in mid-15th Century Lake Geneva. Witz uses the painting to demonstrate how the Pope needs the Bishops&#8217; assistance to be a good leader. At the time of the commission, this was being discussed by a council. This painting demonstrates how artists used their work to reflect a political message.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A large portion of this class was spent discussing Jan van Eyck, more specifically, his 1434 painting,\u00a0The Arnolfini Portrait. We used this painting to look at van Eyck&#8217;s use of &#8220;disguised symbolism.&#8221; The portrait is considered a reflection of marriage, and van Eyck hides religious and social commentary in ordinary objects; however, the detail he [&hellip;]<\/p>\n","protected":false},"author":18277,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/1672"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/users\/18277"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/comments?post=1672"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/1672\/revisions"}],"predecessor-version":[{"id":1673,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/1672\/revisions\/1673"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/media?parent=1672"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/categories?post=1672"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/tags?post=1672"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}