{"id":1816,"date":"2021-11-18T00:07:11","date_gmt":"2021-11-18T05:07:11","guid":{"rendered":"https:\/\/web.colby.edu\/ar257-fall2021\/?p=1816"},"modified":"2021-11-18T00:07:11","modified_gmt":"2021-11-18T05:07:11","slug":"11-16-class","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/ar257-fall2021\/2021\/11\/18\/11-16-class\/","title":{"rendered":"11\/16 Class"},"content":{"rendered":"\n<p>In Tuesday&#8217;s recorded lecture we really got to dive into the fascinating details of portraiture.  Much of the lecture involved unpacking the meanings of the Netherlandish disguised symbolism that was employed throughout the works, and especially in the paintings of Jan van Eyck.  Van Eyck&#8217;s <em>Giovanni Arnolfini and His Wife<\/em> is a heavily detailed painting that has been thought to represent the actual moment of marriage between the couple (up until very recently\u2014now this seems to be in dispute, and scholars are considering this as a memorial portrait, among other possibilities).  Beginning at the ground of the portrait, viewers immediately notice that the couple have removed their shoes, suggesting that they are standing on sacred ground as they join hands in their bedroom with two men standing in front of them (as we examine the mirror we realize that the viewer is standing where the two men are and are perhaps bearing witness to this wedding).  There are so many other symbols embedded in the painting that have been interpreted as being good omens for marriage, and therefore make sense in the work.  In addition to looking at the details of the portraits, Professor Plesch reminded us of all the visual manipulation that can take place in portraiture to play up certain physical or personal characteristics.  This is important to keep in mind as we build ideas about who the people in the portraits were (and how much of that is what they wanted you to see and think).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In Tuesday&#8217;s recorded lecture we really got to dive into the fascinating details of portraiture. Much of the lecture involved unpacking the meanings of the Netherlandish disguised symbolism that was employed throughout the works, and especially in the paintings of Jan van Eyck. Van Eyck&#8217;s Giovanni Arnolfini and His Wife is a heavily detailed painting [&hellip;]<\/p>\n","protected":false},"author":9328,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/posts\/1816"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/users\/9328"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/comments?post=1816"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/posts\/1816\/revisions"}],"predecessor-version":[{"id":1817,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/posts\/1816\/revisions\/1817"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/media?parent=1816"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/categories?post=1816"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/tags?post=1816"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}