Jan Van Eyck Art History English Literature Essay

Jan Van Eyck Art History English Literature Essay Jan Van Eyck was born somewhere around 1390 in the village of Maaseyck, near Maastricht (Belgium). His early life is somewhat of a mystery. Between 1422 and 1424 he was employed as a painter by John of Bavaria, Count of Holland. One year later he entered the service of Philip the Good, Duke of Burgandy. There he became court artist and equerry. Van Eyck was held in high esteem by the Duke and was not only Godfather to the Dukes son, but was also paid a salary by him instead of working on commission (which was typical for artists of this time period). He worked for the Duke for 16 years (his lifetime) and also for wealthy Italians resident in the Netherlands, such as Giovanni Arnolfini. Jan Van Eyck was a Flemish Realist active in Bruges, who was considered by some as the first master of oil painting. His use of oil paints in his detailed panel paintings resulted in him being known as the father of oil painting. He was credited with originating a style of painting characterized by minutely realistic depictions of surface effects and natural light. He accomplished this by using an oil medium, which allowed the building up of paint in translucent layers, or glazes. By creating these layers he was able to capture objects in the minutest detail. This also gave him the ability to preserve his colors. Due to Van Eycks social position with Philip the Good as a diplomat (negotiating marriage for the Duke); he was able to travel extensively. He had a great visual memory and eye for detail. Van Eyck was unique in his ability to accurately record historical style. No painter has ever been more preoccupied with artifacts and with the exact way something looks. In his paintings, he extends detailed information about things far past ordinary detail. Instead of doing as artists before him and suggesting areas and ideas, Van Eyck has left us with too much detail. No detail is left unexplored. He painted the world as if everything in it were both knowable and perfectly known. Van Eycks artwork is also charged with symbolism. This attitude toward nature was one that Van Eyck seems to have regarded each created thing as a symbol of the workings of Gods mind, and the universe as an immense structure of metaphors (artchive.com). He has so many things packed into each painting that it is hard to find all of the symbols and we are often left to speculate what things might mean. Take for instance in The Virgin of Chancellor Rolin, there are two rabbits holding up a pillar in the center of the painting, close to the book of hours. We are only left to speculate the meaning of this. Is it purely as a piece of conversation, or has the artist placed them there to symbolize true love overcoming carnal desire? Also in the same piece, two mockingbirds are shown in the garden just beyond the pillar. Are these put there to symbolize death, as the peacocks symbolize eternal life, or are they placed in the garden for balance and interest only? Although we are left to specul ate about some symbols, others are pulled from classic symbols of the past that are commonly used as representations by many artists, such as the lilies in the garden being used to symbolize The Virgin Marys purity, or the cross being held in the baby Jesus hand. I think the thing that makes this artist stand out the most to me is the interest he creates by combining the very heavy use of symbols, with the miniature detail. He carries his symbolism even into the deep background of his paintings. This gives the effect of excitement whenever finding one of Jan Van Eycks pieces of art. We as viewers of the scene before us, become detectives. We hungrily look for things that maybe we have overlooked. This not only brings us into the painting, but fosters thinking and debate! Every expression by the figures and even every creation itself seem to carry two meaningsà ¢Ã¢â€š ¬Ã‚ ¦its own and a symbolic one. Jan Van Eyck made both religious and secular images. His most well known religious work is The Ghent Altarpiece. This painting was originally started by his brother Hubert. Jan completed the work in 1432, six years after his brothers death. It is unclear how many of the twenty four panels Van Eyck finished or changed after his brother passed away. One of his most studied secular images is The Arnolfini Portrait made in 1434. Both of these paintings were oil on panel. Some of his other most popular paintings are: Portrait of a Man in a Turban (1433), The Virgin of Chancellor Rolin (1435), Portrait of Margareta van Eyck (1439), and Madonna in the Church (c. 1425). Of the some twenty six main works documented, all seem to be either oil on panel or oil on canvas. Several of Jan Van Eycks works were signed and dated, which allowed historians to correctly identify other works of his that were either left unsigned or had signed frames which were removed at some point in time. On a few of his works he has signed ALS ICH KAN (As I can or As best I can). In the Arnolfini Portrait he even signed on the wall in the picture itself Jan Van Eyck was here. He painstakingly made his paintings the most interesting I have seen. His eye was at one and the same time a microscope and a telescope Erwin Panofsky. The Betrothal of the Arnolfini Considered perhaps Jan Van Eycks greatest triumph in the painting of portraits is The Betrothal of the Arnolfini or The Arnolfini Portrait (1434). This portrait is an oil on wood (32  ¼ x 23  ½), and is one of his most famous portraits. This painting represents an Italian merchant, Giovanni Arnolfini, who had come to the Netherlands on business, with is bride Jeanne de Chenany. This was a new and revolutionary way of painting portraits in its portrayal of a piece of the real world. The meticulous way the entire room was painted in every detail from carpet, slippers, drapery, chandelier and pet. It is as if we have stepped into their home. It is speculated that this picture represents the moment of the couples betrothal. The young woman is clothed in a vibrant green gown lined with fur and blue undergarment. The weight of the garment is apparent in the deep folds it creates. Her head covering is white with delicate laced edging. Even a gold necklace and brown leather belt are show n. She tilts her head forward, eyes slightly down showing modesty. Her dainty build shown in her hands contrast the heavy material of her robe. She is shown just after placing her hand lightly in her husbands. Her left hand holds up the folds of her dress, possibly symbolizing fertility or her wish for children. Her husband is shown in a large black hat, black collared shirt and  ¾ lengths brown, fur lined coat. His left hand rests under her right and his right hand is raised as in an oath. In the foreground a pair of traditional wooden shoes are shown on the floor. The wood planking and detailed rug are shown on the floor as well. There is a dog shown in between the couple on the foreground floor, possibly a family pet or to symbolize loyalty. Behind them on the floor were another pair of shoes (possibly the wifes) at the base of the seat. The couples shoes being removed could represent custom or the reference to being on holy ground. Going up the scene from the shoes, the seat i s shown in detail with squared wooden posts, ornate caps and fluffed pillow. The mirror at center and focal point of the painting shows the backs of the betrothed and also two more people (possibly Van Eyck and a witness or father). The ten small circles surrounding the mirror each contain a tiny scene from the passion of Christ. This technique is called miniaturist. To the left of the mirror hangs rosary beads, and to the right a hard bristled broom. Above the mirror is an inscription reading Johannes de Eyck fuit hic 1434, or Jan Van Eyck was here 1434. Above the mirror hangs an ornately decorated chandelier with a single candle placed in it (the candle is lit even though it is daytime). A window to the left of Arnolfini is open, and the light from the room comes in from this point. Fruit lays on a wooden table top and windowsill, possibly symbolizing the couples wealth or the temptation of Adam and Eve. The red draped bed to the right behind the young woman leads to the belief th at the picture was of the couples bridal chamber. The painting seems to be recording an event of the betrothal between the Arnolfini couple. The figures look serious and somber. Both faces of the figures are without expression. The line quality is beautifully precise. Every detail is shown. The brushwork is tight. All of the details, large and small, help to draw us further into the painting. The focal point of the painting is the mirror between the couple in the painting. Jewel toned colors are used in this painting. The husband is painted in browns and blacks, the wife in cool colors, and the bed and seat are done in warm colors of rust. The painting is very appealing to me because it is so detailed and because there are so many items that are interesting to look at. The viewer becomes the witness and we could imagine that if we looked to our side we might see Van Eyck standing with us. The function of this work might be as a recording of events or merely as a gift for the couple shown here. I think the technique is more a reflection of the artists personal style than a reflection of the subject shown. The elements in the painting are expertly painted and arranged in beautiful detail, accurately portraying the meaning of the painting. He also puts many things in the painting that would make our minds engage and think about the artwork in depth. The Virgin of Chancellor Rolin Jan Van Eycks painting of The Virgin of Chancellor Rolin (1435) is 66 x 62 cm oil on panel. The painting was originally made of the Saint Sebastian chapel in the church of Notre-Dame-du-Chantel, Autun. The central figures shown in the painting are Nicolas Rolin (1376/1380-1462), the Virgin Mary, and Christ as an infant. Nicolas Rolin was chancellor to Philip the Good. He commissioned this painting to decorate the chapel, and as the donor, he was painted very realistically. Van Eyck paints the chancellor kneeling before the Virgin and Child. The chancellor is shown on the left side of the loggia, dressed in gold brocade and furs (like a prince) betraying his desire to be viewed as a high ranking court dignitary. His patron saint is not shown beside him, as is custom. Just as oddly out of custom is his representation of being at the same height as the Virgin Mary. He is wearing a black silk belt decorated with gold studs. Infrared reflectography shows that Van Eyck had originally painted the Chancellor with a large purse on his side (representing his substantial wealth) which was probably covered up at the request of the Chancellor. On the cushion of the prayer stool beside the Chancellor is a book of hours, with a red fabric slip cover beneath it. The book seems to be open to the beginning of the liturgy for the service of Matins as suggested by the large letter D on the page. The painting suggests that the Chancellor is preparing to recite this prayer from his book. The portrait of the Chancellor is highly realistic and has been compared with Rogier van der Weydens portrait of the Chancellor on his altarpiece of the Last Judgment at Baume (it is very similar). His nose is strong and prominent, his chin is wide, and his hair is cut into a neat cap style. His eyes are set in concentration, but not looking directly at either the Christ child or Virgin. Across from him the Virgin Mary sits in  ¾ pose upon a brocade cushion, placed on a marble seat inlaid with designs. Her large red robe is edged with jewels, pearls, and braiding. The cloaks edging also has an inscription in gold taken from the Christian liturgy of Matins. The prayer focuses on the magnificence of creation. This theme is carried out by the background scenery and the globe in the infant Jesus hand (symbolizing that he is the creator of all things). She is looking at the cross on top of the globe, as a precursor to her sons crucifixion. An angel holds a highly detailed crown over the virgins head, as a reference to her coronation in the heavenly city of Jerusalem. The angels rainbow colored wings represent the pact set between God and his creation. The naked infant Christ sits on a small piece of linen, a reference to his funeral shroud. The infant holds an ornate gold cross mounted atop a crystal globe. The globe symbolizes Christs earthly power and the cross symbol izes his spiritual dominion. The crystal is said to symbolize Marys virginity. The infant is raising his right hand toward the Chancellor in a gesture of blessing. The infant is not gazing at the Chancellor directly, and infrared reflectography shows that the infants hand was originally painted pointing downward. The architecture of the two large figures are in symmetrical composition that opposes the divine world with that of the human world. The three arches in the background of the loggia represent the Holy Trinity. The arched pillars to each side of the loggia lead to colonnades. Most of the pillars are capped with decorative motifs. However, directly above the Chancellor we see carvings illustrating the Book of Genesis in several scenes (mans original sins and their consequences). This crown of stone above the Chancellors head directly counterbalances the crown above Marys head. Flowers in the garden beyond the pillars are all symbols representing the Virgin Mary (lilies, peony, wild rose, irises, and daisies). The peacock symbolizes immortality or the pride of Nicolas Rolin. The two small figures in the center might very well be Van Eyck and his assistant. The landscape on the left behind the Chancellor represents the earthly world and on the right behind Mary, the heavenly world. The river of life flows between both land masses and a bridge connects them together. The tiny cross on the bridge might represent the crucifixion of Christ to bridge the gap between heaven and earth. I am in awe of Jan Van Eycks attention to detail and creativity. He cleverly uses the lines on the floor tiles and winding river in the distance to establish depth. Also the use of atmospheric perspective and lighting adds to the realism of this painting. I believe the focal point of the painting is the two small figures in the center of the painting (much as in the Arnolfini Portrait) and might in fact be Jan Van Eyck and his apprentice. The portrait is again done in rich jewel tones with crisp line work and incredible detail, as is Van Eycks style. This painting is full of religious symbolism everywhere we look. However, Van Eyck seems to be portraying Nicolas Rolin as a wealthy and conceited man who sought to be on the same level as the Virgin herself. The rich gold brocade of his clothing, the money purse that has since been painted over, and the Chancellor being the same height as the Virgin all give evidence to this theory. I think it was rather daring of Van Eyck to paint the patron of the picture in a not so nice light. This painting is similar to many other works Van Eyck has created in the detail he used (The Virgin with Canon van der Paele, Virgin and Child with Saints and Donor). Most of his work can be easily interpreted, as most of the symbolism is uniform. I would buy this type of artwork because I find the detail and symbolism very appealing.

Gender Roles in Society

Gender roles have a very dominant place in our society. Different families and cultures emphasize different roles for men and women. However, masculinity seems to dominate throughout the world. Women’s role in society is always changing but femininity never seems to rise above its masculine counterpart. Gender asymmetry has been a struggle for a long time because of the uncertainty of how we learn such roles. How to act like a boy or a girl is not something biological we are just born with. These roles are learned through our interactions with family and peers, starting as early as birth.The first and one of the strongest influences on a person's gender role is their parents. Parents are our first teachers and role models . They don’t just teach us such basic skills like talking and walking, but also of attitudes and behavior. Most parents still hold traditional definitions of masculine and feminine and what kind of activities are appropriate for each. Parents tend to b e more concerned with the safety of little girls. Where as, boys are expected to be rough and tough at an early age. Most of the time parents are not even aware that they are teaching their kids some of these roles.As discussed in the beginning of the text book, we are taught that our gender differences are due to our biology. We â€Å"tend to equate aggression with biological maleness and vulnerability with femaleness†. This tendency to assume that biology is the cause for gender differences is know as â€Å"the pink and blue syndrome† (Spade and Valentine p. 4). Starting at birth we are put into certain colors and given specific gendered toys to play with. Sometimes these norms don’t fit with every little boy or girl. Some girls prefer to play rough and with more masculine toys, and some boys prefer pink and princesses.However, when boys engage in activities that are normally deemed girly they are called a sissys. On the other hand when girls do things that wo uld normally be boy activities they are considered a â€Å"tomboy† and praised for this. We looked at this more closely when we read Kane’s chapter, â€Å"No Way My Boys are Going to be Like That! † Parents often encourage there daughters to aspire to take on male roles feeling as if it makes them a stronger person later in life. Fathers seems to be more concerned and often discourage boys in engaging in female roles, fearing they may be homosexual.Mothers, on the other hand, more often feel that their sons knowing how to cook and clean makes them more well rounded. Even mothers seem to be kind of cautious and lake enthusiasm when speaking to there sons about these â€Å"iconic feminine items, attributes, or activities†(Kane p. 179). Overall, parents seem to be aware of gender as something that they must shape and construct, especially with their sons. Some parents even feel as if masculinity is something they must work on with there sons starting at a ve ry young age.In order to make a change we must â€Å"broaden normative conceptions of masculinity and challenge the devaluation of femininity, an effort that will require participation by heterosexual fathers to succeed† (Kane p. 183). Another very important group to consider that can have a strong influence on gender roles are peers. Peer pressure is another means of reinforcing a culture's traditional gender roles. It can come in the form of taunting or teasing a child who does not fit the traditional gender roles that other children in the peer group have come to expect. Peers react more positively to children who fit traditional gender roles.We explored this teasing a bit more when we read the article â€Å"‘Dude, You’re a Fag’: Adolescent Masculinity and the Fag Discourse†. Pascoe discusses how masculinity can function as a regulatory mechanism of gender in American adolescent boys. It has been found that the word ‘fag’ is not nece ssarily directed at a homosexual boy, but has taken on a new meaning in school age boys. It is being used as a disciplinary mechanism to police certain behaviors â€Å"out of fear of having the fag identity permanently† (Pascoe p. 330). This kind of teasing and harassment can temporarily be place on any boy who shows signs of weakness or femininity.The high schoolers in the study told Pascoe that calling someone a fag was like telling them they were nothing or stupid (Pascoe p. 335). Boys could be called a fag for anything that he did that was opposite of masculine, even when it had nothing to do with his sexual preference. The fag discourse seemed to be just another way for the contest of masculinity to take place. With such strong enforcement of gender roles in children it is not surprising that these masculine dominated attitudes carry over into adulthood. Over the past few decades, great strides have been made by women in the workplace.This increased number in women in th e workplace does not mean equality however. Even with equal qualifications and achievements, women are still not given all the opportunities that men have. The chapter in the textbook, â€Å"Gender at Work†, shows us more of these inequalities in the workplace. Such inequalities cause gender segregation of jobs and can be linked with the pay inequality in the labor force. Even in jobs that are predominantly filled by women, men earn more than women. Women are often stereotyped as being family focused and not as able to travel, therefore they tend to get passed up for promotions (Garson p. 353).This invisible barrier that keeps women from moving up the executive ladder is referred to as the â€Å"glass ceiling† (Baxter and Wright p. 346). Women also tend to do more domestic work, or unpaid labor and caregiving. This extra unpaid work is referred to as â€Å"the third shift† and is largely rested on the shoulders of women (Gersel p. 352). Consequently, this seems to be one of the biggest things holding women back from taking on jobs that are normally considered male dominated. These shifts in gender roles over the years have been huge. With the drastic changes, men and women are still trying to sort out what these new roles mean to them.Although women are no longer expected to be the soul keepers of the house, in reality, they still are in most families. Although men generally seem to be open to the successes enjoyed by the women they share their lives with, some still find it hard to celebrate a woman's achievements because they feel it diminishes their own masculinity. These patterns will continue as long as our society keeps pushing the importance of gendered roles and the dominance of masculinity. However, today's parents have the opportunity to show their children that they don't have to be violent to be strong, and being sensitive is not necessarily a bad thing.

How to write a good CV

If you need to find a good job, you need to have a good CV. Despite the fact that there is a lot of information circulating, many CV's arriving the consulting companies are wrongly done. Depending on the applicant's professional experience and age, the CV can have between one or two pages. For the recently graduated applicants with less than 5 years of working experience, it is recommended that the CV is no longer than 1 page. If applying for top jobs, like managers, it can be two pages long, but no more than that. It should always be written in computer, in an A4 page, and using only one type of font or, at most, two (one for the text and one for titles). It is not advisable to use colours and it should be printed in a white, smooth page. A good CV is divided in clearly identified parts, and the information must be placed following an order. First, personal data or information should be written, taking into account that it should be as short as possible and specifying information directly. It's always good to write as many contact ways as possible: telephone, cell phone, e-mail, etc. The age can be replaced by the date of birth and the CUIL number must not be missing. If the person is applying for a job that requires availability to travel or to settle in the exterior, he should add the passport number or the driving's licence number. Second, the applicant must write the information related to the academic formation. This should be no longer than one fourth of the page and it should be written in reverse order: from the latest to the oldest. Primary school studies are not relevant and high school studies are written only when the attended school is well-known or bilingual. If the university studies are complete, the type of degree received is written (engineer, doctor, lawyer, etc.), the university attended and the year of graduation. If the career average is higher than 8, or the degree was obtained at a public institution, or if you received a medal of honour, you can add that information too. When the university studies are not finished, you have to write the name of the career, the institution and the year. If you are still studying, you must add the percentage passed up to the day of sending the CV. The third part of the CV shows the professional experience, which is the most important section of a CV. The professional experience is written starting by the most recent job and going backwards. To the left of the page you must write the name of the company you have worked for; if that company is not well-known you should write in a few words what does the company do. In the same line you should write the date you entered the company and when you left it. Below this line the applicant should write the name of the job and include in categories like â€Å"administration† or â€Å"sales†. Then you should write what tasks you had to in that position. The first line can be used to describe how many people or the budget you had to do that job. Then you should write your â€Å"achievements and responsibilities† in that position. Unless the advertisement asks to write references, these should not be included. In fourth place, you must write the languages you can handle. Unless you are sending the CV to another country, the mother language should not be included. You should always write which languages you can handle, if you can read it, write it or talk; and your level of it. The last part of the CV displays the computer skills, grouped by their type; for example, the Office programs or the management programs. You should write the name of the program and if your level of it is basic, intermediate or advanced. A CV is never signed and it should never include the expected salary, because that is always written in the application letter. It is also a good idea, though not crucial, to include a photograph, which is generally in the top, right corner of the page.

Essay about Radio Lab Inheritance - 840 Words

Radio Lab: Inheritance Go here: http://www.radiolab.org/story/251876-inheritance/ Listen to the free podcast and complete worksheet. You only need to listen to the first 3 stories. Though, the 4th is VERY interesting. 1. What was Lamarck’s big idea? What a person does in their lifetime could be directly passed to their kids. 2. What human example did Lamarck use? A blacksmith, because they swing hammers all day they get muscles and those muscles pass down to their kids. 3. What is the â€Å"bummer of Darwinian Evolution† for parents? (according to Jad) They could be restrained by their DNA. As a parent you are a tiny blimp in a very long story. 4. What is a vivarium? A place people experimented on live animals.†¦show more content†¦10. What do great rat mothers do? What about poor rat mothers? For a great rat mother, you would be licking your children a lot. For a poor rat mother, don’t lick their children a lot. 11. What is actually happening in the rats as they are being licked? The licking activates serration and it release onto brain cells. 12. What is Michael Meaney’s theory on how this all works in the rats? Mother licking activates serration that gets into the brain cells. That unleashes a whole serious of events insides the cells. All these changes wake up the protein and if they see menthol groups sitting on a little piece of DNA they are mad. They then go and get the menthol away from the DNA. Now the genes can make the proteins to make the rat a good mom. 13. According to the rat study, what is the role of nature and nurture? (I want you to think about this one) When the rat baby has a good mom that licks it a lot the rat then gets better parenting skills when that said rat has babies. Depending on how well the nurture was is how well of a parent the rat will be later in life. 14. How might this apply to Lamarckism? The more time a rat spends getting licked as a baby results in better parenting skills. 15. True or False: The epigenome can change based on your experiences. True 16. In Overkalix Sweden, what is so interesting about their archives? 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