Artistic Expression in Van Eyk and Grant: A Comparison
There are few things that convey such intimate detail about any given period in history as its work of art. By incorporating certain principles of design and composition, the artist can visually represent or rebel against the artistic and social conventions of his or her time. As such, visual arts such as painting and sculpture become not only a representation of their creators, but also of the wider context within which they existed. This becomes all the more poignant and clear when works from different time periods are compared and contrasted, especially where these concern similar types of relationships among the elements being presented for scrutiny. IN Van Eyk's "The Arnolfini Marriage" and Wood's "American Gothic," the center stage is taken by a romantic couple in each case; in both cases the protagonists are most likely married or at least involved in a long-term relationship. By examining the composition and design principles of each, it becomes clear that, while the paintings are similar in the kind of human relationship they depict, they are wildly different in almost every other aspect, including the dominance, balance, and unity of each work.
The dominance in "American Gothic" by Grant Wood is almost exclusively taken up by the male and female figures in the foreground. The house is secondary, taking up most of the remaining space on the canvass. All other elements, including the sky and trees that represent nature have a position that is far inferior to the rest of the painting. If one takes this dominance in terms of balance to indicate a position of power or importance, the balance element in this painting indicates the importance of the human couple in terms of dominance over their environment. The pitchfork in the man's hand serves as a strong focal point, being even further in the foreground than the couple. Representing hard work, the pitchfork indicates the dominance of the man over the woman. The man is slightly towards the foreground, with the woman looking up to him and standing with her should behind his domineering figure. In order of importance, then, the main figures in this painting represent the male as strongest and most important force, the female as secondary, and all else as subordinate to them.
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