Velazquez and Bronzino Comparison

His eyes and facial expression appear out at the globe in an affected manner, 1 of nonchalance and disdain. The overall impression for ones beholder is one of austerity and formality. The long, graceful fingers with the young man are also representative of the patrician.

The color scheme is symbolic with the Spanish influence, as the young man's cap and doublet are black against a background of washed out olive green walls. The color scheme helps to add to the contrast among the muted environment and also the sharply defined silhouette in the young man. 1 in the long-fingered hands on the proud, young man are clutching a book to show we are viewing an intellectual and not a man of action. The Mannerists sought a sophisticated elegance and Bronzino has definitely captured this mood in his Portrait, whose human figure seems as if, could he speak, he would disdain our looking at his picture.

The extremities of the physique were significant to the Mannerists for showing grace and manners as well as the young man's proud, haughty gaze and his long, graceful fingers demonstrate this aspect of Mannerism. Additional showing the focus on a human type in the Mannerists could be the reality how the figure with the young man is drawn inside front plane from the work and consumes the painting entirely. Except for some importance contrast in light over a stand supporting his book, all the images and colors behind him are muted. Whi


le there is what appears to become the arm of a chair along with a table on either side from the young man, his human body is positioned in such a manner as to project to the forefront over either piece of furniture.

The overall work includes a softness to it with the most different and sharply drawn features getting reserved for de Pareja's face. His hair, hand, the background, and his attires are all neutral and muted by circular brush strokes, with his white lace collar becoming the only actual value contrast that stands out, save for some white utilized on his forehead, cheeks and around his eyes. Although the figure is not dramatically presented, there's an visual realism to this portrait that is pure naturalistic Baroque.

Also, both Portrait and de Pareja look like the globe we see. Inside a way, whilst the young man in Portrait and Juan de Pareja in de Pareja seem natural and finished to our senses, they're not painted to jobs like our senses do in fact wherever we get impressions and have to put together the image. Actually our senses have to interpret the forms, shapes, and colors we see, which often approaches two men and women can take into account the exact same point and view it differently. Instead, these 2 works give us a natural depiction on the human form.

Tansey, R. G. (Gen. Ed.). Gardner's Art Through the Ages. (8th edit.). New York, Harcourt Brace Jovanovich, Publishers, 1986.

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