He has already been shot by n arrow where as the daughter is awaiting her father to stab her with the spear in his hand. Both characters are half naked with a cloth covering their lower bodies. Asphalt’s daughter is more ashamed of her nakedness while Sebastian seems to accept it, In biblical times the fattest goat was to be sacrificed to gain God’s favor. The heavy set nature of Asphalt’s daughter appears to be an allusion to that sacrificial procedure. SST Sebastian is fit and is being healed by a female angel. The daughter is tat about to be hurt by her tatter Jehovah.
There is a major difference between the healing angel and the overly religious father, The angel’s presence makes the viewer calm and feels like SST Sebastian is going to pull through, The presence of the father is one of fear and is rather disconcerting. Even though he is embracing his child the idea that she is about to be killed by him makes him an ominous figure. These pictures seem to scream the difference between a loving God and a vengeful God. Jan Maestro’s Portrait of a scholar is different than the Portrait of Marie Ammonia y Pulls Morsels in a couple different ways.
The first major difference is the size. The portrait of a scholar is not much bigger than a piece of paper while Marie Ammonia is the size Of a movie poster. This large size creates a heightened sense of importance. She is powerful, regal, and he is a commoner. One can tell that she is important as well by her attire. She is wearing lavish expensive clothing fit for a queen. The scholar is wearing traditional clothing and has a skull sitting next to him. Marie Ammonia is clean and in a way sterilized from traditional arming or other unfitting activities for someone of her status.
Another notable difference between the paintings is simply the quality of the canvas itself. Portrait of a Scholar has a simple wood frame and the painting itself is cracking, Marie Ammonia is beautiful oil on canvas that is as flawless as she tries to be. Even the frame is a polished black that is more expensive than the one of the scholar, In Maria’s hand is a small elegant tan. The tan says to the viewer that this is not someone who does hard labor or for that matter the dishes. The skull in the
Scholars hand implies that this is someone who is of lower class, and connects him to the dead by the juxtaposition of the skull next to him. These two portraits show two very different people. The next two paintings are the Denial of SST. Peter 1630 (Master Acorns), and Mythological figures in a landscape 1739 (Jacob De Wit). The element in these paintings that is most consistent is the lighting. They are both oil on canvas and about the same size, but the use Of lighting to highlight certain attributes Of the paintings is what jumps out. In the Denial of SST.
Peter the woman’s face and peters face are noticeably brighter than the dark background. The roman soldier is dark except for a line down his right shoulder. Of which the meaning is unclear. In Mythological figures in a landscape the woman figure is lit up while the area around her gets steadily darker. She is literally a light, and brings life to those who surround her. She is placed in the center of two men just as the woman from the Denial of SST Peter, In her case she is trying to decide between the two men while the woman of SST Peter is trying to keep the vivo men apart.
