Analyze color developments in 17th-century Flemish and French Research Paper

Analyze color developments in seventeenth-century Flemish and French tapestry, focusing on Rubens, Jacob Jordaens, Simon Vouet and Mich - enquiry Paper Example there has been an extensive list of tapestries as rise as tapestry workers with tout ensemble the precisions and details that argon requi passing with regards to the subjects (Delmarcel, 1999). During the late 16th Century the Flemish painting was very more than influenced by the Italian Renaissance. Most of the Flemish painters were influenced by this and thus there emerged the adoption of the Italian baroqueness in the French baroque in the seventeenth Century. The Flemish baroque flourished especially through the detainment of great painters such as Rubens and Jacob Jordaens. Most of the tapestry which were mainly expressed the same way as paintings took the centre stage in this era. tapis is referred to as a type of work that involves coloured threads that are intertwined on lines that are stretched horizontally or ver tically to form a substance, a clear and also produce a combination of lines as well as tones that are similar to those derived from a painter with his brush. Woven tapestry is regarded as one of the best forms of fraud expression that is known in the world. In the Middle Ages period tapestries were known to have a utilitarian function (Delmarcel, 1999). The main withdraw for their development was to be able to protect the medieval rooms against cold weather and damp, to insulate pornographic rooms so that they could be comfortable qu wileers or to cover the austere walls of the big castles. Tapestry with regards to France is one of those traditions that have made a great contribution towards the beauty of the French heritage. In the 17th Century tapestry in France led to the formation of the Gobelins factory during the reign of King Louis the fourteenth. The factory which was establish in Paris employed up to about 800 artisans who were majoring in the production of tapestries meant for the royal courts. Tapestry distort has been established over the years among various cultures. The ancient Incas and the Egyptians buried the dead using tapestry distort clothing. The civic buildings of the Greeks had their walls covered in tapestry too. However, it is the French based medieval weaver who brought up the art (Harris, 2005). The medieval weavers were able to extract their dyes from insects and plants within a range of close to twenty colours. For instance red colour originated from madder, pomegranates or poppies and blue was produced by woad. The medieval weaver based their work on sketches that they use from their imagination as well as humour. With regards to the Flemish and French tapestry the focus of this paper is expiry to analyse the colour development in the 17th Century with focus on Jacob Jordaens, Rubens, Michel Corneille as well as Simon Vouet. It is goes with no doubt that the history of past art was reliant on the use of colour. We are onl y left to imagine and picture the extraordinary concept that was adapted by the renaissance and gothic palaces and churches with the use of the tapestries and wall paintings (Harris, 2005). History of colour in the Flemish and French tapestry among other forms of art is partial due to the fact that a lot of the artwork and the colour in the art has survived or perished but only in a changed form. Colour in art is regarded to as an element of art which is produced when there is presence of a light striking on an object and then it is reflected back to the eyes. There are three aspects of colour that were used to describe the French tapestry which were designed in the 17th Centur