Art Appreciation: Mirrors and Reflections in Art
Course details
Course code
Q00019169Course date
Number of classes
1 sessionsTimetable
Branch
TonbridgeTutor
Caroline LevisseFee range
How you'll learn
Venue
OnlineLevel of study
Entry Levels 1,2,3: If you have never studied this subject before and you’re not confident in your skills, Entry levels are a good starting point.
Level 1: Covers basic skills and knowledge needed for this subject
Level 2: Building on basic knowledge or experience. Similar to Grade 4/ C at GCSE or O level in England or Standards in Scotland.
Level 3: Learn about the topic in-depth and have a broad range of skills. Independent working Equivalent to an A level in England or Higher in Scotland.
Beginners: A perfect introduction if you have no experience and skills in this subject.
Improvers: The next step if you have basic skills or knowledge but want to progress them further.
Advanced: Build on the solid experience and skills you have in this subject, applying your skills and knowledge in a more complex way.
Availability
Course overview
Course description
In paintings, mirrors, and the images they reflect, are often puzzling. The reflected image they let us see points to a world beyond the canvas’ edges, i.e. a world beyond the picture plane. It can be the artist at her/his easel, a royal couple watching the artist at work, the skyline of the New Jerusalem, or mysterious people coming into the depicted room…
From Vermeer to Manet, and van Eyck to Rossetti, we will study paintings from the Renaissance to the 19th century in which reflected images play a key role. We will study reflections in convex and flat mirrors, on shiny armors and polished glassware, on windows and on water. As we do so, we will see how reflections are used to complexify the painting’s meaning. In other words, the mirrored image adds another layer of meaning, often less straightforward and more reflective.
In many ways, the mirrored image is in itself a symbol of the painting, which used to be considered as “a mirror to nature”. Maybe this explains the painters’ long-standing fascination with the reflected image.
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