st Catherine by van Dee weyden and the Flemish tradition and a Comparable painting by Raphael.

 OK so let’s talk about the difference between a tradition and that wherever Raphael‘s wrong with looking at the painting of a Saint Catherine by VanderWeyden and a comparable composition by Raphael are these are painted a few hundred years from one another it’s almost not fair to compare except that it’s the same protagonist. Let’s talk about, I mean, the difference  is radical it’s really a drastic. While VanderWeyden uses elements of space of very liberally Raphael seems to hear more to a standard linear perspective. Rafael’s vanishing point is also the the focus of the composition it’s kind of planned out and have a very dramatic way dramatic play of light and shade of the lights are blown out the shades are blown out.;  something has clearly happen to painting. But this is not about Raphael‘s as much as it’s about the funnest addition and have a vendor white and handle things so let’s address those. Typical of the Flemish tradition VanderWeyden represents cloth as a heavy and realistic are the folds are triangular and places and then tubular in other places we really get a sense of the weight of this cough others fake gold painted onto  The edges of the cloth this of course comes as a substitute to gold leaf on a painting serviceperiod Vendor avoidance vanishing point is moot, I can hardly be mentioned because this pain doesn’t follow the rules of linear perspective it’s more intuitive nature. Are the color as Dr. Barnes would put  it is superficial and it’s application. I suppose what’s meant by that is for most that it here’s to a local color scheme scheme. There’s a lot of energy devoted to my new details in this paining and things are generalize the drawing is very concise even if we go what appears to be I don’t have 200 yards into the middle ground or the background  we can see leaves clearly painted on the trees. Going further back to the tune of a half mile we can see windows of buildings it’s it’s almost absurd. Space OK let’s jump over to the Rafael paining and I am kind of compare really quick we can see the other stuff there’s no I mean maybe there’s windows but it’s so much more felt of course Dr. Barnes didn’t do you know cold Rafael for the sentiment  sentimentalist. And you know baby that’s fair who is this Alexandria that Raphael is painted she is and ruptured and she is romantic she’s a little bit classical and we can see her breasts basically we consider the tilt of her pelvis the cloth does little to hide the volume of her figure in full  it says it’s disgusting so for all the shortcomings of the Flemish tradition in regards to its superficial Colorado location every week we go over to the Raphael and this is it kind of we got to be clear about what we’re looking at this is a new figure basically she’s closed she’s close but but the reference is gone it’s much more secular maybe it’s not so controlled by the church you know it’s argue that the funny tradition  it’s looking at nature in the paintings come from real world world observation given the prominence of wine in the design of this vendor wide and paining it’s hard to make that argument I mean what is Fandor wide looking at is he looking at this tree 200 yards in the distance or is he looking at Saint Catherine’s left die yes is the answer always looking at all that I would argue that the Rafael paining is much more realistic I’ll be at kind of gross