03 — ARTWORK
Pentecost (detail)
- MEDIUM
- Oil on canvas
- TYPE
- Religious
PALETTE
HOVER OR TAP A SWATCH FOR NAME, SHARE AND HEX. SAMPLED FROM THE IMAGE — INDICATIVE, NOT A PIGMENT ANALYSIS.
DEVELOPMENT BUILD — NOT FOR PUBLIC USE. CONTRIBUTE ON GITHUB.
03 — ARTWORK
PALETTE
HOVER OR TAP A SWATCH FOR NAME, SHARE AND HEX. SAMPLED FROM THE IMAGE — INDICATIVE, NOT A PIGMENT ANALYSIS.
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Jean Restout came of a family of painters and did many religious and mythological pictures, and worked for a time for Frederick the Great. This enormous canvasA woven cloth used as a support for painting. The best-quality canvas is made of linen; other materials used are cotton, hemp, and jute. It is now so familiar a material that the word 'canvas' has become almost a synonym for an oil painting, but it was not until around 1500 that it began to rival the wooden panel (which was more expensive and took longer to prepare) as the standard support for movable paintings (the transition came later in Northern Europe than in Italy). Canvas is not suitable for painting on until it has been coated with a ground, which isolates the fabric from the paint; otherwise it will absorb too much paint, only very rough effects will be obtainable, and parts of the fabric may be rotted by the pigments. It must also be made taut on a stretcher or by some other means., a masterpieceA term now loosely applied to the finest work by a particular artist or to any work of art of acknowledged greatness or of preeminence in its field. Originally it meant the piece of work by which a craftsman, having finished his training, gained the rank of'master' in his guild. of 18th-century religious painting, once adorned the refectoryMonastic dining hall. (dining room) of the Abbey of Saint-Denis outside Paris. With its exaggerated view from below and the extreme perspectiveThe method of representing three-dimensional objects on a flat surface. Perspective gives a picture a sense of depth. The most important form of perspective in the Renaissance was linear perspective (first formulated by the architect Brunelleschi in the early 15th century), in which the real or suggested lines of objects converge on a vanishing point on the horizon, often in the middle of the composition (centralized perspective). The first artist to make a systematic use of linear perspective was Masaccio, and its principles were set out by the architect Alberti in a book published in 1436. The use of linear perspective had a profound effect on the development of Western art and remained unchallenged until the 20th century. of the rows of columns to the left and right, the work is reminiscent of BaroqueThe period in art history from about 1600 to about 1750. In this sense the term covers a wide range of styles and artists. In painting and sculpture there were three main forms of Baroque: (1) sumptuous display, a style associated with the Catholic Counter Reformation and the absolutist courts of Europe (Bernini, Rubens); (2) dramatic realism (Caravaggio); and (3) everyday realism, a development seen in particular in Holland (Rembrandt, Vermeer). In architecture, there was an emphasis on expressiveness and grandeur, achieved through scale, the dramatic use of light and shadow, and increasingly elaborate decoration. In a more limited sense the term Baroque often refers to the first of these categories. The development of the Baroque reflects the period's religious tensions (Catholic versus Protestant); a new and more expansive world view based on science and exploration; and the growth of absolutist monarchies. ceiling paintings. <p> <table align=left cellpadding=5 border=1 width=320 bgcolor="#99cccc"> <tr valign=middle><td><img src="/support/gif/listen.gif" border=0 valign=middle> Suggested listening (streaming mp3, 7 minutes):<br><a href="#" onClick="w=window.open ('/music1/bach/bach_bwv_652.html', 'newWin', 'scrollbars=yes,status=no,dependent=yes,screenX=0,screenY=0,width=350,height=350');w.opener=this;w.focus();return true"><b>Johann Sebastian Bach: Komm, heiliger Geist, choral BWV 652</b></a> </td></tr></table>
@online{wga-rdc306337250eff,
author = {Krén, Emil and Marx, Daniel},
title = {Pentecost (detail) by RESTOUT, Jean II},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/restout-jean-ii-re512d9ad364a70/pentecost-detail-rdc306337250eff},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.