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Article Evaluation
- solid overview of what visual communication while being able to hit topics in that field like, visual communication design and the term 'visual representation'.

- In the important figures section of this article I feel like the person did an okay job talking about the two people but I think adding more background info on the two people would be beneficial or even add more important figures if any.

- For the image analysis section I like how the person included multiple perspectives, thought the explanations may be brief there could be more to add to it

- Visual elements section was able to show the pros and cons of objects, models, graphs, etc as visual ways of communication instead of leaning towards either the pro or the con side.

- The links all work

- only thing that distracted me was the Eye of Horus that was in the article because I wanted to learn more about this since I've seen this image before in a video game once and I was curious or not whether this was a real thing.

Albert Eckhout
Albert Eckhout (c.1610–1665) was a Dutch portrait and still life painter. Eckhout, who was born in Groningen, was among the first European artists to paint scenes from the New World. In 1636 he traveled to Dutch Brazil, where he stayed until 1644, invited by count John Maurice, Prince of Nassau-Siegen. There, he painted portraits of the natives, slaves and mulattos of Brazil in the seventeenth century, besides numerous sketches of plants and animals.

Eckhout is also famous for his still-life paintings of Brazilian fruits and vegetables. His paintings were seen as paintings you would put up in a room for decoration. This assumption was based on the paintings number, subject, and composition.

History
Eckhout is known to hold a special place in the history of Dutch Art and in his general history. He and Frans Post set sail on October 25th 1636 to Brazil along with a group of scholars and researchers. They set sail on this journey to continue Johan Maurits, Count, who was soon to be the Prince of Nassau-Siegen. At this time Count was taking up the role of governor-general of the Dutch colony of Brazil at the time. Once the group arrived in Recife in January 1637, Eckhout stayed until 1644 where he would draw local people and record the flora and fauna. The entire group of paintings that created during this time were made as a gift for Johan Maurits. The "gift compromised of twenty-four paintings, twenty-one of them painted on canvas: eight monumental 'portraits' of Brazilian men and women, twelve still lifes with fruits, nuts and other products of the country placed on ledges, one monumental scene depicting a native Indian dance, as well as three portraits on panels of the envoy congo and his two sevants."

Unfortunately, two of the paintings that were a gift for Maurtis could not be covered. The two pieces of work were said to be a large piece with Johan Maurits, along with several native Brazilian tortoises that is displayed in the Mauritshuis. As his paintings being moved from one room to another, Eckhout's paintings in the Royal Danish "Kunstkammer" were finally presented in the Nationalmuseet in Copenhagen. His paintings shown there were never really shown as a whole but through the months of February and May of 2002 the Eckhourt

the majority of his work is now located in the National Museum of Denmark in Copenhagen. In art history, he is taken to be part of Baroque.


 * 1Work in Dutch Brazil
 * 2Gallery
 * 3See also
 * 4References
 * 5Further reading
 * 6External links

Recife, Brasilia and Sao Paulo Albert Eckhout
After a major restoration campaign, known paintings of Eckhout, the nucleus and pride of the collection of the Ethnographical Department of the Nationalmuseet in Copenhagen were now allowed to travel to Brazil. This will be the firs time the paintings of Eckhout are exhibited in the country where they are believed to have been made in the early 1640s. The exhibition organized by the Nationalmuseet along with a committee in Brazil was said to be the cultural event of the decade in Brazil. Organizers expected the three venues that were holding the exhibit to attract more than a million visitors in total with the title of the touring exhibition to be called, "Albert Eckhout volta ao Brasil 1644-2002" which meant "Albert Eckhout returns to Brazil". The touring exhibition provided seven landscapes by Frans Post, the Eckhout paintings are among the oldest images of Brazil indeed, of South America.

The show in Recife was shown at the Ricardo Brennand Institute, which was at the time a building newly raised to host the exhibition in the city where Johan Maurits lived at the height of his career. The exhibition continued to the Conjunto Cultural da Caixa, Brasilia, where it closed on the 4th of January, before it's final showing at the Pinacoteca do Estado de Sao Paulo from January 14th to March 30th. In Recife, the eight 'portraits' were shown in male and female pairs. Unfortunately, it was a pity that none of of several extant perparatory studies which Ekhout based most of his paintings were included in the exhibition. It's unfortunate that the paintings that were not shown in the exhibition because these paintings would have been an eye-opener for many visitors. These paintings included figures that are observed in a spontaneous manner giving the visitor a better understanding of the so-called realistic 'portraits'.

Work in Dutch Brazil[edit]
Main article: Dutch Brazil Mameluca woman under a fruiting cashew tree (1641-44)

His training as an artist and early career are unknown. In a two-day symposium organized in Recife, one of the major issues addressed was whether or not Eckhout really did paint the paintings he said to have painted in Brazil. He was in the entourage of Dutch governor-general of Brazil Johan Maurits, Prince of Nassau-Siegen, who took him and fellow painter Frans Post to Dutch Brazil to have them record the country's landscape, inhabitants, flora and fauna. Eckhout focused on the people, plants and animals of the region. He painted eight life-size ethnographic representations of Brazil's inhabitants, twelve still lifes and a large piece of dancing natives.

These ethnographic works, done between 1641 and 1643 for Maurits, were subsequently gifted to Maurits's cousin, King Frederick III of Denmark, and they remain in Copenhagen. Alexander von Humboldt saw the paintings in 1827, as did Brazilian Emperor Dom Pedro II in 1876, both of whom praised them enthusiastically. Tapuian cannibal woman with a human hand in her hand and foot in her basket, standing under a tree that is likely Cassia grandis, 1641.

While Post was focusing on painting maps and landscapes, Eckhout made pieces about the inhabitants and still lifes with fruits and vegetables. His work is said to give the first realistic image of the native population, part of the Tupi and Tapuia tribes. One of his famous works is of a calmly composed Tupian woman, who holds a human hand and has a human leg in her basket, an example of cannibalism. The Tapuya dance,performed by eight Tapuia Indians with their characteristic mushroom hair style, cudgels and spears, deals with the preparation for the confrontation with the enemy. This picture was much more in accordance with the mental image of the natives back in Europe.

Another famous work of art by Eckhout from his time in Brazil is the Mameluca Woman. This is a depiction of a woman in a flowing white dress balancing a basket of flowers in one hand. Her other hand is lifting her dress to reveal a small portion of her leg. She is believed to be a mix of European and the indigenous people of Brazil given by the title “Mameluca.” This painting has many aspects that were characteristic of Eckhout's other paintings from his time in Brazil. The two guinea pigs at the woman's feet show his interest in the natural life of Brazil. In addition the flowers that she is carrying and the plant life around her were Eckhout's way of representing the fertility of Brazil and drawing attention to the successful production of crops there.

For a couple of reasons, the series of twelve still-life paintings by Albert Eckhout are unique. First, they show Brazil's abundant crops and second, these are the only known still-life paintings from the seventeenth century showing an overcast sky in the background.

Africans, Mulatos, Mestizos
The figures of Africans in Eckhout's painting were tied to the areas where the Dutch had accomplished the largest amount of commercial contacts during the 17th century, namely Guinea and Angola. When looking at Eckhout's paintings of a black man and woman you should not classify them as slaves or as a pair of enthonograephic portraits. Instead, these categories have transformed these categories by presenting a multi-layered language of trade, gift-giving, and political alliance tot their contemporary audiences.