Read Monet's the Stroll
Monet's the Stroll, Camille Monet Her Son Jean (Woman With a Parasol)
This painting epitomizes the impressionistic style and artistic philosophy in a number of different ways. If one looks closely at the painting by Monet one can see that the foreground, the sky as well as the dress and parasol are created by many short strokes of opaque paint. This gives the impression of a moment captured and intense movement and dynamism. Essentially the term Impression refers to the ability to take a "snapshoot "as it were, of a moment in reality which is represented in its dynamic flow and beauty. This describes the painting by Monet, which is a good example of the Impressionist style and technique as well as of their distinct approach to art. The following discussion will explore this painting in detail.
Overview of Impressionism
Central to the Impressionistic school or movement in art is the objective of capturing the moment. Coupled with this is the idea of spontaneity in depicting the myriad changes and fluctuations in nature and the world around us. As one commentator notes about the painting under discussion; "This masterpiece epitomizes the Impressionist concept of "the glance." It triumphs wonderfully in conveying the sensation of a snapshot in time, a stroll on a beautiful sunny day" (WebMuseum: Monet, Claude: The Stroll, Camille Monet and Her Son Jean (Woman with a Parasol).
Impressionism as an art movement began in the 19th century and is usually associated with certain artists, such as Monet, Manet and Sisley. In simple terms this art movement can be described as a philosophy as well as a method of art which is aligned with other illusionistic or representational styles of painting and sculpture. However, a central difference is that "… the illusion comes from what the artist sees rather than, as it was the case before, from what he intellectually knows. Monet eyes perceive nature as a pattern of nameless color patches without any prevailing conceptual knowledge" (Impressionism - Biography of Claude Monet). In other words, Impressionism does not allow the intellect or reason to intervene between the image and its creation. It is a more immediate and more spontaneous method of painting, which is why it was often practiced outside the studio in the open air.
Impressionistic paintings usually follow a number…… [Read More]
Both Salvador Dali and Raphael incorporated Christian imagery into their paintings. Raphael renders a scene from the life of Christ in "Madonna and Child Enthroned with Saints." The painting is rendered on wood, with oil and gold leaf. It was designed to be a panel installed in a church: meaning that the painting had a cultural, religious, and ritualistic context as opposed to being art for art's sake. In Dali's "Crucifixion," the artist works firmly within his genre as a surrealist, and reinvents Christ on the canvas. Dali paints art for art's sake; this unconventional rendition of Christ would not have been commissioned by clergy as Raphael's was. However, Dali was heavily influenced by Catholicism. The artist is not being sacrilegious or even irreverent here; but Dali is reinventing Christ's image and that of the crucifixion. Painted in oil on canvas, "The Crucifixion" bears remarkable similarities to Raphael's religious painting. For one, the color palettes are similar because of the reliance of gold. However, the two paintings differ in most other regards, including composition.
Both Raphael and Dali place Christ in a central role, but do so using different compositional techniques. For Raphael, the painting of the Madonna and Child meant rendering Christ as a baby. His diminutive size cannot detract from his spiritual importance, though, which is why he and the Virgin Mary are seated on a throne and are attended by others. A child in a red outfit has connected with the baby Jesus, and has his hands clasped in prayer as if he recognizes Christ's godhood immediately. There is a gold halo surrounding Mary as well as the saints. Christ does not need one, perhaps because of his innocence at this stage. Dali depicts Christ at the end of his life, rather than the beginning.
The two artists therefore choose different periods in Christ's life, and render those two events differently. Whereas Raphael renders the infancy…… [Read More]
Painting analysis of Jean Helion's 1948 painting "Grande Citrouillerie" (Big Pumpkin Event)
Rather than a traditional harvest painting, as its title might suggest, "Grande Citrouillerie," or, in English translation the "Big Pumpkin Event," has the appearance of a poster or advertisement painted in an art deco fashion typical of the 19th century. The painting shows the form of a twisted, half cut open pumpkin with its inner seeds and hanging pulp revealed. The painting's colors are rich and autumnal in tone. The palate of the painting is made up of brilliant oranges, reds, yellows and burnt sienna. These warm tones convey the sense of the pumpkin's fall harvest season as well as form the lines of the fruit itself. The colors create a sense of seasonality and ripeness, as well as suggest the painting's subject of a ripe pumpkin. The colors' warmth, however, stands in contrast to the 'advertised' nature of the setup of the painting and its unnaturally unblended tones. The painting is eye catching much like a brightly painted advertisement.
This advertised quality is not just evident in the bright yet twisted shape of the fruit that dominates not only the frontal perspective, but also the background of the painting. The overall effect of the painting is not realistic, because of the orange background and broad brushstrokes used to render the pumpkin, despite its realistic portrayal of the pumpkin as a fruit with seeds. The overall brightness and starkness of line suggests in style an almost cartoon-like promotion for the large pumpkin. The reference to a 'event' in the paintings title further contributes to this sense of unrealistic luridness.
The pumpkin itself is not characteristically round. Its off-center positioning and lack of spherical shape is further suggested by the irregular cuts in its surface, cuts that reveal the inner 'guts' of the pumpkin. The fact that the pumpkin in the context of the painting is slightly off center makes the irregular shape and irregular perspective work with one another to make the pumpkin seem almost surreally misshapen. The pumpkin thus seems even more convoluted and 'staged' by the artist, rather than a study of nature.
There is an open sexuality in the portrait that goes beyond the mere bounty suggested of fall. The deliberately cut opening of the pumpkin is almost sensual in its shape, conveying a…… [Read More]
The black in the male cafe patrons' suits, renders an aura of sophistication. The combination of white and black grabs the eye and creates a sense of movement that corresponds with the lively dancing.
Painted only 12 years later, Van Gogh's "Night Cafe" conveys a completely different cafe ambiance. Whereas Renoir's cafe is full of life and light, Van Gogh's is strikingly lonely, occupied by a few sullen drunks with their heads on their tables and the central figure who stands next to a billiards table. Van Gogh uses muddy hues to parallel the theme of the painting. Renoir's black and white affair conveys a bourgeois ambiance, and Van Gogh's ruddy earth tones clearly impart a working class sensibility. Moreover, Van Gogh's cafe uses indoor lighting, which is less inspirational than the uplifting feeling from the open-air "Le Moulin de la Galette." Correspondingly, Van Gogh uses yellow for lights rather than the pure…… [Read More]
His work can be seen as fitting into a wider context of artists working to represent the France their generally well-off and comfortably middle-class and upper-class purchasers wanted to see and to believe in. The purchasers of Millet's works may never have visited the Normandy countryside for themselves, but they could share in its beauty and its spiritual and moral values through Millet's art and the art of other painters like him. The fact that, rather than being dominated by perhaps unappealing figures of the poor and exploited peasantry this picture depicts an apparently attractive and straightforward landscape can only have increased its appeal, in contrast perhaps to some of Millet's earlier work in which the human figures of the workers dominate.
This picture is more than the simple, decorative landscape it may appear to be on first examination. A work by an artist whose painting of rural and peasant scenes had made him successful, and who approached such work as someone who knew what he wanted to say and what his audience wanted to see, it is an accomplished blend of representational, moral and spiritual qualities. The rough, contorted path, passing through a narrow gateway to the haven of the Priory which links earth to heaven can be seen as a representation of the path of the soul through earthly labors to ultimate salvation; it is also a powerful reminder of the earthy quality of ordinary peoples' lives in rural France, with the mud and stones standing for the material conditions of their lives in which they were trapped. There is thus a social criticism present in this work as well as a spiritual message. The domination of earth over sky in terms of the area of the painting it occupies would seem to underline this aspect of the painting. However the placing of the Priory and the relative brightness of the sky, the sense of space conveyed by the sea and sky in the upper portion of the painting, contrasting so sharply with the quite congested an claustrophobic atmosphere of the earthy lower portion, suggests strongly the presence of salvation and hope. In that sense the Priory stands for the enduring qualities of…… [Read More]
Is this a simple soldier pulling away the cadavers of his companions or death itself taking away dear individuals into the unknown? Who is connecting the physical bodies with the symbolic meaning of the stripes painted with their blood?
The characters in the background also play an important role in the creation of the painting. With their presence, they create an antithesis to the characters in the foreground. They are dressed in white and, apparently, their expressions are both those of consternation and pity for the victims. Going further with the allegory, this can in fact be seen as the American people looking at the entire people's victims with sadness. Patriotism is a wonderful thing, but the losses and moral impact is also not to be ignored.
The creative means by which the painting is made are relevant in building the right atmosphere and perception for the viewer. First of all, the lighting and shading plays an important role. The painting is essentially dominated by dark shades of color, including dark red for the blood and flag, as well as the dark colors used for the uniforms. The artist uses contrasts occasionally, as is the case with the background figures, dressed in white clothes. At the same time, this also seems to split the perspective of the painting into two: the foreground, with the three soldier characters, and the background, with the group of people dressed in white. The lighting and shades used propose a gloomy perspective on the issue at hand and an overarching depressive interpretation of the issue.
The author also managed, through this foreground/background antithesis, to create the impression of a 3D space, rather than a two dimensional one. The painting seems to be build following a line which the characters populate, starting in the lower left corner and going upwards to the upper…… [Read More]
Painting as a Leisure Activity
History of Painting
Humans have been painting pictures since roughly 15,000 to 17,000 years ago. How do we know? The oldest known paintings were found on the walls of a cave near Lascaux, France, by in 1940 (by a dog named "robot" who led four boys into the cave). These extraordinary cave paintings (of very large animals: horses, bulls and stags), were tested through carbon dating and determined to have been done in Paleolithic times. Here are photos of the oldest paintings:
What's the lure? Why do so many people paint in their leisure time?
Painting for leisure was just the right medicine for one of the most celebrated and respected leaders in the history of England, Sir Winston Churchill. While most of the Western world's educated citizens are aware of Churchill's intellect, wit, diplomatic greatness and uncompromising resilience during World War II - especially after Hitler's Nazis had seized most of Europe and were bombing England mercilessly - few know he was an accomplished painter. "Painting is complete as a distraction," Churchill wrote in his book, Painting as a Pastime (Churchill, 1950). "I know of nothing which, without exhausting the body, more entirely absorbs the mind. Whatever the worries of the hour or the threats of the future, once the picture has begun to flow along, there is no room for them in the mental screen." Moreover, the former Prime Minister of Great Britain wrote, "Even if you cannot portray" the scene you are painting, "as you see it, you feel it, you know it, and you admire it for ever."
For readers interested in learning more about the subject, another internationally renowned celebrity offers some valuable insights into the wonder of painting for leisure; he is Leonardo da Vinci, and his words are published…… [Read More]
Saint Catherine of Alexandria
Saint Catherine of Alexandria was a favorite subject of art during the late Renaissance. The painting of Saint Catherine to which this analysis will refer is held by the Metropolitan Museum of Art. It was painted by an unknown painter who is believed to have been from the Netherlands and painted the piece in the last quarter of the 15th century.
When examining a piece that portrays a famous person, it helps to know something about their story to aid in understanding the piece. Saint Catherine was a Christian saint virgin, who was martyred in the 4th century by Empower Maxentius. Saint Catherine opposed the pagan Emperor for executing Christians who refused to worship idols. She beat the Emperor in a debate about the matter and won. This enraged the Emperor who put her in prison. She was visited by hundreds, including the Emperors wife who converted to Christianity. Saint Catherine was sentenced to death on a spiked breaking wheel, which miraculously broke. The Emperor had to settle for beheading her (Lewis, 2000). Narrative painting was a shift from iconic imagery and is a common structure of Renaissance painting (Stokstad & Cateforis, 2004).
On first impression, a feeling or darkness and tragedy grips the viewer. The artist's use of grey scale adds to the somber tone. Catherine stands on Emperor Maxentius in triumph, but she is not smiling. We know that this is the Emperor because he holds a scepter and is richly dressed, by Renaissance standards. She has a solemn expression. This painting retells the story of Saint Catherine, with the broken spiked wheel beside her. There are actually two Catherines in the painting. One in the foreground, who is reading a book, we can assume is a Bible, representing the Christian faith that she defended. The other Catherine is in…… [Read More]
Pissarro took a special interest in his attempts at painting, emphasizing that he should 'look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon. In the meantime Pissarro had introduced him to Cezanne, for whose works he conceived a great respect-so much so that the older man began to fear that he would steal his 'sensations'. All three worked together for some time at Pontoise, where Pissarro and Gauguin drew pencil sketches of each other (Cabinet des Dessins, Louvre).
Gauguin settled for a while in Rouen, painting every day after the bank he worked at closed.
Ultimately, he returned to Paris, painting in Pont-Aven, a well-known resort for artists.
Le Christ Jaune (the Yellow Christ) (Pioch, 2002) Still Life with Three Puppies 1888 (Pioch, 2002)
In "Sunny side down; Van Gogh and Gauguin," Martin Gayford (2006) asserts differences between van Gogh and Gauguin:
Two more mismatched housemates than Vincent van Gogh and Paul Gauguin would be hard to find. Van Gogh was unkempt, emotionally unstable and talked incessantly while he worked. Gauguin, a former sailor and businessman, was taciturn, orderly and a loner. Yet from October to December 1888, the two shared a four-roomed yellow house in Arles until, after a quarrel, Van Gogh cut off his ear. Gauguin fled for Paris and the two never saw each other again.
Gauguin believed in painting "from the head": from the imagination and from memory, slowly bringing together elements on canvas in a symbolic and cerebral way. Van Gogh, on the other hand, wanted to paint directly from nature. Not only did he find it exhilarating to respond spontaneously to the colour all around him, he also found it consoling; it helped release the flood of ideas exploding in his head. Van Gogh, Mr. Gayford says, suffered from bi-polar disorder, a severe form of manic depression…… [Read More]
In the Museum of Modern Art of New York City, New York there is an enormous oil painting on canvas which was painted by one of the most famous painters of all time, Pablo Picasso. The piece is entitled "Les Demoiselles d'Avignon" which means "The Young Ladies of Avignon" in English, an ironic title which will be made clear. The painting is extremely large, almost 8-foot square. Many of Picasso's paintings depicted scenes he had witnessed and people he had personally known. Although most Picasso paintings are interpretive and representational rather than obvious depictions of their subject, the emotion and authenticity of their subject is still visible to those who understand exactly what it is that the artist is trying to show. It is a large oil painting created in 1907 which depicts four prostitutes from Paris, France. The basic thematic point of the piece is that those who sell their bodies for money are a desperate lot of women. They are not the gorgeous creatures of stage or screen or literature. They are women who have no other options but to sell their bodies in order to feed themselves and their loved ones.
The painting is from Picasso's cubism phase wherein regular, rounded objects are transformed. Cubist paintings, mostly portraits, are ones in which the actual item being painted are not depicted in any way that could be considered true to live, and yet their subjects are still obvious through the use of angle choices, color, and subjects. Instead of the round, subtle women that one would usually associate with the lascivious occupation, Picasso paints them as angular, and cross, almost monstrous creatures. The women are mostly undressed, as would be expected considering their obvious occupation. Prostitutes hardly require clothing to ply their trade. Although Picasso does not explicitly state that these women are prostitutes; he labels the painting young ladies after all. However, their dress and their close proximity illustrates that these are baser, lower class women who play in the sex trade. The women are painted in sexually suggestive poses and show their flesh without fear or shame which would be…… [Read More]
paintings and gives opinions about which ones are neo-classical and romantic, which ones use impressionism and how so. There were six sources used to complete this paper.
Throughout history art has been a universal language. The love or emotion that is elicited from a painting can happen regardless of the language the viewer speaks. Paintings do not require interpreters or language commonality. They speak to hearts and do so with a silent voice that draws emotion from those who view them. There are different styles of painting and different explanations of those styles. One can take several of the more well-known paintings and hold them against stylistic measure to determine how well they were followed and why those styles work for those particular works.
There are two paintings that are well-known and can be compared to determine the styles used and the efficiency of those styles. In Watteau's The Storm and Delacroix's Christ on the Sea of Galilee one can easily differentiate between styles because they both depict storms and use their individual styles to tell their story.
One only has to look at these two paintings to determine which one is a neo-classical work and which one is a work of romanticism. The Storm is the more Neo-classical of the two and the Christ on the Sea of Galilee is the work of romantic persuasion. These two paintings are such strong and classic examples of their respective styles that comparing them is a lesson in each style itself.
The Christ on the Sea of Galilee is romanticism at its finest. The dark brooding waves are the first indicator of its style. All sense of order is gone and the waves are screaming a rage that is felt by the viewer from the instant it is gazed upon. The anger of the ocean is classic romanticism because it removes all sense of order which is typical in works that are considered neo-classical. Another indicator of the style that is used in this painting is the faintly painted halo at the back of the head of Christ. He was not usually shown with a halo…… [Read More]
Albert Bierstadt is a renowned American painter, best known for his creations of beautiful landscapes from the American West. At the same time, he avoids including any humans in his paintings, which is also the case of the painting analyzed here. According to sources, this has a commercial purpose: offering the impression of the potential buyer, usually from the East Coast, that he is submerged in the nature all by himself
. At the same time, the lack of humans in his paintings is probably an attempt to portray nature as pure and virgin, yet unspoiled by the intervention of humans.
The painting Passing Storm over the Sierra Nevadas fits quite well in the pattern that has been described in the previous paragraph. Painted in 1870, it comes at a time when the fascination with the West, especially in the urban centers of the East Coast, is still great. At the same time, it also comes in a moment when the railroad is not sufficiently developed to give anybody the possibility to travel and see some of these natural wonders on their own, which is why painters, such as a. Bierstadt, can use their artistic perspective to describe things.
For Bierstadt himself, these paintings actually came from small drawings and reproductions he had made during his three trips to the West, starting in 1859
. These were developed upon his return to make detailed artistic descriptions of the Western scenery. As such, despite the symbolism and the commercial approach, many of these paintings are quite naturalistic, a true reflection of the untouched nature he has seen during his trips. One needs to consider that these trips are made in the aftermath of the Gold Rush, but that during this time, it is still only the adventurous that dare to go into this wild landscape, which explains why such a painting, with its serene calm and atmosphere, could develop.… [Read More]
Painting and Experience in Fifteenth Century Italy by Michael Baxandall. The paper presents the thesis of the book, evidence of the arguments put forward by the author to support his thesis, details of the structure of the book, and a critical analysis of the thesis put forward by Baxandall.
Baxandall's book is a classic of art history, which gives both an introduction to fifteenth century Italian painting, and also a discourse on how to interpret social history from the paintings of a particular era. The main thesis of the book is that the style of paintings in any particular era reflects the social life of the time. He argues that life is lent to the paintings by the assimilation of contemporary daily habits and fashions by their creators.
He argues, for example, that Renaissance painting became so vibrant at that time due to the expansion of other branches of the arts around at the time: for example, dance, literature, theatre, opera etc. This expansion in the arts gave inspiration to painters to take their art further, by introducing new techniques, and new ways of representing life in art, through developments in the use of perspective, relief etc.
He argues that artists were so inspired by their social surroundings at this time, and by their patrons, who wished to record their wealth and prosperity, that the artists flourished on their surroundings, producing new styles of representation: rather like neighbors outdoing themselves with newer and better cars, artists and their patrons competed amongst each other to develop the best and most technically innovative paintings. This led to the greatest movement art has known: the Renaissance.
A further argument he develops is that we, from our day and age, with our own set of perceptions, historical experience, and social circumstances, cannot truly understand or comprehend these fifteenth century paintings, as we no longer have ready conceptual access to them.
He argues that we bring our own experiences and concepts to the viewing, analysis and appreciation of these paintings, such that we fail to see their true colours, their true historical messages. By using our own conceptual framework to look at these fifteenth century masterpieces, we fail to appreciate the paintings as a contemporary would have done: we fail to see their social context, and as such, we miss a…… [Read More]
paintings by David and Raoux would have to begin by pointing out that, although both painters dealt with scenes from classical antiquity, they did so almost 100 years apart. As a result, each artist brought to whatever story he was illustrating the preferences and styles of his own generation, not to mention a hint at the political situation in which he found himself.
Raoux (born 1677, died 1734) lived during The Enlightenment, an intellectual movement associated with the 18th century. Paris was, along with London, a center for the growing belief that human reason "could be used to combat ignorance, superstition, and tyranny and to build a better world." (WSU Web site) Particularly, the thinkers of The Enlightenment wanted to be free of the constraints of religion as practiced then, and of the domination of society by an hereditary aristocracy. (WSU Web site)
Raoux, in his painting Orpheus and Eurydice, painted in oils on canvas circa 1718-1720, was certainly aware of the movement. He chose as a subject not the aristocracy itself, perennially a favored subject in portraiture, nor a story from Scripture, but rather a mythic one from what might be called the pagan era.
In the painting itself is a fully developed story, with most of the players present. Moreover, they are present in half-clothed forms, the breasts and faces of the women catching the light, the age of the men obvious in their hair (or lack thereof) and the way their musculature is carefully drawn. The definition of the younger men is sharper; the older men appear a bit more flaccid, although still classically formed. There is also a great deal of passion in the painting, partly conveyed by the expressions of the figures, and partly by Raoux's use of extreme contrasts between lights and darks, creating a tableau of enormous depth.
A hundred years later, Jacques-Louis David (born 1748, died 1825) also chose to deal with subjects from classical…… [Read More]
It is more peaceful somehow than Auerbach's work, which seems to capture the person but also capture death, somehow. Both paintings are of a more modern school, rather than impressionistic or realistic, although Auerbach does incorporate some impressionist techniques into his works, especially in how he lays on thick, bold strokes of paint. Both artists use these bold strokes and lines as part of their message. I simply prefer the ocean scene to the more modern scene.
Both artists are historically significant. Homer is known as one of the best American painters of all time, and he usually painted maritime scenes which make the history of boating and sailing in America more real and more vivid. Auerbach manages to blend modern art with some impressionist techniques, such as laying on paint quite thickly. As a teacher, he was quite important to the art world and modern art's evolution from cubes and squares to angles, lines, and bold…… [Read More]
It is surprising in its theme and focus, because it was painted during the Victorian era, when many people were experimenting with seances and other occultism, and yet the general public did generally not accept that. And yet, this painting was, and it was purchased by the gallery shortly after it debuted, showing how much they valued the painting. All of the little details engage the reader, but they all have significance, too. The ravens are carrion eaters who prey on the dead, the snake is relevant to original sin, and the Egyptian motifs are ancient and mysterious. The actual "magic circle" is the red-hot circle in the sand, created by the woman's wand, and the painting is especially engaging and interesting. Every time the viewer looks at it they see something new and arresting, and that is a testament to a worthy work of art.
The Tate Gallery invested in this painting not only because of its supernatural theme, but because it was a well executed and well received painting. The painting itself is beautiful, and deceptively simple. In fact, after you look at the main theme of the painting, you will find it is quite complex, with details that add to the overall impact of the painting. The goal of the work is much more than to entertain the viewer. In fact, the goal of the work is to show the artist's interest in the occult, a growing field of study at the time. There is something forbidden or "dangerous" about the work, and perhaps that is what makes it so compelling. The viewer might feel just a little bit "naughty" when viewing it in the nineteenth century and that could have been a goal of the artist, as well. Stylistically, it is a beautiful painting, well executed down to the smallest detail, and the details are all driven to the central theme of the painting. Many of the other impressionists, such as Monet or Van Gogh may be better known, but this painting by Waterhouse embodies the impressionist movement, and it still commands…… [Read More]
Paintings -- Nude Women
The painting Reclining Nude, was done in 1917 by the Italian Amedeo Modigliani who lived from 1884-1920. Reclining Nude is oil painting on canvas, 23 7/7 high x 36 1/2 inches wide or 60.6 x 92.7 centimeters. It is currently owned and displayed by the Metropolitan Museum of Art in New York City having been acquired from the Mr. And Mrs. Klaus G. Perls Collection in 1997 (http: (www.met.org).
The voluptuous nude woman lies across the entire width of the painting in a provocative pose. Her hands and part of her arms and her feet and most of her legs are outside the picture. The very dark background appears to be a bed cover with which the very alive orange-ish glow of her skin is starkly in contrast. A pillow of white cradles her head and arms and a trail of white cover lies beneath her hips, providing additional stark contrast to the dark background and vivid skin tone. The woman's dark hair is another contrasting element. Her elongated, pensive face with it's long nose appears to be sad. She is either resting or sleeping, perhaps after making love to a now absent lover. Her features are darkly outlined and heavy. The view of her body is from above and at close range. Her breasts are full and sensual and her waist is trim. The dark hair in her exposed armpit makes her seem particularly vulnerable. Her pubic hair is not visible due her lower body being twisted away from the viewers eyes. Her thighs are unexpectedly heavier or perhaps just more muscular than the rest of her body. Perhaps she is a dancer with well-developed legs. She appears to be graceful and supple.
The style seems somewhat impressionistic, though the colors are far from vague and pastel. In fact, they are fairly dramatic, as if an emotional story lies behind this figure. The lines are strong and simple and the colors intense. The lines are very…… [Read More]
The words "stripped skirt" not only literary defines the type of the dress but also describes the lady's personality as she was a fashion icon of her time and was famous for her dress sense and elegancy. Hence the title itself depicted her as a lady with a powerful personality (Art Galleries, 2009).
The other painting under discussion is the art work of Henri Matisse titled as "The woman with a Hat." This is also a hand made oil painting produced in 1905 and the women in the picture are believed to be Matisse's wife Amelie. The art style used in his picture by the painter was different from that of his precedor, Paul Cezanne. Cezanne painting is an example of his impressionist style with the use of real life colors and expressions in the painting while Matisse used unnatural brighter and expressive colors and tones, creating an art piece that is an example of Fauvism. Fauvism was a painting style that was famous in early nineties and was characterized with the use of emphasized painterly qualities and use of strong and brighter colors over the realistic and representational values featured in impressionism. The painting was characterized by seemingly wild brush work and stringent colors. Also the art style posed a high degree of simplification and abstraction, a common character of paintings by Fauves.
The painting like that of Cezanne's has portrayed the woman in highly sophisticated and stylish outfit revealing the ravishing personality of the lady, with an elegant feathered hat in highlight that was a popular symbol of style and elegancy at that time. However the use of brighter colors and the way the spaces were completely filled by the wild strokes of brighter colors make it more lively, expressive and vibrant. As according to Matisse as he…… [Read More]
As in the other painting, light provides the interpretation of the picture, but whereas ships or individuals may serve as subject of Cuyp's painting, here light serves as the subjects of Turner's. Light from the full moon shines on the glittering water, with silhouetted ships (as in the other picture) framing the view. The other picture draws your eye to the centerpiece; here, Turner draws your eye out to sea and to the corners of the panting. Nature sweeps a clear elliptical path and becomes the centerpiece brushing ships and flame to the sides.
A palette knife conveys mood and atmosphere. Some areas, such as the silvery-white moon and the orange torchlight are painted more thickly than others, and unlike Cuyp's canvass which is smooth and polished, Turner's is rough and textured with the raised surfaces perfectly catching and representing the light and drama of the scene. Here, the paint is so thickly applied to the canvas, that the medium stands in relief and retains the mark of the brush and palette knife.
Both paintings are placed within an ocher / drab gold / metal burnished frame that excellently places the painting in relief whilst merging it with its background. The lighting of the room, oak paneled with dim but clear lighting works to the same effect. It is the painting that draws the eye whilst the background / lighting and room arrangement gives these paintings a somber therefore distinguished tone indicating their prominent place in history.
The works are typical of their ages in that attention -- the 16th century of Cuyps' painting was the start of the renaissance - has shifted to human activity, foremost of which is trading and the wealth of nations. Turner's romanticism marks the peak of Enlightenment. Politics is a centerpiece of national activity and, as contrasted with religious themes of a century or so ago, man takes the center stage, and it is now…… [Read More]
Despite is probable Austrian origins in the more modern era, this piece reflects the Roman style of capturing figures in statue form. Made from Ivory, it shows St. Sebastian in withering pain after he has been injured. The St. was martyred early on in Christian history, and this scene portrays his last dying breaths, being held up by a companion.
Both works present images of great warriors and figures in heir last few moments of life after being injured. Thus, it captures the true character of the figures in question by portraying them at their moment of ultimate weakness. Each figure is too weak to stand alone, and is being propped up by another object or person, which shows the true extent of their injuries. Additionally, the statues are similar in style, on being from the Roman period, and the other being from the Medieval period trying to replicate the style of the Roman period.
However, the emotion expressed within each work presents a much different image of both the figures in question and the general feeling the society had regarding dying in battle, or for ones beliefs. The wounded Amazon woman is severely injured, yet shows little emotion on her face. She is portrayed as a true warrior, brave and noble until the very end. This then reflects the Roman image of a glorious death in the heat of battle. St. Sebastian, however, has an immensely expressive face, showing both horror and tremendous pain. This was done to show the pain the martyr went through to protect early Christendom. It was important to show this pain, for then, those who might look upon it could really appreciate the Saint for his martyrdom.… [Read More]