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I think that the fact that the statue is not finished also helps in conveying the message that Michelangelo wanted. The figure is barely sketched and much of the interpretation is in fact left to the eyes and mind of the viewer. The slave has no face yet, which means that we can imagine whatever we want and that his face and body is actually formed in our mind, at that level.
This is probably one of the main differences between the painting and the sculpture we are analyzing: the painting is already well formed and well defined, with the characters being shown as such and with little room left to the viewer's mind to recreate the respective image. Michelangelo's work is almost partly created by the viewer himself, who can use his imagination to create the work of art.
Despite the fact that this is an unfinished work of art, Michelangelo was extremely careful and detailed about the way he represented the body of the slave. The muscles are very explicitly sculpted and one can almost see the physical effort of the slave. His body is very lifelike and one can almost see the muscles contracting and the veins pulsating with life...
The baby is not standing up straight, his position is slightly curved and he almost seems unstable, being supported by the girl and the woman. Similarly, the slave is also in a curved position, the reason here being that he is putting in a great effort in supporting the weight of the world. It is interesting to note that this weight also seems to be, in some ways, a modality of actually supporting the slave in maintaining his equilibrium, just as the two characters in the painting are supporting the baby.
As mentioned, the two works of art are relatively different, mainly because one is a painting and the other one a sculpture, which means that it is often a different mean of portrayal. Further more, there are 400 years separating the two artists, which is probably shown in some of the artistic trends of the works. Nevertheless, both works of art are excellent examples of how one can use stone or oil to express human feelings and reactions.
Four men stand out as the penultimate figures of Post-Impressionism, namely, Georges Suerat (1859-1891), Paul Cezanne (1839-1906), Paul Gauguin (1843-1903) and Vincent Van Gogh (1853-1890), all of whom at first accepted the Impressionist methods and then moved away from it toward a new type of painting. In the case of Cezanne, the basis of his art had much to do with studying nature in a new way, for his aim
In Braque's "Woman with a Guitar we can see the foreshadowing of the Synthetic Cubism period, when he introduces stenciling and lettering, a practice that Picasso was soon to imitate. Figure 7: Picasso, Le Guitariste"(1910 Figure 8: Braque "Woman with a Guitar" (1913 Synthetic Cubism/Collage 1912-1914: Braque was beginning to experiment further now by mixing materials such as sand and sawdust into his paint to create a more textured, built- up look and what
De La Croix, 865-66. Artists in the nineteenth century were confronted by three innovations that fatefully affected their craft: the camera, the mass produced print, and the printed reproduction. The collective techniques of an industrial age forced nineteenth century artists to analyze their function and to study closely the physical nature of their medium. Hyde, Minor, Art History's History. 32-35. Baroque Art emerged in Europe around 1600, as a reaction against
Courbet's the Sleepers is thus one of the first honest depictions of lesbian love in the history of Western art. There is no distortion of either of the two women's bodies, as we find in Ingres's painting. All of the details look nearly photographic in their authenticity. That is not to say that the image is crude, or inharmonious in its depiction of forms. The curvature of the women's
In Spirit of the Dead Watching, Gaugin also depicts a Tahitian woman with open sexuality. The woman in Spirit of the Dead Watching lays prostrate on a bed, exposing her naked buttocks while gazing directly at the viewer. Her position is submissive, in spite of the alluring look in the woman's eyes. The spirit of the dead represents traditional Tahitian religious beliefs, which would have been in direct conflict
Ancient Studies Laura Auricchio is an art historian teaching at the Parsons School for Design as part of The New School in New York City. In the piece to be critiqued, Auricchio focuses upon techniques, styles, and subject matter of eighteenth century paintings. Auricchio's focus in her article is upon the female painter, Adelaide Labille-Guiard. Though Auricchio examines several of Labille-Guiard's major works, her primary examination is of the painting Self-Portrait