Painting Essays (Examples)

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Orpheus Charming the Animals vs

Words: 1367 Length: 4 Pages Document Type: Essay Paper #: 23854561

Figures dressed in bright colors that are small and have impish expression upon their faces dance around him and engage in sin. However, most of the devils are portrayed as dark figures in the form of winged creatures. This creates a distinct contrast between the saint, the holy light of his practice, and the darkness of evil.

Both paintings feature a contrast of color as well as theme. The supernatural glow of the central saint contrasts with the darkness of temptation, just like the pure light of the music of Orpheus contrasts with the darkness of the wilderness. Both paintings, as well as depicting a subject, thus also convey an ideological point-of-view of the subject. In Orpheus Charming the Animals, even the wild beasts are stilled by the ability of Orpheus to play, reflecting the power of the human art of music. In Teniers' painting, the holy focus of the…… [Read More]


Kummer, Julie. "The Temptation of Saint Anthony." [18 Nov 2011] 

Seiferth, Michael. "Renaissance." English 222. [18 Nov 2011]
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Gustave Courbet

Words: 681 Length: 2 Pages Document Type: Essay Paper #: 23820268

painting "The Artist's Studio" by the famous 19th century French painter Gustave Courbet. The artist's legacy and influence in the world of painting has also been explored.

Gustave Courbet:

The Artist's Studio

The Artist's Studio is a huge, monumental painting (11? 10? x 19? 9?) completed by Gustave Courbet in six weeks in 1854-55.

The artist sub-titled the painting as "A True Allegory Concerning Seven Years of My Artistic Life." The painting contains over twenty life-size figures in the artist's studio with Courbet himself occupying center-stage. He is shown painting a landscape attended by a dog, a small boy and a nude female figure looking over the artist's shoulder at the painting. "The world comes to be painted at my studio,"

the artist had remarked at the time. This is perhaps depicted in the seemingly lively, spirited group of people on the right side of the painting. The group supposedly…… [Read More]


Cullen, Allison. (2000). From The Trivial to The True: The French Revolution and Painting

Retrieved on February 27, 2002 from

"Gustave Courbet": French Painter, Draftsman. (2000). From the Getty Museum Web Site. Retrieved on February 27, 2002 from

"Gustave Courbet." The Artist's Studio.(1998). Eds. Musee d'Orsay and Decan. Retrieved on February 27, 2002 from
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Naret Applying Feldman's Method of

Words: 837 Length: 2 Pages Document Type: Essay Paper #: 73435447

hile not an example of Pop Art, the intense use of color and the pastiche of subject matter (although a pastiche of 'high art' rather than popular culture like arhol) demonstrates the contemporary nature of the work.

Like the earliest estern artists discussed in Gardner's Art Through the Ages, Naret pays visual homage to the subject of the art 'masters' that have come before him and adopts their subject matter (flowers, simple furniture) to his own style. His biography states he is inspired by the landscapes of his own region of Mexico. This stress upon personal interest in the landscape is Impressionistic, and highlights the difference in purpose between early estern and past estern art. Before the 19th century, art was functional in decoration and worship, and it transmitted the messages of political or ecclesiastical authority. The purpose of art was not to communicate the art's own soul or personal…… [Read More]

Works Cited

Art Criticism: Final Exam." Princeton Online: 25 Jun

Kleiner, Fred S. & Christian J. Mamiya. Gardner's Art Through the Ages: Volume 1. 12th

Ed. Wadsworth Publishing, 2004.
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Work by Albrecht Drer

Words: 1552 Length: 4 Pages Document Type: Essay Paper #: 71950600

painting "St. Jerome in his Study by Albrecht Durer. Specifically, it will discuss the historical context and aesthetic effect of the painting, while deciding what makes the painting cool. The work is a detailed engraving on paper created meticulously in black and white, created in 1514, and measuring 24.8 x 18.8 cm. It is located in the Ball State Museum of Art in Indiana, and the Clark Art Institute of Massachusetts. This engraving is magnificent in its detail and its subject matter. At the center of the work is an old man, St. Jerome, bent low over his work on a low table bathed in light from the windows that line the room on the old man's right. His study is roomy enough to include window seats under the oversized windows, items hanging from the ceiling and on the wall behind St. Jerome, and a pair of animals curled up…… [Read More]

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Jewish Holidays

Words: 1376 Length: 4 Pages Document Type: Essay Paper #: 60389057


The Shabbat painting

Illustrated in a naive style devoid of perspective, with vibrant simplistic colors, Meyers seems to wish to convey the scene precisely as he viewed it when a child. The commentator notes that there is a symmetry to the room, and she may be right in that the shabbat table is centerpiece as though the whole atmosphere orbits around and reflects from the shabbat which indeed it does, Shabbos defining and transforming the entire day.

What is interesting is that the children are sitting around the table as though ready to eat while the mother seems to be blessing the candle. Most pictures of the era, and, indeed, customary in many contemporary homes is that the children stand by the side whilst the mother lights, and that this is done quite a while before actually eating the meal. This, at least, was the custom too in Apt…… [Read More]

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In Terms of Dramatic Presentation

Words: 358 Length: 1 Pages Document Type: Essay Paper #: 99837664

essence, the horse in this painting appears to be the centerpiece for our
eyes rather than Saul and his conversion. In addition, Caravaggio has "paid
no attention to the usual dignity appointed to scenes from the holy
scriptures" (Linda Murray, 156).
In contrast, the rendering of the CONVERSION OF SAUL by Michelangelo
demonstrates his tremendous sense of emotion which is presented through his
use of light and shadow. The image of Saul, unlike that in Caravaggio's
rendering, serves as the focus point and clearly defines Michelangelo's
great respect and admiration for classical motifs and the true
representation of biblical events.
Thus, the superiority of Michelangelo's CONVERSION OF SAUL is due to
his mastery of Renaissance form and style and his adherence to the use of
light and shadow which seems to be a natural prerequisite to presenting
biblical images and events as they were meant to be viewed.
ILIOGRAPHY…… [Read More]

de la Croix, Horst and Richard Tansey, Revs. Gardner's Art Through the
Ages. New York:
Harcourt-Brace-Jovanovich, 1975.
Murray, Linda. The High Renaissance. New York: Random House, 1967.
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Examining Fragonard's the Love Letter

Words: 1624 Length: 5 Pages Document Type: Essay Paper #: 6633671

Metropolitan Museum of Art: The Love Letter

This paper examines the piece The Love Letter, created in 1770 by Jean -- Honore Fragonard. The painting consists of oil on canvas and is 32 3/4 x 26 3/8 in. (83.2 x 67 cm) and originates in France. The painting was originally part of a series of decorative panels which were commissioned by Madame du Barry, one of the loves of Louis XV, for her house which was located at Louveciennes. However, once the panels were finished, she rejected them as being unsuitable for her tastes. This painting was executed before the entire series as a pitch to acquire her commission. The Love Letter in many ways is characteristic of Fragonard's style as a whole: it has warm and muted coloring with a strong eroticism which is present, though somewhat hidden. Fragonard is one who made an entire career from portraying the…… [Read More]

References (2013). Jean-Honore Fragonard. Retrieved from (2013). Rococo. Retrieved from
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Green Tara Tibetan Art -

Words: 2111 Length: 8 Pages Document Type: Essay Paper #: 71028000

The most striking difference of this painting is the extensive use of gold leaf. A matured use of shadow and detail can be seen in this tangka, indicating a later, more developed art form. It lacks the detail to symmetry found in the other two examples as well. This piece provides an excellent contrast to the earlier two Tangka that were examined. it's attention to shading, clear outlines, and accents in gold may indicate the Menris school of the 1500s (


Tangka paintings are an important part of Tibetian life. Many regional differences exist in the painting styles and techniques that are employed in the paintings. It might be noted that Tangkas in western Tibet take on a Chinese flavor. Tangkas of the religious nature are divided into three major portions. They are the top, middle and lower portions of the painting, representing the heaven, earth and underworld (…… [Read More]

References Desire and Devotion: Art From India, Nepal, and Tibet in the John and Berthe

Ford Collection. <  > Accessed

November 23, 2010.

Rumsey, D. Green Tara.
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Berger's Ways of Seeing Stood

Words: 1954 Length: 6 Pages Document Type: Essay Paper #: 33160782

The painting begged me to ask of it why intermittent shadows struck its sides, why yellow-golden light graced its innards. I guessed that it must have been nighttime that Stella tried to capture, for at night the shining lights from the city would flicker against the bridge and bring out the character of the steel in ways sunlight could not. Sunlight was too harsh and strong; it would overpower the subtleties of steel. Steel appreciated the gentle caress of moonlight and streetlamp and the headlights of cars.

The more I questioned Stella's use of light in "Old Brooklyn Bridge," the greater the painting shone. I was starting to see colors where I had not previously seen. Rich and joyful blues complemented the blood red; yellows and greens accented the thick black background. Orbs of soft white light emanating from the underbelly of the bridge illuminated its sides proudly. Contrast between…… [Read More]