Painting Essays (Examples)

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designing an art gallery

Words: 1418 Length: 4 Pages Document Type: Essay Paper #: 23018887

Impressionism: Introduction and Background
Known for its radical departure from traditional aesthetics in painting and the decorative arts, Impressionism was a movement deeply rooted in its ideological, cultural, political, and sociological context. The characteristic visual features of Impressionist painting include experimentation with untraditional colors and styles that signal the early transition towards non-representational forms. Subject matters in Impressionist art changed from depicting officially sanctioned people, places, and symbols towards capturing snapshots of daily life. Beyond its core aesthetics, which do vary from artist to artist, Impressionism also highlighted changing social hierarchies related to race, class, and gender. Artists no longer worked solely on commission from religious or political patrons but also from a burgeoning bourgeoisie. The diversity within Impressionism also draws attention to the ways the movement manifested differently in different geographic regions, although the movement remained firmly rooted in France, and centered in Paris. From its beginning in the…… [Read More]

References
Cassatt, M. (1893). The child’s bath. Oil on canvas.
Degas, E. (1880). Little fourteen year-old dancer. Bronze, cotton, satin, and wood.
Flescher, S. (1985). More on a name: Manet’s “Olympia” and the defiant heroine in mid-nineteenth century France. Art Journal 45(1). DOI: https://doi.org/10.1080/00043249.1985.10792273
Gilman, S.L. (1985). Black bodies, white bodies. Critical Inquiry 12(1): 204-242. DOI: https://doi.org/10.1086/448327
Jacobus, M. (1995). Berthe Morisot: Inventing the psyche. Women: A Cultural Review 6(1995): 191-199. DOI: https://doi.org/10.1080/09574049508578235
Manet, E. (1863). Olympia. Oil on canvas. Musée d\\'Orsay.
Monet, C. (1873). Poppies. Oil on canvas.
Morisot, B. (1875). The Cradle. Oil on canvas.
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Reviewing Three Works of Art

Words: 698 Length: 2 Pages Document Type: Essay Paper #: 61432669

Art Review
The painting “Beck (he/him)” by Eli depicts a queer/trans subject sitting on a bench. The background of the painting is very impressionistic, with foliage and the park behind the subject defined more by color and shade than by edge or boundary. The blurring of borders, however, reflects the blurring of gender in the subject. The subject is somewhat impressionistically portrayed as well—but here there is more focus on edge, more defined boundaries: the limbs and legs and face and features can all be discerned. What is most interesting about “Beck” however is that he is wearing large sunglasses that cover his eyes and create a mysterious effect on the viewer. The eyes are supposed to be the gateways to the soul, and here the viewer is unable to gain access to that soul so must look for meaning in the features of the face, the posture of the…… [Read More]

Works Cited
Sousa, Jay. “One River: Two Perspectives. Impressions of the Merced River.” Art Exhibit.
Wyan, Roger J. “One River: Two Perspectives. Impressions of the Merced River.” Art Exhibit.
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Fra Filippo Lippi Annunciation

Words: 2103 Length: 8 Pages Document Type: Essay Paper #: 703015

Fra Filippo Lippi - Annunciation (c. 1445 Wood, 175 x 183 cm San Lorenzo, Florence)

Introduction

Annunciation (c. 1445 Wood, 175 x 183 cm San Lorenzo, Florence) remains one of Fra Filippo Lippi’s most prominent artworks and also one of the most well-known paintings of the 1440s.  This text presents an argument to the effect that as far as the painting’s perspectival detail is concerned, the present piece remains Lippi’s most gratifying artworks.  Further, an assessment of this artistic piece in light of other similar works by Lippi appears convincing that the artist derived his artistic prowess from several fronts namely; alignment with contemporaries and effective utilization of space.  Towards this end, it would be prudent to conduct not only a perspectival exercise of the artwork in the context of other works by Lippi, but also discuss the present piece in the context of Lippi’s other artworks.  It is important…… [Read More]

Bibliography
Beisell, Stephen. Fra Angelico. New York, NY: Parkstone International, 2015
Clement, C. Erskine. Angels. New York, NY: Parkstone International, 2014. 
Marle, R. Van. The Development of the Italian Schools of Painting. New York, NY: Springer, 2012. 
Nygren, Barnaby. “Una cosa che non e': Perspective and Humor in the Paintings of Filippo Lippi.” Oxford Art Journal 29, no 3 (2006): 319-339. 
Summers, David. Vision, Reflection, and Desire in Western Painting. Chapel Hill, NC:  University of North Carolina Press, 2007.
Waller, Gary. A Cultural Study of Mary and the Annunciation. New York, NY: Routledge, 2015.
Vasari, Giorgio. Vasari's Lives of the Artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, Titian. Mineola, New York: Dover Publications, 2012. 
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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]

References

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

 http://www.willemswebs.com/ringlingdocents/stanthony.htm 

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

http://lonestar.texas.net/~mseifert/renaissance.html
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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]

Bibliography

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

Retrieved on February 27, 2002 from http://www.kirschnet.com/bome/cities/paris/hband/painting_essay.html

"Gustave Courbet": French Painter, Draftsman. (2000). From the Getty Museum Web Site. Retrieved on February 27, 2002 from http://www.getty.edu/art/collections/bio/a369-1.html

"Gustave Courbet." The Artist's Studio.(1998). Eds. Musee d'Orsay and Decan. Retrieved on February 27, 2002 from http://www.musee-orsay.fr:8081/ORSAY/orsaygb/COLLEC.NSF/e285dbff73cc5aed802563cd00524868/34be5cc76cfc8577802563ce00365ccd?OpenDocument
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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

http://princetonol.com/groups/iad/Files/final.htm

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]