The portrait was painted on wood panel and in gothic like form. Nonetheless, this masterpiece is representation of time, the complexity of the painting and the
Classical Greek mythology has long been an inspiring subject to artists. The symbolism and allure of the folklore has been a major artistic theme throughout the centuries. Many of the most famous images we know today, like Botticelli’s “Birth of Venus” or Michelangelo’s “David,” draw from both classical Greek antiquity - the study of sculpture and body form from the Classical period – and classical Greek mythology. In his sculpture “Pathos Hephaestus Eros,” artist John Whitcomb Robinson utilizes this same mythology to portray the Greek god Hephaestus in relation to humanity. I’d like to reiterate some important elements of the formal analysis of this sculpture that play an important role in its interpretation.
The two pieces of art I will discuss is Edouard Manet’s ‘Olympia’ and Mary Cassatt 's ‘Woman in Black at the Opera’. Manet’s Olympia was not critically accepted, the reaction to his painting was negative, only four critics out of sixty were favorably disposed to Olympia. Olympia was a derivative of Titian 's Venus. In 1863 the critics and the viewers didn’t know how to take Olympia, “they were unable to cope with so many novel factors and so they were unable to categorize the picture and so were unable to analyze it or understand it in any context” (Laurence, 2012). Nowadays we are more open minded and are able to see the painting in a different light.
The Spanish monarch was so vain and obtuse they failed to notice that their court painter had portrayed his subjects with unworthiness and dehumanized. The painting was a homage to Spanish Baroque painter, Diego Velazquez’s “Las Meninas;” like Velazquez, he placed himself on the left
The painting is of his late Duchess, he talks of her disgraceful behaviour: Claiming she flirted with any man who laid eyes on her, and how she did not appreciate his “nine-hundred-years-old name” (Browning 33). As he continues
This painting display powerful imagery that sets about to help secularize the French Monarchy, as well as, the religious institutions of the time (Harris & Zucker, 2014). This painting is a staunch opposite of the preceding Rococo era paintings which depicted the elaborate and luxurious lifestyles of the aristocracy, and depicts a martyr of the French Revolution. In the painting Marat, a publisher who helped spread the ideals of the revolution to the public, has been assassinated while in his bath (Harris & Zucker, 2014). There is also a distinction from the classical and Byzantine art and this particular piece as this is a painting political martyr, not a religious
1. LL. 26-31) This explains why Hensch have been able too built and reputation out of disreputable things. The art in itself is tame. It is the dark and bloody part that he have added, that makes it interesting.
4) is another outstanding example of Raphael’s Roman portraits. At the centre of this harmonious composition Raphael adds a curious psychological note in the melancholy eyes that illuminate the cardinal’s pallid and exhausted countenance. The portrait has been drawn in accordance with Leonardo’s opinion that portraits can be drawn best with a dark background. A reference to dark backgrounds may remind the reader of Raphael’s Florentine period under the influence of Leonardo when he produced “Granduca Madonna” (fig. 5), the masterpiece where he was able to draw exquisite rhythmical modulations out of the motionless simplicity of the design. Giorgio Vasari noted that Raphael excelled in creating effects of drapery folds disappearing into shadows and coming forward into light, and that he knew how to relate the colours of drapery to the flesh tones so that semi-nude figures did not seem cut into two.
Vanitas paintings are works of art that are worried with the delicacy of man and his universe of yearnings and joys despite the certainty and
Manet debuted, arguably one of his most famous paintings, Olympia at the 1865 Paris Salon. Since its debut, Olympia has been the source of much debate and controversy. The public saw this piece as obscene—a flagrant disrespect to established moral traditions. However, current discussions focus less on the “lewd” nature of this painting and more on the theoretical perspectives explaining why the public viewed Olympia as scandalous. In “Manet’s Olympia: The Figuration of Scandal,” author Charles Bernheimer argues for a Freudian perspective in which sex is the most important factor influencing public opinion.
“Aschenbach noticed with astonishment the lad's perfect beauty. His face recalled the noblest moment of Greek sculpture-pale, with a sweet reserve, with clustering honeycoloured ringlets, the brow and nose descending in one line, the winning mouth, the expression of pure and godlike serenity. Yet with all this chaste perfection of form it was of such unique personal charm that the observer thought he had never seen, either in nature or art, anything so utterly happy and consummate.
Thousands of paintings and sculptures were made in these periods of time. In this essay, I will imagine myself being a curator of an art gallery that has a Greek room, a Roman room, an Early Christian room, a Gothic room, a Renaissance room, and a Baroque room. I will select two pieces for each room and discuss why I would put those paintings and sculptures in each room at the gallery. I will explain two pieces that I would place in the Greek room at the gallery. The first piece is a painting called "Amphora".
This essay will examine the historical accuracy of the film Les Miserables in terms of the social, economic and political conditions in French society post French Revolution. The film Les Miserables depicts an extremely interesting time in French history (from about 1815-1832.) Even though the story line does not depict every detail and event that occurred during the time period as well as the fact that some aspects are dramatized for entertainment purposes, the film effectively spans thirty years of economic, political and social aspects of French Society. However it also manages to bring in references to the past, the French Revolution (1789-1799) and the impact it had on the society portrayed in the film.
The woman in Rubens painting is very much a display of nakedness. Berger’s first criterion, that the painting transcends a single instant, can be proven a few different ways. The way the fur coat is loosely hanging is the first indicator, it cannot remain in that position for a long period of time so it is clearly a single instant. Another point is the way the breasts are being held, in the Olympia painting and similar paintings the woman is in a comfortable position that could last for a relatively long time, but the way the breasts are held are a instinctive response, it is not a permanent position. This can also be further proven by the feet, her right foot is slightly lifted indicating that she is in motion.
The autobiography, The Confessions of Jean-Jacques Rousseau, provides a vivid insight into the complicated, yet exhilarating, life of Rousseau. The beginning of his life was filled with misfortunes, such as the death of his mother which was quickly followed by a distraught and self-sabotaging attitude which his father adopted. This led to his father’s involvement in illegal behaviors and the subsequent abandonment of Rousseau. His mother’s death was the catalyst for his journey to meet multiple women who would later affect his life greatly. The Influence of Miss Lamberciers, Madame Basile, Countess de Vercellis, and Madam de Warens on the impressionable adolescent mind of Rousseau led to the positive cultivation of self-discovery and the creation of new experiences, as well as the development of inappropriate sexual desires and attachments towards women.
