Spanish Dancer At The Moulin Rouge Analysis

Spanish Dancer at the Moulin Rouge, categorized as Impressionism was painted in 1905. The portrait is an oil on canvas and measures at 40.16 by 49.21 inches. The portrait is not located in any museum or on display, a private collector owns it. The Day After, categorized as Expressionism was painted between 1894 and 1895. A genre painting on oil and canvas the painting measures at 115 x 152 cm and is located at The National Gallery, Oslo, Norway.

Known as “the master of swish” Giovanni Boldini was born in 1842. Boldini was an Italian genre and portrait painter who lived and worked in Paris for most of his career. At the age of 20 Boldini went to Florence for six years to pursue and study painting. His influences derive from realist

The model's form is gently fulfilled and surrounded by a ravenous arrangement of scratching lines and washes of color. The models face, and chest are carried out in the darkest values and with some of the hardest edges of the painting. Her position while reclining in her chair is suggested as the background turns into nothing more than abstract marks. The focal point of the painting is surrounded by abstract shapes and brush strokes that create emotion and emphasis throughout the entire piece. There are several reoccurring brush strokes and a limited amount of color which create a great mix of warm and cool tones. If you look to the top left of the portrait you should notice a diagonal stroke that makes its way through the whole piece. The painting centers on the model’s eye to create an emotional connection. The line work in this painting is used to outline the entire scene. The lines in the background all seem to fan out but point in towards to model forcing you to focus on her being the center of attention. The chair that the model sits on helps to separate her from the background chaos that is happening within the portrait. Boldini uses implied lines to form an image behind the model that looks as though its either a shadow of her, a spirit, or maybe even implying the motion of a dancer. You can see a hand on the back of the chair that

She is looked to have passed out there. Based on the glasses and wine bottles on the side table she most likely passed out from drinking far too much. The name of the portrait is clearly stating the woman had quite the night and this is the result. It is said that the women closely resemble the Madonna and is intended to portray accomplished womanhood. The picture portrays a human situation, possibly a night time visitor that created the state she remains in. Unlike The Spanish Dancer painting Munch uses prominent outlines and fine line shading. There is a mix of neutral and cool colors outlined by black to bring definition. The woman is clearly the center and subject of the painting. The brush marks allow the painting to bear uncontrolled emotion and depth. The composition represents the rhythm of rounded shapes and the sharpness of the subject’s arm that cuts right through the soft compassion of the curves. Munch’s black outlines give him more control over the composition and the movement of the viewer’s focus. The black breaks up the surface of the painting and creates rhythm. The strong lines of the bed, the table and the blanket destroyed by the gentlest handling of the figure. Her face and chest, her arm and her hair are painted with such sensitivity that you want to connect with her. There is no narrative sequence, or it really isn’t clear. Expressive and symbolic colors