The painting is oil on canvas and contains an extensive amount of contrast. For example, the bright vermillion blanket against the dull eggshell colored door. The disparity between the colors used is prominent. Additionally, the fusion of ornate patterns and simplistic solids is evident. The tablecloth is a geometric mixture of cream and periwinkle.
In the 19th century many debates raged on the correct way to showcase a women’s body in a painting. “What was the relationship between women’s moral and sexual nature?” (pg. 272), artist worked to find a balance between these two concepts. A successful combination of these two topics can be seen in the can be seen in Eclogue by artist Kenyon Cox. Cox’s painting depicts four women naked and partially clothed lounging about together in a field.
The figure of the woman seems to be backed up by no background but a white void. This sense of emptiness distantly resemble oriental Chinese painting. The figure seems to dissolve into the void. The composition is integrated and the painting seems harmonious and dynamic due to the curvilinear lines formed by the edges of flat color blocks. There seems to be musical rhythm to the painting.
Melvin Williams Arth 1381 Professor Zalman 13 November 2014 Visual Analysis The painting, The Basket Chair c.1885 by Berth Morisot, and the painting The Orange Trees c. 1878 by Gustave Caillebotte, are both magnificent and interesting pieces that I got the opportunity to see. The paintings are both wonderful pieces and their composition overall is very impressive. Both paintings have different aspects in the way the artist displayed modernism, formal characteristics, class and gender, and the subject matter of the painting itself.
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
There is also some flowing and soft movement in this section which represents flowing rivers “it’s the flowing rivers she cleanses in”. Other sharp movements and serious facial expressions symbolize the day to day struggles of being a female, looking for food from the earth, giving birth and raising children. Lying on each other represents sleeping and leaning on each other represents strength in unity and females helping each other within their culture. Animalistic movements represent the earth, Mother Nature and how animals were important to their
The appealing factor of this paintings comes from its message and juxtaposition of colours and stroke
The paint is not put on evenly an example would be her skin and the sky. Both have layers of a translucent gray so that the light passes through the layers producing a soft radiant. There’s no depth in this oil painting the works depends on aerial perspective for its effect, on scaled variations of color, tone and form as perceived at different distances? In brief this painting depicted social construct of the Tahiti women it during that decades poor, miss guided. They were rarely seen and they were used as an object, even in their own land such as the native
Although Mary’s hand and body itself take up an odd amount of room they help objects such as baby Jesus stand in the painting as well. This painting has a certain movement it creates the gesture of a baby pulling his mother closer to him has he lays his cheek on his mother. The shape used is that of a circular motion. Dieric Bouts create a sense of harmony and wholeness using the same color, skin tone between Mary and Jesus create harmony. You can tell the contrast between the two people Mary symbolizes royalty being the mother of Jesus which, is why she wears blue.
In this sculpture the eyes represent light, love and the truth. The mother is also holding something in her hand, unfortunately; it broke, but it also was emphasized because it was also a deep rich green color. The mother’s and child’s hair is a light brown almost realistic. The virgin’s hair is light brown and wavy, which might be used to represent femininity. The child’s hair is also light brown, but it is stiff.
Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light.
The first thing one might notice about these characters is that they are Caucasian, clothed, and natural. This is characteristic of the later Augustin Christian tradition that Erik Borgman spoke of in the beginning of the interview. No one is sexualized in this painting, all “private” areas on the body are covered, and there is no makeup or other sexual forces taking place in this painting. It is pure. This could simply be a reflection of the times that West was painting in, or, perhaps it is simply because Adam and Eve were described as having clothes on when they left Paradise.
She also portrays movement by painting the same figure in different poses on the same canvas. Radstrom often combines an old classic style of painting with what she experiences in the world, which has influenced me to notice what is going on around me more. My work is also portraying what I’ve noticed in the world and although she didn’t influence the style in which I executed my final drawing, both of our works are realistic and based on real life figures. Her works, however, portray women as fragile or vulnerable, with many of them in relaxed or sexual states, whereas opposite to that, my final drawing is a strong image of a women, not portrayed in a sexual way and our concepts are completely opposite. Again, much like Lorusso, her work has inspired me to rebel against the fragility and objectification of women.
For instance, the item at top left shows the anatomy and the complexity of being pregnant (Self Portrait as a Tehuana, Autorretrato como Tenhuana, Frida). The baby boy in the middle of the painting symbolizes the baby Deigo she thought she would never have (Self Portrait as a Tehuana, Autorretrato como Tenhuana, Frida). The snail shows how slow and agonizing the miscarriage was (Self Portrait as a Tehuana, Autorretrato como Tenhuana, Frida). The machine in the bottom left was used to symbolize the cold machines they used on her at the hospital (Self Portrait as a Tehuana, Autorretrato como Tenhuana, Frida).
The portrait represents the beauty of the time period. It holds simplistic colors with detailed shading. The artwork is very intriguing to me. I love the detail in the background, there are tiny brushstrokes that makes up the mountains and sky. Also, I find the shading of the mouth and eyes very interesting.
