Van Honthorst’s use of lines within this work of art, makes the girl seem to fade into the dark background of the image. The texture in this painting is characteristic of seventeenth century northern European art. The texture within this work of art is realistic as though what is in the painting could be touched and feel like silk on the sleeves of the dress and the feathers look like they feel soft and fluffy. There is a great range of value within this piece, the background of the painting is very dark while the girl in the painting has very pale skin making her stand out from the dark background. This image is asymmetrical, the way that the girl is seated and holding the oval portrait make the painting unbalanced, the image would be symmetrical if the girl was facing forward rather than a three-fourths view of her. The emphasis in this painting is her face and her smile, her pale face against the dark background really stand out, her rosy cheeks and big smile make it easy to spot across the room. This painting is realistic, she is proportionate and she looks like any other girl that one might see. Over all, this painting is pleasing to the eye and had a wonderful texture, and…
Nicolas de Largillière was a French painter who excelled in creating formal portraits of the wealthy social classes. In this portrait, Nicolas rendered Helene Lambert de Thorigny magnificently dressed and framed by a garland painted by Belin. He illustrates Madame de Thorigny in a luxurious setting, thereby letting the viewer know of her status and social standing. To emphasize this, he paints the background with ornate, classical columns, high ceilings, and an impressive interior design.…
The painting still receives much attention and is the base of discussion for many art lovers and historians (Mohan and Centeno, 2005). However, the very details that made the portrait so shocking nearly a century and a half ago are what now delight critics and casual viewers alike; the piece is truly remarkable in its contrasting hues and dramatic details. The lines are crisp and clean, the lighting is flattering yet dramatic, and the composition is pleasing to the eye. While these fundamental artistic components make a great contribution to the attractiveness of this painting, the subject herself deserves to be recognized as the most beautiful thing about the portrait. Gautreau’s physical beauty is often debated even today, mostly because her roman nose is considered too prominent to be classified as classically beautiful. The difference in opinion regarding Gautreau’s physical features is where most modern controversies end. It is the painting’s daring representation of Gautreau, rather, which is inarguably beautiful. The unorthodox pose, the revealing clothing, and the haughty expression were all revolutionary for the time they were presented. Sargent and Gautreau’s goal was not to challenge the societal norms of the time; in fact, their goal was the exact opposite. Inadvertently, however, the appreciation of Amelie Gautreau’s portrait one hundred and fifty years later is now a wonderful reminder of the power in breaking rules and refusing to fit into the definition of…
The eyes of this sculpture sink in, to suggest the idea of having eye sockets. The skin under his eyes slightly sink in to show the thinness of his under-eye skin. His nose has a bridge that is well-defined and extrudes. The lips are plump and the corners curl in. There is also a cupid’s bow at the upper lip.…
In this painting, Picasso forgot all known form and depictions of classic art. He used distortion of a women's form and geometric forms in an new way, which challenged the idealized representations of female beauty that was expected in paintings. It also shows the influence of African art on…
The art piece is representational, the lines are sharp and there are various and different shapes. The texture is smooth and there has been more than one colour that has been used in the painting. The tone shows that the sun is on him even though there is no sun shown in the portrait. Space and depth has been used as you can tell the objects are further away and the ones that are closer up and in detail.…
Zolan’s “Ingenue” is representational and painted in the impressionist style using different tones and values to express the effects of light and using broad brush strokes. The form is oil on canvas and the content is a ballerina squatting down with her right leg out in front as if she is leaning over stretching. The painting is balanced as her body is mainly on the right side of the painting and her leg and the dark shading balances out the left side. This is a very good representation of American Impressionism with dappled light and vivid colors. Zolan successfully fused modern and traditional elements to forge his own unique vision.…
1. formal and iconographic characteristics are seen in high renaissanace, venetian and mannerist paintings. to begin with, in high renaissance michaelangelos Moses is shown holding the 10 commandments. You can clearly see the anger that is dipicted through the facial expression on moses. Michaelangelo wonderfully portrays the psychological states in moses, through the iconographic characteristics of his puffed lower lip, arched toes and the bulging of his veins. the formal characteristics are seen through michealangeols mastery of lines, which help create the anger that is being felt by moses. The formal characteristic of the lining of his beard and clothing show his inner turmoil. In the venetian painting of the virgin of the rocks by Leonardo Da Vinci, the artist magnificantly uses the chiaroscuro method of light and dark to model the expression and emotional states of the figures being portrayed. The lines, soft and subtle give the painting a more intimate feeling. The figures are all shown interacting with one another, praying, pointing, and blessing. He also presents the figures in a pyramidal group and sharing the same environment. The figures emerge through the use of light and shading from the half-light of the cavernous visionary landscape. For mannerism, formal characteristics are clearly seen in Parmigianino's Madonna with the long neck. Although nothing is shown in proportion the painting still apears soft and smooth, through the lines and colors used. The madonnas long neck, the delicacy of her hands and swaying elongation of her frames are all signs of mannerism. On the left stands the angelic creatures melting with emotions as soft and smooth as their limbs. on the right the artist includes a line of columns without capitals and an enigmatic figure with a scroll whose distance from the foreground is immeasureable and imbiguous.…
In Leger, Reclining Woman 1922, Leger’s main focus was the obvious woman in the center foreground of the painting. She appears to be looking at you, the audience, as if she were trying to bring you into her space. Although she appears to be nude, Leger tries to make the main focus in the curves of the woman by exerting his color and balancing out the composition. The highly saturated yellow in the woman’s pants draws your attention to the middle of the painting were it displays the woman laying down holding a book. The distinctive lines and high to dark contrasted colors allows Leger to shows the woman’s body. From bright yellow, to shades of brown, and a dark emphasis in his lines, you can distinguish the separation of the pants and her upper body. The geometrical shapes in the woman’s body are outline by dark hues a rusty orange, ad brown. These tubular, body like shapes keeps our focus more on the woman herself, rather than the other geometrical forms in the background.…
This masterpiece was created by Jean Auguste Dominique Ingres in 1814 and is perfect example of Neoclassicism which was the revolt of the Rococo style of art. The artwork is placed in the Louvre Museum in Paris. This painting captures the image of an odalisque, which we refer to as a concubine. The painting depicts beautiful hues of blue, and a dark background and shadows which creates a seductive scenery while enhancing the curves and shapes of the model. With the contrast of light and dark colors, Ingres was able to achieve the illusion of depth. Ingres favored long sinuous lines which is show through the way he painted her elongated back. The volumes of the nude, bathed in an even light, are toned down in a space without depth (Louvre). I also like the details of his work, from the detailed headpiece, jewelry, feather duster and even the designs strategically placed on the curtains. Ingres was highly criticized for his art work and his paintings were unpopular due to others not understanding his…
In Circulos de Confusion, there is a detailed painting of a shirtless man, 30’s-40’s in age, wrinkles in the face, surrounded by a multitude of different colored circles. The man has his hands resting on his face. His index and middle fingers on each hand above his eyes, his ring fingers touching across the bridge of his nose and his pinkies resting above his lips just under his nose. He has a watch on his left wrist. His eyes have a blank, captivating stare. The circles in the painting range in color from bright yellows and oranges to deep blues and subtle greens.…
Portrait of a young man was painted by Andrea Del Sarto (Andrea d' Agnolo) from Italy, Florence. It was actually done between the years of 1485-1530. The accession number assigned to this portrait is 1982.60.9. In addition to my prior knowledge of my class and the significant amount of time, I invested analyzing every single detail of this portrait of the young man helped me to reach the climax of the concept of this portrait. The idea Agnolo depicts on this specific painting through the representation of the young man reflects on the concept of mannerisms and the way it is rooted in reality. Notwithstanding, Andrea was able to achieve mannerism in this portrait by creating unbalanced details of the way he presented the young man on the portrait.…
In conclusion, my Impressionist self-portrait emulates the fleeting changes on the natural world and preserving it on a picture plane. It is a moment captured in its replication of its visual experience, effectively recalling the Impressionist movement. Subsequently, my Cubist portrait accurately represents my image from multiple viewpoints on a two-dimensional plane. The reduction of my face into geometric forms effectively represents Cubist ideals. Both self-portraits reflect the changing experience of space, movement, and time in their respective…
I have chosen Donatello’s David as the source of analysis for this paper. David was designed and created by Donato di Niccolo di Betto Bardi, but he was known as Donatello. Donatello was an early Renaissance Italian painter and sculptor from Florence. He was known for utilizing perspective illusion in his work.…
This painting was painted around the 1550’s and it was in a chapel. The “Renaissance” is very different from the Medieval art because it has more depth and more details to the painting. In the painting the way the people are drawn looks so real and very detailed. The people have muscles and ABS, the shadow that it makes while they are falling down to the underworld. You can tell the difference where the jaw line starts and how the neck and chin is separated to each other. You can also see skin the sensuality that the Renaissance painting has and not the Middle Ages painting didn’t…