Pat Lyon at The Forge
John Neagle painted the portrait "Pat Lyon at the Forge" between 1826 and 1827. Just 50 years after the beginning of the American Revolution, this painting shows how much America had evolved. Neagle's portrait is a powerful "celebration of productive labor" (p 281) and the, "entrepreneurial and commercial energies that 'transformed' the country" (p 8). It conveys the notion of 'republican equality' (p 241) that Wood discusses and how was important it was to the leaders of the Revolution.
While portraits had earlier been an 'exclusive luxury of the aristocracy' (p 354), Neagle's portrait is a break from that tradition. The painting depicts a blacksmith working in his forge with a young boy, possibly an apprentice, looking on behind him. Pay Lyon looks nothing like an aristocrat. He is a laborer, hard at work with his shirt unbuttoned and sleeves rolled up.
In traditional European society, gentlemen didn?t work, only common people did. ?The liberality for which gentlemen were known connoted freedom ? freedom from material want?and freedom from having ...
During this time period women were not respected at all and were belittled by all med in their lives. Even though men don’t appreciate what women they still did as they were told. In particular, “Women have an astoundingly long list of responsibilities and duties – th...
The beginning influential essay examines the Revolution through the experiences and recollections of Hewes who, in the 1830s, had two biographies written about him as Americans were trying to re-appropriate and reinterpret the era to reflect their own perspectives. Hewes never becomes rich but he was still known as a humble man. One of Hewes earliest memories, that Young mentions, is a meeting with John Hancock, one of the wealthiest men in Boston. Hewes became a shoemaker which was, in Young’s assessment, among the lowliest and least respected occupation. For Hewes, the American Revolution became about social equality, where a poor cobbler was as important as a wealthy merchant to the body politic. This is represented when Hewes recounts that even the wealth John Hancock was throwing crates into the water next to him. Young gives Hewes a partial justification in believing this by stating “American Revolution was not a plebian revolution” there was nevertheless “a powerful plebian current within it”
The painting named Portrait of Mrs. Chinnery is an artwork by Elisabeth-Louise Vigee LeBrun produced in the year 1803. It is oil on canvas rectangular painting measuring 36 by 28 inches (91.5 by 71 cent meters). Its subject is Mrs. Chinnery, wife to William. Details on her life are scarce although her maiden name is reported. She was a widely known pianist and a popular hostess in one of the buildings that many of the British rich and noble people liked to frequent. She had three children: George, Caroline and Walter. In this painting, the lady is presented sitting in a relaxed manner while reading a book which is claimed to be about the French fashion of which she was an enthusiast. The subject’s body is facing to the right of the painting, the direction in which she holds the book. She, however, is facing directly in front, in reference to the portrait, with her gaze slightly to the right. Her left arm is hidden below the book, away from view in the painting, while her right arm rests between the pages of the book, probably near the middle of the book, as if to prevent it from closing. She is wearing a red dress, with short sleeves and a V shape in the chest area. She has two necklaces hanging from her neck. She has a red bund round her head, probably to hold her hair off her face. She has gold colored hair hanging freely down her neck and back. In the forehead, the hair is parted in such a way as to form an inverted V. She can be inferred to be wearing a red lipstick, with her face tilted slightly to the left. She does not seem to be smiling; her left eye is open wider than the left eye as if she is winking with the lips closed tightly together. Part of the thigh region can be seen but the legs are hidden off the painting. She ...
Elisabeth Vigée-Lebrun was one of the most successful painters of her time. Over the course of her life, spanning from 1755-1842, she painted over 900 works. She enjoyed painting self portraits, completing almost 40 throughout her career, in the style of artists she admired such as Peter Paul Rubens (Montfort). However, the majority of her paintings were beautiful, colorful, idealized likenesses of the aristocrats of her time, the most well known of these being the Queen of France Marie Antoinette, whom she painted from 1779-1789. Not only was Elisabeth Vigée-Lebrun the Queen’s portrait painter for ten years, but she also became her close, personal friend. She saw only the luxurious, carefree, colorful, and fabulous lifestyle the aristocracy lived in, rather than the poverty and suffrage much of the rest of the country was going through. Elisabeth kept the ideals of the aristocracy she saw through Marie Antoinette throughout her life, painting a picture of them that she believed to be practically perfect. Elisabeth Vigée-Lebrun’s relationship with Marie Antoinette affected her social standing, politics, painting style, and career.
Thesis Statement: Men and women were in different social classes, women were expected to be in charge of running the household, the hardships of motherhood. The roles that men and women were expected to live up to would be called oppressive and offensive by today’s standards, but it was a very different world than the one we have become accustomed to in our time. Men and women were seen to live in separate social class from the men where women were considered not only physically weaker, but morally superior to men. This meant that women were the best suited for the domestic role of keeping the house. Women were not allowed in the public circle and forbidden to be involved with politics and economic affairs as the men made all the
On the other hand, the male sector of society enjoyed mobility. Men reaped benefits from not only the private domain, but they were also free to leave and enter the public sphere. They received nurturing from women in the private arena. The public sphere was where men enjoyed the competition engendered in the market place through which they gained their identity.
“As a new society, the country lacked the emphasis on social hierarchy and status differences characteristic of postfuedal and monarchical cultures.” (Pg.5)
Dersin, Denise et al. What Life was Like In the Age of Chivalry. Virginia: Time Life Inc., 1997. Print.
The medieval man felt that all men are equal in the sight of God and that all are equal in the sight of God and that even the humblest has an infinite worth. If a man had to work, this was not to degrade him but it was a source dignity. Having a job was to be able to take of his family and necessities. A person's property and family was to be used to gra...
Women “were expected to bear children, stay home, cook and clean, and take care of the children” (Cobb 29). They were expected to be weak, timid, domestic, emotional, dependent, and pure. Women were taught to be physically and emotionally inferior in addition morally superior to men. During this time, women were ostracized for expressing characteristics and wants that contradicted those ideals. For women, the areas of influence are home and children, whereas men’s sphere includes work and the outside world” (Brannon 161).
The 19th Century is an age that is known for the Industrial Revolution. What some people don’t realize is the effect that this revolution had on gender roles in not only the middle and upper classes (Radek.) It started off at its worst, men were considered powerful, active, and brave; where as women were in no comparison said to be weak, passive, and timid (Radek.) Now we know this not to be true, however, back in the day people only went by what would allow ...
The structure of eighteenth century society made this necessary, especially for the lower classes; a family's income would be totally based on the earning power of the man. Thus, logic dictated that he control all the finances. Even so, some of the l...
Melton, James V. H. The Rise of the Public in Enlightenment Europe. Cambridge, UK: Cambridge University Press, 2001. Print.
It differs greatly, in its portrayal of mothers, from Le Brun’s Self-portrait with her Daughter and Cassatt’s artworks. Behind Marie Antoinette, you see a jewelry cabinet, off to the right of the canvas. This illustrates that, although she is with her children, she finds treasure within her own materialistic objects. Furthermore, her expression lacks emotion as she holds the child loosely within her arms. The child looks off, barely acknowledging its mother, who is holding him. Next, the child, on the far right of the canvas, reveals an empty cradle, alluding to a child who has died. Again, Marie seems unfazed or simply chooses not to acknowledge the boy’s actions. Furthermore, the young girl, on the right of the canvas, clings on to her mother as she lovingly looks up to her mother. Marie holds a wry smile, appearing somewhat annoyed or displeased. The color scheme is dark, but Le Brun utilizes contrast to emphasize the royal family. However, it only works to further expose the detached relationship between a Marie and her children. According to the lecture, “To counter people’s hatred of the queen and their criticisms of her as a bad (even a degenerate) mother, Vigée Le Brun was commissioned to paint this portrait of Marie Antoinette and her children” (Gartrell). Sadly, the painting was
From the origins of civilization to the seventeenth century, we have learned of many transformations that have taken place. In this essay, I will elaborate on the background of the ancient period, medieval period, and early modern period. I will also be providing examples for each period, in hopes of displaying the message as to how civilizations maintained authority and how that authority changes within each era.