Italian-born Cubist painter, Amedeo
Modigliani (1884-1920) and the French, Jacques Villon (1875-1963), both painted vibrant and expressive portraits during the early twentieth-century.
In this case, the chosen portraits are Modigliani's "Portrait of Mrs. Hastings",
1915 and Villon's "Mme. Fulgence", 1936.
Both of these compositions are portraits.
Nothing is of more importance than the sitter herself. The female sitter in Modigliani's piece, sits in an almost dizzying pose with a twist in her elongated neck (a Modigliani trademark), a stylized and mask-like head and a columnar neck. All of which give the sitter a blank and ashen expression. She looks at the viewer, head-on with a most piercing air in her eyes. In Villon's case, his female sitter has been created solely with the use of layered colours and a very random synthetist outline technique (a similar technique the post-impressionist painter Gaugin used).
Modigliani outlines his figure moreso in black than Villon.
Mme. Fulgence's age is understood by the strong dynamic colour quality that has been used to break her face apart. In a way, these colourful divisions act as wrinkles. For instance, the chunk of layered pink on her lip creates a scowl and the heavily applied white on her nose helps it to seem upright; a 'snobbish' upturn. Colours such as the orange, have been used to highlight her left cheek and only visible ear.
With these effects, the viewer sees Mme. Fulgence as a very proper and'posh' (if you will) woman. Bitterness is only a common linkage with the other attributes. Modigliani's Hastings on the other hand seems to be an intense woman of a compassionate nature. Both of these pieces have relied heavily on the expressive and wild use of colour to create emotional expressions and unerring form.
Both of these portraits are created using oil paints--Modigliani's on cardboard and Villon's on canvas.
The most important element that draws their work away from the mainstream is their heavy application of paint. Although they both apply their colour liberally, Modigliani's strokes are thick, jagged, and for the most part random. His brushstrokes are also particularly long, whereas
Villon's are short and brief. Modigliani uses monochromatic hues of red to create the prominent colour of the piece and like Villon, he has used a very vague background to express the importance of his sitter.
Colour is of equal importance in both pieces as it draws the viewer in and allows the viewer's eyes to be brought around the piece. Modigliani has split his background from top to bottom, using red and strokes of burnt sienna at first, then an auburn and deeper red for the bottom.
Kleist begins his delineation of the Marquise with terms such as "widowed,", "a lady," and "the mother of several well-brought-up children" (Kleist 68). In this introduction the reader learns that the Marquise has experienced both marriage and childbirth. In respect to her deceased husband, the Marquise avoids remarriage and returns to her family's home with her parents, brother and children. The Marquise transforms her role as lover and wife to daughter and mother, therefore stifling an aspect of her womanhood. It is not until she is unknowingly sexually assaulted and made pregnant that her femininity is reborn.
The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.
Among Jewish peasantry at the time of Jesus were two distinct types of prophets: the action prophets, who "led sizable movements of peasants from the villages of Judea in anticipation of God's new, eschatological act of liberation," and the oracular prophets, who delivered oracles of either judgment or deliverance (185). The former, as illustrated by the case of Theudas, appea...
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...t, cruel, and even emotionless. However, this is far from true. Louise Mallard may have been relieved to hear about her husband’s death and she may have died of the disappointment at hearing he was actually alive, but she is only human. She desires freedom from oppression and freedom to be her own woman. She cares deeply for her husband, but he tied her down in a way that she did not like. The weight was far too much to bear, despite what feelings she held for Brently Mallard. She has a wide range of emotions, including the grief toward the death of Mr. Mallard. Mrs. Mallard’s thoughts and feelings are no different than those belonging to any other person.
...n her mind is more important than his words. It is an example of the patriarchal society that they live in; although he is her father and has the parental power over her he would most likely not speak to a son in such a demeaning tone. He makes her seem to be slow, as if she cannot carry on a conversation or listen to him, which is quite demeaning.
Mallard is feeling. Instead, the reader must look into Mrs. Mallard's actions and words in
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