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Characteristics personal
Characteristics personal
Essay on art movement
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The history of art involves different movements during the different periods in art. Two of those movements include Ninetieth Century and Twentieth Century Art, both of these periods began with a stylistic movement with one contributing much of the character to the latter.
This essay will describe and then compare/contrast the “Olympia” and “A Little Taste of outside Love” by Edouard Manet and Mickalene Thomas respectively. In the “Olympia” by Edouard Manet which is an oil painting, produce on canvas and was done in 1863-65. In the painting “Olympia” depicts a nude white woman in a reclining position lying on a bed in the foreground and is being tended to by a black maid. To the far right of the painting is a black cat gazing mysteriously out at the viewer. The maid is presenting the white woman with flowers which could be gift base on the manner she is presenting the flowers. The nude woman is also intentionally adorned with a black ribbon around her neck, a single fashionable slipper on one of her foot, while the other one has fallen off carelessly, flowers in her hair and bracelet of the sort on her hand. The white women can also being seen with her hand neatly and modestly styled. In the background of the painting there is complete darkness, this shows the obvious contrast between the dark of the background and the light of the nude woman lying on the bed. This draws much attention to the subject of the painting. The paleness of her skin is almost like it has become one with the bed. The colours and style of the painting are even more realistic. The artist uses quick and rough brush strokes to give the effect of the forms.
In the painting “A Little Taste of outside Love” created by Mickalene Thomas is a mixed media artwork t...
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...d by men. Consequently women became an object and a spectacle. Whereas, during the 1970s of Thomas’s time women were painting women and women had a voice which they use to empower the black race rather than being submissive.
One of the major themes of the two paintings are nude versus naked. According to John Berger “to be naked is to be ones self and to be nude is to be seen by others and yet not recognized for oneself” (goodreads, 2014). The woman in Manet’s painting represents the idea they were a sight to behold. However in Thomas’s painting evoke another feeling of naked and being oneself and the black woman movement.
These two paintings the “Olympia” by Edouard Manet and “A Little Taste of outside Love” by Mickalene Thomas are two well-known and exquisite painting that were created in two different eras that evoke different reactions according to their time.
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
Aside from the symbolic meaning of the paintings, the both also have very different techniques. Ingres painting has smoother softer lines, and he purposely made the woman's back extra long and out of proportion because he found a woman's back to be a beautiful part of her. Manet however has a very blocky painting technique, which looks patchy instead of smooth. This also goes back to the art movement they were apart of, for Manet, depicting realistic life settings, wouldn't have wanted anything to be too smooth and polished because that's not life.
Subject: Our docent, Mary, shared with us that this artist loved to paint the human body and was well known for his painting of the human body and skin. This piece certainly highlights those skills. The colors of the hair and skin are incredibly life like.
I found The Raising of Lazarus and Annunciation to be interesting pieces on their own as well as to be compared. At face value, these paintings do not appear to contain many contrasting features. However, by examining these paintings closely, one can conclude that paintings with similar themes, mediums, and time periods can still differ in countless ways. Light, medium, subject, color, space, and viewpoint are just a few of the characteristics that can be considered when analyzing Wtewael and Caliari’s works. It is imperative that observers of art take a deeper look into the different features of artwork in attempt to uncover the intentions of the artist.
The painting is intimate, almost as if was not meant for the eyes of the viewer. The mother gently holds the baby, within her arms, as she feeds him. The mother’s gaze is met by the child as it reaches out to touch her face. The background is simple, emphasizing the closeness between the mother and child, much like Le Brun’s piece. Additionally, Cassatt’s The Child's Bath, 1893 “with its striking and unorthodox composition, is one of Cassatt’s masterworks” (“The Child's Bath”). Within this composition, she employed the use of unconventional devices such as cropped forms, bold patterns and outlines, and a flattened perspective (“The Child's Bath”). Cassatt utilizes a pastel-like color scheme, exemplifying the delicateness and tenderness between the mother and her bathing child. Her brush strokes are swift and gentle, again, suggesting the passionate, yet soft, love the mother has for her child. The elevated vantage point invites the viewer to observe this intimate moment, but not to
In Manet’s painting Olympia the viewer is faced with two women, one white and one black. The black woman is hunched over and handing flowers to the white woman who looks to be of upper class origin but could also be lower class. This woman is reclined on a bed and propped up by some pillows with a black cat standing at the end of the bed looking at the viewer as well. She, like her cat, looks out at the viewer with indifference that both shocks and pulls in the viewer. While the black woman is dressed, the white woman is nude and wears only shoes, bracelets, a flower in her hair, and a ribbon necklace. The colors in this painting reflect the white woman’s personality as well, cold and unfeeling.
This exhibition will examine the changing role of Classical imagery from seventeenth through nineteenth century painting, as well explain how these changes gradually produced Realism. In the seventeenth century Nicholas Poussin and Peter Paul Rubens produced works that corresponded with the Classicism of the French Academie des Beaux-Arts, though they presented these ancient subjects in very different ways. The predominance of drawing and planning in Poussin’s work was seen in contrast with the dynamic use of colour in the works of Rubens. These two means of addressing Classical themes ideologically divided the Academie between the rubenistes and the poussinistes, who quarreled for over a century about artistic approaches and techniques. The innovative and expressive works produced in the eighteenth century and beyond can be seen as a product of the rubenistes’ triumph in this conflict. Following in the example of Rubens, British artist Joshua Reynolds made use of colour and dynamic compositional techniques that combined the portraiture popular in England with the Grand Manner style that gained favour in the Academie. Reynolds became the first president of the Royal Academy in Britain and gained international acclaim for his work. The achievement of such an honour fared more difficult for artists such as Eugène Delacroix, who took a bolder approach to combining Classical imagery with reality and was frequently rejected by the Academie for doing so. This was also the case for Edourad Manet, whose scandalous work shocked viewers of the Salon des Refusés with its perceived immorality and distasteful appropriation of Classical imagery.
The gestural and heavy working of the paint and the contrasting colors make the painting appear active yet are arduous to follow. The defining element of Woman and Bicycle is the presence of the black lines that do most of the work in terms of identifying the figure. Through the wild nature of the brushwork, color, and composition of the painting, it can be implied that the artist is making an implication towards the wild nature of even the most proper of women.
While studying art history in Pre-Industrial Visual Cultures this semester, one theme has become painfully obvious. There are few if any women artists included in the study of art history. If you dig deep into the books you can find mention of many unknown, unrecognized and often times very talented women artists from the past. Women in history are simply not recognized, and this is due to a large extent to their exclusion from the art world. My paper chooses to focus on a few female artists of the sixties and seventies who sought to make up for past history and ensure women were known. These women invented their own language for art making, which included sexual imagery, and left no doubt of their gender. These women made art as women, instead of trying to make art like men and be accepted. My paper therefore focuses on these women, who although werenít involved directly in pre-industrial art history were very much affected by the exclusion of women from it.
The painting clearly refers to the period of slavery, presenting the unequal roles between black and white individuals. The artists paints the image in a way that both exposes and ridicules the actions of the white man. A black woman being kissed by a white man suggests that she is a slave and therefore in a relationship that was enforced and sexually violent. African American women, as slaves, were subject to the practice of sexual exploitation in the 19th century. Women were treated as property as they were continuously harassed, raped, and beaten by masters as white men with authority took advantage of their slaves. While women were appeared to be consenting to the mistreatment, no safeguards existed in order to protect women from such abuses, and were left with no choice but to engage in sexual activity with their masters. The black man in the image, on the other hand, is subject to being hit, a way of enforcing slavery. The two black figures, are in essence, a form of “luxury” for the white men as the black man is being deprived of his rights by his owner and is used as a tool through work in the fields, while the woman is used as a “luxury” that satisfies her owner through fulfilling the white man’s sexual
The painting, in its simplest form, consists of a naked woman lying elegantly upon stately and rich cloths, while a young, also nude boy, is holding a mirror which contains her reflection. Upon first glance of this work, I was quickly able to make out the identity of the two subjects. ...
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
In conclusion, the art of the 19th century was composed of a sequence of competing artistic movements that sought to establish its superiority, ideologies and style within the artistic community of Europe. These movements, being Romanticism, Realism, Impressionism and Post-Impressionism, ultimately spread far beyond the confines of Europe and made modern art an international entity which can still be felt in today’s artistic world.
Both the Lady and the Mona Lisa are white European women who came from, what looks like, higher class families who were born, bred, and educated according to the customs and standards of the era and come from privileged backgrounds. Both are wearing veils over their hair and both wearing dark colored dresses with long sleeves. Their hands are seen in both portraits, just above the waist. Both women were part of the Renaissance that affected their home regions in similar ways, the ideas going back and forth between the north and south, both influencing each other in significant
Modernism began as a movement in that late 19th, early 20th centuries. Artists started to feel restricted by the styles and conventions of the Renaissance period. Thusly came the dawn of Modernism in many different forms, ranging from Impressionism to Cubism.