While visiting family in Boston for the weekend, I returned to the Museum of Fine Arts. I came upon another of John Singer Sargent’s works, Daughters of Edward Darley Boit. The composition of the painting intrigued me; and so I have chosen to write about the piece.
This painting of four girls in an elegant room and doorway of what I presume to be their home, is a very posed, stagnant depiction. Three of the girls appear to be staring blankly at the painter, while one stands facing to the side, staring forward, away from the painter. None of the girls is engaged in the scene. It does not appear, however to be frozen in time, as no girl is actively acknowledging another, nor actively playing with their toys and dolls, as in the case of the girl sitting on the rug. Two of the girls stands in the darkened doorway, similarly dressed, with one a bit more stiffly posed than the other. In the front, a girl stands at attention behind and to the side of the child sitting on the floor. The curiosity I found with this painting is that for the most part they do not appear comfortable in their surroundings. The one noticeable dissent to that is that one girl in the doorway leans back against a large porcelain vase, probably a very expensive one, and so I would think that a child leaning against such a thing would cause great alarm to a parent for fear that it might be broken accidentally. Representing the child leaning against it leaves me to question whether she is simply very comfortable in her home, or perhaps upset or angry and responded by carelessly leaning against such a lavish piece of art. Theoretically, Sargent posed the girls himself, however I could not devise a reason for placing the girl facing off to the side the way she is.
Another compositional point I wish to make is that the painting feels somewhat unbalanced. Although the lights and darks work very well together with balanced contrast, I find the left side to be too heavy for the right. With the entire bodies of two girls, plus half of another, in addition to the very tall vase does not measure out against the smaller girl sitting on the floor and half of a girl in the back. What’s more is that none of the girls comes close to sitting near the right side, leaving the left side very weighty.
My initial thought about this painting is that it seems to be incorrect. The reflection in the mirror shows that the lady is looking in the direction of the man standing in front of her. If the lady is looking at the man their reflections should not be off to the side. The second observation is the lady is sad or disappointed and is looking past the man standing in front of her. My last observation is there are three sections from left to right; bottles and the audience, the lady, and the reflections of the lady and man. The most interesting concept about this artwork is how the reflections seem to be inaccurate. If the bottles and the reflections of the lady and the man standing in front of her are at an angle, then why are the vertical lines perpendicular to each other?
This painting is set within what seems to be the nineteenth century. One can infer this information based on the clothing, furniture, and architectural styles prevalent in the picture. The main figure that is central in the piece, the older man, fits the role of what appears to be a teaching position, where the boys that surround him are his students. The scene displayed here is one of an examination day. Each boy must t...
This essay will also compare the work of Thomas Moran, another Hudson River School artist working with the same subject matter, and will attempt to clarify the artist’s similarities and differences in regard to both technique and contributions. The work of Winslow Homer, a contemporary of Church, will be briefly discussed in relation to the impact the Civil War had on subject matter in relationship to nati...
The piece shows Marie posing with her three children, the reason for this painting was to create a public message depicting her as more than just elegance and put her on the same level as the general public. Because the painting was meant for the eyes of the general public the painting is rather bland and lacks detail. Instead of Marie looking down on the population showing off her lavish and extravagant items she has just her children attempting to depict herself as a regular mother just like every other female raising children. There is very little details in the paint except for the empty baby carriage which was most likely only included to honor the death of one of her children at a young
The mixed reaction I have towards the painting is because, first off, I still wouldn’t know what is really behind it or what it’s trying to tell us without looking at it from a distance. When I looked at it from a computer desktop I could see a shoe, a mountai...
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
When you put all these aspects put together with my interpretation of what is happening in the painting, a sense of calmness and security was constructed for me. No matter what this couple may be going through at the end of the day they still lean on each other for support. The complementary colors symbolized a sensation of strength between them, the balance of the composition created a stability characteristic, and the smooth and fluid brush strokes created a tranquil energy between the
In the period following the American Revolution up to the turn of the eighteenth century, we start to see some subtle yet significant changes in the popular artwork. We can see a much bolder use of color and background, as in C.W. Peale’s Benjamin and Eleanor Ridgely Laming (1788) and Mather Brown’s Sir Richard Arkwright (1790). Emotion is shown of the faces of the subjects and Ralph Earl showed the Striker Sisters (1787) with their arms around each other and pleasant, happy smiles on their faces. Mr. Peale’s work shows the physical attraction between Benjamin and Eleanor.
The painting can be found at the Washington’s National Art Gallery. Further, this artwork is an important piece of art created during her mature career. Cassatt depicts the young girl alone within a domestic exterior. The informal posture, as well as the evident brushwork, are attributed to impressionism while the asymmetrical structure, the hasty scene cropping, and the shallow space indicate the Japanese art inspirations. Additionally, the young girl seated in an unselfconscious and sprawling manner is a reminder to the viewer of her young age
Titian’s La Bella – Portrait of a Woman in a Blue Dress (1536) is a captivating example of Renaissance ritratto (portraiture) demonstrating ideals of feminine beauty. It presents the image of a vibrant young woman. With smooth, light skin tone and delicate rounded face the woman is clearly defined as an exceptional beauty. Framed at a slight angle to the picture frame, La Bella emerges from the dark neutral background with subtly averted gaze, at once both inviting and refrained. Through the conflict of La Bella’s seductive yet submissive presentation, the portrait captures the essence of Renaissance female beauty perfectly, presenting the mildly sensual nature of the woman’s image as a joy in itself.
Jamaica Kincaid’s success as a writer was not easily attained as she endured struggles of having to often sleep on the floor of her apartment because she could not afford to buy a bed. She described herself as being a struggling writer, who did not know how to write, but sheer determination and a fortunate encounter with the editor of The New Yorker, William Shawn who set the epitome for her writing success. Ms. Kincaid was a West-Indian American writer who was the first writer and the first individual from her island of Antigua to achieve this goal. Her genre of work includes novelists, essayist, and a gardener. Her writing style has been described as having dreamlike repetition, emotional truth and autobiographical underpinnings (Tahree, 2013). Oftentimes her work have been criticized for its anger and simplicity and praised for its keen observation of character, wit and lyrical quality. But according to Ms. Kincaid her writing, which are mostly autobiographical, was an act of saving her life by being able to express herself in words. She used her life experiences and placed them on paper as a way to make sense of her past. Her experience of growing up in a strict single-parent West-Indian home was the motivation for many of her writings. The knowledge we garnered at an early age influenced the choice we make throughout our life and this is no more evident than in the writings of Jamaica Kincaid.
...ause the look of curiosity of the girl extends beyond the frame. This gives the painting a sense of curiosity.
“Miss Brill” by Katherine Mansfield tells a story of a lonely, English lady in France. Miss Brill is a quiet person who believes herself to be important. The whole afternoon at the gardens, Miss Brill does not converse with anyone, nor does anyone show any inclination to talk with her. She merely watches others and listens to their conversations. This provides her with a sense of companionship; she feels as if she is a part of other people’s lives. Miss Brill is also slightly self-conceited. She believes that she is so important that people would notice if she ever missed a Sunday at the park. It does not occur to her that other people may not want her to be there.
The most emphasized part of this image is the man lying on top of the child and leaning against the bed, part of the body being directly in the center and seems to take up the most space, this is where the eye tends to linger. The negative space is made interesting by including a turned over chair, and rumpled sheets on a bed and other homely objects, which indicates that this is set in a home. The contrast that is shown in this artwork is through the use of value since Daumier used implied light, the brighter and darker areas create a contrast against each other. While this piece is not symmetrically balanced, it is balanced asymmetrically. It is asymmetrically balanced through a man and most of a bed being placed in the center, on the right is a small child, the upper torso of an older looking man, a chair next to him, and the rest of the bed; on the left of the man is most of what seems to be a woman, and other less detailed furniture. There is a sense of repetition through the positive shapes of the people lying on the floor, this is also shown through the use of line that creates the entire lithograph. This provides a sense of cohesiveness and unity throughout the
These works may be labeled objectifying also because a male painter painted them. Today, these works could be seen as empowering to women. The first painting gives off an emotional ride of one duplicated woman or two women. The second painting shows an emotional journey of prayer and relaxation of a woman sitting in the lotus position. The third painting could represent a strong and empowered women respecting herself and her body. Times have changed and so have views of women in society which have influenced a change in how people view nude women in