The Portrait of Dr. Dumouchel was painted by Marcel Duchamp, using oil on canvas in 1910 in France, Europe. The self-portrait painting consists of influences from expressionism and symbolism movement but ultimately, the painting was done in the post-impressionism movement. In this perplexing illustration, fauvism is clear and very evident with the various colors used. The colors seemed to be slapped on with a tree branch and vibrant off each other. Scintillating, glowing, the colors easily catch your eye with such awe. At second glance, and with more thought, you can depict Matisse's influence as well in the painting.
When Marcel Duchamp initially worked on this painting, he was trying to focus on the concept of the painting rather than
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Raymond Dumouchel is an friend of Duchamp, he depicts Dumouchel with an intense, iridescent palette which can be credited with influence from Matisse. The portrait is colorful and filled with iconography and symbolism, the halo surrounding the hand of Duchamp’s early friend has some controversy. The exact meaning is unknown, Duchamp himself has said, “The hand has neither a definite meaning nor any explanation; instead it is the gratification of a need for the “miraculous” which came [to me] before the cubist period”. The hand itself seems practically radiate with fierce vibrations, if you look closely you can see the hand looks like it is almost skeletal like. Taking a step back and you can see the green-color surrounding Dumouchel. The color is almost a swirl pattern of what seems to be green, red, purple and even a tint of white-gray. Dumouchel himself is wearing a green coat and has orange hair with dark black eyes and high angular brows. The halo around the head of Dumouchel is also radiating, according to Duchamp, “The halo around the head indicates my deliberate intention to add a touch of willful distortion”. The entire portrait has traces of the naturalist, symbolist and expressionist movements in it, Marcel Duchamp was able to combine many aspects and make this portrait in his
Albrecht Durer-Self Portrait at Age 28: This self-portrait was painted in 1500 shortly afore Durer’s 29th day of inchoation. In the painting Durer is visually perceived in a Christ like pose where he directly faces the viewer. Traditionally at the time this particular pose was reserved for portraits of Christ and typically artists would surmise a three quarters pose with the artist conventionally facing the right of the viewer. Durer’s visible hand is perhaps one of the most striking components of the painting, the placement can be thought of as pointing to the sacred heart of Christ. It should withal be noted that the placement of the fingers can be optically discerned as an “A” and a “D” betokening Albrecht Durer or Anno Domini. The set of Durer’s oc...
If one came close to the figure’s stomach where there’s the seafoam green, one can see the strong mark makings of the paint brushes and knife strokes, making the paint come out of the canvas. Similarly, Brown also uses big paint strokes of different colors to direct viewer’s eyes around the artwork. For instance, on the left side of the figure, there is a big vertical downward motion of a brush stroke in maroon, that connects to a green streak that goes up and encompasses the figure’s head and then downward to the body of the figure, which outlines and pushes the figure to stand out. And to make our eyes go back to the figure, Brown paints a blue triangle on the chest, making it a focal point due to it’s dark color that stands out of the light colors. And if someone stood facing the side of the painting, one can see the thick globs of paint that would make the viewer take a double glance to see if it was either a painting or a sculpture, which reinforces the idea that the painting is coming alive and making one feel
He is known how to combine three main colors and balance it to his artwork, green tone combined with red tone on her clothes represent that a woman is one of a lower class in society at this time, brown tone is a background color bring to viewer a heavy feeling, and this color was emphasized to face of the woman a little bit of sadness, a little bit of hopelessness in her life and her children. In this artwork, he used a rectangular shape of a wall and circle shapes for a child. They both give a viewer feeling about pressure and straitened for women. If we are noticing that in this artwork has leading lines. This line comes from three of her kids, it is creating a triangle.
Throughout the history of art, there has always been a plethora of portraiture, no matter the time period or the medium whether is be sculptures, paintings or even carvings. Humans have always been fascinated with themselves and the way others look. But it’s not always about vanity, it means so much more and can be conveyed in many different ways. In some cases, the artists moved beyond that of a simple likeness and can instill different emotions in the viewer. That being said, in this essay I will compare and contrast two portraits. The first is an oil painting titled Man in a Red Turban by Flemish painter Jan van Eyck from 1433. The second work of art is Louis XIV by Hyacinthe Rigaud, a French Baroque painter. The portrait is from 1701 and is an oil-on-canvas painting. These two works of art both demonstrate a likeness of each of their subjects but use different styles, elements and emotions to captivate the viewer. In this essay I will detail why I believe Man in a Red Turban is the better portrait and why it is so effective.
In conclusion, art comes in different forms. One artist may be able to show thing in ways other artists can’t. Both Seurat and Monet grew up in Paris, France, served in the military, made impressionist art, but yet they’re works are so different from each other.
The man’s eyes are closed and his mouth is slightly open. The colours of the painting shades of blue, and there is a flatness to the painting. The only break in color is the brown guitar. Like other paintings at this time, the mas is assumed to be poor. There is an overall sense of depression and tragedy.
The color variation of this piece embraces a bit of pop art, which indicates the huge influence that Andy Warhol had on Basquiat at the time. A Lot of the clippings are bold but their color schemes are different such as the President Kennedy picture contrast with the superhero clippings contrast within dark red and light red with Kennedy’s picture. The mood of the painting expresses sadness and despair, but eagerness for hope.
Dix’s chose to use oil paints on canvas when approaching this piece, which allowed him to explore a variety of techniques particularly apparent in the expression, style, color pallet, contrast and textures manipulated throughout the painting of Dr. Heinrich Stadelman. In the portrait Dix depicts a rather miserable looking old man. Dix paints Dr. Heinrich Stadelman’s body language and facial expression in an interestingly distinct manner. He greatly manipulates the painting in many ways in order to get it to come across so captivatingly.
During the October 1905 the creation of a parliamentary assembly, the Duma, was originally to be elected by the limited male suffrage. However, it led to another serious question of female suffrage. Women did not have any rights to vote. Since this was the time when the feminist movements began, the indignation at exclusion from this privilege was not only common to a small circle of educated female, but also to peasant women. There were several protests against this. It encouraged solidarity in the struggle for reform. However, there were some people who were opposed to the adoption of female suffrage, since most peasant women lack of political education/participation and it might lead to some destruction in the Duma. The struggle for female
The painting is of Dr. Samuel Gross performing a revolutionary, life-saving surgery. The surgery consists of slicing open the patient’s thigh, then removing the bone, and finally replacing the bone with a fake one. This surgery was revolutionary because it was recently developed as a way to save a patient’s infected limb instead of amputating it. It also focuses on Dr. Samuel D. Gross because he was a revolutionary surgeon. It finally focuses on nineteenth-century ideas about gender and sexuality because it features an ambiguously gendered patient (Holzman).
During a visit to Brittany, Matisse discovered Impressionism (Essers 8). The works of Cezanne and Van Gogh influenced him. When he returned, he exhibited his first painting, Dinner Table, in 1897. This was his first painting of impressionistic style. Matisse’s art began to concentrate on landscapes, still life, and domestic interiors. Still life is a theme Henri would follow for the rest of his career.
In this self-portrait Durer portrays himself in the guise of the Savior. Durer's natural resemblance to Christ has been reverently amplified (Hutchinson 67). His bearded face is grave, and fringed by lustrous shoulder-lenth hair painted in a dark, Christ-like brown (Russell 89. Scholars have called attention to the fact that, the portrait was intended to portray Durer as the "thinking" artist through emphasis on the enlarged eyes and the right hand. Duere's use of the full-face view and almost hypnotic gaze "emphasizes his belief that the sense of sight is the most noble of the five senses." He wrote in the Introduction to his Painter's Manual, "For the noblest of man's senses is sight… Therefore a thing seen is more believable and long-lasting to us than something we hear" (Hutchison 68).
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
His approach was an organized, discipline, and theoretical painting base of knowing stories, and the style was line rather than color. The reason I picked the painting is because it does capture my attention of how messed up it is that these men would capture women and rape them. But in today society you see in the news every day in America they’re capture of women getting kidnap, rape and it captures my mind of how messed up this is. Nicolas is showing us these events that happen and you see this stuff in movies. The painting sends a message a powerful message by the emotion, color and theoretical. This painting is so historic they made a movie based on the painting in 1962 and 2006. Next is regarded as France finest artist is a women named Louise Mollin (1610-1696). Her painting “Still Life with Cherries, Strawberries, and Gooseberries” a famous painting that created a perfect balanced, simple composition and focusing the attention on the objects. The sizes, shapes and texture of the fruit and container form international contrasts. Her painting turns out to be simple but yet elegant and change the way of art. The colors of the fruit and bold and focuses just on the fruit other than having a painting doing something with war, death, and story behind it. This has change art and you can see in today painting something simple can grasp anyone