Fragonard was a product of the late Rococo period in the early eighteenth century a period that consisted of pastoral images of both men and women participating in games, having lunch together or a passionate scene between two people. Rococo created for the rich of France, consisted mainly of two types gallant and libertines. Fragonard’s paintings were mostly gallant which represented love as a playful game. This can be seen in his two paintings Blindmans Buff (fig. 1) and The Swing (fig. 2). These included interactions with figures in the paintings that suggested courtship; in this case it would be the pastel colors that he used which created a more playful look for the figures. In his 1775 version of The Swing (fig. 2) Fragonard presented a vision of nature and shows tremendous growth from his previous work painted during his second trip to Italy. This version is less erotic compared to his previous version of The Swing (fig. 3). The Swing (fig. 2) bares many similarities to some of his other works none more than Blindmans Buff (fig. 1) that was painted at the same time as The Swing. Both paintings shared various similarities and featured playful scenes of love.
Credited as one of the most important French painters during the late eighteenth century Fragonard began his career with painter Jean Simeon Chardin, but most of his talent and techniques were developed as a student of Francois Boucher. He soon started to paint using the same techniques as Boucher, featured on some of his earlier paintings. This method included painting with decorative pastorals and scenes of gallantry. Fragonard was known as a secretive man that lacked self-confidence, he was very mysterious and he was incapable of completing his projects. Researchers...
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...ppiness. Today, blindmans buff and swinging are both mostly associated with games that children play. In the eighteenth century however they were associated with activities that are more sexual and erotic. Swinging in Europe had been quite a taboo for many years that was until Watteau and Fragonard made the activity more acceptable, by using them in their paintings during the eighteenth century, which made the activity more acceptable in public by featuring the idea of swings. Fragonard was a part of a group of painters whose work reflected the private lives of elites and also depicted fantasies of the social elite of the eighteenth century. Although he never gave himself much credit for his works and accomplishments and declined to pursue a public career as a history painter many have labeled him as one of the most important painters of the eighteenth century.
Carol Armstrong begins her essay by pointing out the two main points that come about when discussing A Bar at the Folies-Bergere. These two points are the social context of the painting and its representation of 19th century Paris, and the internal structure of the painting itself with the use of space. She then goes on and addresses what she will be analyzing throughout her essay. She focuses on three main points, the still life of the counter and its commodities, the mirror and its “paintedness”, and the barmaid and her “infra-thin hinge” between the countertop and the mirror.
There, the inmates attended an art class, and created these red plastic flowers, found in Poblet’s art-piece, out of recycled materials. It is known that one is very limited supplies in prison, so Poblet was moved by just how creative the women there were. The inmates were affected in Simplemente Bellas, as Poblet found inspiration in these women. They were her motif in Simplemente Bellas, because they showed such creativity. This is what makes her work so much more appealing to the eye. Simplemente Bellas caught my interest over all the other art pieces throughout the museum. Poblet was moved by the hard-work these women put into producing those red plastic flowers. Poblet uses symbolism here, as the female inmates represent the many flowers in Poblet’s work, while the flowers symbolize beauty, as well as identity and freedom. This was the theme, or idea, that she was trying to portray to her viewers. The face of the women in the art-piece is said to depict one of the inmates Poblet had met during her visit. This gave me a better understanding about Mabel Poblet as a person as well as an artist. She saw those women as more than just captive inmates. If someone can see beyond another’s flaws and mistakes, they must be a very kind-hearted person. It is considered a baroque, as it is an art piece that appeals to our emotions. Understanding the muse behind Simplemente Bellas, has led me to love this work of art even more. It also caused me to be interested to learn more about Mabel Poblet Pujols as an
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
The work depicts a family in plain clothing enclosed in a simple solitary room with a fading fire amidst the dark shadows of the background and another light source that extends from beyond the scope of the canvas. At first glance the influences of Caravaggio and Rembrandt are apparent. Their faces are neither, sad, sullen, angry, or joyful, but rather their emotional expression is plain and uncomplicated, adding a sense of timelessness to the painting. As in the description (20-34) of the piece which states; “It reflects 17th Century social theory, which celebrated the natural virtue of those that worked the soil”, (p. 609). The idea of portraying a classic simple lifestyle is a refreshing one and a concept which will reoccur in other works of the Baroque period.
Watteau’s last painting, the Enseigne de Gersaint, a gift to his friend, the picture dealer Edame Gersaint, was a signboard. It has to be acknowledged, that Watteau’s signboard however, is of a somewhat different nature. The painting transcended the boundaries of the commercial genre and was recognized as a true work of art.
Georges Seurat used the pointillism approach and the use of color to make his painting, A Sunday Afternoon on the Island of La Grande Jatte, be as lifelike as possible. Seurat worked two years on this painting, preparing it woth at least twenty drawings and forty color sketched. In these preliminary drawings he analyzed, in detail every color relationship and every aspect of pictorial space. La Grande Jatte was like an experiment that involved perspective depth, the broad landscape planes of color and light, and the way shadows were used. Everything tends to come back to the surface of the picture, to emphasize and reiterate the two dimensional plane of which it was painted on. Also important worth mentioning is the way Seurat used and created the figures in the painting.
The nineteenth century produced a great number of art works from such artists as Pierre August Cot and Pierre-Auguste Renoir. Two major themes in these works include images fabricated from the real world and mirror images of everyday situations in life. Cot produced a pair of star struck lovers sharing a moment together in a hidden dugout enclosed by trees and shrubs while Renior recreated a midsummer’s day with a family enjoying an outing downtown. Each of these painting possesses an iconography in which the artist has contrived within his mind as the main theme to his work. This image is not intended to influence the viewer’s individual observation, but to embellish the work’s particular symbolism.
The Renaissance Period is widely known for the abundance of amazing portraiture that circulated around Europe. During the Renaissance, Albrecht Dürer, a German artist painted a self-portrait in 1500 that had qualities that differed from the usual style of artist in that time (Chauhan). Jean Clouet also painted a portrait for the King of France and became the official court painter. Both artists had a talent for portraiture, while their styles were quite different. King Francis I wanted to be seen as a powerful man, and appointed Clouet to paint him in a classically renaissance way that highlights his wealth and authority. Dürer, described as a cocky, self-centered man, painted himself in a light that is unique and puts him on a ‘holy’ pedestal (Stokstad 356). In this essay I will show how although both paintings have clear differences with their style, both men in the compositions are conveyed in a great and very powerful sense.
The bouquet set in the lower corner of the box evokes the bouquet offered to the nude courtesan by her maid in Manet's painting. In a sharply contrasted setting that draws attention to the female subjects, it can be hypothesized that Gonzalès sought to compare her bourgeoisie woman with Manet's prositute. Instead
Jean-Honoré Fragonard, (born April 5, 1732 in Grasse and died August 22, 1806 in Paris). Fragonard was most popular in his movement in the rococo period. He was a prolific of the 18th century making more than 550 artworks. Fragonard’s work was recognizable due to his skillful touch of the brushwork, and his use of value of light. Moreover, The Swing (French: L'Escarpolette) 81cm x 64.2cm, is an oil on canvas painting made in 1767, which is now exhibited in “Wallace Collection”, London. The painting is considered to be one of the masterpieces of the rococo period, and it is Fragonard's best known work. The motive behind Fragonard’s painting is that it was commissioned by French libertine Baron de St. Julien as a portrait of his mistress. Furthermore,
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.
Thesis: The French Revolution transformed not only the French society, but also had a huge influence and marked impact on what the purposes of the arts and their expression were now, making profound changes in what they would supposed to be used for, in the form of the Neoclassic works of art that made their appearance prior to the French Revolution, in which very special emphasis is given to the patriotic, the nationalist feeling, together with a strong sense of self-sacrifice that should be present in every person’s heart.
André Derain is a fauvist artist who uses loose, unnatural colors and movement to create his paintings. Derain is a part of the Fauvist art movement. He created this movement with Henry Mattise. The two men were working on a painting together and when they finished it, an art critic dubbed it “the wild beasts” and that is loosely translated as Fauve (so the art movement and style started to become known as Fauvism).
Their intellectual horizons which were previously limited to light poetry or novels, have grown to include the vast fields of painting and music…I refer not here to those who, mistaking the vocation of their sex, are filled with the desire to be painters in the same manner as men. Even if the noisy, over familiar atmosphere of the studio itself were not essentially antipathetic to the codes of decency imposed on women, their physical weakness, and their shy and tender imagination would be confused in the presence of the large canvases, and of subjects either too free or too restricting, such as those which normally for...
CRN 71523 - ONLINE Valeriia Baumgard Critical Analysis 3 Artwork #1 Jean-Baptiste Greuze, The Village Bride, 1761, oil on canvas a. Rococo was both the logical result of its development and artistic antipode to Baroque. Rococo combines the desire for completeness of forms, but if the baroque tends to be monumental solemnity, Rococo prefers the elegance and ease, alternate light colors - pink, blue, green, white with lots of details. b. Convincing credibility depicted the situation and its naturalistic treatment makes the viewer to empathize with the heroes as if they were their relatives or friends. However, the enormous success of the "The Village Bride " was also due to its didactics in the spirit of the new sentimental novel and the new ideology (the secular concept of marriage is considered mainly as a civil act, not a religious sacrament sacred, "a contract with God").