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Understanding the role women have played in art
Essays on women in art
Understanding the role women have played in art
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Formal Analysis: The Chess Game
Anguissola’s piece titled The Chess Game depicts the artists’ sisters, Lucia, Europa, and Minerva and someone generally considered to be a servant, in a mountainous, outdoor setting. The medium used for this painting is oil on canvas. This painting was completed in 1555 and was hung in her family home in Cremona. The painting displays the Italian Renaissance style, while portraying her sisters in the best humanistic tradition. In The Chess Game, Anguissola dispenses with stiff formal poses and instead illustrates three of her sisters, in a relaxed, informal game of chess, as well as bringing life to the genre of portraiture.
Descriptive Paragraphs
"The Chess Game" is an oil painting on canvas that displays her vast knowledge of art. She uses chiaroscuro, perspective, and depth perception. Her sisters look realistic and have
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subtle skin pigmentations. They all have related face expressions as well, and what I mean by that is, the little girl looks like she is having fun while the two older girls have on their “game faces.” In the background is an older woman, perhaps portrayed as a servant, supervising the girls. The girl on the left is looking at the viewer as she is making a move in chess, this perhaps could mean that she is confident is her skills, and feels as if she is going to win regardless, while the girl on the right is watching her every move. The setting of this painting looks like a mountainous area, with trees, shrubs and mountains in the background. Anguissola shows an understanding of depth perception by using a foreground and a background. The foreground consists of the three of her sisters and the background consists of a faint outline of the mountains. It is evident that Anguissola put as much time and effort in painting the background as she did with painting her sisters. They both show great detail and light to give us a clear image. Additionally, Anguissola uses stiff, formal poses in a humanistic manner.
She also uses the shadowing technique to make the figures look 3D, and to emphasize the foreground and background. She uses bright colors in the clothing and sunlight to brighten up the painting to make it known they are outside. She used a lot of detail in their clothing, and even on the table they are playing chess on. I also noticed on the side of the chess game, she engraved her name on the side, along with some other words I cant make out.
Conclusion
Anguissola successfully portrayed her three sisters in a naturalistic and humanistic manner by portraying them in stiff, formal poses, in a peaceful, outdoor setting. I was initially impressed with this painting due to the use of color, brightness, and depth perception. Her attention to detail is what really makes this painting stand out, making it appear realistic. "The Chess Game" is probably her most famous painting and signals a departure in portraiture. It is evident that she put a generous amount of effort in detailing the clothing, and background and side ground in this
piece.
The painting of Fidelia and Speranza comes from a poem description by Edmund Spenser who is the Elizabeth poet. This poem is
Alice Neel’s painting Suzanne Moss was created in 1962 using oil paint on canvas. As the title suggests, the painting depicts a woman’s portrait. Now resigning in the Chazen Museum in Madison, WI, this portrait of a woman lunging is notable for the emotional intensity it provokes as well as her expressionistic use of brush strokes and color. The scene is set by a woman, presumably Suzanne Moss, dressed in dull back and blues lounging across a seat, staring off to the side, avoiding eye contact with the viewer. The unique style and technique of portraiture captures the woman’s piercing gaze and alludes to the interior emotions of the subject. In Suzanne Moss, Alice Neel uses desultory brush strokes combined with contrast of warm and cool shadows
Her work resembles fossils and botanical illustration pages at the same time. Her simplicity and willingness to give back to her community is also an attribute I admire of her. Her work is important because of it has been used a medium to convey precious memories through the preservation of flowers. This artist inspires me because of her mastery of such a simple technique to create beautifully simplistic, yet intricately detailed works. This is an aesthetic I hope to achieve in my personal work because of my love of detail and organic shapes, such as flowers. It is amazing how she has achieved such wonderfully detailed and organic shapes using a medium that I never thought to be used in such an organic
One of Morimura’s most iconic pieces, Daughter of Art History: Princess A is based on one of many portraits of the Infanta Margarita by Diego Velazquez, and is meant to inspire a feeling of estrangement in viewers. The process of creating this piece was incredibly elaborate, taking several months to complete. A remarkably complicated set was built to appear as similar as possible to the background of Velazquez’s original work. Morimura then proceeded to paint his face to mirror the appearance of the Infanta Margarita and inserted himself into the work by way of a small hole in the background fashioned for that purpose. The three-dimensional stage he created combined the background and the body of the princess in a way that permitted him to attain the desired self-portrait with a single, unaltered photograph. He also deliberately exposes his masculine arms in place of the Infanta Margarita’s slight, girlish limbs to indicate to the viewer that he is neither a female nor a child. By doing so, Morimura is creating “an ambiguous realm which is (a) neither adult nor child, (b) neither a contemporary image nor a historic painting, (c) neither Asian nor Western, and (d) neither woman nor man”
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.
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
Edna seeks occupational freedom in art, but lacks sufficient courage to become a true artist. As Edna awakens to her selfhood and sensuality, she also awakens to art. Originally, Edna “dabbled” with sketching “in an unprofessional way” (Chopin 543). She could only imitate, although poorly (Dyer 89). She attempts to sketch Adèle Ratignolle, but the picture “bore no resemblance” to its subject. After her awakening experience in Grand Isle, Edna begins to view her art as an occupation (Dyer 85). She tells Mademoiselle Reisz that she is “becoming an artist” (Chopin 584). Women traditionally viewed art as a hobby, but to Edna, it was much more important than that. Painting symbolizes Edna’s independence; through art, she breaks free from her society’s mold.
Amy Tan used symbolism to reveal the cultures and how it interacted with the conflict of the story. One example was she used the game of chess as more than just a game. She illustrated it as a game of life and a way of her adaptation into her new American culture. This was demonstrated when Waverly’s mother read the rules of chess but did not understand them. Mrs. Lindo said, “Every time people come out from foreign country, must know rules… They say, don’t know why, you find out yourself” (502). This quote demonstrated the culture gap in the family, because the mother grew up with Chinese beliefs. Symbolically, when they received the American game of chess for Christmas they were excited and
Furthermore, the art piece is only in shades of black and white, which really intensifies the sadness and darkness. The expressions on the faces, the quality of the lines, the texture, and the absence of color capture the deep emotion of the figures in such a compelling way. During the period in which the piece was created, it was popular to paint in a socialistic style. Kollwitz accurately did this in all of her pieces by depicting social movements, peasant uprisings, the impact of war, and the life of the worker. Her style can be categorized even further by saying that it was a form of German expressionism. This
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. ...
The first painting, Flowers, is an example of her experimentation with cubism. Cubo - Futurism was a combination of cubist shapes and Italian Futurism’s emphasis on speed and motion. This can be seen through the use of skewed angles and bent shapes. In the next painting, Goncharova took inspiration from the previously mentioned Matisse. This style was called Fauvism and was recognizable for its “wild brush work and strident colors” (Source 2). The fourth painting, the still life, can also be related to Fauvism because the Post-Impressionism movement is thought of like its father, an earlier precursor. The fifth painting, the motifs, resembles these previous works of Natalia’s but also showcases work influenced by her relationship to the Russian Orthodox Church. Most importantly, there is the painting Rayonist Lilies, which is from the movement Rayonism, which Goncharova and her husband pioneered. This movement is characterized by attempting to “[float] beyond abstraction, out of time and space, and to break the barriers between the artist and the public” (Source 6). Rayonism was a huge step in a more freeform art community in Russia, who would eventually come to appreciate abstract
Flannery O’Connor is best known for her Southern Gothic writing style and grotesque characters. Dorothy Tuck McFarland states that “O’Connor created bizarre characters or extreme situations in order to attain deeper kinds of realism” (1). This writing style is seen in Flannery O’Connor’s short story “A Good Man is Hard to Find”. Flannery O’Connor uses many techniques to gain the reader’s attention and keep them captivated. One way that O’Connor does this is by revolving her stories around symbols and integrating religious elements into her works. O’Connor is widely recognized for incorporating her Catholic faith into her stories. “She was a devout Roman Catholic, with a Southern upbringing” (Whitt 1). There are many types of ways to interpret “A Good Man is Hard to Find”. One method is by using formalist criticism. Formalist criticism exists when a reader can approach, analyze, and understand a story by using elements like the setting and symbolism.
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
First off, I noticed that there is aerial perspective, where the viewer focuses on Latona and her infant babies Apollo and Diana. In the background there is a field and village. In the foreground, there is Latona with her children, along with several frog humans to the left side of the painting. Latona and her infant babies remind me of Raphael's piece Madonna in the Meadow, where the background is also a plain village. However, what makes Latona and the Frogs different from art from the Renaissance period is that it there are two