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The influence of the Renaissance on Art
The influence of the Renaissance on Art
The influence of the Renaissance on Art
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One of the example that influenced by Venus of Urbino is the La Grande Odalisque painted by Ingres. In nineteenth Century, the French aristocracy had a strong interest of the Oriental palace. Ingres painted this La Grande Odalisque in order to meet the needs of those nobilities. The woman in the painting is not dressed up like a traditional western female. Instead, she gets a Turkish hairband wrapped on her hand, holding a peacock feather fan. And even the silk which she is laying on has the exotic splendor. In this painting, the nude body takes the majority of the space in the entire painting. Her her elbows, hair and toes almost have reached the border of the frame. A technique unique to Ingres was his anatomical distortions. Thus …show more content…
The odalisque gently inclined in bed, confidently showing her body. In the composition, the maid body forms a large arc, which builds a corresponding with the curtain down right. Thus it makes the whole picture keeps balance. Color also shows the artist's bold and chic, blue curtain and rose flesh does not coordinate, but the phase is very bright with decorative effect. The maid’s smooth body like petals generates a layer of color and the texture is bright, rich, vivid and poetic. Additionally, from the perspective of the pose, the maid is elegant, solemn and quiet but the face shows a sense of indifference and enchanting. The woman’s back is facing the viewer. Unlike what is shown in the Venus of Urbino, the model is actually facing directly to the audience to seduce men. The odalisque is offering herself to the man but just giving him a slight view of her body. There is unconcern in her eyes rather than a kind of softness and flirtation as in the eyes of Venus of Urbino. Instead of extensively showing the full body, only the back of the odalisque faces the viewer and she barely reveals her breasts. This works perfectly embodies Ingres’s pursuit of ancient Greece sculpture’s "solemn greatness". It is also one of the outstanding representatives of nude art for nineteenth
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
She captured herself in beautiful low-cut blue satin dress and the students in working dresses. The dress was painted in great detail and captured both the sheen and fluidity of satin. This was achieved by using shading and li...
Color is used to draw attention to important characters and objects in the painting. The red of Mary’s shirt emphasizes her place as the main figure. A bright, yellow cloud floating above the room symbolizes the joy of the angelic figures. De Zurbaran uses warm colors in the foreground. The room, used as the background for the scene, is painted in dark colors utilizing different hues of gray and brown.
Other figures in the painting include Zephyrus (the west wind) and the nymph Pomona. The painting is a mythological narrative which illustrates the birth of Venus, goddess of love.[2] The narrative has given us the explanation that “Zephyrus (the west wind) blows Venus, born of the sea foam and carried on a cockle shell, to her sacred island, Cyprus. There, the nymph Pomana runs to meet her with a brocaded mantle.
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. ...
Venus De Milo is a sculpture that can be admired from all angles, not just to be viewed straight on from the front of the body. She is made from two blocks of marble, but was comprised of several parts which were sculpted separately. She is shown to be half naked from the waist up. She has some type of drapery around her waist and it flows all the way down to her feet. Also the drapery that is around her is formed into such a way that you can cle...
The work is a colorful representation of the face of the goddess Venus as depicted
The painting represents the traditional Baroque portrait style of the seventeenth to mid-eighteenth centuries. Black, gray, and fleeting yellow amalgamate in the background, while white light converges on Diana’s chest, directing the onlooker’s eye directly to her exposed breast. A harlot known for having multiple lovers, Diana protrudes from the unstimulating background; her dress radiates a gold sheen and her skin possesses a porcelain quality. Diana encapsulates beauty and lust, and she transcends the boundaries of being and appears as a siren or goddess reclining against a stone wall. In such a bleak world, Diana can show you the real pleasures in life.
The shadowed interior of a stately manor opens up into a charmingly detailed world of imperial proportions. Barely in focus are immense classically inspired works about the divine source of creativity elevated near the top of the room, flanked on the bottom by the undefined reflections of a man and woman in a mirror. Six figures occupy the foreground, middle-ground, and background of the picture plane, the most notable of them all being a precious and angelic looking youth dressed in an exquisite silver dress. One of the most recognized works by Spanish Court Painter and Realist Diego Velázquez in 1656, “Las Meninas”, translated as The Maids of Honor, is famous for being thought provoking, one look at the massive oil painting will tell you
In serene paintings, Venus is portrayed as the one to subdue the fighting Mars by using love; it shows that love is more powerful than conflicts. Mars, even when retained by Venus, still holds boldness in some form, even if he is portrayed as being completely passive. When Venus occasionally takes Mars’ armor and weapons, she represents the “warfare of love” but she can also represent that “strength comes from love” and to be charitable to gain power (Wind 45-47). With this knowledge of what Mars and Venus’ relationship represents, and what feelings colors can evoke, I will combine the two and look at the painting Mars and Venus United by Love by Paolo
Contained in a “comic fashion” signs of male desire. The hissing cat and the flowers from “Monsieur Arthur”. The gaze was there to address the viewer her consciousness of being looked at for sexual reasons. The nude could not be a nude without a means of giving access of the body to the viewer. This could be done like in Titians Venus of Urbino by a simple look; the eyes face and body on display to the viewer.
The artist purposely decided to create a nude image to show the anatomy of a woman, and the torso focuses specifically on those features. The choice to leave out the goddesses legs and arms, and especially the head and face are most noticeable
The picture is taking the viewer to the exotic island of Tahiti One of the women, facing the viewer, was Gauguin’s mistress and the woman facing down was her sister. By looking at the picture, I feel a strong contrast between these two women. This contrast seemingly reflects in the clothes they are wearing in the facial expressions also in the traditional elements, which indicate about the status of these women.
True to her nature as the goddess of love, beauty and sexuality, these are the characteristics that the sculpture exudes.26 This sculpture embodies the definition of Hellenistic Greek art. However, some Classical traits are retained, such as her solemn facial expression and distant gaze. It also has the S-curve posture, which is reminiscent of Praxiteles’ Aphrodite.27 It is evident that there is a closer attention to detail with the Venus de Milo as seen with the drapery (see Figure 3). The drapery has a more defined look due to the deep grooves that are present.
Millais ' rendering of the subject, however, is, on first inspection, characteristically unconventional. The formal features of the painting are unusual; the canvas filled with a hyper realistic natural setting, the only human element, Ophelia, paling into insignificance amongst the un-orderliness of the composition. (description of formality). The piece would appear to have been inspired from a more Northern European oeuvre than a classical one, using materials appropriate to the climate (i.e. not fresco), and drawing on an arguably Flemish style. There is also tension in the image insofar as Ophelia is definitely not real, only existing in literature/text, yet her depiction is painfully life-like, putting into question what this painting is trying to