Mickalene Thomas, Le déjeuner sur l’herbe: Les deux femmes noires (fig 1), 304.8 x 731.5 cm is a college artwork, 2018, which consists of rhinestones, acrylic, and enamel, on a wood panel. The painting features three black women as main subjects in the center, with dazzling details that catch viewers' attention. The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien by Elisabeth Loise Vigêe-Lebrun (fig 2), a 123.4 x 155.9 cm oil on canvas painting in 1787, is a portrait of two young women and two children, seated in an outdoor space. Despite the significant period between the two paintings, they have one thing in common: women’s portrayal in society, which is represented through formal elements of art such as composition and scale, texture, light and color, and lines. The artwork of Mickalene Thomas’s Le déjeuner sur l’herbe: Lesthree femme noires, includes many mediums and techniques which catch the viewers attention and make the subjects stand out. The interaction between various formal elements in the artwork is balanced such as the use of bright colors, different textures, poses, and various shapes as they indicate …show more content…
In Mickalene Thomas’s college artwork, the use of dominant lines is evident as it includes vertical lines, horizontal lines, and diagonal lines. The horizontal line of the woman's leg on the right is in contrast with the vertical line of her posture. There are also diagonal lines throughout the artwork that balance the vertical and horizontal lines. Furthermore, contour lines are used to separate the subjects from the college elements of the artwork, which makes them stand out. The lines in Mickkalen Thomas’s artwork differ in size and thickness, which adds to the unity and tranquility within the artwork. The wavy lines in the college suggest movement, while straight lines give the artwork some
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
This painting consists of regular lines as well as implied lines. Some of the regular lines that have been included are flowing, curved lines, such as the Earth that the woman is sitting on top of. Additionally, the background is made of small scenes that have been outlined by a dotted line, which places emphasis on the scenes. Besides regular and visible lines, there are a few implied lines in this painting. For instance, the woman's eyes are looking forward, so there is an implied line to the audience. Additionally, another implied line would be the woman's right arm, which is pointed towards her headpiece, while her left arm is pointed towards the earth. Nonetheless, this painting is not intense; although it does have splashes of color, this painting does not have a bright saturation. Instead, this painting is slightly dull, which makes this painting appear vintage. Additionally, since this background is a dark color, it makes the rest of painting, especially the headpiece, stand out. Besides colors and lines, even though this is a painting and there is no physical texture, there is invented texture. Upon viewing this painting, underneath the earth where the woman is sitting on, there are roots as well as grass, which give texture and feeling to the painting. In the end, this painting consists of several elements of composition, which Heffernan has done a wonderful job
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
For the Formal Analysis Essay, the following artist and work of art to discuss is: Artemisia Gentileschi (Italian 1593-1653), Judith and Maidservant with the Head of the Holofernes, c. 1625, oil on canvas, approx. height: 72 1/2 x 55 3/4 inches. Detroit Institute of Arts. The following will mention the subject of the artwork, elements of design including: line, shape, and color. In addition, the principles of design will be discussed in termed of movement, emphasis, and balance.
Lines are one of the fundamentals of all drawings. The lines in this drawing represent shape, form, structure, growth, depth, distance, movement and a range of emotions. In “Three Mile Island” Jacquette uses a mixture of horizontal lines to suggest distance and calm, through his use of thick and thin lines he shows delicacy and strength.
The painting named Portrait of Mrs. Chinnery is an artwork by Elisabeth-Louise Vigee LeBrun produced in the year 1803. It is oil on canvas rectangular painting measuring 36 by 28 inches (91.5 by 71 cent meters). Its subject is Mrs. Chinnery, wife to William. Details on her life are scarce although her maiden name is reported. She was a widely known pianist and a popular hostess in one of the buildings that many of the British rich and noble people liked to frequent. She had three children: George, Caroline and Walter. In this painting, the lady is presented sitting in a relaxed manner while reading a book which is claimed to be about the French fashion of which she was an enthusiast. The subject’s body is facing to the right of the painting, the direction in which she holds the book. She, however, is facing directly in front, in reference to the portrait, with her gaze slightly to the right. Her left arm is hidden below the book, away from view in the painting, while her right arm rests between the pages of the book, probably near the middle of the book, as if to prevent it from closing. She is wearing a red dress, with short sleeves and a V shape in the chest area. She has two necklaces hanging from her neck. She has a red bund round her head, probably to hold her hair off her face. She has gold colored hair hanging freely down her neck and back. In the forehead, the hair is parted in such a way as to form an inverted V. She can be inferred to be wearing a red lipstick, with her face tilted slightly to the left. She does not seem to be smiling; her left eye is open wider than the left eye as if she is winking with the lips closed tightly together. Part of the thigh region can be seen but the legs are hidden off the painting. She ...
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Spending time looking at art is a way of trying to get into an artists’ mind and understand what he is trying to tell you through his work. The feeling is rewarding in two distinctive ways; one notices the differences in the style of painting and the common features that dominate the art world. When comparing the two paintings, The Kneeling Woman by Fernand Leger and Two Women on a Wharf by Willem de Kooning, one can see the similarities and differences in the subjects of the paintings, the use of colors, and the layout
Elisabeth Vigée-Lebrun was one of the most successful painters of her time. Over the course of her life, spanning from 1755-1842, she painted over 900 works. She enjoyed painting self portraits, completing almost 40 throughout her career, in the style of artists she admired such as Peter Paul Rubens (Montfort). However, the majority of her paintings were beautiful, colorful, idealized likenesses of the aristocrats of her time, the most well known of these being the Queen of France Marie Antoinette, whom she painted from 1779-1789. Not only was Elisabeth Vigée-Lebrun the Queen’s portrait painter for ten years, but she also became her close, personal friend. She saw only the luxurious, carefree, colorful, and fabulous lifestyle the aristocracy lived in, rather than the poverty and suffrage much of the rest of the country was going through. Elisabeth kept the ideals of the aristocracy she saw through Marie Antoinette throughout her life, painting a picture of them that she believed to be practically perfect. Elisabeth Vigée-Lebrun’s relationship with Marie Antoinette affected her social standing, politics, painting style, and career.
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 gestural and heavy working of the paint and the contrasting colors make the painting appear active yet are arduous to follow. The defining element of Woman and Bicycle is the presence of the black lines that do most of the work in terms of identifying the figure. Through the wild nature of the brushwork, color, and composition of the painting, it can be implied that the artist is making an implication towards the wild nature of even the most proper of women.
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
“The Grafin von Scholfeld with her Daughter” is oil on canvas art piece painted in 1793. It is a painting of a woman holding her daughter on her lap, the woman being “The Grafin von Schonfeld.” The woman is dressed in clothing that is from the upper class or a royalty stature in the late 1700’s. The clothing looks rich in material and sleek like silk in the colors of wine and a rich green. She has a covering on her head that looks like an extravagant scarf that drapes over her shoulder on one side, also made of the same silky material used for her dress. The woman has pale skin, reddish brown hair, bluish eyes, and rosy cheeks. Her eyes look very real and penetrating when you examine the painting. The daughter is about the age of 5 or 6 years old. Her arms are around her mother’s neck and legs draped across her mother’s lap. The daughter is wearing a white fluid dress that looks thin in material with a red sash around her midsection. The daughter has the same reddish brown hair and rosy cheeks. The mothers and daughters eyes are equally as big in size, while the child’s eyes seem also very real and youthful.
Works of Sophie Calle has appeared in several media across the US and Europe (Yve-Alain Bois, 1). Her works have been described to leverage on the use of constraints which is reminiscent of the French literary cult Oulipo of which she was a member. Sphie’s works are are a reflection of her personal life, where she tries to create a link between her intimate moments and her art (www.egs.edu). Sophie employs a unique and unconventional form of photography that has made her standout in the art circles. Her natural tendency to be contentious has made her works what they are. From mode of execution to exhibition Sophie marks a different role for her kind of work.
The women in art history have used their passions to bring about a necessary change and bring women out of the shadows to which she has been pushed into over the centuries. Making painting their own they bring a new life and expression into the female personalities portrayed that men are not yet able to achieve. Showing the world where they stand and what they are willing to go through shows the strength in character a woman really has and that she is not the equivalent of a bowl of fruit or a vase of flowers in a man’s painting but so much more. These women are an inspiration because even though they lived in a society that thought them week and incapable they proved their strength and determination.