Self-Portrait with Two Pupils, Marie Gabrielle Capet and Marie Marguerite Carreaux de Rosemond was done Adelaide Labille Guiard in 1785. It was done in Paris, France and the medium is oil on canvas. Adelaide Labille Guiard was born in 1749 and died in 1803. She was one of few to practice and master at miniatures, pastels and oil paintings. Due to male dominance in these practices, women were not accepted as pupils, due to society perception that women are not able to follow instructions as easily as men.
Adelaide Labille Guiard painted Self-Portrait with Two Pupils like a large-scale history painting. In this large piece of work, the viewer can see her at easel and two of her female students, Marie Gabrielle Capet and Marie Marguerite Carreaux de Rosemond, which are looking over her shoulder. This painting engages the viewer by making it look as though the viewer is the subject of her work. The artist herself posed and dressed as a wealthy well dressed lady in a fashionable dress from that time. She also placed numeral objects that capture the viewers eyes, such as two statues in the back of her father and Vestal Virgin, the easel in the left corner, the bright green color of the material of her chair and burgundy footrest in the right corner.
Working at her father’s clothing shop, she became very knowledgeable about expensive textiles and embellishments, which were captured in her works later in career. She was able to capture the beauty and lavishness of fabrics in portraits of aristocratic women.
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...
... middle of paper ...
... masculine compared to soft paintings of Vigee Le Brun. Adelaide’s works were so good and beautiful and many thought that her lover did her works that is due to discrimination of women and belief that women cannot be as good of an artists as men. She brought attention to this issue and it worked to be a positive advertisement for her.
The painting has an order and there are different shapes and angles. Rectangular shape is main trend around this piece, including the wooden chest, the leg rest and the canvass. Also things overlap, creating the illusion of the shape look closer to viewer than the shape behind it. The example in this piece would be the chair on which Adelaide Labille Guiard sits be close to viewer than the girls behind it. This adds depth to the space. Also due to linear perspective girls behind the chair are smaller due to being farther away.
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...
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
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...
Both artists dressed as lesbians because it affected the way they shaped art and understood it in their future art education. Brooks was empowered by the lesbian identity and was able to paint lesbian portraits for those who attended Barney’s literary salons (Lampel, 6). As for Gluck, she had no interest in complying to society’s standard traditions for women. She was wealthy and always dressed exceptional like a well presented man. Her lesbian identity left E.A.Hoppe, photographer of The Royal Magazine, with an awe that she exerted an innovative sense of style that depicts her strength, determination, character, and success as an artist (Lampel, 7). She fell in love Nesta Oberner, who influenced her in a lot of her paintings. Gluck’s marriage with the woman left society with paintings that described her lesbian relationship and unconditional love they had together until she died (Lampel,
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,
Prior to the 20th century, female artists were the minority members of the art world (Montfort). They lacked formal training and therefore were not taken seriously. If they did paint, it was generally assumed they had a relative who was a relatively well known male painter. Women usually worked with still lifes and miniatures which were the “lowest” in the hierarchy of genres, bible scenes, history, and mythological paintings being at the top (Montfort). To be able to paint the more respected genres, one had to have experience studying anatomy and drawing the male nude, both activities considered t...
Charles Peale's Mr. and Mrs. Alexander Robinson and Mary Cassat's Madam Gaillard and Her Daughter Marie-Thérèse are two very comparable pieces, but with quite a few differences. Mr. and Mrs. Alexander Robinson is a double portrait of Peale's eldest daughter Angelica and her husband Alexander Robinson. Peale, along with his wife, and one of his many daughters traveled from Philadelphia to the couples home in Baltimore to complete the painting. The couple was expecting their first child, so Angelica asked her father to paint the portrait because she feared she might not make it through childbirth ("Mr. and Mrs. Alexander Robinson). And as you may have guessed by the title of this piece, Madam Gaillard and Her Daughter Marie-Thérèse is a double portrait of the mother and daughter of the Gaillard family. Cassat became close friends with the Gaillard family through her friend, the patron, Edgar Degas. Dr. Theodore Gaillard ("Madame Gaillard and Her Daughter Marie-Thérèse).
Mary Cassatt is one of the most famous female figures in the art world and aided in the popularization of Impressionism. Her work was simple yet impactful, and left its viewers wanting more. The main focus in most of her works was of mother and child or of women doing simple daily tasks. Her broken brush strokes and bright color palettes made her pieces pleasant and full of life. Though her work was not at first accepted, she kept painting and worked hard to make a name for herself and to change the art world into something more diverse and accepting.
Female attire tended to fall into two categories: tailored suits and ball dresses, reflecting the way of life for the more wealthy. During this time, dresses tended to extend out in the shape of a bell where the end of the skirt was flared. To further describe how these dresses appeared, in an essay by James Laver, he remarks, “It is impossible to put a photograph of a fashionable woman of 1895 beside a photograph of a lamp of the same period without being struck by their close resemblance in every detail. The unmistakable sweep of the Art Nouveau line was completely parallel in the dresses of the time, in particular by the fall and swirl of the skirt.” The characters Gwendolen and Cecily are wearing ball dresses like the ones described in the Victorian era in my sketch. Their dresses are shown to be tighter in the waste (flattering their body shape) and become much wider toward the end. On the shoulders of the dresses, it fluffs up to add a decorative
Gabrielle Chanel remains one of the most well-known fashion designers of all time. She was born on August 19, 1883 in France and died in 1971. Chanel revolutionized the fashion industry with her distinctive style. After the death of her mother, she spent much of her childhood in an orphanage. The challenges of her early life helped build her strong character which influenced her path in life. Chanel was nicknamed “Coco” after a lost dog in a popular song she loved to sing. Her early career was funded by a succession of her rich lovers. This allowed her to open her first shop in Paris in 1910. She sold hats as well as some garments. Coco developed a significant following of clientele who enjoyed her practical sportswear creating great success.
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.
...thin this painting is appealing to the eye. With regards to linear perspective, this painting has a diagonal in which the figures line up and converge to one point.
He started to explore female figures in the 1940’s but it was not till 1950 he started to do female figures exclusively. He had his work shown in the Sidney Janis Gallery in 1953 which caused a sensation because they were mainly figures of his fellow abstractionists and they were painted with blatant technique and imagery. He applied his medium in such a way that it looks as though it was vomited on but to reveal a woman in what would seam as some mens most widely held sexual fears.
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...
The chosen garment that will be discussed in detail in this essay is the Royal wedding dress designed for Catherine (Kate) Middleton, The Duchess of Cambridge made by the English designer Sarah Burton creative director of the fashion label Alexander McQueen. This essay will cover the topics of this dress in terms of historical and cultural context, the formal elements and its meaning.