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Comparison essays
Comparison essay example
How to write a compare and contrast essay high school
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During my compare and contrast on the paintings of Titian, “Portrait of Isabella d'Este” 1534-1536 and Rogier Van der Weyden, “Portrait of a Lady” 1460, I observe that both paintings have some similarity to each other because both models are posing. Its two Renaissance portraits of the two beautiful ladies from a wealthy family posing with their bodies turned approximately thirty-five degree to the right side showing the left cheek. Not only they both have the same pose, they also have a fashionable headdress, hair up, dark color V-neckline dress, and the body posture straight up while sitting down.
Not only that, even though they both have some similarity to each other, I notice more difference than similarity in the portraits. Portrait of Isabella d'este was made in 1534-1536 on oil on wood with dark black brown background. Unlike the Portraits of a Lady who looked down during her portraits, Isabella d'este is looking up but not directly towards the viewers. While observing more on both portraits, I notice the light that shined down on Isabella d'este is coming from her right top corner of the painting. On the other hand, Portraits of a Lady were made in 1460 on oil on oak panel with the light source coming from the left top
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corner of the painting. She had a plain blue, dark color background with no landscape and a white lace headdress, lack of eyebrow with tight pinned up blonde hair and a red belt with a gold clip. As for Portrait of Isabella d'este, she had a golden red curly up-do hair, small mouth, dark arch eyebrow and oval shaped with hints of green, and a center jewelry piece on her headdress. Even though both ladies had a paled white face, the Portraits of Isabella d’este, she had more character in her face, with her rosy cheeks, small rounded lips, and dimple chin.
But as for Portrait of a Lady, she just had fuller lips and a submissive look because she is looking down and not up. Nevertheless, Portrait of a Lady who also comes from a wealthy family, her clothes is not dramatic as Isabella d’este’s outfit. Isabella d’este dress is richly embroidered with fur, velvet and silk, and sleeves decorated with silver and gold trim. She shows a lot of character and power she has with her appearance and clothes. Unlike Portrait of Lady who had less jewelry on her in the portrait with only one ring on both left and right
finger. Last but not least, Portrait of a Lady and Portrait of Isabella d’este may look similar and have similar background but they both have a totally different vibe to it. Both ladies come from wealthy family but even though the Portrait of Isabella d’este has a darker background she still portrayed to be more powerful and have life in her with the way she is looking up then the Lady who look more submissive and calm and not engaging with the views.
The two paintings have much more differences than meets the eye. Firstly, the periods during which the portraits are made are very distinct with a difference of an estimate of four centuries. Mona Lisa's portrait was made in the early 1500s while that of Adele Bloch-Bauer was painted in the early 1900s. Many transitions took place since the Renaissance period to the post-industrialization period. Possibly, this could be used to explain the clear-cut differences between the two. Secondly, the portrait of Mona is half-length her full body while that of Adele is full length. This depicts a varied art in use of space by the two artists. Thirdly, the two subjects display a discrete type of clothing. Mona is quite ordinary and simple despite the
In addition, to the composition of the painting, the balance is also a dynamic factor. Both Ducci...
The piece shows Marie posing with her three children, the reason for this painting was to create a public message depicting her as more than just elegance and put her on the same level as the general public. Because the painting was meant for the eyes of the general public the painting is rather bland and lacks detail. Instead of Marie looking down on the population showing off her lavish and extravagant items she has just her children attempting to depict herself as a regular mother just like every other female raising children. There is very little details in the paint except for the empty baby carriage which was most likely only included to honor the death of one of her children at a young
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.
Historians and scholars often overlook the part that women played in the Renaissance. Did women have a Renaissance? The period did not occur in a male only vacuum; women played an important part in the changes taking place across Europe. No matter a woman’s station in the class system, women, were still considered the sinful daughter of Eve, the downfall of man. Into this world stepped Isabella d’Este, one of the great women of the Renaissance.
The purpose of this paper is to explain how photography became an accepted form of art, as this was accomplished by Gaspard-Felix Tournachon. This was accomplished based on continuous experimentation of techniques to develop photographs, and how he had set up his environments to emphasize the subject and it’s beauty. Though Gaspard was more interested in caricatures and journalism, he decided to apply photography as a rapid form to create caricatures (Janson, 2012) after a friend convinced him to consider the possibility. Gaspard’s work became very popular, as he focused his photographs mainly on people higher in society, as well as Paris’ beauty (Cadava, 2012). Gaspard continued his work as a caricature artist, as there are dated caricatures during his time as a portrait photographer.
Across Europe, between 1400 and 1650, there were women present in all major styles of time. They worked along side of great artists and were developing new techniques and styles. Women also played a very important role in the Renaissance. Although not as well documented as their male counterparts, women worked along with the other great masters, were just as innovating, and were key in developing new techniques.
The images that will be compared in this essay are Two Models at a Table by Baron Adolf De Meyer and Atelier Couture by Paolo Roversi.
Though the Renaissance era included all of Europe, Italy was the cradle of the movement. The cities of Florence, Rome and Venice were of great importance to this period. Major artists created art mainly in these three. As the center of Italy, Rome held the residence of the Pope and many other important factors. Throughout history, the Roman Catholic Church was very insistent on promoting their ideas. During this time, they used artists and their creativity to promote the Bible and other aspects of their beliefs. Artists were paid, or commissioned by patrons (often the Pope) to create art they wanted. One of the most ambitious patrons was Pope Julius II, who realized the impact visual images had on people’s ideas (Kleiner, 599). Pope Julius II was called the warring Pope, because he often went and involved himself in wars. He also held very humanistic ideas. Because of this, Michelangelo’s relationship to Pope Julius II was very different from his relationship with Pope Leo X, who succeeded Julius II. Julius, because of his adaptions to humanistic thoughts, he let Michelangelo express himself to the fullest, even when forcing him to paint the Sistine Chapel. Leo X, however, was very critical of everything Michelangelo set out upon. This resulted a strained relationship, and eventually abandonment of projects that were supposed to be completed. It is clear that Pope Julius II had a liking for Michelangelo, while the Medici’s looked on him as a type of lowly artist subject to their will.
Titian’s health, inherited from his mountain race, along with his tendencies toward order, balance, and determination, defined the dominant characteristics of the art that he created. He is credited for his being capable of expressing beauty which springs from the deepest happiness of life, and granted his art with that sort of expression. His art was important and has influenced artists after him. He is considered to be a magnificent creator of beauty, which is a well-suited consideration.
Art carried its own imaginative impact in amending man’s view of man, as various art styles changed dramatically over a few centuries, shown in Document A. The painting of the Madonna Enthroned Between Two Angels by Duccio di Buoninsegna was done in the Middle Ages, around the late 1200’s, with an emphasis on the religious aspects. On the other end, the painting of Mona Lisa by Leonardo da
Gill Perry’s writing “Women in Disguise: Likeness, The Grand Style and the Conventions of Feminine Portraiture in the Work of Sir Joshua Reynolds” deeply explores the construction and meaning behind the female portrait paintings done by Joshua Reynolds. Joshua Reynolds was a renowned portrait painter and Founder and President of the Royal Academy of Arts. His artistic life consisted much of full length portraits of many men, women, and children. His most significant work, however, was his portraits of women. Gill Perry analyzed his works and has come to the conclusion that the art created by Joshua Reynolds often aimed to be equal to literature, particularly in his feminine portraits. He created non conventional feminine portraits by means of disguise and distinguished ladies with looks of power, which is an unheard of means for feminine portraits of this age.
...er genre paintings, Boy Bitten by a Crab, 1550s, brought attention to not only prominent Renaissance biographer Vasari but also Roman gentleman Cavalieri, who wrote his impression on the painting to important male patron Cosimo de’ Medici in 1562. Moreover, a series of self-portraits in 1550s, such as Self-Portrait at the Easel, c. 1550, led Sofonisba to work in the Spanish court of King Philip the second as the first female court painter in 1559. Regardless of her artistic talent and international reputation, Sofonisba had never produced the complex multi-nude figure compositions essentially required for large-scale History Painting since she did not have any opportunity to study nude model. In fact, as a virtuous woman artist, she inscribes on her 1552 Self-Portrait that, “Sofonisba Anguissola ‘virgin’ of Cremona depicted by her own hand from a mirror (Fletcher).”
In any art history class, there is one topic that is always covered: the self-portrait. All great artists from Leonardo Da Vinci to Jackson Pollock have immortalized themselves in the form of autobiographical portraiture. Female self portraits are specifically significant. Until the 20th century, women were rarely trained in the art of painting. Usually, the only female artists were the daughters of male artists. This was because it was necessary for apprentices of artists to live and work with the senior artist. Of course, it was socially unacceptable for a woman to live with a man to whom she was not married. Therefore, most portraits of women pre-20th century are not self portraits, but instead portraits painted by male painters. We can recognize these portraits by the fact that the subject’s gaze is never at the viewer, but rather to the side or downwards, due to the fact that women were not meant to look men in the eye.
Both the Lady and the Mona Lisa are white European women who came from, what looks like, higher class families who were born, bred, and educated according to the customs and standards of the era and come from privileged backgrounds. Both are wearing veils over their hair and both wearing dark colored dresses with long sleeves. Their hands are seen in both portraits, just above the waist. Both women were part of the Renaissance that affected their home regions in similar ways, the ideas going back and forth between the north and south, both influencing each other in significant