RIn Jean Baptiste Simeon Chardines’ Painting,Still Life with Kitchen Utensils and Sebastian Stospkopff’s, Still Life with Empty Glasses there are kitchen tables filled with various materials but the styles vary as well as the depiction of class.One painting depicts upper class life, while the other conveys a more humble village family table. In Jean’s painting unlike Sebastian’s,the kitchen table has on it kitchenware that depicts a humble lifestyle . It conveys the life of a commoner or a village family.The painting includes hanging meat, a pan, dirty clothe, onions,celery,a brown bowl, and a black ladle amongst other things all conveyed using brushstrokes. The brown bowl is not made of fine gold,it is simply cheap. The pan is not made of gold or silver,like the basin in the Sebastian painting for instance which is of fine gold in appearance.In contrast,Sebastian’s painting,along with the golden basin at the far left,includes silver and gold cups stacked atop one another and a bronze basin in the middle holding a silver object. This painting also contrasts from Jean’s painting in that it leaves no hint of brushstroke anywhere on the painting.The objects within Sebastian’s painting portray the life of a wealthy nobleman,with his cup overflowing with richness he delights in showing off his wealth by displaying cups and various objects made with fine metals of bronze, gold,and silver. Referring back to the fact that this painting contains not a hint of brushstroke, this insures a sense of reality. The painting looks so real it is as if the table and objects depicted within the painting are a part of the household in which the painting is hung.But all who see Jean’s painting can clearly recognize that the painting represents not r...
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...epth perception, and clear lines make Sebastians Still Life with Glasses seem real. Brushstrokes, unclear lines on the table, and distance not visible to the viewer but symbolic, make Jeans’ Still Life with Kitchen Utensils more of a work of art, than a depiction of what is real.Jean portrays a table in a house of a commoner and Sebastian, a table in the house of the wealthy. The viewer of both of these paintings, is himself of nobility. On the one hand he sees this lush kitchen table of Sebastians’ and relishes in his own wealth, but on the other, he seems separated from the poverty of Jeans table. The wealthy man has the grapes, but not the onions, not the wisdom of the poor that leads them to seek virtuous things rather than material objects.He is inevitably separated from both the pain of poverty, and the wisdom of the righteous not self seeking but humble man.
Carol Armstrong begins her essay by pointing out the two main points that come about when discussing A Bar at the Folies-Bergere. These two points are the social context of the painting and its representation of 19th century Paris, and the internal structure of the painting itself with the use of space. She then goes on and addresses what she will be analyzing throughout her essay. She focuses on three main points, the still life of the counter and its commodities, the mirror and its “paintedness”, and the barmaid and her “infra-thin hinge” between the countertop and the mirror.
Jan de Heem painting, “Still Life with Lobster” is an oil painting with a bright red lobster that catches the viewer gaze into this beautiful dinner from the late 1640s.The color scheme used in this painting is analogous since it uses relatively close hues. In the painting, the lobster is on a silver platter but it has been left untouched. Surrounding the focal point of the painting is luxurious fruits including grapes, cherries, peaches, berries, oranges, and a half peeled lemon. To the left of the lobster is an overturned silver goblet. This particular style of painting is known as a vanitas form of painting. The artist is using a luxurious left over meal to show even the most expensive desires of the world doesn’t last for eternity. The
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
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...
The work depicts a family in plain clothing enclosed in a simple solitary room with a fading fire amidst the dark shadows of the background and another light source that extends from beyond the scope of the canvas. At first glance the influences of Caravaggio and Rembrandt are apparent. Their faces are neither, sad, sullen, angry, or joyful, but rather their emotional expression is plain and uncomplicated, adding a sense of timelessness to the painting. As in the description (20-34) of the piece which states; “It reflects 17th Century social theory, which celebrated the natural virtue of those that worked the soil”, (p. 609). The idea of portraying a classic simple lifestyle is a refreshing one and a concept which will reoccur in other works of the Baroque period.
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
The first thing to notice about this painting is how incredibly involved and realistic the brushwork is. The couple’s faces are so delicately rendered. Every wrinkle is visible and every hair strand is in it’s place. The soft folds and patterns of their clothing, and the grain of the vertical boards on the house, are highly developed and reveal Wood’s incredible attention to detail. The man, especially, appears to be nearly photorealistic.
In this novel, the society is centered around dichotomies; “youth and dotage” (Balzac 67), “the young man who has possessions and the young man that has nothing” and “the young man who thinks and the young man who spends” (87). Any person who falls outside of either box is called a “[child] who learn[s]… too late” or can “never appear in polite society” (87), essentially meaning they are undesirable in a formal society because they cannot follow expectations. The titular character, Paquita, is an “oriental” foreigner, from Havana, domesticated in Paris when she was sold to a wealthy woman who desired her. She fits into no culture entirely, as she is “part Asian houri on her mother’s side, part European through education, and part tropical by birth” (122). She is bisexual, choosing neither men nor women over the other. She is controlling, dressing Henri in women’s clothing (119), but controlled as she is reduced to a possession. However, there are ways in which a person can still be desired even if they are not easily pigeonholed. With her golden eyes and sensuality, Paquita fulfills both of the main pursuits of this society, “gold and pleasure” (68). Consequently, unlike the Marquis and his irrelevance in society, Paquita is highly sought after, thus making her a valuable commodity. Her desirability is not because of who she is as a human, but instead what
We can see a clear representation of the impressionist that tended to completely avoid historical or allegorical subjects. In this painting, Monet’s painted very rapidly and used bold brushwork in order to capture the light and the color; include relatively small, thin, yet visible brush strokes. An insistence on what Monet called “a spontaneous work rather than a calculated one” – this in particular accounts for the sketchy and seemingly unfinished quality of the Impressionist paintings. In the texture, he played with the shadow and light and created variation in tone, he employs patches of depth and surface. The light in the painting come from back to the windmill, it is a light shines softly behind the houses and the windmill. He was shown each brushstroke in the painting. Balance is achieved through an asymmetrical placement of the houses and the most important the
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Bishop’s use of imagism in “One Art” helps the reader to comprehend the ability of the speaker to move on from lost items such as a mother’s watch or loved houses.
Theo and the young Narrator similarly discover the revelatory capacity of art through a single pivotal painting and author respectively, both which become significant motifs in either text. Tartt utilizes an existent painting ‘The Goldfinch’ as a fixed point of reference, which, for both Theo and the reader provides a sense of reality and constancy ‘rais[ing him] above the surface’ of an otherwise tumultuous childhood. Whereas Proust uses a fictional author, ‘Bergotte’, to communicate the universality of art, and invite the reader, through the vivid immediacy with which the Narrator’s early reading experiences are described, to participate in his epiphanic discovery that art can translate ‘imperceptible truths which would never have [otherwise] been revealed to us’ (97). Artistic imagery becomes a motif in Proust’s descriptions of scenes of domesticity and nature. In a scene recounting Francoise ‘masterful’ preparation of a family meal the Narrator describes asparagus in the technical language of painting as ‘finely stippled’ provoking an association between his observations of asparagus and the creation of a painting. By forming this improbable link he elevates unremarkable asparagus to the ‘precious’ status of art in the eyes of the reader. Proust’s presentation of his Narrator’s ‘fascination’ and pleasure at their ‘rainbow-loveliness’, forces the reader to consider asparagus with unfamiliar and attentive appreciation, conveying the idea that art can uncover the overlooked beauty of the mundane. Though Theo reveals a far more cynical view of ordinary life as a ‘sinkhole of hospital beds, coffins and broken hearts’ Tartt conveys the similar belief in art’s capacity to create a ‘rainbow-edge’ of beauty between our perceptions and the harshness of reality. In the most
Art in general is a factor that allows humans to express their creativity, as they apply the essentials of history, media, elements and principles of design. It was those recent class trips, that I had taken to La Salle Art Museum, that instantly allowed me to acquire a deeper passion for art. Soon enough, in the 17th century exhibit, I saw a piece of artwork that was remarkably aesthetic for me. The artwork is ironically titled, “Still Life with Fruit”. The approximate size of this artwork is 16 inches wide by 20 inches long. The artwork dated back to the year of 1689. A Dutchman named, Jan Mortel, born during the year of 1650, was the artist of this artwork. Judging from the artwork, Jan Mortel had a great talent for oil painting. Jan Mortel
Robert Browning’s 19th-century poem entitled “Fra Lippo Lippi” centers thematically around the discussion of art. Fra Lippo Lippi is a 15th-century monk and artist whom engages in a dramatic monologue with the law. As an unreliable narrator, he reveals things about himself and those around him that perhaps he is unaware of revealing. Fra Lippo Lippi expects that his behavior is seen as wrong but dismisses it with his poetic narrative of how life has tried to shape his art, imprisoning his God-given eye. As the verse unfolds the silent audience is acquainted with the aesthetic theories of the Prior and of Fra Lippo Lippi. Fra Lippo Lippi states the artist can capture what the normal eye would not as he frames reality; the gaze of art can serve the soul in reaching a more righteous being. The role of the artist and of his art are in battle with the body and soul as seen through the struggles of the Prior and Fra Lippo Lippi’s opposing aesthetic theories.
The women which Stephen comes across in his journey in becoming an artist define him and change him by nurturing him, fascinating him, and inspiring him. Stephen was forever changed by his mother, the Virgin Mary, Eileen, the prostitute, and the seaside woman. The object of the artist is to create the object of the beautiful, I argue that it was the beauty in the women of A Portrait of the Artist as a Young Man, which created the artist in the end.