The painting of Pablo Picasso’s “Girl in the Chemise” was painted in 1905. It is portable sized oil on canvas portrait, measuring 60 x 72.7cm, which is currently displayed in the Tate gallery, London. The only subject in the painting is young woman wearing a white chemise. She is in a central position on the canvas; standing in profile, looking to the right, in the viewer’s perspective. She is in front of a dark blue background, and the picture plane is level with the observer.
The pale white body of the woman in the foreground brings light to the painting by contrasting the light skinned body with the dark blue curtains and black background. The linear cool blue color of the curtains and warm yellow color of the drapery make the viewer’s eyes attracted to the painting and move their gaze toward the center focusing on the woman. The detail and lighting greatly accentuate a silky feeling of the curtains and blankets. The body of the woman in the painting has a soft outline of her body creating the sense of smooth skin and desire. The mass of the painting is dominated by the woman who adds length horizontally by the elongated pose of her body.
Taylor Swift has her golden hair pin back off her face. The natural sunlight is beaming from behind her though her arm and shoulders. At the top of the advertisement, Covergirl is displayed in olive green letters. At the bottom of the ad they put the text in black and green explaining the mascara value. The texts tell us fashionable women what the mascara does to eyelashes.
Edouard Vuillard’s painting titled The Dressmakers Under the Lamp was executed between 1891 and 1892. He used oil on cardboard for the small finished piece sized approximately 9 x 10 inches. Vuillard was known for painting subjects in intimate settings therefore earning the style title of “intimist”. The scene depicted in this painting was of Madame Vuillard and Edouard’s sister doing their jobs as seamstresses under the glowing light in the Vuillard’s tiny apartment that doubled as a dressmaker’s salon. The dark brown and blackened background is subordinated by the warm golden glow of the kerosene lamp that is shared by the two weary women.
She accentuated her plump lips with pink lipstick and her high cheek bones with soft pink blush. Her nose was as straight as an arrow and her dark blue eyes shimmered brighter than her small diamond earrings in the sunlight. Katy wore a curve-hugging and cream-coloured leotard bedazzled with different shades of pink and purple coloured gems. The leotard was completed with a small pink belt tied around Katy’s small waist. Katy also wore cream-coloured stockings showing her fit legs along with pink heels and small, bedazzled pink bracelets while the pink and purple spot lights illuminated Katy’s pale skin tone.
In the photograph the women has her toe nails painted in the colour red. The females’ right leg seems to be stepping further then the left leg. At the bottom of her heels there seem to be a tone of darkness coming up, right until it fades away with the normal skin colour. The background is just plain white with no patterns or colours added; therefore only under her heel, there is a little, light round shadow. From the females’ knee down, there is a dark tone blending as its going down to the ankle.
Gone with the Gunsmoke is a serigraph print that Schenck created in 1996, and the one on display at the Tucson Museum of Art is 34” X 28” and is 44/78. The focal point or emphasis of Gone with the Gunsmoke is a beautiful woman dressed in western attire. Schenck uses contrasting light and dark shadows to give the woman the illusion of three dimensionality or perspective, creating depth in the flat picture plane. The solid blue-grey background color appears flat in this composition. This somewhat shallow use of (the illusion of) space allows her to pop out of the background, as she is pulled towards a viewer and thus becomes the focal point.
Charles Bortelli April 20, 2012 Art History Visual Culture since 1400 Museum Paper Girl with Cherries The following research paper will study a painting by the name of Girl with Cherries(Fig 1) by Giovanni Ambrogio de Predis, an Italian Renaissance painter from Milan, Italy who lived in the 16th century around Leonardo Da-Vinci’s period. This beautiful portrait is located at The Metropolitan Museum of Art in New York City and is currently on display in the European gallery section. The medium of this particular piece is oil on wood, instead of the traditional oil on canvas with a small scale of 19-1/4” x 14-3/4”. Girl with Cherries (Fig 1) is a clear example of Leonardo’s influences that first started to take root in the development of Italian Renaissance art. Giovanni de Predis was one of the few artist who absorbed da Vinci's principles of natural shadowing of facial projection under soft direct light, and frontal position as seen in Leonardo's The Mona-Lisa (Fig 2).
This effect it to make it seem real like and not fake. Mattisse was known well for his use of color and in this painting, although the colors are soft, the colors of the fruit and the woman’s shirt stand out. My eye is also drawn almost to the center of the painting to the glass bottle of wine that is a bright reddish color. The daylight coming through the window and lighting up the room tells us that this is possibly a breakfast or a brunch, since there is also quite a bit of fruit on the table. This is all around a warm and inviting piece.
Denotation is the literal meaning of the word, while connotation is the association that has a connection with the certain word/ symbolic meaning (Duck & Mcmahan, 2010, p. 34 ). Creme of Nature is a company that sells hair care products for women. The denotation of the ad shows two pictures of pressumably African American woman wearing white dress, one of them had her facing the front. She had a serious expression, mysterious yet confident, and her hand kept behind her back. The second picture had her turning her back while showing off her bare shoulder.