The work of art chosen to be analyzed is a portrait by Elisabeth Louise Vigee-Lebrun entitled The Countess Von Schönfeld And Her Daughter. The artwork is oil on canvas art painted in 1973. It is a painting of a woman and her daughter. Elisabeth Louise Vigee-Lebrun’s main focus of the portrait is visibly the mother and her daughter displayed in the portrait. The subjects are placed in the center to emphasize the figures and the pair is set in the foreground.
The background is a mix of white, brown, grey and blue. Different tones are used for the background and the skin, in order for the background to mix naturally with the women. This creates the impression that the background is as important as the subjects in focus. Picasso’s choices of colour enhance the painting without distracting from the women’s figures, which are indisputably the main focus of the artwork. Each woman’s figure is comprised of sharp angles and curves.
The transformation of the colors from her standing there, to her reflection in the mirror, shows a darker, older, more voluptuous woman. He portrays this by using darker colors like the darker blue silhouette around her head, her face becomes a darker shade of purple, and what used to be her soft blonde hair is replaced by darker hues. The interpretation of the contrasting colors is just one way the artist tried to illustrate what his mistress felt, thought, and saw of herself. Pablo Picasso demonstrated his piece also through her expression, her stance, how she embraces the mirror as she starts to realize that she is becoming a woman and as it appears carrying their love child. As the young serene girl sees this new image of herself she starts to cry.
This piece of art work is of a woman dressed in black cape and dress. The women's arms are folded in a way that makes her look pregnant. This portrait is composed of light and dark colors. The top proportion of the painting is light but as you go lower the painting gets darker. The emphasis is at the face of the woman.
She is seated only slightly off-center, but due to the high-key color of her dress and skin, is the dominant part of the painting. The dress that is draped over her entire body is pure white, a strong contrast to the majority of her surroundings, including Daphnis himself who is entirely much darker and more in the shadows than she. Beyond just the light and dark contrast, there are noticeable shapes in the painting that draw the eye to Chloe. The tree behind her is very dark, but in each corner of the painting the leaves part, allowing the blue sky behind to be seen. These areas are very small, but both of the breaks in the branches move inward at a diagonal, creating a triangle that points to the young couple, the young woman in particular.
The ‘thin’ woman is ‘more aquiline, more gaunt…. like a buzzard’, whereas the fat woman is seen as more of a ‘domestic’ bird. The thin women is being characterised as being very different from the fat women appearing to be more of a scavenger, someone sitting on the outside, different from the rest of the society and not fitting in. Characterisation is also used to show that the thin woman was seen as socially different from those around her. When the fat woman offers a cup of tea and the thin woman drinks it ‘delicately’ and with ‘her little finger elegantly curled’ the fat woman finds it irritating and questions her on her mannerisms.
Sarah Bratton Bryan Wheeler ARTS1301 – Art Appreciation 23 September 2012 A Females Beauty in “Grande Odalisque” The artwork of French Artist Jean Auguste Dominique Ingres titled “Grande Odalisque” was painted on an oil canvas in 1814. On close examination it is easy to see many elements and principles of art and feminist mode of analysis, which helps present the beauty of a female body. Ingres’ portrays several elements and principles of art in his painting of a nude female to display his desire towards a female’s beauty. When examining his artwork, the viewer is directly drawn to the woman’s long back. This is the focal point of the artwork, since it is a lighter shade than the rest of the image, and it is the biggest proportion to the piece.
It classifies a different approach to painting. Neoclassicism pertains mainly to the Greek and Roman era. Neoclassicism is the preceding Rococo style because the women are no longer seen cavorting like mermaids or even luxuriously dressed, similar to the Duchess of Polignac. In many of the Neoclassicism paintings women are posing in the nude rather than being seen for their luxurious living styles. In the painting by Jacques Louis David, The Emperor Napoleon in his study at the Tuileries, 1812 is a formal looking painting with dark colors and the painting is in focus unlike the Impressionism painting technique.
Her eyes are "filled with some sadness" and are "small and of a dull black in color” (18). Her feet are not bound so they are considered ugly and shameful. Also, her hands were large and rough from working. Wang Lung thinks they are " big hard [hands], stiff as though [they are] dead already. Unlike Olan, Lotus is viewed as beautiful.