Adele Bloch-Bauer: A Comparison

The figures are distinct and clearly visible against the background. You can tell that one of the women is behind a curtain while the other four are outside of it. One is even leaning on a wall. Some of the painting has crisp outlines. The shapes on all the women’s bodies are pointy and lemon shaped. You see this mainly in their arms and legs. The two middle women are a little softer and smoothly shaped as real women would be. Their robes and curtains have a series of misshaped squares and triangles. The placement of the women in the painting make it hard to really understand their positions. It isn’t certain if the second woman from the left is sitting or standing. The spaces between each woman are distorted as well. the values in the painting are well defined. For example, you can see the contour of the middle woman’s mid drift and breast, because the paint changes between dark and light. You can also distinguish this with the robe and curtains. The edges of the open curtains are darker than the rest, which indicates there are shadows there. The colors of the women do appear flesh tone. You can distinguish the robes from their skin. A portion of the painting is a different color than the curtains, so one can assume it’s a wall. The difference in colors give good definition between the women and their environment. The clothing, masks, curtains, and flesh of the women are all colored

This subject matter is about one of the most under rated paintings in my opinion of all time painted by a very under rated painter whom is Tim Ashkar, and the painting is no other than Beauty of Color. The artwork is full of different shades of beautiful black women wearing their elegant attire along with exquisite heads dresses and simply luscious pearl necklace along with the ear rings to match. All of them have peaceful and pleasant looks on their faces with their backs straight wearing beautiful array of earth tone colors with eyes to match. It seems like they arrange from young to not so old but all of their faces are very distinctive from one another, so it’s very easy to see who’s who.

The woman painted is sitting in what seems to be a domestic setting. However, unlike many other painted black women in the Enlightenment, she is seated alone. She is not depicted serving a white woman or doing any labour. The white cloths wrapped around her head and body along with the light background creates a dramatic contrast between the light colours and her dark skin. Her breast is exposed, but she is not sexualized like in many paintings of white women of the period. Despite her less-than-modest exposure, the woman does not show any signs of embarrassment. She is not blushing and her gaze is fixed on the viewer in neither a demure nor passionate way. In fact, she seems nonchalant about her exposure.

Mrs. Richard Skinner’s dress is very form fitting and looks quite confining, this is how most women dressed at this time. This is symbolic of the confining lifestyle that Mrs. Richard Skinner and many other women of this era lived. Copley was notorious for illustrating wealth through clothing pieces and fabrics. It is evident that Mrs. Richard Skinner is dressed in a lavish gown which demonstrates that the subject is indeed wealthy. This technique allows anyone looking at this painting to pick up on this queue, even without knowing the subject’s true identity.

She is positioned on the right hand side of the canvas. Hemessen is seated while painting a canvas located on a easel. Her body is slightly turned towards the viewer. Her elbows are bent. In her left hand she holds a bundle of paint brushes and the paint pallet is supported by her thumb. A paint brush occupies her right hand, this paint brush is being used to create a self-portrait of a woman. She is only in the beginning stages of the painting; only the outline and small details of the image’s face are visible. The colourless canvas contrast to Hemessen’s clothing. She is elegantly clothed in a black brocade dress with dull orange/red velvet looking sleeves. Underneath the clothing appears to be a red collared blouse. A cream coloured head piece is accompanied by her facial expressions. She is turned towards the viewer but is not making any direct eye contact. Hemessen does not show any

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

Guiard adds specific creases, lining and folds on her dress, making it glow and shine. She also adds decorative details on her hat by adding feathers and a ribbon. Her details on her wardrobe makes her attire more extravagant and fashionable. This provides a sense of power, wealth and elegance. Although in real life, it is unlikely that she would be painting in this attire, Guiard adds details on her dress and hat to dramatize her desire for women to gain more power and be respected, just like men. Her details in the brushes she is holding also further establishes her stance on women empowerment in the art field. She adds details to the brushes by painting the brushes in different sizes. By adding the small details in the brush sizes, Guiard shows that she is educated in the arts and is capable of painting and teaching others about art. This portraying the idea of how women are capable and educated as well in society. This further expresses her desire to fight for more women’s acceptance to the French Academie

With such popularity, the world’s eyes fall on this painting. Yet, this image they see does not portray women in the best light. The Women of Algiers features 4 abstract figures in various positions, spread evenly across the room to create balance. The lines that shape the figures are thick and black, and thus their outlines are filled with many cool colors such as blue and green, and complementary tones of red, orange, and yellow. On each figure, there is great emphasis on the breasts and buttocks— they are large, round, and protrude from the figure, over-accentuating the female

This formal comparison of two paintings displayed at the Metropolitan Museum of Art, Elizabeth Farren, the Late Countess of Derby (ca. 1790), by Sir Tomas Lawrence, and Madame Aguste Cuoq (ca. 1852-57), by Gustave Gourbet, brings attention the distinctions and similarities in the approaches each artist took to present these two women’s personalities living in the 18th and 19th century. Initially the first thing the viewer notes is that, both paintings are full-body length portraits of women, who are focused directly at the viewer. The scale of both women figures, are fairly similar to human size and their position allows the viewer to get a feel of the uniqueness of each woman’s personality, fashion and style.

Every woman is working hard to look beautiful in front of others, the beauty standard varies from one era to another, one country to another. Here are two paintings showcasing the beauty of women by two great artist. One is called “Girl with Pearl Earring” by Johannes Vermeer a Dutch artist and painted on 1665. The other is “Mona Lisa” painted by Renaissance artist Leonardo da Vinci. In both painting, the women gives a different meaning on their concept of beauty, but both are appealing subject to see on a canvas.

First of all, the author says that the dressing of the women is not going with each other. He claims that the white linen cap is for poor servants, while the fur collar is prestigious. Furthermore, Rembrandt was known as careful in choosing the clothes. This point is challenged by the lecturer. She believes that the fur color was not part of the original painting. She puts forth the idea that the color was added after the painting was made in order to increase its value.

Can people so different be so similar? Margaret Olley and Georges Braque came from different parts of the world with very different lives. Both had different influences that developed their personal styles. Both artist sharing a passion for painting and still life as well as modernity. No two artist can be the exact same, everyone is introduced to different lifestyles and experiences but they can still share similarities, these artists show that.

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

Art is subjective and is deemed “art” by the eye of the beholder. This means that what is deemed art by one person may not be considered art by another. For me to deem a painting as “art”, the painting must move me emotionally in some way or form. That is why the oil painting Portrait of Adele Bloch- Bauer I, which is also known as The Lady (or Woman) In Gold is one of my favorite paintings. The famous historic Austrian painting was painted by Gustav Klimt in 1907. The history of the painting is one of the main reasons why it is my favorite painting. After Adele’s passing, Nazis stole the Portrait of Adele Bloch- Bauer I from the Bloch-Bauer family and renamed the painting The Woman In Gold to cover up the Jewish heritage. After many years

Lydia Seated in a Lounge, by Mary Cassatt, and Au Café, by Edouard Manet, are two pieces of work that were created in the modern era. Both paintings possess the characteristics of modern paintings; the quick, light brush strokes that portrays a sense of ephemerality and movement. However, these two works differ heavily when placed in the social contexts of the time period, which revolved heavily around the idea of sexuality. From 1860-1900, the social fabric of Paris transformed enormously, and as a consequence, the social perception of women and men changed drastically. Looking at the two paintings, gender plays a paramount role in the understanding of the subject as well as the painting as a whole. This idea is further emphasized by the idea of the Flaneur, the Gaze, and the social spheres that were formed at the time.