Alice Neel And Schiele Analysis

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

A review of the world’s great artists conjures familiar images: Michelangelo’s Sistine Chapel; Vincent Van Gogh’s Starry Night; Pablo Picasso’s The Tragedy. There are many more, of course: Monet, Moya, Warhol, Rembrandt, Kandinsky. What is immediately noticeable, however, upon any brief study of art, is the significant absence of women as heralded artists—not only in our ancient pasts, but even today, amongst valiant efforts for gender equality.

Celebrated artists Elisabeth Louise Vigee Le Brun and Marianne Von Werefkin have contributed to the evolution of two different art styles and the appreciation of female artists. Le Brun’s Self Portrait in a Straw Hat exemplifies the prominence of Neoclassicism and the Rococo movement during eighteenth century France. Von Werefkin established herself as an Expressionist in her Self Portrait in the rise of the twentieth century. Both representational pieces provide the viewer with a candid insight into the temperament of each artist, reflecting their artistic influences and the time period in which the artworks were created. Consequently this has affected their application of colour, tone and composition, creating two distinctive self portraits.

Nude figures have been featured in art works since around 30 to 25,000 B.C. And throughout the history of art, we can see a lot of artists being inspired and influenced by great talents before them, in one way or another they would carry the style or ideas of those previous artists into their own art and create new masterpieces. One particular example is Édouard Manet’s Olympia from the Realism period, and Yasumasa Morimura’s Futago. The two paintings share great similarities in their composition, but the content and purpose of the paintings, and style wise the two pieces are very different.

“People can take what they like out of the work”-Saville (YouTube, 2017). The female nude is one of the most prominent themes in the history of art and has been subject for many masterpieces such as botticelli's The Birth of Venus and Manet’s Le Dejeuner sur I’herbe. Saville's treatment of the female nude is undeniably like no other from the centuries before her.

“Primitivism” was a cultural attitude that arose in Europe during the late 19th and 20th century in opposition to the increasingly decadent and materialistic European culture. Rather than an artistic movement, “primitivism” is a European conception of foreign civilizations and lands as “simple”, less developed, and naive. This is an important distinction to make, because “primitivism” was defined in the eyes of the Europeans who saw foreign civilizations as unsophisticated, indicating that the concept of “primitivism” is heavily biased in the view of the Europeans. Paul Gauguin and Henri Matisse were two artists that were highly influenced by the concept of “primitivism,” and some similarity can be depicted in their works such as the use of female nudes, vivid colors, and artistic techniques. However, their definition and methods of achieving “primitivism” differ heavily, due to the fact that the vagueness of “primitivism” allows it to be a self-defined concept. These similarities and differences can be seen through the two works of art The Spirit of the Dead Watching by Paul Gauguin, and The Blue Nude by Henri Matisse, and the way they depict women in each of the pieces.

For my term paper I decided to go to the Cantor Museum in Palo Alto, and I chose to focus on two portraits of women from two distinct time periods. First, I decided on the portrait of Margaret Blagge, Wife of Sidney, 1st Earl of Godolphin. This portrait was painted by the artist Matthew Dixon in 1675, in the Baroque period of art. The portrait of Margaret Blagge was done in England, and it was painted as an oil on canvas. The second artwork I chose to compare was the Portrait of Sally Fairchild by John Singer Sargent. This portrait was done from the year 1884 to 1887 during the Realism movement in art. The portrait of Sally Fairchild was painted in the United States of America, and was painted as an oil on canvas. When comparing these two portraits

Reclining nude female is a common subject matter in art history since the Venetian Renaissance, Titian’s Venus of Urbino painted in 1538 is one of the earliest reclining nude female in painting history. It described a beautiful young female laying on her bed with her sleeping dog, on the back ground is her maids looking for cloth or her in the cassone. Manet’s Olympia that painted in 1865 is a painting with a similar composition, A nude young female who was suggested a prostitute, behind her is her black female maid holding a big bouquet of flower which is possibly from her customer. On the same part of the composition, there is an animal as well, but this time it is a cat. Titian and Manet’s reclining nude female have a same composition and subject matter, however They are very different in art history, both stylistically and culturally.

Even though some artists, as Berger claims, tried to resist this tradition, they couldn’t overcome the cultural tradition of female objectification that has continued to the present. These artists failed to create a different view in culture because of the media and how the perception wouldn’t change in the eyes of men. One famous artist who tried to resist this awful trend was an artist name Rubens. In his portrait of his second wife, the painting named Helene Fourment in a Fur Coat, he tried to portray the same message with a different image.The image is of a women with no other clothing other than a fur coat looking shameful. The middle-aged looking women in the painting was wearing a big brown fur coat. The difference between a regular “nude”

The reading claims that nudes throughout artistic history have been an important source of beauty and controversy. Nudes began to spike during the Baroque period as they were used for the more expressive and emotional arts of the time. In the nineteenth century, nudes became more common, yet became more sensitive. Artists would train by drawing nudes of ancient Greek statues and figures from myth. However, many artists would then move on to create works depicting prostitutes or peasant naked women. This would not please patrons as they were extremely societally taboo. However, this did not start artists from making them, as they moved into the twentieth and twenty-first century. This shows the importance of artistic nudes and their impact

Have you ever looked at a piece of art and wondered how it could be based on real life, because it was just so beautiful? Well Elisabeth Vigee Le Brun was able to paint in such new and exciting ways; people were left wondering just this. Elisabeth Vigee Le Brun was a woman of many talents. In her life time she came up with new ways of painting, revolutionized fashion in France, and overcame any prejudice thinking because she was a woman. Before dying at the age of eighty-seven, she had gained the respect of women and men all across the world. Being a female artist in the eighteenth century was not easy, especially when you had to keep a career and your life together during the

Artist and people viewing the art work have always had a fascination with the female nude. Even when I was a child my attention was captured by the nude art not because I was a kid and I saw a nude lady , but it forced me to wonder more about why the female nude was so amazing as a tool for art and why this is repeated so many times throughout the centuries. One female nude painting in particular was the subject of controversy and exposed the syncretism and or the power of the female nude painting.

time. The subject is a real female courtesan lying nude on a bed in a

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

An Austrian painter named Egon Schiele redefines beauty during the expressionism movement. Born in June 12th, 1890 in Tuln an de Donau near Vienna, Schiele spends most of his life in Vienna and dies on October 31st, 1918. After recognition from one of his primary art schoolteachers, Schiele decided to take a formal training at Vienna’s Academy of Fine Arts where Gustav Klimpt had attended. He admired Klimpt’s work out of all artists and found a mentor-mentee relationship that had a great impact on Schiele’s development as a young artist. He underwent through a phase of work inspired by Klimpt then later found his own ways of creating art that forever changed how they viewed beauty throughout 1900 Vienna. At age of twenty, Schiele studied his own naked body in a series of self-portraits and discovered his own definition of body figures in painting. In his painting Self-Seer I, a nude double portrait of Schiele represents autoeroticism, which was not the norm in Vienna society. The background carries no decorations as it carries