Analysis Of Florine Stettheimer's Self Portrait With Paradise Birds

Many artists explore their personal journeys within their artworks, as a way of understanding their emotions and the world around them, as well as discovering their identity. Sarah Fordham’s art is inspired by her experiences including her travels around the world, and also as a way to make sense of her thoughts, ideas and emotions. These elements are displayed in bright colours, incorporating symbols and patterns in her work. Her two artworks being analysed are called “The Big Call” and “Pokeepskie”.

Preston’ s artwork is very relatable because she takes inspiration from the natural environment and we are able to see parts of her work in our day to day lives. Preston’s works provoke feelings of home and calmness, because of how close they are to reality and to make objects look real she uses, light and shade, colour and dimension, texture and softness to create a complete, complex

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.

TXT- She incorporates symbolic imagery into her paintings in her series of self portraits, especially relating events of her past life and integrates them into the paintings with the help of Surrealism. Pg 367

2. In "Self-Portrait With Two Pupils" Adelaide sits in a green and gold upholstered chair. She looks at the viewer a smile on her lips. She wears gold earings that disappear under her curly hair. Atop her head is a fancy hat with a blue ribbon that wraps around it and white feathers that flows over the right side of it. She wears a silky shiny blue dress. The top squared around her chest and the sleeves are rimmed with lace. A bow sits in the middle of her chest and there's one on each arm. Her dress sweeps down and pools around her on the wooden floor. It is also pressed up against the back of the chair. Her left arm comes down and lies across her lap. She holds a bunch of at least 7 paint brushes, a long utensile, and a palette. In her right hand she holds a single paint brush to the palette. In front of her is an easel and canvas. She has her foot her placed atop part of the easel. Behind her stands her two pupils. The one closest in the foregound wears a green dress with white detailing on the sleeves and chest and accessorized in her hair. She looks over Adelaide at the canvas, her left hand placed

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

In the painting "Irises" Van Gogh portrayed the part of the field, very often dotted with flowers. Here we see not only the iris, which gave the name of a masterpiece, but also other colors. Of course, the irises are central to the composition. There is no background, but warm soft shades of the earth depicted blurred stripes and a warming glow beds of flowers. That glow enters with a picture of the outside world and gives it visibility and tenderness. Using different shades of green, yellow and purple colors, he creates a real rhythm of lines properly attached in drawing completeness. Rich and gentle at the same time

The engulfing size of the painting (250.5 x 159.5 cm) drives the audiences mind into a hypnotic frenzy as they are overwhelmed by bright and sensual colours, which, have the ability to evoke deep emotions and realisations. Kandinsky has portrayed this through the disorientation of his own personal visions of society during the industrial revolution. The rough yet expressive outline of buildings, a rainbow and the sun gives reference to realism as it allows viewers to connect and understand underlying motifs and shapes yet is painted abstractly to move away from the oppressive and consumerist society. Thus, Kandinsky breaks boundaries through his innovative approach to his art-making practise concluded from his personal belief of ‘art for arts sake’. He believed that art should mainly convey the artist’s personal views and self-expressionism that translated a constant individuality throughout his work from an inner intentional emotive drive. This broke traditional boundaries as art in the renaissance period was meant to be a ‘narration’ or an artwork where an audience could learn and benefit from. This is evidently shown in Composition IV as it exemplifies Kandinsky’s inner feelings towards the industrialised society

Frelinghuysen comments on how nature seems to be the subject. She calls the piece a “tour de force of mosaic,” which means the piece achieves its goal successfully (Frelinghuysen). Analyzing the mosaic, she points out the greens and yellows and the two swans which “carve a slender ripple in the placid shimmering pool” around a small area of water lilies (Frelinghuysen). Frelinghuysen takes account on Tiffany’s unique use of shapes and colors, apart from traditional glassmaking techniques, commenting on how it creates “luminous illusions in mosaic” (Frelinghuysen). She observes how the textured pieces display leaves veining in the shrub. The way he “juxtaposed tiny shapes of slightly varying hues” to create both “intense and subtle” colors, impacted the painting overall according to her (Frelinghuysen). His use of more shading, unlike Byzantine-inspired mosaics, also helped create a better interpretation of nature. Her interpretation describes how his utilization of color and shape helps portray nature as it truly

To further elaborate upon the elements of art on the painting, the lines are in their vast

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.

One of Vincent Van Gogh’s most world renowned paintings is his landscape oil painting Starry Night. The painting displays a small town underneath an unusual yet still extremely beautiful night sky. In this night sky, Van Gogh utilizes an array of colors that blend well together in order to enhance the sky as a whole. The town is clearly a small one due to the amount of buildings that are present in the painting itself. In this small town most of the buildings have lights on which symbolize life in a community. Another visual in Starry Night is the mountain like figures that appear in the background of the illustrious painting. Several things contribute to the beauty of Van Gogh’s painting which are the painting’s function, context, style, and design. Van Gogh’s utilization of these elements help bring further emphasis to his work in Starry Night.

Whiteley’s works parallels Van Gogh’s in its deliberate use of symbols in his paintings and while Whiteley observed many of the principles of Symbolism, his had its own unique facility of Surrealist attached. This can be appreciated in Night Café (1972) [refer Appendix 3] where Whiteley depicted Van Gogh’s The Night Café (1888) [refer Appendix 1] and distorted the image and took the lines of the room to a vanishing point, idealising Whiteley’s Surrealist style. Whiteley’s use of symbolism in his works is outstandingly illustrated in Whiteley’s Archibald Prize winning self-portrait Art, Life and the Other Thing (1978) [refer Appendix 4] where Whiteley demonstrates the controversy of the Archibald in his representation of the William Dobell’s controversial winning portrait of Joshua Smith (1943) [refer Appendix 5] and John Bloomfield’s disqualification from the Archibald 1975 because of his portrait that was deemed to be painted from a picture of Tim Burstall. Whiteley represents these two controversies in his triptych self-portrait containing a photograph of how he looks in real life, a mixed media self-portrait, and a depiction of a baboon symbolising the metaphorical “monkey on his back”. Whitely once said “the fundamental reason one paints is in order to see”, describing how he thinks that his art is a method granting means of communication to his audience.

this rationalization is the basis of Stephen’s internal epiphany; she is, toStephen, “an envoy from the fair courts of life”. This wholesome bird-like girl with “long

In A Portrait of the Artist as a Young Man, Stephen Dedalus defines beauty and the artist's comprehension of his/her own art. Stephen uses his esthetic theory with theories borrowed from St. Thomas Aquinas and Plato. The discourse can be broken down into three main sections: 1) A definitions of beauty and art. 2) The apprehension and qualifications of beauty. 3) The artist's view of his/her own work. I will explain how the first two sections of his esthetic theory relate to Stephen. Furthermore, I will argue that in the last section, Joyce is speaking of Stephen Dedalus and A Portrait of the Artist as a Young Man as his art.