Analysis Of Le Chinois Galant

In Gustave Caillebotte’s painting, he uses a wide range of colors too, but these are more vibrant. The viewer is enticed to see themselves in the in the painting as there is an empty waiting to be occupied. The method of his

The painting that I chose to write my formal analysis on is called “The Café Terrace on the Place du Forum, Arles, At Night”. This piece was created by Vincent Van Gogh in Arles, France and was completed sometime in September of 1888. This painting is oil on canvas, and it is currently housed in the Kroller-Muller Museum located in Otterlo, The Netherlands in Europe.

This paper will employ close visual analysis of the The Vase that was created by skilled craftsmen [Tang dynasty (618–907)] describing how it’s minimalist design represents that it was a time when they focused on non-controversial themes when painting.

However, this image is missing the simplicity of the previous poster and the skill in which Chéret prints La Loi fuller’s dress in movement cannot be overlooked, it is what carries the whole poster with ease. As stated by Jane Abdy in ‘The French Poster’ what makes a great Chéret is “the personification of gaiety in his posters …. the laughing, twirling, sparkling girl whom he uses as a model; the Parisians adored her , and called her ‘La Cherette’ (abdy, 1969, p.31)

context such as race and gender, and the history of the painting. In addition, I will be

Just by looking at this painting, and without reading the name of the painting, I immediately see from the components of the painting there was a trouble. This painting describes the devastation period of 1930’s mainly the effect of the depression and tailed by drought.

The first element I look at to describe the painting was the title. Reading the title with the year gave me an idea of what the painting could be about, which in this case would be ambassadors during the Reformation of Europe. After beginning to view this piece of art, the first aspect I notice is located on the foreground of the painting which is a skull tilted to an angle where, if viewed from other perspectives, people could mistake it for another object. After recognizing the skull, I assumed the painting was a historical subject of the two figures standing or a narrative over these two-people standing proudly as if they accomplished a grand achievement through realism. Afterwards I concluded that the subject view would have been focused on the two men standing. The next object that caught my attention was those two men standing, especially the one standing in the lighter colored clothing. Soon after I examined the items in the background while trying to identify them. Most of the tools and other objects I couldn’t determine but it gives insight to how scholarly the two men could

In 1844 painted with watercolor, bodycolor and gum Arabic with graphite on paper, mounted to a board. The painting is non-objective and can have multiple interpretations

In the painting, Brook draws attention to a porcelain dish containing fruits to bring about the origin of porcelain in Europe. To European who were used to the dull Faience, the “hard and lustrous” glazed surfaces and “sharply defined… brilliantly vivid” underglaze designs amazed the Europeans. The intricacies of Chinese plateware increased European desire to connect and trade with China. Although it was only limited to the nobility at first, as china transculturalized and became an integral part of the European lifestyle, china propagated to the other classes. When mentioning Chinese dishes, Brook noted, “back a decade or two and Chinese dishes rarely make appearances in Dutch paintings – but go forward a decade or two and they are everywhere.” This shows the growing popularity of Chinese goods in European culture. To satisfy the increasing demands of Chinese wares, there needs to be a more efficient and frequent interaction between the two areas, hence, leading to a beginnings of big events (rise of Dutch East India Company, European colonization, etc) that ultimately connected the

The painting was done by a friend of mine and is supposed to represent the

One of the most visually intriguing pieces in the exhibit is the Portrait of Père Bouju by Maurice de Vlaminck. It was painted around the year 1900 by the French artist. It is not particularly beautiful by normal standards. At first glance, the texture of the paint stands out more than any other feature. It has very strongly defined brush strokes and thick paint in portions, especially the face of the man and the background. The lines in the paint are mostly straight, short, and wide with some that are thinner and wavy, like the smoke. The man is in the center of the canvas, he is the only discernable image, and he is almost devoid of detail aside from the face and the hat. The colors are almost entirely neutral aside from the red scarf. In this oil on canvas portrait the man is wearing a

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

While Qiu’s work depicts the prosperity of Suzhou in the middle era of the Ming dynasty, Zhang’s painting shows the daily life of people in Kaifeng during the Song dynasty. Qiu Ying’s buildings are more structured and grand, even the shops appear more spacious. The scenes in this painting represent an important page in Chinese history by combining the history and reality of a genre painting. So many landmark buildings in Suzhou are clearly recognizable which show the developed economy and traditions of the Ming dynasty and the artist’s own style. Qiu Ying uses the traditional blue-and-green style in this painting, leading to a beautiful picture which is filled with bright green mountains and clear blue

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

The idea of this piece is to show the connection between mother and daughter being painted. It shows the time and the classic style of the