Analysis Of Madame X By John Singer Sargent

In Berthe Morisot’s painting, she uses colors ranging from blue to green to yellow to orange. She uses paint thinly but in big brush stroke but her color was dull. Her brush strokes are in a cross hatching manner. This method of cross hatching creates depth and shadows on the foreground. Intermixed, in her piece are signs of dry brush strokes. Morisot’s figure is enticing to the viewer by staring back at the onlooker. Morisot’s painting looks very freeing as that is what she longs for. She has a sketch like quality about her painting.

Berthe Morisot was born in 1841, a time when it was still quite difficult for women to become professional artists as the art world was predominantly male. She continually faced criticism and encountered difficulties due to her sex. Despite this, Morisot was able to establish herself as a respected artist whose work only continues to become more highly regarded with time. Her place in art history alongside such Impressionist artists as Claude Monet, Marie Bracquemond, Mary Cassatt, and Edgar Degas, is a testament to her ambition. She was an artist who “aspired to greatness” who “was not content to take second place.” Her painting Young Woman Knitting of 1883 is a excellent example of her style and technique. To fully comprehend how this painting is typical of her work, it is helpful to study her life, as well as her artistic development, especially in her paintings.

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.

In this paper, we will focus on examining Vincent’s painting, Starry Night. The paper will begin with a short introduction about Vincent where an analysis will be conducted to explore more into the painting. Subsequently, the paper

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.

Realism was a direct result of the social and economic changes of the 19th century in Europe. It originated in France in the after the Revolutions of 1848, which were a series of political outbreaks throughout Europe. It was around 1906, when Jonas Lie discovered the beauty of impressionism in Claude Monet’s paintings when he went on a trip to Paris while visiting Norway to reconnect with the Norwegian side of his family. He was fascinated by Monet’s use of color and light and incorporated that style in his later works. Lie’s artistic talent in mixing the two art styles is evident, as seen in his painting Dusk on Lower Broadway. (See fig 1.) The brushstrokes look like they were made quickly but with precision, creating a piece of art that looks realistic from far

This painting is much more sensual than Giorgione’s painting due to Titian’s because he engages the woman with the audience by making her look straightforwardly at the audience and his use of chiaroscuro (Grabski, Józef).

Romanticism and The post impressionism era are two major periods on the time line of art history. Different forms of art including paintings, music, and architecture showed tremendous growth, and ended up making history. This essay compares and contrasts pieces of work such as Vincent van Gogh’s Starry Night and Joseph Mallord William Turner’s The Slave Ship. These two pieces both represent their own individual time periods, yet have similar characteristics. Both of these paintings have a way of uncovering a story without using a single word.

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

He was still in contact with Isabella Stewart Gardner, and helped to advise her as to which works of art to secure for her own collection, which has now become a renowned gallery in Boston. Traditional to the end, Sargent persisted in his methods of representation, unabashedly receiving criticism for not altering his art to match the changing times. His very last painted portrait of Grace Elvina, Marchioness Curzon of Kedleston displays the newest fashions of the year it was painted, 1925, through the gown and hair of the subject (Fig. 19). Aside from the apparel of the sitter, there is nothing about this portrait that indicates the time in which it was created. Instead, it exhibits the style of an artist whose work was only defined by the inclinations of the

The people back in the 19th century really didn’t accept Van Gaogh’s truthful and emotionally morbid way of expressing the way of art is to himself. It finally was seen as art through the people’s eyes. This set a stage of art that is now known as Expressionism. It is best characterized by the use of symbols and a style that expresses the artist’s inner feelings about his subject. His style of painting is exemplified by a projection of the painter’s inner experience onto the canvas he paints on. Van Gogh’s paintings are done with his feelings that goes on in his life. (Mark Harden’s Artchive)

A great artist once wrote, “If you hear a voice within you say 'you cannot paint,' then by all means paint, and that voice will be silenced”. This artist was Vincent van Gogh, soon to be an appraised artist known all around the world for his works, such as Starry Night. He is one of the very first artists of the post-impressionist style than is now adored in every continent. However, there is much more to the man than one painting. Creating a full timeline that stretches beyond Gogh’s life, this paper will discuss the life of Vincent van Gogh and the impression he made on the world.

Another interesting component Sargent implemented in his portrait is his attention to detail where one of the daughter has her arms hidden behind her back suggesting that she (or her family) is hiding something. It is difficult to truly understand the meaning of the painting without the context and history of the artist – when looking at the work’s history we are able to see that when Sargent was originally sought out by Edward Darley Boit and in his commission, he decided to create something that was different from the traditional portrait scene. According to the mfa.org regarding Sargent’s unique perspective on the portrait it is revealed that the family was disconnected in their relations. The daughter’s strange spacing and similar clothing in the image further alludes to the idea that even though the daughters of the family are “connected” in reality there are a lot of differences that are unaccounted

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

Mannerism and Realism are two periods in the history of art that did not born by themselves but were part of a greater movement or originate because they do not accept the convention of the previous movement. In these essay the main artists from these two movement will be compared in order to show how art has changed over three centuries of world changes. The first artist that will be analyzed is El Greco from Mannerism and the second one is Gustave Courbet, a representative of Realism. An interesting fact about these two artist is that even though they lived in different epochs they have chosen the same theme for one of their paintings and this allows to a more detailed comparison in order to see how the historical context and the movements