Analysis Of Mrs. Richard Skinner

The artwork being analyzed is called Nameless and Friendless and it was completed in 1857 by Emily Mary Osborn. The artwork was most likely created in England, where she was from. The media is oil paints on canvas, rather than the wood that was usually used. It is currently on display in Tate, Britain.

During the pre-revolutionary period, more and more men worked outside the home in workshops, factories or offices. Many women stayed at home and performed domestic labor. The emerging values of nineteenth-century America, which involves the eighteenth-century, increasingly placed great emphasis upon a man's ability to earn enough wages or salary to make his wife's labor unnecessary, but this devaluation of women's labor left women searching for a new understanding of themselves. Judith Sargent Murray, who was among America's earliest writers of female equality, education, and economic independence, strongly advocated equal opportunities for women. She wrote many essays in order to empower young women in the new republic to stand up against

The slave is compositionally arranged in front of the Mistress in a predominant position, however as noted in our text this week, most of the slaves placed in the foreground of a painting in this era were done so in humor, to tease or to make them look immature (Pohl 278). As the title suggests, this slave has been dressed up by her Mistress in her Mistress’s clothing as a way for the Mistress to make fun of the slave, teasing her with a taste of wealth and upper class. Cany Peale’s previous career in fancy-goods gave her the understanding of what was in fashion

The painting Udney Maria Blakeley (1830), by Thomas Sully, was the first painting that came to mind when assigned the project: the painting has fascinated me both as a child and an adult due to the beauty of both the woman in the painting, but also from my deeper understanding of art now. Thomas Sully used the wet medium of oil on canvas, and included the woman in the foreground of the painting holding a rose in a vase in her right hand. There is a deep contrast between the women dressed in a white gown, and the darker background of the painting. Due to the highlighting along the left side of her face, and the shadowing on the right, it can be assumed that she is facing, or even looking straight at the

The painting depicts a young woman in a pink dress sitting down. The background is very dark but three things can be made out by the viewer. Starting with the ground plane of the painting, an orange carpet can be seen covering the entire floor. It is patterned and contains yellows, greens and blues. The cool toned colours are darker in hue than the warm toned. Secondly, there appears to be a cabinet or a desk lining the wall behind her. The wood of the cabinetry is carved with detailed designs and is made of a dark stained wood. Despite the dark background a single red rose can be seen on top of the cabinetry. The rose looks freshly picked and shows no signs of withering in its petals. It is painted in a muted red colour that allows it to stand out on

1a. SUBJECTIVE FRAME- I think that Margaret olley in this painting is being depicted as a wealthy, posh, elegant and very opinionated lady. Margaret Olley looks like all of these things because she has a nice silk dress and a fancy hat with a feathered scarf hanging down from her wrist. Margaret Olley is being depicted as a posh and elegant lady because of her posture and appearance. Margaret olley also comes across as being a proud and sensible women because of the way she is sitting and what she is wearing. I think that the way William Dobell has painted Margaret Olley is that her facial expressions look harsh and sour. William Dobell has painted the background in dark colours at the bottom of the painting and then uses lighter colours to soften to painting. In the dark spots of the background they have used a green colour

Another very important aspect that must be considered during the analysis of the portrait of Ann Whitley Russell is color. In this portrait the artist tends to use a narrow array of colors that are bland and monotonous. The artist uses the same colors of black, white, brown, grey and red throughout the entire piece. The background is incredibly dull and the shades of brown get darker as it moves further away from her head. In this portrait the red is only bright and exciting color, it is found used for the plain velvet looking chair, the red accents on the cloth draped over the chair, the stone in the center of her necklace and the thin line of lipstick on Ann Whitley Russell’s lips. The black of the sitters dress contrasts her pale white skin and due to the incredibly dull background color more attention is given to her. By using these colors the artist shows how although Ann Whitley Russell is a woman of great wealth, she is a plain woman and instead of embellishing her with vibrant colors he focused on maintaining the sitters true essence.

To describe the artwork “Woman in a Purple Coat” by Henri Matisse, the viewer has to be open to expression. In the artwork there is a woman, wearing purple pointy shoes, green pants with white faded stripes, a V-shape white shirt with grey lines, a long purple coat with white stripes and four black strips at the front to button the coat, a pearl necklace and another yellow long necklace. She is sitting with confidence with open arms on a vibrant two tone one side yellow and other side green couch. Sitting on the couch in a corner with a yellow flower arrangement on a pink and white vase with some fruit on a table next to her on the right. There is a magazine laying on the floor on top of a gray rug with black stripes above a black square marble floor. It looks as if she was reading intensely before being interrupted. She has her right foot behind her left, confidently waiting to be interviewed. The walls contrast with each other giving light and darkness to the portrait. On one side the wall is black with gray flowers outlined in red. On the other side the wall is green with black curvy streaks with white outline joined together by a grey corner behind the women wearing dark lipstick confidently sitting on the couch.

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.

The background has areas of dark and light that may be representing a dark part of this woman's life and the light area showing awakening in this woman's soul. To me the woman in the painting is staring out into the world and realizing that there is so much out there for her. That she can walk out of there and not be lost any more. Mrs. Mallard felt the same way. In the room she realized that she can now live her life on her own the way she wants to. She walked out of the room with a sense of

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

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 man stands on dull, dark-green land. According to color-wheel-pro.com, the article “Color Wheel Pro - See Color Theory in Action” asserts that dark green is associated with ambition. Yet, according to edvardmunch.org in this painting, the man’s ambition is being suppressed because of the crimson plant which is preventing him from moving forward into the future. The crimson plant is “possibly intended as a mandrake, with its love and death symbolism”. Along with the black clothing, the plant further reinforces the idea that the girl might as well as be dead to him but at the same time he still cares for her. Assuming that the crimson on his hand and the plant is blood, the man feels like he has the blood of his lover on his hands. He feels guilty because of his part in their breakup, which is an emotion other than sorrow which is why the hand clutching his chest is brighter than his face. Looking behind the man, the brown tree is barren yet bright. According to incredibleart.org, the article “Color Symbolism and Culture” says that the color brown signifies comfort. However, since the tree is barren, the tree does not represent comfort but a lack thereof. Looking to the right of the girl, the golden path is surrounded by a dark purple shoreline and purple sky and water. According to incredibleart.org, the article “Color Symbolism and Culture” states that purple

‘Oh! Yes- Do let the portraits of your uncle and Aunt Phillips be placed in the gallery at Pemberley. Put them next to your great uncle the judge. They are in the same profession, you know; only in different lines. As for your Elizabeth’s picture, you must not attempt to have it taken, for what painter could do justice to those beautiful eyes’ (46).

The little girl’s dress gives the texture of lightness and seems like airy fabric that would be thin and translucent. The time in this piece is very accurate of the late 1700’s and when viewing it, the time seems classic. The emphasis of this piece is mainly the mother and the daughter, however when looking at them you are drawn into looking at their realistic eyes. The eyes seem like the focal point which draws the viewer in to the picture.