Analysis Of Self-Portrait In A Straw Hat

I think about how the world had betrayed this women. They made this woman plump and empty, she does not even have a face. This statue is nude showing everything to the naked eye, she does not have a desirable body. This sculpture shows how much a woman was respected back in the day, which was very little.

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.

I chose to write about L’Envouteuse (The Sorceress) by Georges Merle. Merle’s father was also a painter, and since Merle did not sign some of his early work it was often confused to be done by his dad. George himself was known by his talent of painting the body form of women. Merle painted this during the time of 1883. This painting is 57 ½ inches x 45 inches making this a fairly large piece. When painting this he used oil on canvas. I found L’Envouteuse (The Sorceress) while I was browsing through The Birmingham Museum of Art. Above all pieces of art I saw in the museum, this painting seemed to be the most captivating. As soon as I laid eyes on it my attention was immediately taken by this mysterious piece of art. I grabbed a stool and began writing down my observations. Looking at this painting on paper cannot even compare to actually seeing it in person. Pictures I have seen online of L’Envouteuse (The Sorceress) do not justify the great detail and vigorous colors that are more easily seen while actually standing in front of the painting.

This painting is a portrait of an old woman who is sitting on a chair while facing to the left. She is wearing a yellow flower dress with a beige jacket while sitting in an empty room. Her beauty is illustrated by her curly, gray hair and also her wrinkled face, neck, and hands. These details is what makes her look real and pure. I like how detailed it is because it reminds me of my grandmothers.

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.

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

2. Figure 5.2, Self-portrait in a Straw Hat by Marie Louise Elisabeth Vegée-LeBrun. Oil on canvas, 1782. The technique of chiaroscuro that gives the figure mass and depth also give it life. The attention to detail within this is piece astonishing, the subject’s hair,

John William Godward’s painting lone portrays how the maintenance of appearance and self preservation is a desideratum. The painting consists of a pale, curly haired brunette woman with a flower crown set on her head, looking into a handheld mirror as she strikes a pose with her opposite hand. Flowing down from her shoulders and around her waist, the sheer quality of her gown paired with the tightness of the gold ribbon wrapped tightly to accentuate her figure exudes sensuality.

Artists often paint as a way to make money on the side or as an enjoyable activity on a rainy day. However, artists like Kendra Baird use it for a much more powerful purpose. Baird states, ¨Each painting has a personal meaning to me. Sometimes it's obvious; sometimes it's buried within what simple elements represent to me. My subjects can be as simple as a few birds perched on a tree branch, or as complex as a woman losing her identity in the struggles of life.¨ Many of us, throughout our lives, blindly follow those in front of us--never stopping to think about those around or behind us, or experiences that have led us to the point in our lives where we stand now. This painting entitled, “Offering Truth”, by Kendra Baird illustrates the feeling

The primary focus of this section is to explain the “act of painting.” Flack begins her book with notes on the creative process and what it means to be an artist. Everything from the perception of color to confronting a blank canvas is addressed in this section. Audrey Flack briefly touches on the spiritual

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

This sculpture is of a women breast feeding her child. The face of the two people is elongated, as well as the breasts of the mother. This is common to all African Art because they wanted representation of what is being expressed. In this particular sculpture, a supernatural power is being called upon. The power has been asked to protect the mother and child, and to

This young outsider is quickly gain a following with his imaginative and beautiful sculptures. Ben Young was raised in Waihi Beach, New Zealand; however, he currently resides in Sydney, Australia. Young has created his glass artistry for the past ten years. Some attribute his craft to growing up on the beaches of New Zealand. Hand crafted from glass each of Young’s sculptures are hand drawn, hand cut and handcrafted, layer on layer to create each of his beautiful sculptures. The texture and color of the glass is different in every piece he makes, ensuring one-off and truly unique pieces of artwork. In this piece of art you can make out chiaroscuro in the depth of the water against the rocks. An implied line is formed between the water and ocean

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

Initially, when I walked up to this sculpture my thoughts were the name of the piece pretty much sums it up. Approaching the statues, they seem to just be large bronze masses on the corner of McCaul street but, as any art should be looked at, I decided to dig deeper than the superficial. The location is odd to me, mainly because the bronze forms are not alone in the corner of the building, but are not really impacted by its surroundings. The trees behind the statue are dead giving a desolate atmosphere invoking a sense of loneliness. Moreover, almost the entire area surrounding the piece is solid concrete, giving a very penitential outlook. I’m not sure if the sculpture’s initial approach is supposed to invoke miserable emotions but if so it does its job