Analysis Of The La Loge By Renoir

Edna’s artistic pursuits are very different than Madame Ratignolle’s. Edna’s art represents her quest for individuality (Boren 181). Her form of art does not provide pleasure or enrichment to her household. Instead, it takes her away from her family and her domestic duties (Dyer 87). Edna paints in her “atelier” (Chopin 579). Mr. Pontellier chides Edna for spending too much time in her atelier; he says that she would “be better employed contriving for the comfort of her family” (Chopin (579). Edna makes good progress in her painting; she dreams of “becoming an artist” (Chopin 584). However, her devotion to art is contrasted to that of novel’s true artist.

Through its depictions of the new age of materialism, Realism eventually became a symbol for the bourgeoisie who had, from humbler origins, recently risen to new positions of power within the Parisian government. Nevertheless, Realist works had begun to gain acceptance in salons only reluctantly; some still scorned their work as “monstrously ugly”.

It had been four-weeks since Madame Valmonde has seen Desiree and the baby. As she arrives at L’Abri, the home of Armand and Desiree, she “shudders at the first sight of it.” The house is covered by “big, solemn oaks” (Chopin 422) who’s “branches far-reaching shadowed it like a pall” (Chopin 422). Offering another foreshadowing, it is suggested that the shadowing trees and the branches that cover the house compare to a cloth used to cover a coffin; allowing the reader to envision L’Abri as a gloomy or serious place that is absent of pleasure and happiness--a place that had not had a woman’s touch since Armand and his father returned from Paris after the death of his mother when Armand was just eight-years old.

Mme Charpentier and her Children was a portrait and painted in the 1878 by Auguste Renoir a painter who resided in Limoges. The subject is identifiable because she is in the center of the room. The paint that was used was oil and work of art is impressionism. Also In this essay I am going to depict or take apart this work of art by breaking down each element. For example, the subject and general observation of the work of art. Along with the shape and form, medium and technique, the composition and the color of a work of art. Light and shadow and texture of a piece of art work. All of these elements create one single piece of art work.

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,

There is also a mirror placed on the table allowing the viewers to link with space beyond the frame. Also in the far back right of the painting you can see a young man talking to an elderly. The artist created an very old or old-fashioned look by using opposing colors, red and green. “The second half of the fifteenth century in northern Europe saw an expansion of genre

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)

The shelf between them adds interest with the now outdated and unusual instruments, but the whole of the work doesn’t portray any real sense of importance other than historical record. On the contrary, the realistic detail of the piece is amazing and well communicated through Holbein’s excellent use of light and shadow, as well is accuracy of form. The light source is centered behind the artist and shinning directly onto the men and desk, illuminating their figures. Both man and desk cast a simple shadow to aid the concept of full illumination, but the textures of the clothing, curtain, instruments, and other items are expertly portrayed in the artist’s use of small harsh shadowing and his blend of shading. The large, contrasted, elegant portrayal of the left man’s clothing creates emphasis that repeatedly drags the audience’s eye back to this area. Such a vast use of pattern and color, on the other hand, make any other emphasis less detectable and almost allow the oddly placed blur on the bottom to escape attention. Eventually, its lack of balance and seemingly disproportionate look snatch its deserved attention and force the viewer to get creative in recognizing a figure. This is when the side view of the skull can be

The artist depicts an initial confusing and weirded-out thought for the viewer at first glance, but as one deeply examines the art, the subject matter begins to become more clear. The vision being shared in this non-objective painting has a context of placing one in the standing of Mr. Man by gaining height and freedom from the (white) bars that are rising on each level that represent conflict which traps one in a “cage” of misery. The unbalanced symmetry of having the left side take up more space with little action, and the right side being smaller with the action unraveling, makes the viewer break down each composite perspective. For the left side, the mysterious female muse, Moon-Face, has an unproportional face that is almost blushing with shades of light pasty orange, with the mouth wide open. The energetic mood is amplified by the tone of yellow that is splashed in the mouth, representing a loss of words or at a state of disbelief. The female’s lower half is created with tints of red that enhances the curves on her body, as if chiaroscuro connects the light and dark contrast to show outline of the breasts, stomach, and hips in

Edna Pontellier is a twenty-eight-year-old housewife married to a successful businessman, yet after spending time with a devoted gentleman and close friends, Edna the protagonist finds herself dissatisfied with her marriage with Léonce and her limit to do things in her lifestyle. Edna is described as having “quick and bright” eyes, “yellowish brown, about the color of her hair” (Chopin 4). Edna’s eyebrows have a darker shade than her hair, they were “thick and almost horizontal” (Chopin 4.) Her eyebrows emphasize the depth of her eyes, she was rather handsome than beautiful. Edna’s internal conflict is being that she doesn’t love her husband, Léonce, she is encourage by Robert Leburn and her personal feelings of being in a both emotionally

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 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

The analysis of these paintings will begin with Vuillard’s oil painting Interior With a Screen. This piece depicts a female nude placed in the interior a large and furnished room; the woman appears to be slightly hunched over

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 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.