Art Analysis: Toulouse's La Toilette

The way in which Bouguereau painted represents how passionate he was in depicting what he saw. The

Lots of thick and many thin lines that are connected with no division. The outline of objects and people are a lighter tone to represent the shadows. Many curvy lines to show the figures of the women in the room by their strong stands with the pool table waiting for their turns to go. There are many shapes in present but the one that was used the most was the rectangle and circle. I feel as if hatching played a huge role in the drawing just by looking real close at the characters’ clothes and the details on their arms. Nothing in the painting really stood out so they didn’t put the focus on one specific thing, which makes you get an eye full at one time. The use of color ranges from the primary to the secondary colors and that is also low in the saturation as well. The painting is polychromatic because there was a lot of different colors used throughout the painting. It’s hard for me to get a texture feel of this painting because it seems more symbolic than a statement or the people seem more like a documentation of people at a certain time and

Hello Aurelia, the piece of art you chose to review is eye catching. Immediately my eyes were drawn to it because of the bright and bold colors that Romare Bearden used. When viewing this painting I feel alive, alert, and happy. The reason I feel this way is because of how the artist brings bright colors and smooth yet edgy shapes into his painting. The background does seem to have a moving effect. I actually did not notice that until you had pointed it out. Although the human figures in this painting are not completely realistic. It does give the audience the sense or feeling of the painting “coming to life.” I think you did a good job on explain this piece of art created by Romare Bearden. I also enjoyed learning that you like Jazz music.

In David’s painting there is a clarity and crispness that is similar to a photograph, yet his figures maintain a baby like softness. Gerard’s implied texture of the clothes and environment are softer than David’s giving the painting a more realistic appearance. David and Gerard both show in these paintings that they have a very good understanding of human anatomy and form. The figures in both painting have a good sense of underlying structure and weight.

Through a series of solid strokes of paint in his canvas, Monet managed to present society with a completely new outlook, literally, on one’s visual aspect. Claude-Oscar Monet, famous French painter, was a highly innovative artist back in the 1800s. His works inspired other artists who followed suite and teamed up promptly with Monet, soon enough gaining for themselves the title of “The Impressionists.” He contributed not only to the art culture, but also to the entirety of society through his paintings as if telling the world not to be afraid of anything different and emphasized the importance to look at things with deeper perception other than that which our vision enables us to see. Claude-Oscar Monet is also known as the father of Impressionism,

Parisian Sights and French Principles, seen through American Spectacles (1856), was written for an American audience by James Jackson Jarves during his time in Paris during 1851. The book is part of a larger series written by Jarves throughout his career to allow Americans to view the World outside of the United States. During this book he tries to compare the two sister Republics, and show how French Republicanism aligns with the American version. To Jarves’ dismay the two Republics are not as similar as he thought, leading him to ponder “Why Republicanism was a curse in France, and a blessing in America?” Throughout the book he goes about trying to answer this question. Jarves thought Republicanism was a curse in France because of the long

Claude Monet, An Analysis on Art Specific Purpose: To inform the audience on the significance and formation of Claude Monet’s work. Thesis: Claude Monet’s work did not just become popular because of his unique use of color; but also because of his use of subject matter.

Chagall often used his home village of Vitebsk as a focal point in many of his paintings as he loved his home even when he was in exile; this is why I used my childhood homes as two of the prominent elements in my work as I am often nostalgic and home-sick when I am at school. Chagall’s use of cubism is also prominent in my painting, seen in the street and by my grandma’s house, as I found his version of cubism emotive and unique. I was also moved by Chagall’s stain glass work and tried to incorporate this in the texture of the sky, ocean, and cubist sections and also through a heavy use of the color blue. Furthermore pertaining to my use of color, Chagall’s subtle use of expressionism inspired me to pay attention to color, which led me to use a vibrant and rich yet cool and calm color scheme to further represent the nostalgia I have for the figures. Finally, in my last subtle homage to Chagall, I incorporated flowers into my piece similar to how Chagall used traditional Russian flower patterns in his work. By studying the life and work of Marc Chagall, I was able to create a work that means a lot to me and that I am able to be genuinely proud

I was not looking hard enough, behind this painting there is history and made me look at it differently. I really liked how he used the history in his artwork and unique style of using different colors and scenarios usually not seen, like the mixing of Gods and Mortals mentioned in paragraph four. I’m sure like any other painting that has to do with history there may be two sides of it. Some people may agree with what the painting shows and others may oppose. I believe this painting shows a little bit of the history of France. I believe the community of france took this painting as a well explanatory paining and there is really nothing negative of this portrait. To other cultures it may be hard to understand the story behind at first because we may not know who the figures are at first but once you study it and maybe search them it will all start coming piece by piece and coming to the realization of the actual work and what is behind

The streets are cobbled, the afternoon sky is cloud covered and shows a subtle gradation from rose-gray near the horizon to a cool gray toward the top, and everyone is walking under umbrellas. Many characters look as if they are out for a leisurely stroll, shopping, or just taking in the sights. Men wear top hats and long tailed coats while the women wear full-length dresses, all symbolic of the late 19th century. The artist used deep colors, making the painting appear darker; perhaps to evoke the feeling of a rainy day or that it is sometime between late afternoon and early evening. It is interesting to note that a fashionably dressed Parisian couple (a man and a woman) in the foreground of the painting is walking toward the viewer.

My artwork is an appropriation of Henri de Toulouse’s La Toilette which I decided to reflect my own ideas of a personal experience of mine, which is the topic of tattoos. I feel that in our generation tattoos are more widely accepted by the younger generation but in my experience not with the older generation. My parents have a strong dislike towards tattoos and have told me that I would regret them and forever remind me of a bad mistake I made. But as I grew older I developed my own opinions on tattoos and have accepted them as pieces of art. I wanted to show through this painting that tattoos can still be soft and delicate which is the same feeling I receive when looking at La Toilette. I wanted to replicate that into my appropriation through

The size of the setting invites a voyeuristic gaze. There isn't much space between the two subjects in the painting. The fact that

In this portrait, he created an everyday life painting which is called still life. The textures in the couples faces are very “meticulously rendered”. The wrinkles in their faces are very detailed and the lighting of the outside from the window hitting the room depicts a real representation of real life experiences. He used horizontal and vertical lines to create “architectural elements in the room.” To add harmony he used the basic colors like red, blue, yellow and gray. I believe this painting is a representational painting because it looks so real and can relate to everyday life. It’s a husband and wife, excited and proud to see that their son survived and finally got a letter to see how he’s been doing. It’s a very true and emotional

Toulouse-Lautrec’s treatment also provoked discontent from his favorite model, Yvette Guildbert, who did have a beautiful face. She once said that: "… For heaven's sake, don't make me so dreadfully ugly! A little less, sir, if you please! … Many people who come to see me shriek with horror at the sight of the colored sketch… Not everyone can see the artistic side of it. " Toulouse-Lautrec depicts her characteristic moment, adherence to Japanese tradition (Fig. 3). She is shown in the middle of act with an unforgettable attitude. Her symbolic black-gloved arms are posed pretentiously in front of her body. The extremely low angle distorts her facial features drastically. The jeering expression in her obscure eyes and the wry smile resemble the exaggerated grimace of Sharaku’s actor prints. To some extent, Toulouse-Lautrec, who was passionate about probing people, was the only one who understood each of her features and postures

Henri de Toulouse Lautrec said, “and everywhere, ugliness has its beautiful aspects” (Untermeyer). After accidents in childhood left Lautrec with physical deformities, he began to create art that looked for the beauty in the ugliness of the world. In his paintings, he focused on the day to day lives of those around him, painting prostitutes and writers. However, he focused not on their main activities, but the mundane, non-artistic parts of their lives. This is especially apparent in his painting The Sofa. This painting depicts prostitutes, but in a very relaxed setting, rather than traditional beautiful poses they take in many paintings. The ruffled, relaxed, almost ugly view in the painting shows that Lautrec embraced the ugly in his daily