Comparing Two Art Styles

Margaret Olley and Van Gogh are two of the most well-known impressionists of their time. With more than a century between their eras, they both played significant roles in the progressing development of art today. Similarly painting still life’s and portraits, they also used the same media types and painted what they were surrounded by. For example, rooms of the houses they lived in, flowers and places they travelled. This comparative essay will compare and outline these two famous artists and the similarities between two of their most

Prompt: Select and fully identify two paintings from different art historical periods and cultures that depict the same subject or theme.  Then discuss how the presentations are a reflection of the culture and style in which it was created.

Artists that concentrated on the Baroque style of painting had an uncanny ability to display their style more so than the artists of the Renaissance era. In respect to their different approach towards shape, room, and work of art, the differences in their styles resulted in dissimilar descriptions. Renaissance and Baroque seem to concentrate towards the treatment of space, appearance, and color. This uniqueness affects the description of a painting and therefore it cannot be seen. More so, than in comparing Perugino's Christ delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio's exchange of St. Paul from the Baroque style.

Comparing Medieval and Rennaisance Paintings In the following essay I shall compare and contrast paintings from the medieval and renaissance period. Medieval paintings were very realistic and precise. The king in the painting is in the middle, and anything painted in the middle is the center of attraction or the important object in the painting.

Throughout different time periods and civilizations come many different types of art that would never be comparable to those of another time or place. There are also the pieces that come from a completely different time and place, but yet they can still be compared to one another. The Torso of a God (Egyptian, New Kingdom, Dynasty 18, last decade of the reign of Amenhotep III, Granodiorite, 1359-1349 B.C.) and the Statue of Asklepios (Greek, Hellenistic period, Pentelic Marble, 2nd century B.C.) are two sculptures made hundreds of years apart, yet they both display many similarities and show how art is constantly changing whilst keeping the same core ideas.

The sculptures “Apollo and Daphne” and “Two Women” share elements and principles with one another, such as shape, size and texture. Bernini’s work is a life size piece that complements the figure of the two characters. The facial expressions, hands, feet and hair of “Apollo and Daphne” are in reasonable detail; however there are no lines on the bodies to create depth and texture. On the other hand, Mueck challenge’s the viewer by changing the scale of his work, with “Two Women” minute and in incredible proportion with the features and figure of the women.

Compare and Contrast works of art that represent the 15th Century Early Renaissance art and 16th Century Northern European art. The artists Masaccio and Grunewald will be used to illustrate the differences and similarities in the styles of art. Their works of art are chosen for their interpretation of the style that was representative during these eras. Early Renaissance artists used mathematical one-point linear perspective to create illusions of depth and depicted the human body as realistic and natural. Northern European artist used medieval mysticism and intense emotional spirituality and they used illustrative human figures rather than realistic depictions. By understanding the corresponding and distinctions between these two works of art we can understand why they created their artwork in the respective style to their era.

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.

This work embodies the period style because it contains avant-garde geometric shapes to define the forms, colors, and interpretations that were important to the Post-Impressionists. First off, the harshness of the lines goes hand in hand with the shapes that exist in the work. The shapes tend to be simplified shapes, which demonstrates that Cezanne wanted things to appear as if they could be broken down. Cezanne utilizes an array of geometric

They have different styles of backgrounds, different emphasis, and different emotion expressions. There are just too many differences to mention. However, compare to the numerous differences between these two paintings, the reasons for forming these differences can be traced. Three main points that contribute to these differences are their genres, their backgrounds and their artists’ personal characteristics. These three major reasons will be demonstrated in the following analysis by detailed differences I

During the Renaissance period of history, religious icons were a popular theme. Often churches and other religious organizations would pay artists to recreate famous scenes from the Bible which could then be hung in private homes are in churches and cathedrals. Many paintings were done on the very walls of the church, painted into the plaster in a style known as fresco. Religious paintings were also frequently purchased for the home by wealthy patrons. Each artistic work was used to tell a different story and presented in a way which would reflect the ideas and opinions of the church and the surrounding community. Two paintings from the period, the Mèrode Altarpiece by Campin and the Holy Trinity by Masaccio, are both religious works which have a similar purpose, and can be compared by their specific time period and content, the artist who created the pieces and their intentions, and the techniques which were used in creating it.

In this paper, I will describe, compare, and contrast two paintings of the same name, The Annunciation by Gerard David and Joos van Cleve. Beginning with Joos van Cleve’s work, we see the virgin Mary kneeling down before an opened book. An illuminated dove with its wings spread is suspended above Mary. An angel is standing beside her, making a gesture. Both figures are inside an ornately decorated, well lit bedroom.

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.

Artwork, too, was just as divergent. Consider the Rococo masterpiece The Swing, by artist Jean-Honoré Fragonard. The delicate coiling of the tree branches, the ruffling of the fabric and lace on the subject’s dress, and the play of light and shadow in this painting of a woman on a swing in the forest are all visual hallmarks of the Rococo style. Again, contrast with a Neoclassic masterpiece Oath of the Horatii by Jacques-Louis David. This work, which shows

The explosive interaction between Gauguin and Van Gogh in Arles in 1888 can be said to condense and bring to head a conflict between two different ways of conceiving art and aesthetic experience that had been brewing throughout the 19th Century. How do you see the contrast between their approaches to painting? And how does this contrast bear out these different tendencies?