Comparison Of Bath And Edgar Degas's Leaving The Bath

Even though the paintings came from different time periods the artists both used some of the same principles. Both artists used lighting throughout their paintings to depict the variety of colors and apply the use of contrast. Looking at the building, mountain and clouds in the background of Tribute Money you're able to see a variety of shapes and the emphasis it adds to the

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

She explains how this can be done by seeing black females as real valid people and treating them as such. In life we must stop objectifying the black female body before we can see any change within art. By understanding the black female as a legitimate individual with purpose, one can then accurately portray her within art, and create a more subjective authentic representation of the black female body. These beleifs presented by Lorraine O’Grady could be applied to the famous art piece The Moorish Bath, by Jean-Léon Gérôme, in how he depicts the black female body. Instead of having the black female in the background surrounded by darker colors and lighting, while the white female is in the brighter lighting, allow them both to be in the same brighter more focused lighting. Also the role of the black female should be reexamined in that she is serving the white female and bathing her. A more progressive version could be both the females bathing themselves making them both the main subjects, instead of objectifying the black body as one that only serves. Another aspect that should be addressed is the fact that the white female is fully naked while the black

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.

Thirdly, the texture of the painting I see when viewing the painting is velvety and silky. I feel that the velvety texture is caused by the smoothness of Marilyn’s face. In addition, the silkiness I see is due to the gold paint that surrounds Marilyn’s face. Fourthly, the use of value is present on the painting by the lightness and minimal darkness. For example, the darkest value is seen on Marilyn below her chin on her neck, eyes, her lips, on the right side of her face, and on minimal parts of her hair. I feel that the dark value creates the illusion of shadows. In addition, the golden brown paint that surrounds Marilyn is dominant because it shimmers when light reflects it. Moreover, the lightness is present by the yellow, turquoise, and pink colors. In addition, the lightest value of color is white which is on Marilyn’s teeth. Lastly, the colors viewed on the painting consist of golden brown, black, yellow, pink, turquoise, dark red, and

Their individual perspectives in life ultimately shaped their education, experiences and overall point of view. This essay will outline the similarities and differences in subject matter, tone and imagery of these two artists’ bodies of work.

In this production by Gerald Laing, a young and fit woman can be seen. She appears to come from a model background as she has a toned figure that is slender and curvy. She is standing in a confident posed position with a hand on her hip. It appears the artist attempts to position her short lengthened, dark hair in a way that portrays the wind is blowing it. She is wearing a swimming suit that covers minimal. She is placed on the right half of the portrait. The artwork does not contain any other people or objects in the piece. Laing completes the print using only three shades of color: gold, grey, and dark grey/black. The gold background quickly catches the eye. Also, the gold is the color of the swimming suit that covers the model’s bottom half and chest suggesting that the artist wanted to draw attention to these specific body parts. Overall, the print is organized and has a neat appearance.

As I walked to The Art museum to observe a few of the art work. There were many canvases, but one particular canvas that caught my attention was an oil painting. The oil painted canvas is of a realistic mysterious woman and a phonograph, by the artist named Robert Bean. The woman shown in this painting has short dark brown hair with a long black beautiful one shoulder dress; her skin color is very light that gives that beautiful glow. Her long black dress has a mixture of dark blue and white. She is standing with her arms semi-crossed with one hand holding a small white fan. The small fan has a design of brown flowers. She is standing sideways on the right of the canvas with a piece of light green fabric around her arms; the light green material has a tent of light blue and

The oil painting is an attempt to map the motion and energy of the body. It is a sequential depiction of movement split into a series of about twenty different static positions that show a nude figure descending a flight of stairs. The nude, like the notion of the painting, is abstract, composed of conical and cylindrical shapes and elements, assembled in a way that suggests the rhythm of the body when going downstairs. The colours used are those typical of Cubist paintings - ochres and browns. This is because Cubists felt that using a

Zola p. 152). Just the visual picture is enough to tell you whomever baths in the bath cares about their image. The materials used in

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.

Everyone has been created unique and there is no other that is the like anyone else. People think different, dress different and like and dislike certain things. This is similar to the artists of the nineteenth century including Pierre Etienne Theodore Rousseau and Joseph Mallord William Turner. They are both artists during the nineteenth century and were painted at the same time; however, there is a difference between their styles, their point of view, and the scenery. However there are similarities between the two paintings. The paintings that will be compared and contrasted are “Under the Birches, Evening” and “The Campo Santo, Venice.”

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 Large Bathers is a painting by the French painter Paul Cézanne. It is made in oil on

Paul Cezanne’s painting “The Large Bathers” was his last and arguably his greatest work. Cezanne labored on this painting for seven years. The subject is a group of women bathing by a river. The canvas