Girl Before A Mirror Thesis Statement

1 . Describe the Major bones, muscles,joints and joint actions used to perform this movement skill and how they influence the way the body moves.

The dark blue left eye and light blue right tells me that Pablo Picasso may have used her actual eye color. Her body is almost as if she had her back to Picasso and turning her torso toward him; such as in most contrapposto art. In the original sketch you can clearly see her arms and the detail of her body. She is not looking back at Picasso, but instead looking toward the opening curtain. The hair of the young lady is also more visible as it drapes down her back. By repositioning her arm and adding the mask he completely changed her appearance, not only in her face but her body as well. Picasso gave her a double point of view, as you look at her nose and the angles it provides. The hand under the chin gives it an almost claw like feature, with what seems to be her fingers going to her eye to her the opposite side of the chin. With the sharp angles and mask and all the distortion it would be difficult to truly see just the young lady. It is almost as if she is shards of glass pieced together to make a

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

You also notice that her clothing and hair are of light color, and she is very detailed. After studying the complex painting closely, you find that the focus of the painting is the Princess.

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

Perhaps the most technically impressive aspect of the painting is its remarkable three-dimensionality. Rembrandt is well known for his strikingly accurate portrayal of human shape and form, and this painting lives up to such reputation. With the use of oil paint, he was able to carefully and selectively layer color to create an astonishing representation of the human figure. The most alluring aspect of the piece, in terms of modeling technique, is the face. It contains so much detail; it is hard to believe this painting was done by hand. From the light, wispy texture of the facial hair to the subtle wrinkles surrounding the eyes, attention to detail is what sets this portrait far above many others. Rembrandt’s playful chiaroscuro on the nose and right hand truly give the piece a sense of depth, and the painterly quality of the piece produces a soft and elegant look. Also present within the face is the famous Rembrandt triangle. The result of a specific lighting technique frequently used by Rembrandt, a small triangle is formed underneath the eyes. It is present under the left eye in Marten’s portrait, which gives his face a more natural look. Another technique that intensifies the three-dimensionality of the visible body parts is the use of

To describe the artwork “Woman in a Purple Coat” by Henri Matisse, the viewer has to be open to expression. In the artwork there is a woman, wearing purple pointy shoes, green pants with white faded stripes, a V-shape white shirt with grey lines, a long purple coat with white stripes and four black strips at the front to button the coat, a pearl necklace and another yellow long necklace. She is sitting with confidence with open arms on a vibrant two tone one side yellow and other side green couch. Sitting on the couch in a corner with a yellow flower arrangement on a pink and white vase with some fruit on a table next to her on the right. There is a magazine laying on the floor on top of a gray rug with black stripes above a black square marble floor. It looks as if she was reading intensely before being interrupted. She has her right foot behind her left, confidently waiting to be interviewed. The walls contrast with each other giving light and darkness to the portrait. On one side the wall is black with gray flowers outlined in red. On the other side the wall is green with black curvy streaks with white outline joined together by a grey corner behind the women wearing dark lipstick confidently sitting on the couch.

It is a cheerful, acrylic painting created using bold and bright colors made to contrast one another. Torres used unity and variety with a selection of lines, shapes, and colors. When you first view the painting, you will notice the directional forces that cause your eyes to view the painting in a particular order. Staring at the front center, the eyes will follow the path of lines that lead your eyes over the entire painting. When you take a closer look at the piece, you will begin to notice a repetition of certain colors and shapes. The painting is also asymmetrically balanced. In my opinion, the most important Principle of Design used for this piece is contrast. The figure of the woman in the front is significantly contrasted from the rest of the painting, and she is made to be the focal point. This piece is representational artwork. It depicts the appearance of a woman and includes subjects from the everyday world.

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 background has areas of dark and light that may be representing a dark part of this woman's life and the light area showing awakening in this woman's soul. To me the woman in the painting is staring out into the world and realizing that there is so much out there for her. That she can walk out of there and not be lost any more. Mrs. Mallard felt the same way. In the room she realized that she can now live her life on her own the way she wants to. She walked out of the room with a sense of

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 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 idea of this piece is to show the connection between mother and daughter being painted. It shows the time and the classic style of the

To begin, the proportion of the woman’s gaze accentuates perfection. The eyes introduces a sense of nobility to the piece acquiring a softness at the gaze. Painted with a spherical shape, it allows the appearance to emerge mysteriously throughout the portrait and I quote “Through their roundness, therefore, the mind, knowing itself, is sometimes forced to reveal the secrets thoughts of their