Jean Honore Fragagonard Mood

The Swing is a typical Rococo painting with loose brushwork, soft colors and an amorphous organic composition which celebrates the beauty of love and sophistication of the ruling class while, The Oath of the Horatii displays war and anger and eschews the Rococo style with its geometric organization and its strong impression of

Impressionism is an artistic style of painting that originated in France in the 1870s. This style of painting attempts to capture an experience or emotion opposed depicting a scene accurately. Every impressionistic painter has a distinct method of rendering as well as their own distinct set of qualities that reflect the artist themselves. For instance, The Basket Chair by Berthe Morisot and The Orange Trees by Gustave Caillebotte are two impressionist works of art of oils on canvas that contrast in many ways. These two paintings will be compared side by side with an in depth approach comparing the artist’s personal status in society, modernism’s role in the piece, and the execution of composition.

The artists Jean-Honore Fragonard and Jaques-Louis David both successfully embody their respective stylistic differences. Fragonard’s style of painting is Rococo, which is characterized by its softness, asymmetry and curviness. Contrasting these ideals is David’s style of painting, Neo-Classicism. Neo-Classicism is synonymous with strong gestures, symmetry, and solidness. Two works that best exemplify the ideals of each style of painting are Fragonard’s The Swing, 1767 and David’s The Death of Socrates, 1787. Although at first glance, it is easier to focus on how each work is different to the other, one can argue that they are similar in theme. Both

Jean-Honoré Fragonard created The Swing in 1766 with oil paints on a 2’ 8.6’’ by 2’ 2’’ canvas. It is located in London, England in the Wallace Collection. During the time this work was created, France was an aristocracy and The Swing portrays a glimpse of the luxurious life of the ruling class. King Louis XV ruled during a time when France was the most prosperous and powerful country in all of Europe. Through the influence of Madame de Pompadour, the arts prospered during this time. In the 18th century during King Louis’ reign the arts seemed to consume the thoughts of not only the artists themselves but also the King and other wealthy and influential members of society. This in turn resulted in neglect of the undertakings of the state, which had its consequences. In 1789, the “bloody” French Revolution took place and soon after, the fall of the monarchy. The Swing is undoubtedly the most famous of all Fragonard’s compositions. It epitomizes the Rococo style of the 18th century with tranquil colors and gentle light, exaggerated diagonals, decorations, and nature. . The libertine Baron de St. Julien commissioned this piece. He ordered that Fragonard paint the bishop pushing his Madame on a swing. Fragonard painted for the baron de Saint-Julien his first great masterpiece and from then on he knew that for the rest of his life he would paint for people of wealth. He painted for many individuals including the king because his talent was something that everyone desired. The

The humiliation caused to Hero in the event would be inconceivable to an audience at the time, being accused of adultery would no doubt ruin a woman’s reputation and therefore create difficulty for her when finding a husband; especially for a woman of high status such as Hero. Claudio is being presented as a potential threat at this part in the play, contrasting with the gallant war hero we were first introduced to. This emphasizes how bitter and sinister Claudio has turned, consequently reminding the audience by irony that is he only interested in wealth and status when marrying Hero. Claudio’s shallow fickleness plays into the villain’s hands. Shakespeare uses the threat of Claudio to generate further anxiety in the audience and concern for Hero’s welfare. This scene shows the men of the play coinciding with each other in their response to the defamation of Hero. Don Pedro personally insults Hero during the commotion of this scene, “to link my dear friend to a common stale,” he suggests here that he believes her status has been lowered by what she has supposedly done and rendered her ‘common’. This personal attack on Hero which has come from someone who shouldn’t really be involved advocates the idea that she is isolated in a patriarchal society in which men group together to defend male interests. Hero’s reputation is being publicly ruined here, and at the time this would have ruined Hero’s life and her

The Paintings A Sunday Afternoon on the Island of La Grande Jatte and The scream have several similarities and difference between them, but one difference that can be easily seen is the painting techniques. A Sunday Afternoon on the Island of La Grande Jatte is made of oil paint on canvas and its dimensions are of 6’91/2’’ by 10’11/4’’. The artist of A Sunday Afternoon on the Island of La Grande Jatte uses the technique of “Divisionism” or “Pointillism”. The artist uses small multidirectional strokes of colors in his painting

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 art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

In Jean-Honoré Fragonard painting The Happy Lovers (appendix: fig. 1), viewers are able to get a glimpse into the light-hearted, playful Rococo period. The Happy Lovers is a 35.5 x 47.75 in. oil painting, that was created between the years 1760–5 in France for an unnamed aristocrat; however, it can now be found in the Norton Simon Museum in Pasadena, California. The Rococo period was a result of artists resisting the stiff monarchy, and desiring open expressionism–this was particularly emphasized through nature. The two great artists from this period are Fragonard and François Boucher, Fragonard’s teacher. A result of Boucher teaching Fragonard, specifically in the continuation of pastoral, Boucher was a great influence. This is obvious when The Happy Lovers is compared to Boucher’s The Bird Catchers (appendix: fig. 2). Both paintings include subjects of women holding bird catchers and doves, ultimately symbolizing woman’s ability to control relationships. More specific to The Happy Lovers, the woman dangles the cage above the boy, who is carrying a dove, a symbol of Venus–the goddess of love. However, in the bottom left quadrant of the painting there is an even larger cage with more doves, hinting at the idea that women can easily capture many men. This further expands the sensual intention Fragonard creates. In placing this scene within a secluded landscape, Fragonard emphasizes the flirtation and secretiveness between the two lovers–creating an unstructured, blissful

There is an overt sense of leisure and intimacy established through the social exchanges in this painting. A man in the foreground is playing a guitar to a lady, which adds a cheery, relaxed mood. On the right side of the painting, children play on the ground, which shows how this is a joyful event. While there are many social interactions being made, the people in this painting are very generalized. Watteau purposely does not paint many of the people’s faces to put emphasis on the landscape and setting.

Beauty in art is the essence of detail and Boucher mastered in his painting, “Lovers in a Park.” He was able to create a very colorful garden setting combined with a hint of tension by the figures that quickly goes away with the beauty of the scene. The idea of love being an innocent but beautiful game is being told here. The light textures, silky look, cheerful style contributed to Boucher’s material richness work. The Rocco style was a reactive approach to the Baroque style that embodied light colors, asymmetrical ideas, and playful themes. It was a more graceful approach to the other style. Boucher was a French painter, draughtsman, and etcher who was perhaps the most celebrated painter of the 18th century. His career was hugely successful with many honors received and membership to the Royal Academy. His inspiration from other artists, patrons, and important figures in his life contributed to this style of work. Boucher’s Lovers in a Park captures the true beauty of what a Rocco style painting should look like.

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 most pivotal scene in the play (act 4 scene 1) is between the marriage of Leonato's daughter Hero to Claudio. In this scene the blush of Hero after being said to have slept with another man is set too signify “guiltiness not of modesty” to Claudio. However the Friar of the town believes that Hero's blush is that of her “innocence and virtue.”

Of the three women in this play, each dresses as a man once, furthering the comedic air with clever disguises. Jessica starts off the chain of costumes by dressing up as a torchbearer to flee from her father’s house. “Cupid himself would blush / To see me thus transformed to a boy” (2.vi.39-40). Jessica’s readiness to run away from her father triumphed over her embarrassment about dressing as a man. In the same way, Portia and Nerissa don the clothes of lawyers to save their husbands’ friend. “There you shall find that Portia was the doctor / Nerissa there, her clerk” (5.i.298-9). This lie’s hilarity is furthered when Balthazar is praised for being smarter than most men. But the comedic elements don’t stop there.

In A Portrait of the Artist as a Young Man, Stephen Dedalus defines beauty and the artist's comprehension of his/her own art. Stephen uses his esthetic theory with theories borrowed from St. Thomas Aquinas and Plato. The discourse can be broken down into three main sections: 1) A definitions of beauty and art. 2) The apprehension and qualifications of beauty. 3) The artist's view of his/her own work. I will explain how the first two sections of his esthetic theory relate to Stephen. Furthermore, I will argue that in the last section, Joyce is speaking of Stephen Dedalus and A Portrait of the Artist as a Young Man as his art.