Les Demoiselles D Avignon

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.

Throughout history, symbols have had an overwhelming presence among citizens. The French Revolution had many symbols that represented power. Did the events leading up to the storming of the Bastille persuade the French citizens to believe that it was a symbol of power? There are many reasons why the French citizens would believe the Bastille to be a symbol of power. It was a very overwhelming stone structure, which stood robust, surrounded by small villages along with farmland. The architecture and placement of this fortress gave itself a reputation of strength and impregnation. It stood by itself, being the most intimidating structure of its time.

The painting shows five women naked with flat figures, disintegrated planes and faces, inspired by African masks. The compacted space the figures occupy appears to project forward in jagged shards; a fiercely pointed slice of melon in the still life of fruit at the bottom of the composition teeters on an impossibly upturned table top. In this painting, Picasso makes a radical departure from traditional European painting by adaptation of Primitivism and abandonment of perspective in goodwill of a level two-dimensional picture of a plane.

One of the aspects I believe unifies this painting is, as I talked about above, the continuation of the blue of the woman’s clothing continuing up into her hair, which gives the piece a sense of wholeness and relativity. There is also balance in this piece, for while the woman’s head is offset, this is balanced out by the elongation of her shoulder and arm in the right side of the image. Variety is also achieved in this piece through the use of a variation of hues and a lot of tonal difference. Emphasis is placed upon the hair with the use of an unnatural hair colour, as well as the face where light colours are used to highlight and pull the attention. Space is not so much of an active principle in this piece, but is still present nonetheless. Beryl is placed in the middle of the painting, with her taking up roughly 50% of the space, and the rest taken up by background.

The artwork is a complex mixture if colors, shapes, and tints. In the painting, there are eight figures. Seven that is to the center and left of the painting and one on the right. The seven persons on the left are all either touching each other or interlocked with someone. Of that seven, six are men and one is a female. There is a man in

This subject matter is about one of the most under rated paintings in my opinion of all time painted by a very under rated painter whom is Tim Ashkar, and the painting is no other than Beauty of Color. The artwork is full of different shades of beautiful black women wearing their elegant attire along with exquisite heads dresses and simply luscious pearl necklace along with the ear rings to match. All of them have peaceful and pleasant looks on their faces with their backs straight wearing beautiful array of earth tone colors with eyes to match. It seems like they arrange from young to not so old but all of their faces are very distinctive from one another, so it’s very easy to see who’s who.

The era this piece most represents is the Renaissance art in the fifteenth-century Italy. It goes best with this era because of its use of nudity and shape and lighting. Its use of space of sharp edges and sculpture figures. Also the use of lighting shows an almost 3-D like image. Even though this is a print it almost seems like a picture of statues. The artist also used a sense of scale and proportion in this piece. Every statue is differently scaled from the others. The body parts on each statue did not quite fit with the other body parts. Every statue is different in size, stance, and color. Also the background behind each figure is different from the other ones, in its use of color and detail.

In the painting of “The Two Fridas” you automatically notice two women sitting down in a bench, holding hands with hearts connected with each other. The background looks as if she was outside since it looks like clouds and the floor is light brown. The first Kahlo has her hair up, has light makeup on, (she is whiter than than second woman, her mustache is shaved, and she put some lipstick.), the dress is white and has two different designs on top (her chest is more vintage while the arms are layer of laces). The middle portion of her dress has blood stains dripping downwards. Then at the very bottom there seems to be flowers like roses and little birds, and the heart she has seems to be damaged with white and black inside. The second Kahlo also has her hair up, now she doesn’t seem to have any type of makeup (she is a bit tanner than the first woman and she actually has mustache) she has a more natural look, the dress she is wearing has color to it, the top of the dress is blue with some yellow around the neck, arms, and in the lower stomach area then on the bottom of the dress it is brown but the very bottom is simple with no flowers, it is white with frills, and the heart she has looks more of a realistic. For the first Kahlo the blood vessels are going around her arm, up her shoulder, and around her neck going towards the second Frida heart. Once the blood vessels reaches

There were many early expeditions from Europe to North America, most in search of a

The artwork is a realistic portrait of a women. It is abstracted with asymmetrical balance with exotic and vibrant colors. As if the women is sitting in the corner with two

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 nobility of the Kingdom of France has been evaluated by various scholars of history. There is something to be said, however, for those who chronicled their impressions while living them in the 17th and 18th centuries. The excerpts of Charles Loyseau’s A Treatise on Orders, written in 1610, and Isabelle de Charriere’s The Nobleman, written in 1763 provide two very different glimpses on the French nobility from differing time periods. From these two accounts, it is clear that there was a marked shift in the way some viewed the nobility and their role in the operation of the French state. While Loyseau praises the nobility nearly wholeheartedly,

Also, collaged images of woman 's genitalia were cut out and spaced all around the portrait. The spaces were carefully used to show that the collages were floating around the woman. The artist used overlapping technique to show certain collage cut-out appear closer to the viewer. He pasted some collage over and some behind the woman that you could see through with the overlapping. The collage images were abstract that you could barely tell that they were buttocks until you zoom in and see them close up.

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 first painting, “Intervention of the Sabine Women” by Jacques-Louis David, depicts a sort of panoramic view of a battlefield between some soldiers that appear to be wearing helmets and gear reminiscent of the Spartans and/or romans. All of the figures are naked and they are fighting and they all appear to be very closely bunched up. Among the soldiers are a few clothed women and some children that appear to be going about themselves amongst the chaos, with the exception of a few characters that appear to be affected by the chaos. There are a few women at the center with some children that appear to be attempting to break up the battle. Based on the style and details of the painting, it most likely represents the era of ancient Rome and