L’origine Du Monde. Courbet, 1866

As I was walking across the 17th century art section at Walters Art Museum, hanging behind the big rectangular pillar in the middle of the hallway, an oil painting on panel by Trophime Bigot draws my attention. The high contrasting tones of colors and values and the artist capability to make the grotesque painting appealing interest me.

Although examining art requires a huge knowledge, my intention in this essay is to analyze a piece of art, besides lyrics and the context, I’m going to examine it by following the steps presented by Alain de Botton.

For centuries, sexuality and nude figures has been a face of art. Venus of Urbino by Titian and Olympia by Édouard Manet represents the faces of female domination and their ability to lure any men. In this essay we shall talk about the two artists, Manet and Titian, and also compare and contrast between the two painting based on their cultural and structural significance. Manet was born in 1832 in Paris. He was considered as the founder of modern art and a master analyst of visual arts. His artworks were realistic, spontaneous and monumental. Inspite of coming from a privileged family, Manet’s work mostly consisted paintings of the less desirable and the lower class people of Paris. His artworks commonly represented everyday life scenarios

The main focus of the painting intended by Titian is a nude woman, Venus, looking straightforwardly at the audience. The young woman’s nipples are erect; with her left hand covers her pubic area, the sexuality of this painting is unquestionable. She is completely naked except for the ring on her little finger and the bracelet around her wrist. It is clear that the intention of this painting is to evoke sensual feelings in its audience.

This particular artwork could be interpreted as symbolic for identifying a future for sexual freedom of women; women being able to discuss themselves sexually, accept who they are and their individual beauty and the freedom to express female sexuality art, removing the stigma

In the traditional European oil painting, the nude, the principal protagonist (the painter) is never painted, but what does gets painted is a result of what appeals to him sexually. A woman’s body hair and fat dimples are never painted, since it is not sexually appealing to the painter. When a woman is depicted with her lover, her attention is rarely painted as directed towards the male lover if one is present instead it is directed toward the spectator—the painter. Most Renaissance European oil paintings with sexual imagery are frontal, literally or metaphorically. Of course there are exceptions, let’s not dwell. The oil-paintings of this era feature stark nakedness. I chose the paintings that I did of the women that were clothed on purpose, they are still supplying a demand and these women still have makeup on their faces and are wearing very nice clothing which is appealing. Neither one of the paintings of the women have anything unappealing of their face i.e. pimples, warts, unibrows or a mustache. However in the painting of Diogenes he is depicted half naked and you can see his nipple and very defined muscles. Could one say that this artist was interested in men? As “attractive” attributes are depicted? Could I Berger declare that this is a hack work on the men?

Cliché is often used as a pejorative term. Sometimes clichés can be the way a major breakthrough of understanding can occur. As I embark into the world of art, this cliché was a good thing. It was positive because as I studied paintings for the first time. I realized that as I was the beholder and the observer of the painting, I was responsible for making the effort of finding the beauty beyond a simple statement. The purpose of assignment was to observe and take note on pieces of art at a prominent museum. I was fortunate enough to visit the Museum of Modern art in New York City and I hoped to critique very famous paintings like Pollock 's drip paintings and The Persistence of Memory. However, it was a Saturday afternoon in the middle of July in New York City. I wasn 't afforded the luxury of being able to observe famous paintings such as those without a large crowd forming around it. In order to complete my assignment I went to the Getty. I found that finding a painting to study was harder than it seemed. I made a return trip to the Getty after brushing up on Art and Physics. The Getty is home to a variety of artwork dating as far back as the 1300s. I focused on art that was featured in different galleries of the museum including Italian Renaissance era and early Christian work. The paintings that I finally decided to write about were The Portal of Rouen Cathedral in Morning

Even though some artists, as Berger claims, tried to resist this tradition, they couldn’t overcome the cultural tradition of female objectification that has continued to the present. These artists failed to create a different view in culture because of the media and how the perception wouldn’t change in the eyes of men. One famous artist who tried to resist this awful trend was an artist name Rubens. In his portrait of his second wife, the painting named Helene Fourment in a Fur Coat, he tried to portray the same message with a different image.The image is of a women with no other clothing other than a fur coat looking shameful. The middle-aged looking women in the painting was wearing a big brown fur coat. The difference between a regular “nude”

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

By reviewing Julian Bell’s text, there are two principal accomplishments and two principal disappointments. Bell’s two principal accomplishments are his capacity to move quickly between continents, from a mournful crucifix in Cologne cathedral to a loving Indian couple on an erotic temple fresco at Khajuraho, allows him to make unexpected, cross-cultural comparisons at every turn. Tracing art history mostly in chronologically across the whole world and exploring connections between different cultures. Furthermore, like the time span runs from the emergence of art-like acts among the hominid ancestors of Homo sapiens to the present. The interpretation of the artworks from the world art, in Mirror of the World, are mapped onto a geo-chronological

Yet during his career he often faced criticism for being too rigid in his style. (Shapiro, 165) His work was also accused of being primitive and vulgar. (Schapiro: 166) This criticism came not only from art patrons and spectators, but also from other artists, such as Delacroix, also considered a French realist. (Schapiro: 166) Schapiro writes that while Courbet would be influential on later painters, his audience may have not only or primarily been other

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

Let’s first begins with who Jean Desire Gustave Courbet was. Gustave Courbet was a famous French painter. Courbet was born in Ornans, France on June 10th of 1819. Ornans, France is a filled with forests and pasture’s perfect for realist paintings. At the age of 14 Courbet was already in art training receiving lessons from Pere Baud a former student of a neo-classical painter named Baron Gros. Courbet’s parents hoped he would go off and study law when he moved out in 1837. To there misfortune he had enrolled in at the art academy. At the art academy Courbet received lessons from Flajoulot another famous neo-classicist. At twenty years old Gustave Courbet went to Paris, the European center for art, political,

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with the implications of Cézanne’s art. This essay will discuss how both Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon are considered as inspired by and breaking free of The Large Bathers.

Throughout the vast history of art, historians can find connections throughout the centuries. Artists from the beginning of humankind have been inspired by the world around them. From the Apollo 11 stones to present day, history and culture have provided inspiration and have been the focus of various pieces. Examining artwork from the 15th-18th century, viewers can be shown a whole world that would be unknown to us without these artist’s contributions. History, religion, and cultural events have sculpted the art world, and we can observe this through many pieces during the 15th-18th centuries.