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
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.
In the painting there is a fair balance, as every character except Mary is on the left side of the scene, but they are all pointing and looking towards Mary. So, while the focal point of the scene is obviously Mary, there are important figures and symbols on all levels of the picture. Also almost everything in the scene has at least some significance, and none of the figures are independent and, rather, are in union with each other.
Despite evident differences in the compositional elements of Picasso’s Les Demoiselles and Manet’s A Bar at the Folies-Bergère, both utilise a composition with a shallow plane to distort visual perception in their work. This distortion promotes the spectator to revaluate the way they perceive these female prostitute subjects. Picasso’s treatment of paint and use blocked colours in Les Demoiselles creates the sensation of a flat, two-dimensional image, signifying a radical break from traditional modes of representation. The lack of depth in the painting pushes the figures of female prostitutes on top of each other, layering the stark angles and sharp forms that make up their bodies. In addition, this layering on such a large scale (243.9 cm × 233 cm) creates a feeling that the figures are pushing beyond the boundaries of the work and imposing themselves onto the spectator. Furthermore, the stances of the prostitutes, who are dramatically flaunting their bodies with arms raised and torsos presented openly, fills the frame, refusing the spectator to accesses to other areas of the image. Instead the female figures dominate the attention of the viewer, in some ways empowering these figures who previously lacked representation. These formal elements of composition all come together in Les Demoiselles to challenge the spectator’s ways of viewing the females in the work.
As the viewer, when you look at this woman, it makes me follow her gaze to what she looks at which I believe to be the reason as to why the artist painted her in that way. From my knowledge on this scene from varies movies, soldiers would come and break the legs of those crucified to speed their death. When they came to Jesus, they could not break his legs as he was already dead. Instead, a solider pierced his side with his lance to assure themselves that he was dead. In the Last Judgement panel, you can see that the artist divided the painting into three different sections which depict heaven, earth and hell. In the section where heaven can be portrayed you can see a couple of angels above Christ blowing on their horns and Christ, himself is sitting in the center of many angels and saints. Jesus still appears to have the wounds of his crucifixion and the wound received from the soldier’s spear, but instead of being naked, he is wearing a red robe. To the right and left of Jesus, you can see Mary (left) and John the Baptist (right) kneeling next to him and praying. Jesus, Mary and John the Baptist have a yellow glow surrounding
The artist depicts an initial confusing and weirded-out thought for the viewer at first glance, but as one deeply examines the art, the subject matter begins to become more clear. The vision being shared in this non-objective painting has a context of placing one in the standing of Mr. Man by gaining height and freedom from the (white) bars that are rising on each level that represent conflict which traps one in a “cage” of misery. The unbalanced symmetry of having the left side take up more space with little action, and the right side being smaller with the action unraveling, makes the viewer break down each composite perspective. For the left side, the mysterious female muse, Moon-Face, has an unproportional face that is almost blushing with shades of light pasty orange, with the mouth wide open. The energetic mood is amplified by the tone of yellow that is splashed in the mouth, representing a loss of words or at a state of disbelief. The female’s lower half is created with tints of red that enhances the curves on her body, as if chiaroscuro connects the light and dark contrast to show outline of the breasts, stomach, and hips in
The painting “A Bar at the Folies-Bergere” a first modern painting that portrays young woman resting on the marble counter, the girl looks below the blond bangs with distant eyes and serene. Has the neckline adorned with a bouquet of flowers in front of it are bottles of champagne, beer and peppermint schnapps. She is the symbol of his time and the reality of his time reflected on his face. The tones of the picture, cold and creamy, remember rain and inspire melancholy. Through a game of perspective and optics, Manet gets the strange impression that we are also confronted the waitress the picture, as if we were at the Folies-Bergère and we saw that dandy reflecting itself. the result of the distorted logic of the work - is perceived tension.
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.
There are several mysterious components to the Bar at the Folies-Bergere that have stumped art historians for more than a century. When regarding the Bar, the viewer comes face to face with the barmaid. The most immediate observation is the noticeably forlorn, melancholy look on the lady’s face. She is facing directly forward, with her hands resting on the bar with apparent indifference to the events around her. Behind the barmaid is the venue, the famous Folies- Bergere. There is a lady with monocles observing the circus, groups of joyous people, and in the top left-hand corner, there are the legs of a
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
Manet’s Olympia brought a different perspective to modern society that typically not shown in fine art. Looking at this piece, it generally looks like a nude figure painting; however, at the Paris Salon of 1865, it brought in controversy that revealed modern life in a lens not typically seen in fine art.
She is staring straight at the viewer, not ashamed of being naked, suggesting the idea of power and eroticism. Manet haven’t painted the idealized female figure but a real woman making the viewer feel uncomfortable and hostile. Even looking at and comparing Olympia’s hand on her thigh to the hand in Titan’s painting; it is clenched around the thigh, only to be removed to take money. The dog in ‘Venus of Urbino’ has been replaced by a black cat creating an illusion of female
When the Head speaks with Clara afterwards and they talk about whether Clara was trying to attract attention or not Clara answers: “Well, I would, wouldn’t I? Doing a thing like that. I mean – you’d be bound to.” (l. 29) On Niels Strøbek’s oil paint “A double portrait of the artist’s life”, you see a woman who looks herself in the mirror. But the woman in the mirror is naked and has her hair loose. The woman who faces her own reflection from the mirror wears a shirt and a vest and her hair is pulled back. You are not able to see much of the woman’s facial expression since you see her in profile, but the part you see seems strict but also modest. On the reflection you can see the woman’s eyes, which tells us more about her. The eyes look right at you and you see uncertainty, shyness and too some extent fear. The nudity in both the story and the picture symbolizes the ‘naked’ person, the person you are on the inside. Clara as well as the woman on the painting has a shell and they both hide them behind a façade, but when they stand naked, they show us as readers and spectators the real them. Clara and the woman are symbols on the rest of us. Most people try to keep up and appearance so they can keep some distance to people and they also keep the appearance up in order to protect themselves from being hurt. Most people do it just to save themselves from hurt feelings and problems, but when you put up a façade some
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