Reflection and Analysis of the Portrait of Dr. Heinrich Stadelmann by Otto Dix

Like the painting, the sketch exhibits a number of West 's finest imaging and clearly and convincingly depicts all of the feeling of a frightful scene. The larger oil on canvas work isn 't one portrait, but rather, a

Heffernan’s paintings express her untamed imagination with majestic fantasy, dream-like subjects, yet she paints with a very classic technique. When I first viewed The Self Portrait as Wunderkabinett, Michelangelo’s Sistine Chapel came to mind. Michelangelo illustrates the desire and describes the oneness that humans anticipate with God through salvation. The artists painting technique is traditional, with the sensible and realistic proportions of the human body, the distinguishing lines, the application of shadow, the intricate detail on every object within the painting, and the use of traditional complementary color pairs.

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.

These two self portraits were created over a century apart; this has affected the artistic influences and styles, but also the artists’ intention. Thus, Von Werefkin’s 1908 Self Portrait significantly differs from Le Brun’s 1782 Self Portrait in a Straw Hat. While Le Brun has created the perception that she is demure and docile, Von Werefkin has the opposite effect, creating a perception of fierceness and audacity. This difference is achieved through their gestures, composition and use of colour. There is an obvious delineation between Le Brun’s open, inviting body language, even placement in the composition and soft, pastel colours as opposed to Von Werefkin’s scornful, red eyed gaze, closed off body language and her filling most of the space in the composition and bold, intense colours. Similarly, the artists have both utilized tonal value to create form within the portrait, but their creation of tone has been accomplished by contrasting methods. In order to generate a realistic self portrait, Le Brun applies tints and tones to the subject in foreground giving the illusion she is real due to the three dimensional form. This is a traditional approach to creating form within an artwork, and greatly diverges from Von Werefkin’s more experimental, modernist approach to creating form through tone. In her Self Portrait Von Werefkin has created strong tone by focusing on areas where the light strikes the subject. Instead of adding white to the hue to create tints, she has applied stronger, more vivid colour in areas of light. This is evident as she illustrates the light hitting her face, and the peach hue of her face transitions to a radiant yellow. The warm colours move forward, whilst the cool colours recede; creating a sense of light and ensuring the subject is not

Hans’ life was altered in this time period by the Nazi Party. When he gave the soldier the bread, he was sent to the LSE (Air Raid Special Unit.) The Author wrote, “Hans Hubermann grew smaller and smaller, and his hand held nothing now but empty air.” When he left for the army he escaped death yet another time. Hans broke his leg in a car accident and was be sent home by his sergeant. If Hans didn’t live in that neighborhood at that time he would have never been punished by getting drafted; he would never have had the wonderful return celebration with his

The similarities, and differences, between Rembrandt Harmenszoon van Rijn’s Anatomy of Dr. Tulp (1632) and Thomas Eakins’ The Agnew Clinic (1889) are both uncanny and unprecedented. Painted in 1630’s Amsterdam during the Dutch Baroque period, Rembrandt sought to preserve the rare occasion in which a real human body was used as an academic tool in order to prove anatomy theories. On the contrary, Eakins piece was painted in 19th century America during the realist movement to memorialize a retiring professor. However, it is their similarities that make them comparable; they were both commissioned by academic institutions, they both depict a surgery in progress, they both celebrate the careers of notable

The beginning of an appreciation always starts with the most basic of trends in a painting. Though they seem axiomatic in nature, they are in reality very important and not as obvious if one is truly vigilant. The painting was slightly large and had dimensions that were approximately five feet by twelve feet. By looking closely at the painting using sharp eyes one could tell that Volaire used oil on the canvas. The framing used was apparently vintage (as I was told by a vehement supervisor, unhappy that I touched the frame) and came from the late seventeen hundreds. What was also learned was that vintage

Students through the process of art appreciation will build connections through the exploration of textures, lines, colour and shape when describing, analysing, interpreting and judging the artworks before them (3 chosen images). They are asked to describe what they see, the artist’s use of colour, lines, shapes and texture. They then move onto analysing; what catches their eye, is the composition balanced and do the paintings look flat or do they have depth. The discussion then progresses onto interpretation where students are able to express what type of emotion they feel when looking at the pictures, perhaps the kind of sounds they might hear if they could step into it, and why they think the artist chose this particular subject to paint and what may have inspired the artist.

First thing that I noticed about this gorgeous oil and tempera on panel painting was the precise emotional aspect: romantic and simple, yet so exceptionally lifelike. This work surely shows a development from the powerfully

The painting of Prof. Felix Walter (Figure 1) made with watercolour on paper on stretcher by Charles Fraser Comfort stands out as an intriguing piece of artwork because of the visual choices C. F. Comfort has produced. I was able to appreciate this work as I had the privilege of attending the Nuit Blanche exhibit at the Winnipeg Art Gallery, Winnipeg on the first of October, 2016 where Prof. Felix Walter was in display at. I found this particular artistry stood out because of its placement in dominance from the other paintings, the use of contrasting styles using the same medium and the bold textures that divulge the prominence of the subject. The artist, C. F. Comfort is worth being aware of because of his exceptional work such as this painting. The composition fashioned by the art gallery should also be duly noted as it took part in making this particular piece stand out.

context such as race and gender, and the history of the painting. In addition, I will be

In 1844 painted with watercolor, bodycolor and gum Arabic with graphite on paper, mounted to a board. The painting is non-objective and can have multiple interpretations

One of the most visually intriguing pieces in the exhibit is the Portrait of Père Bouju by Maurice de Vlaminck. It was painted around the year 1900 by the French artist. It is not particularly beautiful by normal standards. At first glance, the texture of the paint stands out more than any other feature. It has very strongly defined brush strokes and thick paint in portions, especially the face of the man and the background. The lines in the paint are mostly straight, short, and wide with some that are thinner and wavy, like the smoke. The man is in the center of the canvas, he is the only discernable image, and he is almost devoid of detail aside from the face and the hat. The colors are almost entirely neutral aside from the red scarf. In this oil on canvas portrait the man is wearing a

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

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