Rembrandt Elderly Woman

I chose to write about L’Envouteuse (The Sorceress) by Georges Merle. Merle’s father was also a painter, and since Merle did not sign some of his early work it was often confused to be done by his dad. George himself was known by his talent of painting the body form of women. Merle painted this during the time of 1883. This painting is 57 ½ inches x 45 inches making this a fairly large piece. When painting this he used oil on canvas. I found L’Envouteuse (The Sorceress) while I was browsing through The Birmingham Museum of Art. Above all pieces of art I saw in the museum, this painting seemed to be the most captivating. As soon as I laid eyes on it my attention was immediately taken by this mysterious piece of art. I grabbed a stool and began writing down my observations. Looking at this painting on paper cannot even compare to actually seeing it in person. Pictures I have seen online of L’Envouteuse (The Sorceress) do not justify the great detail and vigorous colors that are more easily seen while actually standing in front of the painting.

2. Figure 5.2, Self-portrait in a Straw Hat by Marie Louise Elisabeth Vegée-LeBrun. Oil on canvas, 1782. The technique of chiaroscuro that gives the figure mass and depth also give it life. The attention to detail within this is piece astonishing, the subject’s hair,

What is odd about the painting is that usually the face is masked during surgery, but in the painting it is not. I feel that Rembrandt did is because I feel that even though

She was known in Paris for her artful appearance. The artist hopes to enhance his reputation by painting and exhibiting her portrait. Working without a commission but with his sitter’s complicity. The original version of the portrait by the artists daringly depicted his model with one of her jeweled shoulder straps falling seductively, so that her dress appeared almost strapless (refer to Appendix 1). However, due to the portrait receiving more ridicule than praise, Sargent repainted the shoulder strap and kept the work for over thirty years (refer to Appendix

Perhaps the most technically impressive aspect of the painting is its remarkable three-dimensionality. Rembrandt is well known for his strikingly accurate portrayal of human shape and form, and this painting lives up to such reputation. With the use of oil paint, he was able to carefully and selectively layer color to create an astonishing representation of the human figure. The most alluring aspect of the piece, in terms of modeling technique, is the face. It contains so much detail; it is hard to believe this painting was done by hand. From the light, wispy texture of the facial hair to the subtle wrinkles surrounding the eyes, attention to detail is what sets this portrait far above many others. Rembrandt’s playful chiaroscuro on the nose and right hand truly give the piece a sense of depth, and the painterly quality of the piece produces a soft and elegant look. Also present within the face is the famous Rembrandt triangle. The result of a specific lighting technique frequently used by Rembrandt, a small triangle is formed underneath the eyes. It is present under the left eye in Marten’s portrait, which gives his face a more natural look. Another technique that intensifies the three-dimensionality of the visible body parts is the use of

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”

The painting was rejected by the official French academy in 1863 because it left the salon jury outraged to how the woman is being shown in the nude with no shame at all. Although nude women had always been the subject of classical art the problem here was that she was being depicted as a normal human being. Her body posture seemed relaxed, by slouching it also creates folds on her stomach. The salon did not approve as she was displayed as a regular modern day woman who happened to take her clothes off (you can see her polka dotted dress and hat towards her left) rather than a goddess or mythological creature. Another problem they had was that she is looking directly into the viewer’s eyes with confidence and self-awareness to which people were not

The braided hair and ribbons of one of the grieving woman’s hair, small sprigs of foliage adorning the platform of Patroclus’ bed, the Greek ships silhouetted in the background, and the inclusion of Achilles’ armor all contribute to the Classical theme. It is as if Taillasson is trying to convince the viewer, through these scattered Classical elements, that this is indeed a true Classical painting. Perhaps he thought it was. However, time begs to differ. In the grand scheme of art history it is not a pure of perfect example of a Classical work or a Rococo. The composition and theme of the painting - an apparent use of horizontals and verticals on angular planes and a theme relating to myths of antiquity - are markers of the Classical. The colors, brushstroke, and poses/treatment of the body - soft pastels, loose and fluffy strokes, and relaxed figures - are that of Rococo. Overall, the painting is an example of the space of time between both art periods. Those trained in Rococo, like Taillasson was, were trying to maintain the techniques they were taught. In this work Taillasson is conforming with the newly popular Classical style, but only in intention not result. The subsequent work created still clings to all things

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 model in the painting was viewed more as a real subject or person and less as a generic face of upper class in a work of art. It was so odd to some viewers they seek to find the real women in the painting witch was unusual.

Through this painting, Marie Louise Elizabeth Vigee-LeBrun is sharing herself with the viewer. The message is easily understood.

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

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.

The most common of these portrayed garments were the generic Berets that have now been typically associated with the common artist as a stereotype. Looking at the untitled self portrait of 1657 (Figure 1) you can see Rembrandt’s attention to detail and his persistence to achieve life-likeness. He has built up the wrinkled brow, the puckers of skin, in very detailed and effective passages of reddish colours. You can see the application of chiaroscuro in this painting which is obviously intentional as even his clothes, including fashionable beret, are dark to help with the distribution of light and dark with the focus being on his face. This self portrait is one I consider to be among his best. This work provides an insight into Rembrandt’s indifference to self-consciousness as you can see an aged, wrinkled man with a large broad nose and gray wisps of hair, all of which he has made no attempt to positively alter, he simply strives for realism in his works and finds no reason to alter the physical reality of his work for mere aesthetic purposes. It provides an insight into the culture of the time with the fashion state Rembrandt has depicted himself in as well as the common chiaroscuro methods used in the painting which were common for the culture or society of the time. The self-portrait of 1630 (Figure 2) shows how even from early in his career Rembrandt strove for realism in his works. You are once again struck by the honesty

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