Rembrandt's Portrait Of Rosalba Peale

What first catches the viewer 's eyes are the vivid colors used in the painting. Ultimately what jumps out the most is the man on the right 's red robe. The artist intended this for a reason, discussed later. The room where the men are standing is front lit. Also the atmosphere is

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

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.

The painting depicts a young woman in a pink dress sitting down. The background is very dark but three things can be made out by the viewer. Starting with the ground plane of the painting, an orange carpet can be seen covering the entire floor. It is patterned and contains yellows, greens and blues. The cool toned colours are darker in hue than the warm toned. Secondly, there appears to be a cabinet or a desk lining the wall behind her. The wood of the cabinetry is carved with detailed designs and is made of a dark stained wood. Despite the dark background a single red rose can be seen on top of the cabinetry. The rose looks freshly picked and shows no signs of withering in its petals. It is painted in a muted red colour that allows it to stand out on

There is also a mirror placed on the table allowing the viewers to link with space beyond the frame. Also in the far back right of the painting you can see a young man talking to an elderly. The artist created an very old or old-fashioned look by using opposing colors, red and green. “The second half of the fifteenth century in northern Europe saw an expansion of genre

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

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

Another attracting feature of this painting is that it appeals to your emotional side. Personally, I have an elder sister and we share a connection that is really rare. I have a picture of her, holding me as a baby with a huge smile on her face and this painting ultimately reminds me of that; giving me nothing but pleasant memories. That is what William is trying to do here. He uses the soothing and caring facial expression of the young lady together with the tenderness of the sleeping baby to capture his viewers and appeal to their caring and emotional side.

Red appears to dominate the painting and serves as an eye-catching color. The use of intensely saturated colors draws the attention to the front couple. Additionally, the red color plays with the mind of the onlooker without them thinking about it. It suggests deep passion, anger, and struggle. The artist intends to relay his feelings about the event to the viewer. His outlook consists of disgust towards the great depression that leaves many taken advantage of due to desperation.

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 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 art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

Filled with shades of red, the upper part of the painting comes to create a strong opposition with the black area below it, itself encircled by a darker red. This painting consisting of three floating rectangles in various colour combinations, creates a sombre mood conducive to spiritual contemplation. With the use of Rothko's saturated colours the viewers are moved

During the 17th century, especially after their break from Spain, The United Provinces of the Netherlands became the most prosperous nation in Europe by leading the world in trade, science, and art. Through the huge and one of the first art markets, art became a common household possession and allowed artists to freely express themselves, which is one of the evidential factors in three of the most universally admired artists of the baroque art era. Rubens, an influential Flemish artist of the Italian baroque scene, focused more on the works of the counter-reformation while the masters of the Dutch baroque art, such as Rembrandt, were in the heart of the protestant Dutch Republic. These three artists share similar artistic styles but yet have extremely evident differences and influences. The artists’ work also have a great portrayal of the historical and social impacts of the 17th century.

The idea of this piece is to show the connection between mother and daughter being painted. It shows the time and the classic style of the