Self Portrait In A Straw Hat Essay

In Berthe Morisot’s painting, she uses colors ranging from blue to green to yellow to orange. She uses paint thinly but in big brush stroke but her color was dull. Her brush strokes are in a cross hatching manner. This method of cross hatching creates depth and shadows on the foreground. Intermixed, in her piece are signs of dry brush strokes. Morisot’s figure is enticing to the viewer by staring back at the onlooker. Morisot’s painting looks very freeing as that is what she longs for. She has a sketch like quality about her painting.

Vincent van Gogh and Claude Monet are two highly influential contributors to the art world. Both are renowned artists whose creations are on display in several art museums throughout the world. They are two artistic geniuses who are more alike than they appear to be. While there are many similarities between the lives and art of these two prodigies there are numerous differences as well in their technique/style, subject matter, and personal lives.

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

Woman with a Hat is an oil on canvas painting by Henri Matisse, created in 1905. The painting is considered one of the first ever Fauvist works, and was displayed at the Salon d’Automne in Paris, an exhibit which defined the movement. Matisse was a French artist who had actually worked in several mediums, but was most famous for his paintings. He was born in Le Cateau-Cambresis, Northern France, in 1869. He first began painting in 1889 with a small assortment of paintings supplies his mother had gifted him during a period when he was recovering from illness. He joined Gustave Moreau, who would become an inspirational leader for Matisse’s Fauvist movement, at his studio in 1891. In 1896, Matisse began working with an Australian impressionist painter John Peter Russell, who Matisse would credit as having taught him color theory. Russel introduced him to impressionism and the works of Vincent van Gogh; Matisse’s relationship with Russell would drastically evolve his painting style. Matisse’s early work took influence from neo-impressionism, post-impressionism, and divisionism, a style which Matisse took up after reading Paul Signac’s essay D'Eugène Delacroix au Néo-impressionisme. Exploration of these styles would influence his movement into the revolutionary style of Fauvism. Fauvism emphasized painterly qualities and strong, vibrant color choices. It emphasized these qualities over

Celebrated artists Elisabeth Louise Vigee Le Brun and Marianne Von Werefkin have contributed to the evolution of two different art styles and the appreciation of female artists. Le Brun’s Self Portrait in a Straw Hat exemplifies the prominence of Neoclassicism and the Rococo movement during eighteenth century France. Von Werefkin established herself as an Expressionist in her Self Portrait in the rise of the twentieth century. Both representational pieces provide the viewer with a candid insight into the temperament of each artist, reflecting their artistic influences and the time period in which the artworks were created. Consequently this has affected their application of colour, tone and composition, creating two distinctive self portraits.

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,

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.

Their individual perspectives in life ultimately shaped their education, experiences and overall point of view. This essay will outline the similarities and differences in subject matter, tone and imagery of these two artists’ bodies of work.

Margaret Olley and Van Gogh are two of the most well-known impressionists of their time. With more than a century between their eras, they both played significant roles in the progressing development of art today. Similarly painting still life’s and portraits, they also used the same media types and painted what they were surrounded by. For example, rooms of the houses they lived in, flowers and places they travelled. This comparative essay will compare and outline these two famous artists and the similarities between two of their most

To describe the artwork “Woman in a Purple Coat” by Henri Matisse, the viewer has to be open to expression. In the artwork there is a woman, wearing purple pointy shoes, green pants with white faded stripes, a V-shape white shirt with grey lines, a long purple coat with white stripes and four black strips at the front to button the coat, a pearl necklace and another yellow long necklace. She is sitting with confidence with open arms on a vibrant two tone one side yellow and other side green couch. Sitting on the couch in a corner with a yellow flower arrangement on a pink and white vase with some fruit on a table next to her on the right. There is a magazine laying on the floor on top of a gray rug with black stripes above a black square marble floor. It looks as if she was reading intensely before being interrupted. She has her right foot behind her left, confidently waiting to be interviewed. The walls contrast with each other giving light and darkness to the portrait. On one side the wall is black with gray flowers outlined in red. On the other side the wall is green with black curvy streaks with white outline joined together by a grey corner behind the women wearing dark lipstick confidently sitting on the couch.

Have you ever looked at a piece of art and wondered how it could be based on real life, because it was just so beautiful? Well Elisabeth Vigee Le Brun was able to paint in such new and exciting ways; people were left wondering just this. Elisabeth Vigee Le Brun was a woman of many talents. In her life time she came up with new ways of painting, revolutionized fashion in France, and overcame any prejudice thinking because she was a woman. Before dying at the age of eighty-seven, she had gained the respect of women and men all across the world. Being a female artist in the eighteenth century was not easy, especially when you had to keep a career and your life together during the

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 analysis of these paintings will begin with Vuillard’s oil painting Interior With a Screen. This piece depicts a female nude placed in the interior a large and furnished room; the woman appears to be slightly hunched over

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

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