The Age of Poster: Pictorial Poster

Berenji, Fahimeh Q. "Time and Gender in Charlotte Perkins Gilman’s “The Yellow Wall-Paper” and Kate Chopin’s “The Story of an Hour”." Journal of History Culture and Art Research, vol. 2, no. 2, 1 Jan. 2013, pp. 221-234, Database: MLA International Bibliography -- Publications. kutaksam.karabuk.edu.tr/index.php. Accessed 18 Nov. 2017.

In Jean-Honoré Fragonard painting The Happy Lovers (appendix: fig. 1), viewers are able to get a glimpse into the light-hearted, playful Rococo period. The Happy Lovers is a 35.5 x 47.75 in. oil painting, that was created between the years 1760–5 in France for an unnamed aristocrat; however, it can now be found in the Norton Simon Museum in Pasadena, California. The Rococo period was a result of artists resisting the stiff monarchy, and desiring open expressionism–this was particularly emphasized through nature. The two great artists from this period are Fragonard and François Boucher, Fragonard’s teacher. A result of Boucher teaching Fragonard, specifically in the continuation of pastoral, Boucher was a great influence. This is obvious when The Happy Lovers is compared to Boucher’s The Bird Catchers (appendix: fig. 2). Both paintings include subjects of women holding bird catchers and doves, ultimately symbolizing woman’s ability to control relationships. More specific to The Happy Lovers, the woman dangles the cage above the boy, who is carrying a dove, a symbol of Venus–the goddess of love. However, in the bottom left quadrant of the painting there is an even larger cage with more doves, hinting at the idea that women can easily capture many men. This further expands the sensual intention Fragonard creates. In placing this scene within a secluded landscape, Fragonard emphasizes the flirtation and secretiveness between the two lovers–creating an unstructured, blissful

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.

However, this image is missing the simplicity of the previous poster and the skill in which Chéret prints La Loi fuller’s dress in movement cannot be overlooked, it is what carries the whole poster with ease. As stated by Jane Abdy in ‘The French Poster’ what makes a great Chéret is “the personification of gaiety in his posters …. the laughing, twirling, sparkling girl whom he uses as a model; the Parisians adored her , and called her ‘La Cherette’ (abdy, 1969, p.31)

‘Madam Matisse’ is a rather famous portrait of Matisse’s wife, and is a great example of a fauvist artwork, using many bold, bright and contrasting colours throughout the painting. This painting was created using oil and tempura on canvas; tempera being a glutinous water-soluble material such as egg yolk, which is added to painting medium. The paint has been applied in bold, thick and vigorous brushstrokes, in several layers, along with added texture. The green line in the centre of Madam Matisse’s face has been well placed as a shadow line, and also in order to prevent the face from sinking into the strong flat colours in the background. The face is also divided into a warm, and cool side, and the brushstrokes also add to

Whenever someone asks me this question, I always picture the poster I created in elementary school, asking what I wanted to be when I grow up. I had cropped out a lady from a magazine sporting scrubs and Skechers, and included it on my poster. I had presented this to my 1st grade class wearing a lab coat and goggles. Everyone laughed, while my teacher commented on how the nerd look fit me.

Baletka (The Ballet Dancer), painted by Josef Loukota in early 1990’s was a gift from this Czech artist to my great-granddad and has been hanging on my grandparents’ wall since I can remember. The issue about having artworks at home is that they do not get appreciated enough: they are just always there and there seems to be nothing special about that one particular part of room. However, two features of this painting had always caught my eye. It was the shiny satin ribbon on the dancer’s ballet slippers and the soft, white ballet dress she is wearing. All my focus is on the soft and warm texture of the fabric that creates contrast to the dark and heavy background. The artwork evokes feelings of harmony, curiosity and sympathy and inspired me

A cosmopolitan young flapper-looking woman occupies two-thirds of Tamara de Lempicka’s (b.1898- d.1980) painting of 1928 entitled “Maternity”, wearing a pink satin draping top that reveals her perfect rounded right shoulder and the peak of her inflated breast that is tenderly held in her left hand by her elongated fingers, which she helps her baby to breastfeed (Figure 2). The baby, whose sex is unidentifiable, is wrapped up in a white polka-dot cover that adorns his/her neck with a perforated floral design, emphasizing the roundness of his/her head that depict a dark full of hair and a red-flesh rounded cheek. The minimal dark grey background that is incorporated in the composition serves as an indicative tool to the viewer, by bringing into

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

Furthermore, he ‘experimented with prints for…subject matter…more undercurrent…under the radar’ (Burlingham in McQueen, 2014) in the art world. Grasset had used the medium since the 1880s and here, by using it for art and not for commercial purposes, he is reinventing printmaking. It is a move away from the Academic tradition of the ‘original artwork’ and creates a more egalitarian art for the masses. In ‘La Vitrioleuse’ and ‘La Morphinomane’, he presents us with ‘two examples of the Parisian female archetypes that are commonly illustrated as afflicting French society’ (Levesque, 2014) and they represent a marked move away from his previous depictions of women. Here, he ‘refuses to use the…woman as a mere ornamental motif…his model is the contemporary…Parisian woman’ (Plantin in Roos Rosa de Carvalho and Vellekoop, 2013: p110). However, his view is a misogynistic one as he demonstrates the dangers of society giving women freedom. These prints are part of the Art Nouveau movement and both depict women with wild, natural hair and arabesque

In this piece of art Seurat created a mysterious and alluring scene of circus performers giving a preview to a crowd in the working-class district of Paris hoping to persuade them into buying tickets. This painting is smaller in size when compared to other of Seurat’s artworks, but Circus Sideshow is his first nocturnal painting attempting to capture the effects of artificial light at night. When Fernand Corvi’s travelling circus came to town in 1887 Seurat made several on site sketches for his reference. When first looking at La Parade de Cirque the viewers attention immediately gravitates to the trombonist in the middle of the canvas standing upon a stage with four musicians behind him to the left, but the fourth musician playing the tuba has been cut off by the edge of the canvas. If not for the difference in height the musicians would be almost identical. To the right of the trombonist is the ring master holding his cane firmly under his arm, watching and surveying the performance with a very stiff posture. The heads of the people in the crowd along the bottom of the painting are either in frontal orientation like the musicians or in profile like the ringmaster adding repetition in the painting and rhythm to the foreground. This painting shows great difference from Bathers at Asnières and Sunday Afternoon on The Island of Grande Jatte, where those two masterpieces have vibrant colours and drenched

A viewer’s initial read of Piet Mondrian’s, 1926 work, Tableau 1: Lozenge with Four Lines and Gray, is visually boring, simplistic, static, as well as lifeless and unemotional. The oil painting on canvas constructs a strict geometric composition with its two-dimensionality, monochromatic palette. But by uncovering the complexities of his work, the viewer discovers the tension and balance that is created by the various principles of design implemented throughout the composition. Mondrian, with the subtlest compositional nuances, creates a successful work of art that achieves a sense of dynamism and equilibrium while reflecting into the mind of the viewer.

(Curatorialintern, 2010) Moreover, the yellow dress which the woman wears brings to mind a classical drapery. This dress is together with a belt at her waist and it has dropped to below her breasts, which shows her underarm hair. All of these were marked as vulgar by classical artists and they probably impacted on the French artists and society deeply.

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

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with the implications of Cézanne’s art. This essay will discuss how both Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon are considered as inspired by and breaking free of The Large Bathers.