The Between Edouard Vuillard 's Interior With A Screen ( 1909-1910 ) And Henri Matisse 's Blue Nude

Although Matisse more explicitly proclaims his model an odalisque, Modigliani’s image represents the artistic, and highly sexualized, genre. In both paintings, there are parallels to Middle Eastern culture. Reclining Nude features a woman with olive skin, uncharacteristic for Europeans of the time, and Seated Odalisque exemplifies Oriental design and

For this essay i have been asked to discuss a contemporary image from the last 30 years from fine art,design media or the everyday. I have decided to choose the Painting titled Plan (1993) by Jenny Saville, a contemporary British painter associated with the Young British Artists, known for her large-scale painted depictions of nude women.

This painting is much more sensual than Giorgione’s painting due to Titian’s because he engages the woman with the audience by making her look straightforwardly at the audience and his use of chiaroscuro (Grabski, Józef).

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

This painting about the process of applying make-up at the mistress's vanity conveying a pure young woman. The lace and pink ribbons along the chest of her dress create an almost architectural quality, being able to see the weight and stiffness that they create. The subtle focus on the cameo on her wrist being a portrait of her lover, King Louis XV contrasted with that the size of her eyes compared to her mouth transforms her into a childlike state. The painting provides a sense of mirroring. Even though Madame de Pompadour has a mirror placed in front of her, she turns her body facing towards us with an expression of intended innocence.

Groseclose focuses on studying the artwork’s use of lighting and the identity of the subjects, their postures, and facial expressions. Also, she interprets the painting

In this paper, I choose to discuss three pieces of art from the 19th century Impressionist period and three from the Post-Impressionist period and how these six pieces of art compare to each style. Then I will draft a memo to the CEO of my company to describe the appearance, so that they will have an idea of what the art looks like and where it should be placed throughout the corporate offices. Next, we are going to explain the historical significance for each piece of artwork that I choose. Finally, I will descried to the CEO of my company how each piece of art matches the company’s overall image.

Seated Nude is a terracotta sculpture on a black marble base. Housed at the Museum of Modern art it stands 6” long 8 1/8” tall and 3 ½” wide. The piece features a woman seated on a ground with her right arm extended back propping her up. Her other arm is bent and behind her head. The left leg is bent in an inverted “V” with her foot on the ground. The right leg is bent lying flat on the ground and going in-between the “V” of her other leg. Her face, hair, hands, and feet are not heavily detailed; however her features are clearly defined. The hair is pulled back with rounded hair in a circle around her head,

The exhibition that focuses on contemporary artworks since 1960 will be small, containing only two pieces. The pieces are both sculptures, Violet Persian Set with Red Lip Wraps by Dale Chihuly and Nefertiti by Wendall Castle. The theme of the exhibition will be about the reimagining of the exotic female form through abstract sculpture—specifically, in-the-round, free-standing sculptures. Both Chihuly’s piece as well as Castle’s fit this theme as they depict abstract forms that can be interpreted as feminine. However, the pieces look radically different from one another and are fairly abstract. One sculpture shows a strong and regal womanly form while the other could be interpreted as the exact opposite. Both sculpture’s in the exhibition can also be seen as being inspired by the exotic and romanticized past.

Painting portraits, portraits of women, youth and loved ones became more popular than scenery. Here, women are no longer mythological creatures and have stepped out into everyday life, although there is still an air of idealism around them. (Fig. 2)is a work of this period with an emphasis on the female element.

The two art pieces that I want to write about are Bronzino's Venus, Cupid, Folly, and Time, Mannerism art, and Manet’s Le Dejuner sur l’herbe, Realism art. Because these paintings were born in the periods when there was significant cultural and social changes, which influenced to their artistic style. The both paintings have nude female figures on the center of the paintings, but had received different criticism. Bronzino's Venus, Cupid, Folly, and Time is one of the most famous works of art of Bronzino. The characters in the painting embody the provocative and chaotic Mannerism style. On the other hand, Le Dejuner sur l’herbe, get Monet criticized for its obscene scene, flat perspective and the naked women, which the society didn’t approve of. Le Dejuner sur l’herbe have Realism style characterized by muted color palette and subject matter of ordinary modern life.

‘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

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

Pastoral and country settings are featured in countless paintings that hang in museums across the world, however, not many of them were as rule-breaking, revolutionary, and inspiring at their initial exhibitions as Édouard Manet’s (ca. 1832 - 1883) Le Déjeuner Sur L’herbe (1862 – 1863) and Henri Matisse’s (ca. 1869 - 1954) Le Bonheur de Vivre (1905– 1906) had been. In Le Déjeuner Sur L’herbe (see fig 1), Manet painted a nude woman in a sensual country setting to challenge the idea of what the female nude is to be in art. Le Déjeuner is a Realism work and in concert with its subject, was a cause scandal which left

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.