The Happy Accidents Of The Swing Analysis

On his reading, Nudity a la Grecque in 1799, ___________ explains the controversy of one of the most famous paintings of the Neo-classical artist, Jacques-Louis David, the Intervention of the Sabines (1799). This beautiful and controversial painting was characterized by the juxtaposition of male and female nude figures, its impact within women fashion and their power of intervention on society, as well as the David’s intent to represent on his paintings the social and political transformations in France during that time.

The slave is compositionally arranged in front of the Mistress in a predominant position, however as noted in our text this week, most of the slaves placed in the foreground of a painting in this era were done so in humor, to tease or to make them look immature (Pohl 278). As the title suggests, this slave has been dressed up by her Mistress in her Mistress’s clothing as a way for the Mistress to make fun of the slave, teasing her with a taste of wealth and upper class. Cany Peale’s previous career in fancy-goods gave her the understanding of what was in fashion

The Swing is a typical Rococo painting with loose brushwork, soft colors and an amorphous organic composition which celebrates the beauty of love and sophistication of the ruling class while, The Oath of the Horatii displays war and anger and eschews the Rococo style with its geometric organization and its strong impression of

The paintings that I will be talking about from the MIA will be Portrait of Catherine Coustard (1673-1728), by Nicolas de Largilliere, Diogenes (17th century), by Johann Carl Loth, LES FLANEUSES (2008) by Ghada Amer, and Portrait of Lucia Wijbrants (1638-1719), by Gabriel Metsu. My critique will be from the perspective of Berger.

The main subject of the painting is Madame de Pompadour, who sits half reclining, engulfed by yards and yards of colorful fabrics, with gilded furnishings and flowers galore, a celebratory painting of a “femme savant” (Goodman 1), at ease in her surroundings. Books and papers fill the scene, proclaiming her intellectual prowess. An educated woman, Pompadour is

John William Godward’s painting lone portrays how the maintenance of appearance and self preservation is a desideratum. The painting consists of a pale, curly haired brunette woman with a flower crown set on her head, looking into a handheld mirror as she strikes a pose with her opposite hand. Flowing down from her shoulders and around her waist, the sheer quality of her gown paired with the tightness of the gold ribbon wrapped tightly to accentuate her figure exudes sensuality.

In “Masque of the Red Death” art (which takes the shape of paintings, painters, as well as musicians and music,) represents entitlement and a lethargic distraction from monotonous day-to-day existence. Art here is a reminder for the reader and an escape for the characters, a reminder that this is simultaneously a self-imposed predicament and an escape from that same predicament. In the “The Lady of Shallot” art represents a well-developed skill and the hope of escape for the Lady of Shallot. Art also symbolizes the dedication she has to the betterment of her situation. In Edward Scissor hands art represents an abnormality refined into perfection as well as a potential for social mobility.

One day in 1893, Pierre Bonaire strolled on the streets of Paris. Many years later, he will be the post-impressionist Zongjiang, founder of the Nabi School of painting and the world, but then, he was just a 26-year-old solo painter. In the street, he helped a girl cross the road, and then occasionally began to chat: she said he was 16 years old, called Mardel de Mellini, first came to Paris, working in the flower shop. Later she became Bonnard's model, and then naturally become the lover of Bonnard.

Throughout their lives, humans tend to build fences around the things they care for both literally and metaphorically. A fence is designed for the purpose of either keeping the unwanted out or protecting loved ones. In August Wilson's 1983 play entitled Fences, fences are formed both literally and figuratively. In the opening of act I, scene 2 Rose, the wife of the play's protagonist Troy Maxson sings a song asking Jesus to “be a fence all around me every day”. Through her song, Rose is asking Jesus to conceal and protect her from the troubles of her present day society. However, Rose is not the only character hoping to build up a fence, throughout the play, many of Wilson's characters seek to build fences around themselves and the ones they love. Wilson's play is based around the theme of building up fences in order to both keep out and enclose certain things, ideas, and people.

Painter François Boucher (1703-1770) was an important French artist who created works in the Rococo style. He was inspired by several sources, ranging

As we continue to utilize this theme of femininity versus masculinity, we can see how the composition of each painting depicts each contrast. The Swing places the viewer inside an outdoors setting that is clearly soft, curvy, and feminine. The Death of Socrates takes place in an indoor setting marked by its attention to geometry, straight lines, and 90-degree angles. When looking at the setting in Fragonard’s work, we can see that there is no sense of order or structure, the same that are conveyed in David’s The Death of Socrates. This lack of order or structure was used by the Neo-Classicist to repudiate Rococo. By giving their form of art

The Swing by Jean-Honore Fragonard, is an oil on canvas painting (2′8″ x 2′1″) created in 1766. This painting is often brought up when one discusses the Rococo period of art, as it is considered to be one of the most recognized of the period. This painting is the epitome of the Rococo style of art. Rococo was an art period that appeared in the early 1700s, when the reign of Louis XIV came to an end. It’s a combination of the Italian word Barocco, and irregularly shaped pearl; with the French word rocaille, which is a popular form of ornate gardening/interior ornamentation.

Jean-Honoré Fragonard created The Swing in 1766 with oil paints on a 2’ 8.6’’ by 2’ 2’’ canvas. It is located in London, England in the Wallace Collection. During the time this work was created, France was an aristocracy and The Swing portrays a glimpse of the luxurious life of the ruling class. King Louis XV ruled during a time when France was the most prosperous and powerful country in all of Europe. Through the influence of Madame de Pompadour, the arts prospered during this time. In the 18th century during King Louis’ reign the arts seemed to consume the thoughts of not only the artists themselves but also the King and other wealthy and influential members of society. This in turn resulted in neglect of the undertakings of the state, which had its consequences. In 1789, the “bloody” French Revolution took place and soon after, the fall of the monarchy. The Swing is undoubtedly the most famous of all Fragonard’s compositions. It epitomizes the Rococo style of the 18th century with tranquil colors and gentle light, exaggerated diagonals, decorations, and nature. . The libertine Baron de St. Julien commissioned this piece. He ordered that Fragonard paint the bishop pushing his Madame on a swing. Fragonard painted for the baron de Saint-Julien his first great masterpiece and from then on he knew that for the rest of his life he would paint for people of wealth. He painted for many individuals including the king because his talent was something that everyone desired. The

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

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