The Portrait Of Marie Antoinette

The artwork being analyzed is called Nameless and Friendless and it was completed in 1857 by Emily Mary Osborn. The artwork was most likely created in England, where she was from. The media is oil paints on canvas, rather than the wood that was usually used. It is currently on display in Tate, Britain.

This painting is a portrait of an old woman who is sitting on a chair while facing to the left. She is wearing a yellow flower dress with a beige jacket while sitting in an empty room. Her beauty is illustrated by her curly, gray hair and also her wrinkled face, neck, and hands. These details is what makes her look real and pure. I like how detailed it is because it reminds me of my grandmothers.

Mme Charpentier and her Children was a portrait and painted in the 1878 by Auguste Renoir a painter who resided in Limoges. The subject is identifiable because she is in the center of the room. The paint that was used was oil and work of art is impressionism. Also In this essay I am going to depict or take apart this work of art by breaking down each element. For example, the subject and general observation of the work of art. Along with the shape and form, medium and technique, the composition and the color of a work of art. Light and shadow and texture of a piece of art work. All of these elements create one single piece of art work.

While many people may be familiar with the story of the French Revolution and history of Marie Antoinette, they may not fully comprehend the lively debate that continues to exist around Marie Antoinette. A debate over how Marie Antoinette should be remembered exists, with some arguing that Antoinette was spoiled and careless and others taking the stance that Antoinette was a victim of her harsh circumstances. Before delving into this controversy, background knowledge of Marie Antoinette’s life can assist in understanding the controversy. In 1770 at the age of fourteen, Marie Antoinette, daughter of Austrian empress Maria Theresa, was married to Louis XVI of France to strengthen French and Austrian relations. In 1774, Louis XVI became king and Marie Antoinette became queen. Dissatisfaction toward Louis XVI and Marie Antoinette and economic turmoil led the French Revolution to begin in 1789, with Louis XVI and Marie Antoinette eventually being guillotined in 1793 (Covington 56-65).

It can be easily said that the intended audience for this letter was to Marie Antoinette’s mother, Maria Theresa the empress of Austria. Marie states several times throughout the letter of her many thanks to her mother for the reciprocating letters. The excitement in Marie’s tone is evident that she is astonished, despite the chaotic excitement upon their arrival, the amount of order there is. Marie is overjoyed that despite the hardships that the peasants faced, such as taxes, they remain loyal to her and her husband Louis, and show their affection with cheering and excitement. In response to the love that they received, Marie makes a point to tell her mother that the dauphin and herself wished the citizens not to be harmed despite the fact that they were unable to move for hours from the sheer masses of people who gathered upon their arrival.

For my term paper I decided to go to the Cantor Museum in Palo Alto, and I chose to focus on two portraits of women from two distinct time periods. First, I decided on the portrait of Margaret Blagge, Wife of Sidney, 1st Earl of Godolphin. This portrait was painted by the artist Matthew Dixon in 1675, in the Baroque period of art. The portrait of Margaret Blagge was done in England, and it was painted as an oil on canvas. The second artwork I chose to compare was the Portrait of Sally Fairchild by John Singer Sargent. This portrait was done from the year 1884 to 1887 during the Realism movement in art. The portrait of Sally Fairchild was painted in the United States of America, and was painted as an oil on canvas. When comparing these two portraits

The woman painted is sitting in what seems to be a domestic setting. However, unlike many other painted black women in the Enlightenment, she is seated alone. She is not depicted serving a white woman or doing any labour. The white cloths wrapped around her head and body along with the light background creates a dramatic contrast between the light colours and her dark skin. Her breast is exposed, but she is not sexualized like in many paintings of white women of the period. Despite her less-than-modest exposure, the woman does not show any signs of embarrassment. She is not blushing and her gaze is fixed on the viewer in neither a demure nor passionate way. In fact, she seems nonchalant about her exposure.

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

"Marie Antoinette was the Austrian born child bride of the future King Louis XVI of France. It was an arranged marriage designed to

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

On page 87 in Artforms is the painting Self-Portrait in a Straw Hat. This oil painting was produced by Marie Louise Elizabeth Vigee-LeBrun in the year 1782. The work of art depicts a young woman, presumably the artist, posing in front of a clouded blue sky. The figure is clothed in a rose colored dress with white ruffle along the neckline, a navy blue colored shawl which is wrapped around the crooks of her arms, and a straw hat adorned with bright red, blue, and white flowers. A large white feather with black trim is protruding from the hat. The lady in the portrait is facing forward and holding paint brushes and a palette topped with paints in her left hand. Her hair frames her face and fall on top of her

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

I remember the precise moment when I first laid eyes on the Portrait of Madame de Pompadour. At about ten years of age, my parents bought a book titled: Women who read are dangerous. This book depicted several paintings, sculptures and photographs of women reading; among which was the Portrait of Madame de Pompadour. The second I witnessed the detail and extravagance of the painting, I fell in love with it. Luckily at the time I was living in Bavaria, coincidentally also the current home of said painting. When I went to see it, it was much larger in person than I could have ever envisioned and much more vibrant in color and detail than I could have ever imagined. Over the years I have seen many more paintings, I have to yet be overwhelmed the way I was when I first saw the Portrait of Madame de Pompadour.

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