The Portrait Of The British Royal And Prince Albert With Five Of Their Children

This royal assembly is dominated not by Charles IV but by Queen María Luisa, whose ugly features are accentuated by her ornate costume and rich jewels. On its right is Self Portrait painted in 1803 by James Barry. Barry represents himself wearing an elegant red coat with a yellow waistcoat and white shirt underneath. In this portrait he is holding a painting of Cyclops, known in the the classical literature world as a one-eyed giant who devoured human flesh. In the background, windswept trees and an active volcano add drama towards the story of the portrait. Moving on, we are now viewing Napoleon Visiting the in the Plague-Stricken in Jaffa created in 1804 by painter Antoine-Jean Gros. The feeling of horror and sadness is within us all while viewing this painting due to Gros’ astounding emphasis on the pain felt by plague-stricken and the respect and kindness Napoleon expresses towards the ill. On the right is Madame Riviere painted sometime between 1805 and1806 by the famous painter Ingres. The subject of the painting is Madame Philibert Rivière, the wife of a high-ranking government official in the Napoleonic Empire.

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.

You also notice that her clothing and hair are of light color, and she is very detailed. After studying the complex painting closely, you find that the focus of the painting is the Princess.

The paintings originate from two vastly different time periods in art history. Steen’s The Merry Family was painted in the Baroque period and lends itself to the overly emotional style of the period. The painting is a reflection of the grand opulence that was the Baroque period. This can be seen in the robust merriment of the subjects as they enjoy the day’s

Since hundreds of years ago, it has been a common practice to make statues or paint paintings of important individuals throughout history to commemorate their contributions. The use of these portrayals are to remind people of who the ruler or person was, while keeping them remembered by others for decades to come. Two works that explore remembrance in similar and different ways are Head, possibly a King, by African, by a southwestern Nigerian constructed in the 12th to 14th century, and Charles de Solier, Sieur de Morette, by Hans Holbein the Younger between 1534 and 1535. In both Head, possibly a King, and Charles de Solier, Sieur de Morette, the representations of these two individuals of power share a common theme of illustrating status, importance, and power to the viewers by using the depictions.

Demonstrates Lady Catherine’s role to protect the high class and prestige of her descendants through marriage.

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 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

She has a beautiful red, white with and blue checker dress. Yuliya Samoilova also has a lovely long black and white cape that touches the floor. Yuliya has her adopted daughter with her right arm around her as they leave a party. Her adopted daughter has on a light blue and gold dress with a green cape wiped around her. Yuliya adopted daughter has long black hair that is braided. Yuliya appears the be holding a fan or pouch in her left hand. On the right hand side there is a bright red certain. The background to the left is appears to be people talking and still at the ball. The artist captures your attention by using bright colors. In my opinion the focal point of the picture is the of the Yuliya Pavlovna Samoilova with her Adopted Daughter beautiful dress. The artist purpose of this painting to show the love and feeling he had for

Another interesting component Sargent implemented in his portrait is his attention to detail where one of the daughter has her arms hidden behind her back suggesting that she (or her family) is hiding something. It is difficult to truly understand the meaning of the painting without the context and history of the artist – when looking at the work’s history we are able to see that when Sargent was originally sought out by Edward Darley Boit and in his commission, he decided to create something that was different from the traditional portrait scene. According to the mfa.org regarding Sargent’s unique perspective on the portrait it is revealed that the family was disconnected in their relations. The daughter’s strange spacing and similar clothing in the image further alludes to the idea that even though the daughters of the family are “connected” in reality there are a lot of differences that are unaccounted

The theme of “Royals” is represented in many different literary examples and forms. For example, she says “And I’m not proud of my address, in torn town/ No post code envy.” The means that while the other celebrities are living in mansions and nice cities, the artist is living in a not-so-nice area. Secondly,

The artist Hanneman uses a triangular composition with prominent diagonal lines to direct the viewer's attention to Mary Stuart's head while also displaying the social status of this Dutch noble.The viewer’s eyes are immediately drawn to the face and eyes of Princess Mary Stuart. Stuart’s body is arranged in a stable pyramidal composition with her face as the focal point and two diagonals on both sides of body. A strong diagonal line is created by her right sloping shoulder starting from her right elbow where a dark skinned servant’s hands fasten her pearl bracelet, and extending up to her carefully coiled hair up against her chest on the right side ultimately ending up at neck, chin and face. Another less prominent diagonal exists starting

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

Portrait painting thrived in the Netherlands with the increase in production driven by interest in the idea of personhood and the definition of the individual self. Portraits help document the development of a personal identity as it connects factors like marital status, class, and profession. A common portrait genre produced during the seventeenth century portrays their subjects with an impassive demeanor with little vigor. At first, these paintings may be evaluated as lacking “personality” or “characterization” due to the artist’s lack of talent. However, this is rarely the case. In trying to understand Dutch portraiture, it is important to identify what type of functions they serve. Abraham de Vries’ Double Portrait functions not only as recording of his sitters’ faces but also as a signifier of the cultural, social and philosophical ideas of the time.

Discuss how the social, cultural and historical context shaped the meanings communicated in the artwork.