What Is Bouguereau's Depiction Of 'The Young Shepherdess'

By the time he was seventeen, Monet was already making money from his work and had won a local reputation as a caricaturist. Skillful and amusing, his caricatures were displayed in the window of a local frame maker, Monsieur Gravier, where they drew crowds of appreciative viewers. Gravier also displayed paintings by the landscape painter Eugene Boudin, who was an old friend of his. Monet's development of friendship and informal tutelage of Boudin proved to be formative for Monet's future direction as a landscape painter. (Gordon, 38)

In the foreground of the painting, a crowd of people gather around the recently resurrected Lazarus. There are roughly fifteen individuals in the crowd in a variety of postures, many of which are contorted and turned away. Furthermore, their forms are painted with considerable emphasis on the way that their respective limbs are bent and twisted which consequently creates a peculiar confined space in which much of the content and action is contained. The outstretched arms and warped bodies of the figures create two diagonal lines which cross over each other in the center of the painting, leading the eye to the primary subject and the focal point, Lazarus. To the left of him is a younger woman looking outwards, contrasting with the focused inward gaze of the crowd. Additionally, the same women mentioned previously also dons a striking white garment similar to that of

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

The viewer can see and feel the bond between the mother and the child. I also think the artwork is beautiful and makes a deep impression on the viewer, because of the innocence and peaceful appearance of the infant. The woman has such an intense gaze with the way she is looking at the infant; it gives each viewer an opportunity to interpret it in their own way, concern or admiration, all part of motherhood. The woman’s body language is intriguing because she is replicating the infant’s arm position, maybe to find her own peace. In my search, I discovered that Berthe Morisot was a famous female artist in the 19th century, and in making a choice, this piece of art quickly caught my

A women known as Truth is shown in the middle exuding a bright light surrounding Confidence, who is showing maternal instinct over her child. Another woman believed to be Ignorance is wearing rags and appears in the bottom left corner, struck in fear as her child is being consumed by the monstrosity known as Falsehood. The painting itself is believed to be an allegory created by Lilly, who in her own words, explained its importance to women. “Truth is shown in female guise because woman, the first instructor of “mankind in its innocence”, has particular need for Truth’s enlightenment and

The piece of work that I critiqued was Thomas Buchanan Read’s painting, The Angel Appearing Before the Shepherds, the painting was oil on canvas and it was finished in 1870. The museum purchased the work of art in 1983 and it currently is in the 19th Century American Art gallery. The work of art is

The way in which Bouguereau painted represents how passionate he was in depicting what he saw. The

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.

The portrait is painted onto a black background, giving the total focus to the subject, who is looking directly at the viewer. This particular piece creates a sense of closeness and lends beauty to this particular woman.

The girl’s expression is sad and her eyes somber; she appears to be assessing herself in the mirror. She is holding a magazine which is open to a picture of an attractive older woman and there are beauty items on the floor next to her. There is an old doll that is carelessly thrown on the floor; it would appear that the doll is not very valuable to the girl. This painting is also very somber and it appears the girl might be comparing herself to the woman in the photo. This could signify her unhappiness with her appearance and her perceived need to look like the models and actresses in magazines and on television. The transition to adolescence is very difficult for young girls and they are very self-conscious about their appearance. The colors in this painting are also very neutral and

The focus of the painting is a woman in bright yellow. This woman stands above the crowd, showing only her back and a hunched figure. Her posture suggests that she is shy, self conscious and is afraid of the spotlight that she suddenly finds herself in. Her head is bowed which hides her face and deters us from seeing her identity. She looks as if she carries a great burden on her shoulders. She shares her pedestal with another woman in red who is smirking and confidently showing herself off. She, unlike the other woman, displays herself to be seen by all. She leans against the building behind her, her arm thrown to the side, which opens up her posture. Her confidence is worn as easily as her revealing

Northern Art often focused on the world at large; they rarely painted religious works of art without including some sort of symbolism of the real world in there artworks. In terms of the real world, in the context of this painting, I feel that the architecture and the clothing take away from the religious focus. The clothing is very detailed and the oil

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

With Leon Bakst he saw the reproductions of Fauve canvases, the sketches of Van Gogh and of Cezzanne his ambition to go to Paris was