Zeuxis Laughing

"Self-Portrait" by Judith Leyster was created in 1635 and made out of oil on canvas. It measures 29 3/8" by 25 5/8." It is located at the National Gallery of Art in Washington DC.

There have been many great artists throughout the history of mankind. World famous and household names such as Leonardo da Vinci, Michelangelo, and Picasso may be the first to come to mind. However there is one artist who perhaps surpasses the aforementioned names in terms of technical skill; a man who is incredibly proficient in the fields of painting and especially etching; a man who’s work symbolizes an entire period of art spanning the majority of the 17th century: Remrandt van Rijn. He has produced quite a large amount of paintings, many of them portraits, but one is of particular interest. The Portrait of Marten Looten is an

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 the essay Stilled Lives: Self-Portraiture and Self-Reflection in Seventeenth-Century Netherlandish Still-Life Painting Celeste Brusati organizes in a way that shows three different types of still lifes and how they can help identify an artist. She starts by showing the lesser of the extreme of artists who are impersonal in their works, and then goes on to show examples of those who are much more personal and more self representative in their works. What Brusati argues is that still life paintings perpetuate the social identity of the artist, and how a portrait can be a pictorial representation of them.

“Figure in interior” also shares a coincidental or perhaps synchronous comparability with artists who dealt with the figure in similar ways, such as Marcel Duchamp [see his “Two nudes” (Fig 2-5, 1910)] and Leonard Foujita [“Nu a la toile de jouy” (Fig 2-6, 1922)]. There is also a certain resemblance, albeit potentially coincidental, between Shinnors’ figures, Cézanne’s treatment of facial physiognomics, and Louis le Brocquy’s “Head” series (1979 - 1999). Like Cézanne and Shinnors, le Brocquy’s aim was not to paint a faithful representational portrait, but was informed by the way he perceived the human head as a “mysterious box” and the face as “the outer reality of the invisible interior world of consciousness”. Indeed, le Brocquy’s approach

Every artwork has different significance, history, and structure. During these past few weeks I have retained more knowledge regarding to art and have seen different types of artwork. Among those different types of artwork there are three different types that I will be discussing about, which are the following, the double portrait of Menkaure and Khamerernebty, Lady of Auxerre, and Flavian Portraiture.

This source also explains the true meaning of these paintings in relation to the artist mental illness. It also includes what are the artist’s interpretations and feelings were while paintings these paintings. This source is valuable because it makes it easy for the audience/readers to understand the artist’s perspective and emotions of the painting. This source is also valuable to us since it includes the artists name and when the paintings were made. This enables the audience/readers to search and know what happened during this year.

Losing family members is a common dilemma us humans have to experience during our lifetime and it can sometimes cause severe emotional problems. Many painters have used art as a getaway from life and all its difficulties we must go through have inspired them to create art pieces influenced by depression. Although his art work is quite extravagant in many ways, "he claims he is 'self taught', ignoring the fact of him receiving little advice from two established Academic painters, Felix Auguste- Clement and Jean- Leon Gerome." (2).

The level to which a portrait is truly a likeness of its subject is also worth studying as each artist displays the sitter with varying degrees of resemblance. The artist might perfect any unattractive qualities of the subject. Often, an artist will use other methods to depict reality in a somewhat distorted manner, such as overemphasizing features of a subject’s face, or showing only part of a subject in the portrait. Regardless of such variations in reliability as far as accuracy is concerned, portraits provide an important record of the appearance of people. Not only are those who are important in history represented, however, but also individuals who are, often, nameless. There is no replacement for such records, and, thus, portraits are invaluable in this way,

Portraits have always been an important genre in painting. Portraits were primarily created for royalty and nobles because they exuded power and wealth. If you were able to commission a portrait of yourself, you were a very important person. As time went on though, portraits became less exclusive and middle-class people were able to commission or purchase portraits as well. After a visit to the Museum of Fine Arts in Boston where I observed several paintings, I found three portraits that interested me that I will now analyze and compare - Bartolomeo Passarotti, Portrait of a Man Playing a Lute, 1576; Jan de Bray, Portrait of a Boy Holding a Basket of Fruit, 1658; and Hippolyte-Paul Delaroche, Marquis de Pastoret,1829.

In this paper I will compare and contrast two paintings, one from French artist Rosa Bonheur and another from German painter Franz Marc. Marc was an expressionist artist who was “a pioneer in the birth of abstract art at the beginning of the twentieth-century.” (Pioch, 2002) Bonheur was a Realist artist who made a great impact on the painting style of realism during the ninetieth century. Bonheur was about embracing reality and nature, while Marc was about evoking moods through the subject matters and colors choices in his paintings. These two artist styles are particularly different from one another, but yet they still have similarities throughout their paintings. This paper will highlight the similarities and differences between these two artists, making the theme “reality” verses “perception”.

At the first glance his work might seem to you very happy and amusing with the blue skies, and bubble-pink faces, but after a couple moment in front one of the pieces you can start to feel the underlying sense of uneasiness, and it can get to a point where you cannot escape the tenseness. His work variety between paintings on giant canvases with vibrant colors, and sculptures, they both featuring almost exclusively laughing male figures with unchanging traits, most of the time these figures are self-portraits presented either as single figure or replicated

Each artist is an individual with a unique style, and although these styles can be similar in practice – the individuality of the artist often proves the discriminating factor for a successful artwork. Self-portraits are beneficial when looking at the individuality of the artist as there are two aspects to look at – the artist’s style, and the artist’s view of him/herself. The latter can provide a brief insight into the mental situation of the artist as well as any apparent influencing factors of the artwork. This view can often also include fragmental insights into the society and culture of the time. Rembrandt van Rijn and Vincent van Gogh are 2 artists of whom are well represented by this statement.

when it comes to art, only one shrewd artist come to mind, Leonardo De Vinci. Leonardo De Vinci painted the world's most-famous painting the "Mona Lisa", a prominence piece of art because of Mona's uncatchable smile. Moreover, there are no authentic data concerning the techniques or the affect Leonardo used in this particular painting. Additionally, his talent transcends the basic limits of art, and most of his works are vibrant obviously using bright colors.Furthermore, Leonardo's works are often agrarian that is concerning farming considering the fact he actually grew up near the lower valley of the Arno river. In addition to his virtuosity is shown once he holds a brush against a canvas as it presents the aberrant fine art.

In A Portrait of the Artist as a Young Man, Stephen Dedalus defines beauty and the artist's comprehension of his/her own art. Stephen uses his esthetic theory with theories borrowed from St. Thomas Aquinas and Plato. The discourse can be broken down into three main sections: 1) A definitions of beauty and art. 2) The apprehension and qualifications of beauty. 3) The artist's view of his/her own work. I will explain how the first two sections of his esthetic theory relate to Stephen. Furthermore, I will argue that in the last section, Joyce is speaking of Stephen Dedalus and A Portrait of the Artist as a Young Man as his art.