Charles Willson Peale was born on April 15, 1741 in Queen Anne’s, Maryland, he is best known for his portraits during the American revolution. As a young adult Peale worked as a saddler, watchmaker, and silversmith, this is how is art career started off his legacy. He started to exchange saddles for art lessons with John Hesselius, and during this time Peale found his true calling for art (Britannica). After this Peales career took off after a group of Maryland patrons sent him to London, where he studied for 3 years under American expatriate, Benjamin West .” (Britannica).
When he came back to America he became one of the most famous artist during this time period. He has painted over 1,100 portraits and some including the most famous people involved in the American Revolution. Peale moved to Philadelphia in his late adult hood and opened up a Museum, and then he died in February 22, 1827.
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The features in this painting are so detailed to every wrinkle in the women’s face, and to her greying hair perfectly placed on her head. I would say Elizabeth is in her near 60’s during this portrait. I would say that she comes from money based on the fancy blue dress she is wearing for this painting. It appears that Elizabeth may have only sat for this painting for her face then left. The proportion of the body is off because it appears that the head is much larger than the other half of the body. The chest is not drawn very well; this could be that it was not acceptable to show the breast completely off in the 1700’s. Overall this painting has a lot of detail and it makes the viewers understand what Elizabeth looked like at that age and what kind of lady she
Beginning his career as an artist early in life, Turners father provided his young son his first exhibition space, hanging and selling Turners works in the family Barbershop. Turners’ early experiences in art were limited and largely self-taught until entering the Royal Academy Schools in 1789 at the age of 14. From 1790 onwards Turner was heavily influences by architectural draftsman and teacher of perspective, Thomas Malton, a man Turner described as his ‘real master.’ The influence of Malton is clear in Turners superb architectural renderings that frequent his landscapes, being praised by the London Times of the 3rd of May 1797 for his ‘exquisite architectural views. ’
... painted in an Idealistic way with the portrait of King Francis I by shifting the proportions and making his shoulders broader than normal. Filling out the frame of the painting, the king’s head and neck look too small on the full body, conveying the idea of manliness and strength. Both artists strived to paint the portraits in a realistic way, but distorted the subject and lighting to heighten the feeling of power that both portraits present.
... He was renowned for his silversmithing, which was his most successful occupation. "He had a brilliant eye for form, a genious for invention, and a restless energy that expressed itself in the animation of his work. Two centuries later, his pieces are cherished equally for the touchmark of their maker and the vitality of his art"(15). By giving some insight into Paul Revere the man, rather than Paul Revere the legend, Fischer gives strength to his historical assertions.
In 1833 George was solely making his money by painting portraits of his friends and strangers alike. His friends liked the portraits so much that he began to travel to other towns and try to ask people if he could paint a portrait of them for a price. Bingham’s paintings from 1845-55 are considered his best
Another piece of art that I found lovely was a painting of John Singleton Copley. Copley painted a portrait of nine-year-old Daniel Verplanck with a squirrel on a leash. I found this portrait adorable especial with the squirrel. Copley painted the portrait in 1771. The colors he
The Elizabethan era was an era of art above all else. Elegance reflected in all areas of the peoples’ lives. From the entertainment and language to the churches and castles, beauty shone bright.There were many vents for artistic creativity during the Elizabethan era; countless instruments, painting, books, playwright, and last but not by any stretch the least, architecture. Elizabethan architecture has a vast amount of variety and personality, the buildings reflected the pride of both the inhabitants and the builders.
Mary Cassatt was born in Philadelphia to Robert Simpson Cassatt and Katherine Johnston Cassatt in1844 (Mathews, 9). Her father was a wealthy banker and her mother was well-educated and spoke french fluently (Wallis,14). They were both part of the upper circles of the Pittsburg Society (Mathews ,9). As such, they had a vested interest in providing their children with the best of educational and cultural experiences (Mathews, 9) Cassatt's interest in art, seems to originate from a 5 year sojourn that the family took in 1851 (Wallis, 14). Although only a mere child at the time, it seems the expatriate life appealed the young Cassatt; furthermore, the sights she saw must have deeply affected her because she would soon return to the life abroad (Mathews,9) As a teenager she studied art privately and later as an adult she attended the Pennsylvania Academy of the Fine arts (Wallis, 14). She was able to practice art and complete her studies with the support of her father's finances. Although he d...
Adams, Henry. Eakins Revealed: The Secret Life of an American Artist. Oxford [England: Oxford UP,
In the University Of Arizona Museum Of Art, the Pfeiffer Gallery is displaying many art pieces of oil on canvas paintings. These paintings are mostly portraits of people, both famous and not. They are painted by a variety of artists of European decent and American decent between the mid 1700’s and the early 1900’s. The painting by Elizabeth Louise Vigee-Lebrun caught my eye and drew me in to look closely at its composition.
Charles Willson Peale was an artist, inventor, scientist and writer and a great friend of George Washington. During the revolutionary war, he participated in the battles at Trenton and Princeton and was made a captain (Luhrs 116). In 1779, since the war was almost ended, Peale was commissioned to paint a full-length portrait of George Washington for he meeting room of the Supreme Executive Council of Pennsylvania in Philadelphia (Barratt 25). The elegant and informal image portrayed the general at the site of his triumph. The tall confident figure of Washington stands in a relaxed position with one hand resting on a cannon, which symbollizes the victory that is being celebrated, as do the captured Hessian flags that lie at his feet.
..."She was there, lifeless and inanimate, thrown across the bed, her head hanging down, and her pale and distorted features half covered by her hair. Everywhere I turn I see the same figure--her bloodless arms and relaxed form flung by the murderer on its bridal bier" (Shelley). However in the image a goblin like creature sits upon Elizabeth's chest and a horse stands in the background.
Constable was born in Suffolk, England on June 11, 1776. The second son of a wealthy corn merchant, it was expected Constable would go into business. His older brother suffered from various disabilities; as a result, Constable was well educated and groomed to take over the family business from his father. Constable would go into the family business, but unsatisfied with his career in commodity trading, he desired to follow his passion for painting. He would travel the Suffolk area and sketch the landscapes. He was encouraged in his work by the professional painter John Thomas Smith, but Smith urged him to stay in business and only pursue his art recreationally. Eventually he convinced his fa...
It differs greatly, in its portrayal of mothers, from Le Brun’s Self-portrait with her Daughter and Cassatt’s artworks. Behind Marie Antoinette, you see a jewelry cabinet, off to the right of the canvas. This illustrates that, although she is with her children, she finds treasure within her own materialistic objects. Furthermore, her expression lacks emotion as she holds the child loosely within her arms. The child looks off, barely acknowledging its mother, who is holding him. Next, the child, on the far right of the canvas, reveals an empty cradle, alluding to a child who has died. Again, Marie seems unfazed or simply chooses not to acknowledge the boy’s actions. Furthermore, the young girl, on the right of the canvas, clings on to her mother as she lovingly looks up to her mother. Marie holds a wry smile, appearing somewhat annoyed or displeased. The color scheme is dark, but Le Brun utilizes contrast to emphasize the royal family. However, it only works to further expose the detached relationship between a Marie and her children. According to the lecture, “To counter people’s hatred of the queen and their criticisms of her as a bad (even a degenerate) mother, Vigée Le Brun was commissioned to paint this portrait of Marie Antoinette and her children” (Gartrell). Sadly, the painting was
Perhaps this is a direct response to the eroticization of owning a painting produced by a woman; the representation’s realism prevents the presumably male audience from viewing her face in entirety. Her body is shown in action and foreshortened, removing any possibility for it to be compared to the perfectly proportioned female figures so often used to
Throughout the novel, the reader follows Elizabeth through her struggle to maintain her personal identity, despite what her mother, sisters, and other women in society think of her. Elizabeth enjoys physical activities, such as walking , which is uncommon for women in the society in which she lives. “She has nothing, in short, to recommend her, but being an excellent walker. I shall never forget her appearance this morning. She really looked almost wild.” (Austen, 24). The women often look upon Elizabeth negatively due to her behaviour and personality, especially for her outspokenness, which was especially uncommon and unacceptable upon women. “‘Lizzy’, cried...