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To begin with, oil on a painting i.e. oil painting can be defined as a type of slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. This paper will emphasize on Pair 3 which are both oil paintings by Titian and Manet and these painting are based both on the 15th and 18th century. A major component that will be focused on in the comparison of these artworks is the background. The backgrounds of both artworks are very different and they both create different views and thoughts for the viewers. These paintings have a lot of similarities such as the fact that they are both done on canvas and are highly dominated by females. However, with emphasis on the background, this paper will compare and …show more content…
By looking at both Titian and Manet works, there is a huge difference in the brightness of them and this could be because these paintings were done in different eras. The painting by Titian has a lot of colors and the effect of the brush is shown by the depiction of movements being made by the maid and the girl in the background while Manet’s work is more difficult to read into due to the fact that the colors are not very bright and effective. Also, the backgrounds in these artworks create a big difference in the way it directs the eyes of the viewer. Titians work has a lot of colors in the background and this extends the direction and focus of the viewer to the background and its components rather than just the lady while Manet’s work focuses just on the ladies, bed, pillow and flowers being carried by the dark woman. Titians work is brighter and more colorful due to the mixture of different colors used by him to give the viewer more focus on the painting. The colors and background used also depict a difference in class and problems that were being faced by different societies in different …show more content…
Titians work is very bright and is focused on a lady on a bed but the background shows a young girl and a lady together while the work by Manet shows a lady on a bed being served flowers by a dark skinned woman. This signifies that Manet could be trying to show that the world is darker in the 18th century and is dominated by the white people and this could be said because a black lady with a scarf on her head is seen giving flowers to the lady on the bed which is and the cat is in more comfort while The painting by Titian shows that things were good and bright in the 15th century due to the colors used. Another major difference is shown in these paintings also is the effect of class. Titian represents an image of high class by the components, which he depicts such as the flower being held by the lady, and the images presented in the background. In Manet’s work, it can be seen that the lady on the bed is has footwear on, while the lady in Titians work has no footwear on. This emphasizes on the differences on both class and era. As stated above, Manet and Titians works are focused on the 15th and 18th centuries and the footwear creates a huge difference in these paintings and helps the viewers see what both Manet and Titian are representing. Also, the animals in both paintings such as the dog and the cat are both on the bed and are in more comfort than the maids who are also in the
These two paintings represent typical examples from 14th century Italian artist, Barna da Siena, and 15th century Flemish artist, Rogier van der Weyden. Both images depict two main characters in a rather symmetrical composition and are of large size. However, it is clear that over a century and different region the stylized differences are very clear. Realism, the style of Flemish artists at the time, with all of its detail, is quite different from the large, flat shapes of color in Barna da Siena’s painting. Just by looking at the two, it is evident that the second painting is more advanced and developed. Art continues developing along different tracks today and who knows what art will develop into in the future.
For my assignment, I will be comparing the two pieces of art titled Louis XIV painted by Hyacinthe Rigaud and Portrait of Marie Antoinette With Her Children by Marie-Louise-Elisabeth Vigee-Lebrun. I will be analyzing and breaking down the different techniques used in both paintings and explaining the similarities between them as well. Though the paintings contain the same family throughout both, there is a clear imbalance in power and something very normal for this time period. I will be elaborating on the difference in social status between the two paintings, even though they are the same family.
Although both Fragonard’s and David’s work convey different ideals through their style of painting, they are still able to use light in a very similar form. The viewer’s attention is directed on a specific point in the painting through the use of light. Both artists cast a spotlight on the figure or action in the painting that they want the viewer to especially notice. It is what each artist decides to focus on that makes his work is different from the other. A young woman on a swing who enjoys the pleasures of life is clearly where Fragonard wants to direct the viewer’s attention. However, David focuses attention on a male figure, specifically Socrates. How does the use of light help the viewer understand the ideals of each form of art? While Fragonard chooses to focus on a female and David chooses to focus on a male, the viewer now understands how Rococo can be a feminine form of art and Neo-Classicism the opposite. In addition, other stylistic elements like color and form depict how each art form differs from the other. By using all this visual evidence, we will later see how the concept of deciding...
Spending time looking at art is a way of trying to get into an artists’ mind and understand what he is trying to tell you through his work. The feeling is rewarding in two distinctive ways; one notices the differences in the style of painting and the common features that dominate the art world. When comparing the two paintings, The Kneeling Woman by Fernand Leger and Two Women on a Wharf by Willem de Kooning, one can see the similarities and differences in the subjects of the paintings, the use of colors, and the layout
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
We can see a clear representation of the impressionist that tended to completely avoid historical or allegorical subjects. In this painting, Monet’s painted very rapidly and used bold brushwork in order to capture the light and the color; include relatively small, thin, yet visible brush strokes. An insistence on what Monet called “a spontaneous work rather than a calculated one” – this in particular accounts for the sketchy and seemingly unfinished quality of the Impressionist paintings. In the texture, he played with the shadow and light and created variation in tone, he employs patches of depth and surface. The light in the painting come from back to the windmill, it is a light shines softly behind the houses and the windmill. He was shown each brushstroke in the painting. Balance is achieved through an asymmetrical placement of the houses and the most important the
himself through his mediums. He used oil on canvas for his medium in this painting. There are
The painting was deemed scandalous and inappropriate by the people of the mid-1800’s. In more ways than one the painting disregarded society’s standards of the time. The painting depicts two women and two men having a picnic together in a nature setting. Upon hearing this description one might envision a peaceful, harmless illustration and thus wonder why it may be hard to imagine this painting as upsetting. The two men in the painting were fully clothed in modern clothing of the time period, while one woman was completely nude and the other was in her undergarments. By juxtaposing the fully clothed men with the naked women, Manet challenged “Academy Standards” of French painters of the time. According to the “Academy Standard” nudity was supposed to be reserved for religious, mythological or classical characters, and the women in Manet’s Luncheon on the Grass were none of the above. In fact, the two women are suspected to be prostitutes, and the men, their customers. In illustrating the men with modern clothing, Manet’s image alluded to the subject of prostitution which was a very real issue at that time. Manet questioned the morality of society and the people by illustrating prostitution in such a real, modern way. This was a tremendous scandal because prostitution was not discussed and especially not illustrated on a large scale canvas, it was pushed under the rug and overlooked by society. The painting was highly criticized and rejected at first, but later became widely renowned. It paved the way for a new, modern artistic development. It shaped and reformed the idea of what was conventional for artists to paint and what was accepted, widening the freedom of creators, allowing them to illustrate real problems they saw in their
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
To conclude, both masterpieces provide a lot of food for thought and present an era of creativity that was accentuated with contrasting realities, one that is mindlessly racing forward, one that feels the urge to advance technically and become prosperous and rich just financially and another that's trying to put on the breaks and remind of the values that need to be preserved and passed on. In both paintings, one can see that torment, that urge to stop for a moment and reevaluate own life and collective journey in time.
Édouard Manet was a French painter whose works heavily influenced the transition from Realism to Impressionism. One of Manet’s most well known works; Olympia (1863) [Figure 1], done with oil on canvas, depicts a nude woman, Olympia, reclining on several pillows and sheets. On the edge of her bed stands a black cat, next to a black female servant who is showing a bouquet of flowers sent to Olympia from a prior client. Using Victorine-Louise Meurent, a fellow painter instead of a real prostitute as his subject, the work looks similar to that of Titian’s oil on canvas painting titled Venus of Urbino (1538)[Figure 2]. However, instead of illustrating a goddess or mythological figure, Manet’s Olympia displays a prostitute. While most female nudes of this
"Clarity, Condour, urbanity and virtous ability to handle paint-such are the qualities which first strike us in Manet's art". A quote by John Richardson still life grapes and figs 1864 Frank Jay Gould collection. Cannes- "The dark rich tones of this painting carry in them the strong popular Spanish influence the light hitting the fruit from the left creates a startling and brilliant luminosity." Said also by John RichardsonBefore we attempt to anaylse the meaning of what's within Edouard Manet's work entitled still life, Grapes and figs, one must first identify , and note, the somewhat colorful events which occurred within the artist life, and note the way in which they must have led his work.Born in France in 1832, Manet was raised by his parents Auguste and Eugenie-Desiree a society couple, who's social standing resulted from Auguste's successful career in the Ministry of Justice , Paris. Indeed, so successful was Auguste in his chosen field that upon his retirement he was awarded the Legion of Honor. It is thought by many that the importance of Augustes role in both society and the ministry actually intimidated the young Manet, who constantly aspired throughout his adult life, to gain the same level of reverence as that which his father possessed.Manet's personal background to the analysis of the artists treatment of gender within his work, is apparent to his paintings, they showed deeper side of the artist and what "angle" he saw women.However, it is the actions of the artists youth which many therapists believe is the key to understanding the ambiguous portrayal of woman within his paintings throw out his career. It was during the late 1850's when Manet was serving as a naval cadet in Rio de Janeiro, that he met a number of slave girls, Manet had openly admitted in letters to his friends the extend to which he found their tropical beauty alluring.
One of the most noticeable differences that the viewer might see when comparing the two pieces of art is the color choices that the artists made. In The Card Players, the most prominent and most widely used color is brown. Although the same color is used throughout, there are different variations, or values, of brown to give the piece contrast. For example, the clothing that the subjects are wearing is significantly lighter in value than the walls of the building that surround them. Also, this value technique helps to show the shadows and illuminations that would be realistic in that particular setting. There is a shadow in the far right corner of the painting where minimal sunlight is being let in, or is being blocked by the subjects, while the bricks on the left side are lighter in value as if they are illuminated by the sun that is being let in. There is not as much value being illustrated in City Landscape as in The Card Players. There is a larger variety of colors being used instead of different values of the same color. Although, there are value chang...
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...
The painting the “Luncheon on the Grass” by Edouard Manet was one of his greatest triumphs. His painting was so shocking in this time because of the nudity of women in a public space amongst clothed men. This painting caused Manet to have a rank as a careless rebel. In the 1860’s, impressionist art was known for being divine. The rules were the artists were not allowed to have nudity in their paintings. Not having nudity in their paintings were not the only rules created by government-sanctioned exhibitions and salons did not want the artist work to be vibrant and to showy. A group of French painters tried to free their selves of the rules, but they were rejected from the annual art show “Salon de Paris”. The impressionists decided to loosen their brushwork and lightened their palettes to include pure and intense colors.