The double Portrait ( Happy Birthday, Dear Eshter) was created by Abraham Rattner in1974. It’s an oil paint on Masonite and the size of artwork is 29.5 x 28 in. This painting has two figures who are Rattner’s second wife, Eshter and Rattner himself. The scene is Rattner is painting the portrait of Eshter and Rattner, himself is half of the paining. Rattner is stadning foreground. He is holding paint pallet by left hand and he is facing sideway. Eshter is painted in the painting frame, thus she is a kind of slightly background position. This was a part of her birthday gift from Rattner. The year painted for this double portrait was their 25th wedding anniversary after they married in 1949 and he was 81 years old. He painted on Masonite which is made from a mixture of wood fibers that have been broken down and molded into a board using heat, pressure and the natural adhesion …show more content…
They are durable and inexpensive comparing to canvas.The artwork shows the happy emotions and realism with his interpretation of his wife and himself. Color theme of the painting was blue and background/negative space is dark blue. His right side of face is dark blue to show the shadow of his face and distance perspective. He used the black line which is stained glass like to separate the negative space/positive space. He used dark blue green for negative space on the Masonite board. Texture of oil painting is rough and we can trace of the paint brush stroke. They give the vivid or liveliness that he was well known of. The figures are realistic and impressionism style rather than photogenic. The title of paining and sub title of paining itself tell the story of artwork. Esther looks very relaxed, content and happy. Rattner looks happy , passionate, proud of himself as well. He certainly looks overcame the grief of death of his first wife. This painting gives warm feeling even though the theme color is cool color blue because of two figures of face expressions and relaxed body
The painting named Portrait of Mrs. Chinnery is an artwork by Elisabeth-Louise Vigee LeBrun produced in the year 1803. It is oil on canvas rectangular painting measuring 36 by 28 inches (91.5 by 71 cent meters). Its subject is Mrs. Chinnery, wife to William. Details on her life are scarce although her maiden name is reported. She was a widely known pianist and a popular hostess in one of the buildings that many of the British rich and noble people liked to frequent. She had three children: George, Caroline and Walter. In this painting, the lady is presented sitting in a relaxed manner while reading a book which is claimed to be about the French fashion of which she was an enthusiast. The subject’s body is facing to the right of the painting, the direction in which she holds the book. She, however, is facing directly in front, in reference to the portrait, with her gaze slightly to the right. Her left arm is hidden below the book, away from view in the painting, while her right arm rests between the pages of the book, probably near the middle of the book, as if to prevent it from closing. She is wearing a red dress, with short sleeves and a V shape in the chest area. She has two necklaces hanging from her neck. She has a red bund round her head, probably to hold her hair off her face. She has gold colored hair hanging freely down her neck and back. In the forehead, the hair is parted in such a way as to form an inverted V. She can be inferred to be wearing a red lipstick, with her face tilted slightly to the left. She does not seem to be smiling; her left eye is open wider than the left eye as if she is winking with the lips closed tightly together. Part of the thigh region can be seen but the legs are hidden off the painting. She ...
The man’s eyes are closed and his mouth is slightly open. The colours of the painting shades of blue, and there is a flatness to the painting. The only break in color is the brown guitar. Like other paintings at this time, the mas is assumed to be poor. There is an overall sense of depression and tragedy.
This painting of the industrial revolution is very thought provoking, and causes a person to think about of what was happening during the industrial revolution. He shows the horrors of the factories and the serenity of the nature. He makes someone want to go back in time where things were peaceful, and there was just nature. Everything was in it’s own natural state and peaceful.
Lincoln, the man who led our country in one of the most bloody, horrific times in American history. He stands as a major figure of heroism for some people and a monument of leadership for a country consumed by the blood spattered fires of war surrounding a difficult time in American history. He was the light in this dark, brief amount of years. He was the savior for slaves and very many of the african populus only to fall victim to the very iconic, symbolic bullet from one passionate man who follows his beliefs to the death.
The painting is a large painting it is almost five feet tall and four feet wide. It is an oil painting on traditional canvass. The color choice is very dark and gloomy. It serves the purpose of putting the viewer in a somber mood. From the first glance you can tell that this is a sad setting. To some viewers Ida might bring a feeling of disgust, however, after closer inspection of the painting, the inner beauty seeps out. The black backdrop works to bring Ida out to the viewer. The fact that Albright was able to take a young and pretty model, transform her into an almost “Walking Dead” type creation from his own mind, shows that Albright had a very creative mind. The patterns of the carpet, along with a tear in the fabric beneath the chair she sits on give the carpet a life of its own, distinct, yet worn from time and abuse, much like Ida herself. The texture of the vanity behind her is duller. He gives no real definition to the outline of the lower drawers, there was nothing in there of any significance, but it works as a great background for Ida's leg.
The painting shows Mary, Mary Magdalen and John embracing Jesus’s dead body while they are crying, and focuses on their emotional distress of losing someone dear. Mary is caught middle of letting out a great cry while embracing Jesus from the left. John is shown with curly brown hair while also letting out a cry, but he is behind Jesus and only his face is visible. Mary Magdalen is to the right holding onto one of Jesus arm that reaches over the edge that almost seems like it is coming out of the painting. The whole scene in the painting is very grim as Jesus, the central figure, is lying dead with scars of his mistreatment clear for everybody to see. His body is white and thin with veins of arms and body showing through the skin, and his face seems so tired and worn out. On his head, there is a crown of thorns, but without any blood or scars. The emotional distress in the faces of those around Jesus are stylized, but any viewer would recognize their
“The “Portrait of a woman with a man at a casement” dates from around 1440-1444. It is made with tempera on wood by a Florentine artist, Fra Filippo Lippi. The painting is 64,1 x 41,9 cm. A very interesting detail is the message on the cuff of the woman, reading the word “lealtà” which is Italian for loyalty. The painting is part of the Marquand Collection and is to be found at the Metropolitan Museum of Art, where it was given as a gift by Henry G. Marquand in 1889.”
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
Kahlo’s impassive face represents the mask she puts on for society and the tears streaming down her face are how she feels when dealing with all the trauma in her life. Kahlo feels broken and like the world is falling apart around her. The spinal cord is meant to support your whole body and Kahlo feels as if her’s is broken and full of cracks. Kahlo also feeling like the only thing holding her together is the many failed surgeries she was put through. The many failed spinal surgeries and fusions left Kahlo feeling as if she is just composed of broken pieces that are barely holding together. All the nails scattered throughout her body represent the pain she feels every day and her inability to escape from it because it has become part of her. The barren background canvas Kahlo’s inability to have children while the dark sky represents the dark and heartbroken feeling she has because of her inability to start a family. The colors set the painting up to have a darker tone because they are not very vibrant and do not convey positive emotions. Overall, The Broken Column is a representation of the inner pain Kahlo felt through her life, both internally and
The most focal aspect of this painting is the bride, Maria Miloslavskaya , in the center as all attention is on her. She is having her hair made up, her sister, at her feet on her lap and a circle of spectators awaiting her transformation. Everyone around her is in elaborate, elegant and colorful attire while she is in all white. She has a high value emanating from the center and is amplified by her dress. Her facial expression coupled with her lack of color and rather pale skin is symbolic of her current state. The white represents her virginity she is about to lose, while her demeanor is sulking as if forced into a arranged marriage and her apprehension is visible. The only spot of color, on her...
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
He is known how to combine three main colors and balance it to his artwork, green tone combined with red tone on her clothes represent that a woman is one of a lower class in society at this time, brown tone is a background color bring to viewer a heavy feeling, and this color was emphasized to face of the woman a little bit of sadness, a little bit of hopelessness in her life and her children. In this artwork, he used a rectangular shape of a wall and circle shapes for a child. They both give a viewer feeling about pressure and straitened for women. If we are noticing that in this artwork has leading lines. This line comes from three of her kids, it is creating a triangle.
The painting are from two different time periods. Abaporu dates from 1928. The name of the artist is Tarsila do Amaral from Brazil. The painting is oil on canvas. Portrait of a Lady dates from 1490 by Domenico Ghirlandaio from Italy. Portrait of a Lady is tempera and oil on panel.
One of the visual elements of this painting is the color he really uses the color to get people's attention because he uses watercolors to blend them together to make such a wonderful painting. He blends many different colors together to make new ones there is not a spot in this painting that there isn’t color. The second visual element is the people in the painting they are naked and dancing around like nobody's looking. The people in the painting are relaxing and enjoying one another and various ways. Some are even having sexual contact in the painting it’s expressing themselves from one to