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Make a comparing analysis of this two paintings
Genre Analysis
comparative analysis of two paintings
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Recommended: Make a comparing analysis of this two paintings
Of the two paintings, Antoine Watteau’s piece, Le Perspective (View through the Trees from the Park of Pierre Crozat), would best suit the art collector. Watteau’s painting best characterizes a splendid outing with friends than does Caspar David Friedrich’s, Chalk Cliffs of Rugen. Friedrich’s painting fails to pleasantly showcase a carefree trip with friends but rather depicts a serious, almost dangerous expedition. Watteau’s painting however, demonstrates a group of individuals happily communing with one another in a more subtle setting, resulting in a more appealing scene for the collector. Friedrich’s painting, Chalk Cliffs of Rugen, show himself, his wife, and his brother atop a cliff overlooking a vast sea. Although the overall image
Similarly, Watteau manipulates the base of the trees to lead the viewer to the Chateau Montmorency, positioned perfectly in the center of the image, creating a shallow space that limits the viewer to see what is only in front of the trees. This shallow space though, helps to enforce the intimacy amid the group of friends who are scattered across the foreground. In both images however, the artists predominantly emphasize the landscape rather than the people, possibly to remind the viewer of the power of nature. Nevertheless, Watteau’s image better captures a close-knit gathering of friends as they
Friedrich uses diligent, less detailed brushstrokes on his people, and instead carefully paints the surrounding landscape in better detail, such as the jagged cliff edges and tree branches. Watteau however, does the complete opposite and delicately paints his people with great detail and uses loose brushstrokes on the landscape, with the exception of the two children who seem to be almost fading into the background. The loose brush stokes used by Watteau on the trees and clouds give the image an almost celestial, dreamlike feel, again reinforcing the intimacy and friendship between the fellow
The painting was so popular, that he made its numerous versions with sightliest differences. The version presented in Metropolitan Museum, descended through the famil...
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
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...
The painting has an order and there are different shapes and angles. Rectangular shape is main trend around this piece, including the wooden chest, the leg rest and the canvass. Also things overlap, creating the illusion of the shape look closer to viewer than the shape behind it. The example in this piece would be the chair on which Adelaide Labille Guiard sits be close to viewer than the girls behind it. This adds depth to the space. Also due to linear perspective girls behind the chair are smaller due to being farther away.
At first glance, the cheerful bright blue sky on the upper portion of the painting caught the most attention. The second dominant feature is the small sailboat with seagulls on the background where Monet illustrated in brightest white. Examining closely in that particular area, it is noticeable that the artist intended to incorporate a sheer layer of white surrounding the sailboat to create the illusion of sheen light breaking through the clouds and reflecting into the ocean. Monet used a variation of values along with the combination of heavy and light individual brushstrokes to create uneven tones to show the movement of the water caused by the weather and the sun. Several layers of underpaint can also be seen as the artist’s intention for the waves to appear fuzzier. The fuzzy wave in the foreground to the right is slightly bulged from the canvas showing the finer brushstroke slightly dabbed on the surface. Dense cracking is present all over the painting possibly due to the painting being very
... 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.
There is, however, a slight opposition to this intense realism. It can be seen in Wood’s representation of foliage. The trees that appear in the upper left corner look like large green lollipops peeking over the roof of the house. The viewer knows that trees do not naturally look like that. Wood has depicted them as stylized and modern, similar to the trees seen is Seurat’s Sunday Afternoon on the island of La Grand Jatte. After viewing other works by Wood, it is clear that he has adopted this representation for the trees in many of his paintings.
Along the far left bank you see a single brick red chimney with a low roof as light wafts of smoke drift toward the left. In the bottom right corner, we see a bit of the bank the perspective is from and bits of grass are also leaning to the left, so one is given the picture of a nice day with at least slight breeze. Towards the center of the painting, you can see large boulders, smoothed, rising out of the river. Far into the distance, past the bank of the river, onto a higher level of the valley area, you see small gathers specks and shapes that represents a small mountain village.
This painting was an oil canvas landscape of the sun setting in the horizon of the ocean sea, while the ships were sailing throughout the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman showing the increasing artistic methods that begin to be utilized. Overall Bruegel makes use of the two and three-dimensional techniques to demonstrate the messages he attempts to reveal about changes in life and thought through his work.
Leyster was a student of Frans Hals who seemingly was able to mimic some of his ability for loose brushwork. Her painting used vertical and diagonal lines and she used earthy colored browns and greys. The painting, “Young Flute Player” is a realistic painting. The boy is sitting in his chair lost in his music and behind him are other instruments, the violin and a recorder. “Leyster takes us to a blank background to reinforce all the details within.” (www.kweiseye.com) She does this in order for us to take in the full view, for example, his clothes that billow out from him or the patterns on the top of the chair. With the background not bustling with activity but being a simple brown background, your attention gets drawn to the boy playing the music. And with your attention on the boy you look and stare to try to “hear” what has him so intensely focused
...individual human being, worthy of our own unique individual response” (Weschler, p. 21). As we look at these paintings it is easy for us to connect to the subject matter, they all pertain to ethics. The contemplation of life and death, picking the right path for our highest and best good, forgiveness and taking pride in what you are doing. Each day we are faced with moral dilemmas and for the most part people choose to be good and do the best they can. These four paintings allow us to see the intersubjectivity in others as well as in ourselves.
...f the shadows is sprinkled with the orange of the ground, and the blue-violet of the mountains is both mixed with and adjacent to the yellow of the sky. The brushstrokes that carry this out are inspired by the Impressionists, but are more abundant and blunter than those an Impressionist would use.
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
own painting. He sees some figures, along with a castle and somewhat of a landscape. The artist
The painting was of a river flowing from a lake, surrounded by very tall grass. On each side of the river there are people standing. What was interesting is they were painted all black. They looked like shaded figures. They were all shaped differently but you can tell they were all men. On the top left side of the river there were five men. On the right bottom side of the river there were four men. On each side it looked as though the men were trying to cross over to the other side. They looked tired and scared. It looked as though they were hiding, and getting across the river was the only way to get to that safe haven.