Picasso develops this dichotomy through the depiction of a wayward eye gazing out the window and a larger ubiquitous eye glaring directly at the viewers. In constructing such a contrast, the painter is able to convey the personality... ... middle of paper ... ...erstanding of what he is trying to convey as the painter. Woman in a Studio is a paragon of Picasso’s adaptive work that blends many different styles of art. In this particular work, Picasso combines the elements of analytical and synthetic cubism in order to develop a work that develops a figure resembling a woman. In this painting, Picasso depicts a woman with whom he has a connection.
The artists paint them in a way that represents how history and time period affect the way and artists paints. In Gericault’s Monomania: Portrait of and Excessively Jealous Woman, the artist captures the pure emotion of a woman suffering from a debilitating mental disease. The composition is symmetrical for the most part and the subject is positioned in the center of the canvas, which emphasizes her more as a point of focus. The brushwork is visible, but disappears around her face where there is great detail to clearly show her emotional state. The rest of her contains very visible brushwork, and it’s very sketchy.
In order to create the desired impact on the viewer of their paintings, Cenni and Miller use similar stylistic techniques to portray their female subjects. The backgrounds of both paintings are quite busy, allowing the artists to draw more attention to the female subjects’ faces and achieve their desired impression on the viewer. Madonna and Child’s background is created with warm colors of red and gold leaf, and remains cooler through the use of green. Many floral, leafy, organic shapes fill the background, contrasting with The Virgin Mary’s skin. Furthermore, her clothes are comprised of the same colors as the background, allowing her body to blend in with her surroundings.
Since the artwork he created have crossing boundaries both culturally and artistically, a viewer can have broader perspectives and critical analysis of life, death, and desire or the morality as well as science and technology or fiction. Picasso explains all these things in one artwork called "Girl Before the Mirror", Oil on canvas, 5'4" X 4'3." "Girl Before the Mirror" is created in 1932 and it is said that the girl in the painting is his at the time girl friend Marie Therese Walter. No matter who is drawn in... ... middle of paper ... ... in different parts of the painting "Girl Before a Mirror", and in the same manner "Shiva as Half Man and Half Woman" also covers the same range and perspective of beliefs and diversities. Therefore, both artworks radiates the same theme generated by the simplicity of the ideas nourished by abstract thinking connecting the human beliefs to the imaginative world of desire and emotions though they are philosophically and ideologically different by the use of different colors for different themes.
The reflection of her figure creates a transition in the aura of the painting, making the appearance of the girl change from how she actually appears, in contrast to how she perceives she looks in the reflection. While Marie’s face is painted very smoothly, the image reflected in the mirror has a lot more texture, expressing more ridged skin. Instead of her nose being nice and elongated, she sees it as very pointy. Instead of seeing her body as proportional and as perfectly drawn as Picasso painted it, she sees her body in
The colors used in the painting are very vivid yet rich in depth. A combination of high chroma and low chroma gives the picture its dep... ... middle of paper ... ...oul. Maybe Vigee-LeBrun had this idea when painting and wanted the eyes of the people she painted to show the souls and the life of the people instead focusing on features that were less valuable. “The Grafin von Schonfeld with her Daughter” is very interesting to look at. It shows history and context of the lives of the 1700’s.
When others remarked that Gertrude Stein did not look like her portrait, Picasso stated "She will." Eventually Picasso's belief in the 'premonitory powers' of his portraits was affirmed as Stein came to very greatly resemble her portrait, stating in 1938, "I was and I still am satisfied with my portrait; for me, it is I, and it is the only reproduction of me which is always I, for me" (Rodenbeck). Picasso's Portrait of Gertrude Stein is a haunting and pensive work, imbued with a great sense of mystery and pondering. Stein's gaze is cast to the side, her hands in a gestural position, leaning forward with her chin tilted and lips slightly parted. It is as if she is about to speak and through the body language of her portrait, we envision an ensuing scene where she articulates what she's been thinking, elaborating with her hands.
The deep red rose is used in the original illustration of the poem and it symbolizes unconscious beauty. William Blake may uses this colour because the woman that is trying to escape from the rose, may only be internally beautiful. The woman may be very young, grotesque or unsightly. The deep red rose represents the woman because it is the only available colour around her, so it stands out and defines her. Also, the woman is shaded white, which symbolizes purity and youth.
In Decorative Figure on an Ornamental Background Matisse uses color and simple lines to create a warm environment to show an intimate moment of a women. Matisse uses color to express emotions, which is why the colors are so warm and inviting. The simple lines are used throughout the painting so no one part of the painting is more important than the other. Matisse gives the viewer just enough information to understand what the object is. The placement of every item, including the figure is important to how the viewer sees the painting, nothing feels out of place.
In Scene Five Blanche's white dress, a symbol of purity is stained which is symbolic of the fact that Blanche if far from being pure. Blanche's world hinges on illusion and deception as can be seen when Blanche pours her heart out to Stella in scene five, "soft people... have got to be seductive... make a little - temporary magic". Blanche feels that she must trick and deceive in order to survive in a world where she is "fading now!" and her looks are leaving her. We are introduced to Blanche as a "delicate beauty" that "must avoid strong light".