Herc Rousseau Self Portrait Sketch

Herc Rousseau Self Portrait Sketch
Myself: Portrait– Landscape is one of the most representative painting from the genre "Portrait
Landscape" which created by Henri Rousseau himself. In this painting, the artist (Henri Rousseau)
first painted his favorite city in the background. In the painting, you can see the Eiffel Tower, the
iron bridge crossing the Seine, and the ship along the river with different countries flags which are
showing the Henri Rousseau favorite part of the city– Paris, France. In the foreground, the portrait is
holding the paintbrush and the mixing palette representing Henri Rousseau himself. As Henri
Rousseau is recognized as "Self–Taught" artist who never learns from any Art Academies, the
inspirations of him mainly came from the nature around, the illustrations ... Show more content on
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From the title "Self Portrait with Seven Fingers" and also placing his right hand with seven fingers
in the center part of the painting fully reflects his Jewish background and his identity. In terms of
Jewish Numerology, "Seven" is the general symbol of god. In the painting, we can see the Eiffel
Tower from the window which showed the viewers that the artist (Marc Chagall) was in Paris,
France. The broken, puzzle–like objects showing Marc Chagall's early work out in the idea of
Cubism. The body shapes, the face, the landscape seen from the window and the objects in the room
have been broken down into abstracted forms and appear in two dimensional. And Marc Chagall
used the element of colour and value to create the feeling of volume of the body and the facial
features. The artist (Marc Chagall) applied dark and sober colours on the arms, main body, legs and
on the face which help to create the volume of muscles and protrude the facial features. In the
painting, Marc Chagall also applied the principle of contrast. The colour tone of the whole painting
is low–keyed, appearing a dim environment. And the artist (Marc Chagall) painted his clothes in
bright and warm colours like white, yellow and red, this great visual contrast can bring viewers'
attention to him. The artist (Marc Chagall) also put emphasis on the size and the use of colour
intensity so
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Summary Of Self-Portrait With Two Pupils
1. "Self–Portrait With Two Pupils" by Adelaide Labille–Guiard in 1785. It was made out of oil on
canvas and measures 6'11" by 4'11 1/2." It is located in the Metropolitan Museum of Art in New
York.
"Self–Portrait" by Judith Leyster was created in 1635 and made out of oil on canvas. It measures 29
3/8" by 25 5/8." It is located at the National Gallery of Art in Washington DC.
2. In "Self–Portrait With Two Pupils" Adelaide sits in a green and gold upholstered chair. She looks
at the viewer a smile on her lips. She wears gold earings that disappear under her curly hair. Atop
her head is a fancy hat with a blue ribbon that wraps around it and white feathers that flows over the
right side of it. She wears a silky shiny blue dress. The top squared around her chest and the sleeves
are rimmed with lace. A bow sits in the middle of her chest and there's one on each arm. Her dress
sweeps down and pools around her on the wooden floor. It is also pressed up against the back of the
chair. Her left arm comes down and lies across her lap. She holds a bunch of at least 7 paint brushes,
a long utensile, and a palette. In her right hand she holds a single paint brush to the palette. In front
of her is an easel and canvas. She has her foot her placed atop part of the easel. Behind her stands
her two pupils. The one closest in the foregound wears a green dress with white detailing on the
sleeves and chest and accessorized in her hair. She looks over Adelaide at the canvas, her left hand
placed

The Portrait Of Anne Montgomery
Currently located in the Palace of the Legion of Honor, Sir Joshua Reynolds's painting named
"Anne, Viscountess Townshend" was painted in 1780 in England. Anne Montgomery, which is the
subject of the painting, married the 1st Marquess Townshend on 1773 and died on 1819. Sir Joshua
Reynolds is one of most influential painters in the 18th century and he mainly specialized in
portraits. Reynolds endorsed a style in painting called "Grand Style" which is mainly about the
"idealization of the imperfect" (Wikipedia). In this painting, Reynolds uses a very simple and
common background. The purpose of this is simply to highlight the main subject of the portrait. This
portrait of Anne Montgomery by Sir Joshua Reynolds appears very large in size ... Show more
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Even if the painting shows many textures, Reynolds didn't use any other tools such as palette knife
aside from painting brush to create the intended textures.
In this portrait, the opaque colors are used well to highlight the main subject of it. Anne is dressed in
a white dress that appears to be greyish or creamy because Reynolds added some shadows to it in
order to show the creases and folds on her dress. The artist uses this technique in order to show
clarities on the lady's standing position. It is very effective because when you look at it, you can
immediately notice that she is standing on her left leg while her right leg is relaxed. The folds on her
sleeve also help give an accurate appearance on how her elbow is bent while having it relaxed on
her left leg. There is an additional item behind her, which is a red long velvet piece of cloth that
could be her coat. Aside from the type of clothing she has, the color red, white, and gold signifies
her feminine side and her high status in the society. Also, she has an aqua green piece of cloth that
has gold tassel at the end tied around her hip. Compare to the rich and lively colors used on the main
subject of the portrait, the background and the other figures on the painting appears to be gloomy.
The sculpted ermine cloak is projected with shadows making it appear dark which is the same as the
trees that looks almost black in color instead of green. The trees only show a bit the green color.

Self Portraits: Ekphrasis Poetry
Ekphrasis poetry can be written as either an exhibition of the sensational aspects of an artist's life or
as a act to explicate the artwork itself. Gehrke balances both options by opening the gaze of the
audience to witness the life of the artist but also the process, aftermath, and desire to paint. Gehrke
respects the creative process of the painters, but also gives voice to the torments of the artists, their
subjects, themes of death, life and love. The book as an entire collection gages the immediacy of art
and time, because life is but a fleeting glimpse of fractured memories and light. Moreover, the
images presented in Gehrke's collection are intertwined capturing the urgency to paint, the
transcendence of the artist from their body, ... Show more content on Helpwriting.net ...
The flowers and gems symbolize the object of a person's affections can create beauty in the world.
Thus, the moods of both poems are romantic, grief stricken, morose meditation on lost loved ones.
Furthermore, the significant images are the mirrors and windows, which represent the portrayal of
the artist, their memories and the hope of reflecting their beloveds in a way that keeps their
memories alive. Monet saw his wife as a mirror of himself, his own reflection, saying "So that he
knew even then,/ that he would never/ not be looking through her,/ each morning, in the mirror/ his
face laid on top of her face" ("Self–Portrait Monet"). While Rembrandt, used the mirror to paint not
only himself but his wife as she died, explaining that "then this morning he must paint/ more
distantly, self–love abolished to the province/ of the weak, the mirror turned away from him,/the
canvas laid out on the stretching board" ("Late Self–Portrait Rembrandt"). The mirror is a
representation of self but also speculation on the artist's mindset and motives.
The overall ingenuity of the poems explores the artists as associated with more than their art, but
their memories and circumstances at the

Frida Kahlo Self-Portrait With Monkey Essay
Self–Portrait with Monkey: By Frida Kahlo
Self–Portrait with Monkey made in the year of 1938 by Frida kahlo a Mexican artist who was
influence by the traumatized events that occur during her early life. Which were physical and
psychological tragic. Frida khalo used her personal tragic to create art and which her saying was that
she paint herself because it was what she knew best. Kahlos work was influence by tragic event in
which in her portrait Self–Portrait with Monkey, it was made to show a living and soulful being
holding her by having his arm around her neck of a form of protection and who she describe the pet
to be a like a the child she couldn't have. The portrait is in the Art Gallery, Buffalo, New York, since
1966 by collector A. ... Show more content on Helpwriting.net ...
Her posing is of someone who seems lonely, incomplete and unsatisfied. The portrait is the
appearance more of a tomboy. We can see the background of the painting showing the a form of a
jungle with different hairy leaves and cactus. The painting has different textures, lines, and colors.
We can see a light green mixture with yellow and with some blue, green, and light gray, also the
cantus is painted in light gray with a white and slightly brown as it seems from viewing the painting.
The natural objects used by Frida Kahlo in most of her portrait, are the natural element as we can
see in the Self Portrait with a Monkey. She is wearing a collar and it seems to be made of bamboo
material. In the portrait with seeing a Monkey is facing forward and how the monkey has his arm
around her with so much care and protection. The monkey reflects an innocent child holding on his
mother, reflecting the viewers that he is love and that he feels security by her as his main protection.
Her painting is more of a personal portrait. The colors of use are vibrant colors, but even though her
colors used were not as dark, her self–portrait seems more with a sad appearance. I think in her life,
there has been always an empty hole. Possibly reason were the inability to bear children and her
unstable relationship with Diego Rivera. To Frida Kahlo, he was considered to be her soul mate,
friend and her tutor in painting. Her emptiness was the need be a woman in every sense of the word.
Which is married, have children, and be hundred percent in love and to be love with your partner. I
just think this is how she used to feel. Her paintings were most self–portraits, which it shows that
she was sad and unhappy. The painting her facial expression is of someone that is lonely and
depressed. To Frida Kahlo, her only time of distraction from the pain and the loneliness was
painting. Her only distraction and

Tehuana Self Portrait
Portraits are some of the most common paintings within the art community, as long as people have
made art there have been portraits. For the first few thousand years, portraits, whether drawn,
painted or sculpted, were typically reserved for those deemed important enough to be honored with
a work of art bearing their likeness. This thought still rains true, but the consideration of those
named important enough has then shifted. Along with that the meaning of a portrait has changed to
become more complex at first glance. Frida Kahlo, Tehuana Self Portrait, 1940 and Francois
Boucher, Madame de Pompadour, 1750 are two portraits that offer a story within the painting itself,
suggesting more than just a wealthy persons elaborate lifestyle, transforming ... Show more content
on Helpwriting.net ...
This painting about the process of applying make–up at the mistress's vanity conveying a pure
young woman. The lace and pink ribbons along the chest of her dress create an almost architectural
quality, being able to see the weight and stiffness that they create. The subtle focus on the cameo on
her wrist being a portrait of her lover, King Louis XV contrasted with that the size of her eyes
compared to her mouth transforms her into a childlike state. The painting provides a sense of
mirroring. Even though Madame de Pompadour has a mirror placed in front of her, she turns her
body facing towards us with an expression of intended innocence.
The two portraits tell a similar story of the women's past lovers. Frida's self–portrait being much
clearer that there is more to the painting than just she, Boucher's is more indirect that the viewer
may miss the meaning by glancing over it. By the artist imbedding these practices the portraits
become a story one must analysis and dissect, by looking at the subjects using ones period eye.
Transforming the tradition outlook many have on portrait

Madame De Pompadour At Her Toilette And Self Portrait As A...
Female representation in contemporary art scarce compared to male artists, so these two pieces,
Madame de Pompadour at Her Toilette and Self Portrait as a Tehuana are great examples of how
women are presented and how they showcase themselves in similar ways although these were made
almost two decades apart. At a glance they may seem like completely different works, but with
further examination we are able to uncover their many similarities. Both works focus on self–
representation, identity, fashion, and femininity.
At a first level iconographic analysis of Madame de Pompadour at Her Toilette by Francois
Boucher, the viewer is presented with a half–length portrait of Madame de Pompadour from the
waist up. She's seated in on a yellow chair in front of a very bleak wall, centered in the painting,
essentially drawing all attention to her. She seems to be in the process of getting ready, so displayed
atop the table in front of her is an array of supplies including: ribbon, a white, fluffy powder puff, a
gold powder pot, multicolor flowers, and a mirror. In her left hand she holds what would be
equivalent to a modern day blush palette and in the right she holds an applicator brush. Her hand is
in mid–air, implying movement. On her wrist is a cameo with the profile of her lover King Louis
XV. She wears a low cut bodice, accentuated with gray ruffles and pink ribbons. The majority of her
dress is made of gray lace and ties at the neck with a pink ribbon.
The color palette consists

The, Portrait Of Dirck Building, Floor 3 And Find The...
B. Go to LACMA (Ahmanson Building, floor 3) and find the following paintings by Rembrandt and
Jan Lievens.
1. Rembrandt, Portrait of Dirck Jansz. Pesser
2. Jan Lievens, A Philosopher
In Rembrandt's painting, Portrait of Dirck Jansz. Pesser the subject is in formal wear. He is wearing
a fashionable white collar and black wide brimmed hat. His is also wearing a black jacket that is
high quality. In contrast Jan Lievens, A Philosopher is dressed casually in a navy blue cap and off
white or almost yellow frock with pink underneath. The materiality of the clothes seems thinner and
less constraining than that of Rembrandt's portrait. The only subject that has iconographical
attributes between Rembrandt and Lievens is Lievens, A ... Show more content on Helpwriting.net
...
The function and materiality of paint is emphasized when it can be identified on a painting. There
are other differences between the painters portraits. Rembrandt creates a more distinct separation
between subject and background, while Lievens blurs his subject to the environment. Rembrandt
makes clear color distinctions with clean brushstrokes to show the separation between the subject
and its background. Lievens however, smudges the edge of the face to the background and uses
similar colors. The zone of transition between the subject and the background are blurred and start to
dissolve into each other. Lievens brushstrokes are not as careful or clean as Rembrandt 's.
Rembrandt and Lievens take different approaches to depicting the forehead and brow of their
subjects. Rembrandt takes a realistic approach while Lieven takes an expressive approach.
Rembrandt's representation is thought out and smooth. He would have used mostly wet paint to
create the flat surface and various brushes to separate the colors. He must of added thin and light
layers to create a uniform look. In contrast Lievens uses thick and alternating thick and thin layers of
paint. A brushstroke is used to articulate a physical attribute to the face.There is mixing of paint by
adding a thick layer of paint over a still wet layer.Lievens does not try to create a seamless transition
between brushstrokes like Rembrandt. Lievens is more free flowing and liberal in his approach to

Analysis Of Nancy Parsons In Turkish Dress Portrait
Oftentimes, portraits are mistakenly believed to be objective representations of their subjects by the
uninformed viewer. Thus, portraits are thought to simply depict the exact likeness of their sitters. In
reality, however, they reveal much more than just the physical appearance of their figures. Portraits
can, and usually do, convey a significant amount of information about their subjects, such as their
wealth, social status, marital status, and moral virtue. Through the use of visual features like
garments, props, and pose, portraits also tend to ascribe these attributes to their sitters, whether or
not such characteristics are accurate. George Willison's Nancy Parsons in Turkish Dress (1771)
painting provides an excellent example that portraits are not merely records of how their sitters
looked. With a thorough analysis of the portrait, multiple implied messages about Ms. Parsons are
exposed. The Nancy Parsons in Turkish Dress portrait illustrates her profession as a courtesan,
wealth and social status, and conformity to the contemporary conventions of femininity. Notorious
for engaging in many intimate relationships with aristocratic men of all ranks and ages, such as
Duke of Grafton, Duke of Dorset, and Viscount Maynard, Nancy Parsons wishes to emphasize these
aspects of her identity in the painting to preserve her public self–image from further scandalous
claims. In Nancy Parsons in Turkish Dress, the artist portrays his female model in a domestic
interior. She

Comparison of Las Meninas and Arnolfini Double Portrait...
Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van
Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during
their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most
talented artists of their respective times. A detailed examination of the details and intricacies of these
artist's respective masterpieces, their similarities, and what sets them apart not just from each other
but from other paintings from their time period and style, will lead the viewer to a better
understanding of the mentalities of these gifted artists and how they transcend their respective
genres and contemporaries to create their own ... Show more content on Helpwriting.net ...
The couple's outfits are thick and even have fur, although the painting suggests that it is spring or
summer, due to the amount of sunlight entering from the window and the fresh oranges (most
oranges are harvest during the spring). The furniture and the drapery is impressive, and the oranges
themselves are rare and are therefore a symbol of wealth. The painting also illustrates the
relationship between the two subjects through various objects. The painting suggests that the
subjects are married. There is a dog in between the couple, which represents loyalty. Both characters
have rings on their ring fingers, which suggests that they are both married. Also, the painting shows
that both characters have removed their shoes, which implies that they are standing on holy ground,
such as Moses was when speaking to god through a burning bush in the bible. The reason they are
on holy ground is because a holy ceremony has taken place, that is, a wedding. Notice the
characters' body language is composed of the dominant husband and the submissive wife. There is
also various references to the newlywed couple's intentions of starting a family. Not only does the
wife's attire exaggerate her belly, making her seem as if she were pregnant, but behind here there is a
statue of Saint Margaret, the saint of childbirth and fertility. When the individual objects of this
painting are viewed as a whole, the message becomes clear. Jan van

The Portrait Statue Augustus Of Prima Porta, Cleopatra
Portraiture is an old art form that dates back to ancient Egypt where it gained popularity five
thousand years before. A portrait is a sculpture, painting, drawing, or engraving of a person that
usually only depicts the head or head and shoulders. Before photography was invented a sculptured,
painted, or drawn portrait was the most common way to document someones appearance. Besides
recording a persons looks portraiture was used to portray the subjects beauty, importance, power,
virtue, wealth, and taste. You can see these ideals reflected in the Augusta of Prima Porta, Cleopatra,
and the Parthian Prince. The portrait statue Augustus of Prima Porta portrays Augustus in battle gear
with his hand raised upward as if he's commanding his troops. Augustus' portrait statue is wearing a
muscle cuirass breastplate ... Show more content on Helpwriting.net ...
On Augustus' left side baby Cupid is riding a dolphin. Cupid was the son of the love goddess Venus,
his purpose was to shoot arrows through lovers hearts and make them fall In love. The dolphin was
one of Venus' sacred animals. This portrait statue of Augustus is meant to shows Augustus as a
powerful military leader and conqueror. Like Polykleitos' Doryphoros, the empire is portrayed in
youthful, masculine way despite the fact that he was middle aged when the statue was created. This
to Polykleitos' work connects Augustus to Ancient Greece's Golden Age. Persian nationalism was
reestablished by then end of the second century. The images placed on Persian coins tell us that
Parthian rulers were wearing their traditional clothing which included pants and a v cut jacket. The
Parthian Prince portrait statue is six foot two inches tall and is cast in hollow bronze, the Parthian
Prince was possibly discovered inside a fire temple in the Bakhtiari region of Khuzestan. The prince
wears a rounded haircut topped with a crown of banded fillet or

Summary Of The Portrait Of A Lady In A Blue Dress
Copley's piece titled Portrait of a Lady in a Blue Dress created in 1763 by John Singleton Copley,
represents an unnamed female portrait painted with oil on canvas. The piece currently resides in the
Art Institute of Chicago in Chicago, Illinois. The work of art can be seen from one side only because
it hangs on the wall. There is a great deal of indications in the painting to show the viewer who this
woman was and how she ranked high within society.
The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks
to be in her early 20's sitting upright on a large brown chair. If the viewer travels up the painting the
first indication of the woman's class is her satin, blue dress. The saturated blue shines and falls in the
light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace
is even painted as though it is translucent, allowing a little of the blue dress to show through the
sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The
repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman's attired suggests her purity
or innocent nature. Another very details section of the painting includes the corset/torso details. The
sewing suggests texture in the torso with small beading in between. Towards the top of the chest in
the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center.
The light pink

Abraham De Vries Double Portraits
Portrait painting thrived in the Netherlands with the increase in production driven by interest in the
idea of personhood and the definition of the individual self. Portraits help document the
development of a personal identity as it connects factors like marital status, class, and profession. A
common portrait genre produced during the seventeenth century portrays their subjects with an
impassive demeanor with little vigor. At first, these paintings may be evaluated as lacking
"personality" or "characterization" due to the artist's lack of talent. However, this is rarely the case.
In trying to understand Dutch portraiture, it is important to identify what type of functions they
serve. Abraham de Vries' Double Portrait functions not only as recording of his sitters' faces but also
as a signifier of the cultural, social and philosophical ideas of the time.
Abraham de Vries' Double Portrait depicts a man and a woman sitting at a table. The woman looks
up from her reading while the man turns in his chair. Both of them look out of the frame into the
viewer's space. There is a calm, unified axis of the head and the body for both ... Show more content
on Helpwriting.net ...
Their close proximity does not translate into a sense of togetherness. Unlike Frans Hals Marriage
Portrait of Isaac Massa and Beatrix van der Laen, there is no intimacy found within the gesture of de
Vries' couple. The casual poses and smiles that Isaac and Beatrix share are not present in de Vries'
couple. Hals' light hearted attitude has also been replaced with a meditative state. This does not
mean the couple has no relationship to each other. Instead of their bond hinging on physical touches,
their spiritual connections are emphasized. The Bible symbolizes the spiritual side and by having
both figures touch it, it shows their connection through religion. The fact that the Bible is the only
thing on the table also highlights this

Portrait Of A Killer : Jack The Ripper-Case Closed
The 2001 nonfiction, Portrait of a Killer: Jack the Ripper–Case Closed, is a novel written by author
Patricia Cornwell. This novel follows Cornwell on her journey of solving the 1888 London crimes
by the mysterious and unknown serial murderer claiming the name of Jack the Ripper. This killer, as
told in the novel, did not only murder women who were prostitutes, but it is also said that he
murdered non–prostituted women and children. While much research and investigation by law
enforcement had still not identified the enforcer of these crimes, Cornwell explains how she uses her
own specialized team of top forensic scientists and FBI profilers to identify the serial killer as the
famous artist Walter Richard Sickert. Cornwell first began to suspect Sickert after looking in a book
containing his art. After noticing the works of Sickert's painting of Ada Lundberg, who is supposed
to be singing, Cornwell instead saw the singer "screaming while menacing men looked on." The
author's analysis concluded there was "morbidity, violence, and a hatred of women" in Sickert's
paintings. Unlike the many Ripper novels that came before Cornwell's, this novel is written less to
explain the crimes committed by the Ripper while giving the facts and suspected identities. In truth,
it is more as an indictment for who the author believes the real murder is and why. While Cornwell
uses some physical evidence to pin Walter to the crimes of the Ripper, such as his DNA matching
the DNA found on the

How Is Rembrandt Portrayed In The Portrait Of A Musician
The man portrayed in Rembrandt's "Portrait of a Musician" (1633)
There are some art works about which there are ongoing discussions. One of those art works is
"Portrait of a Musician", or "Man with a Sheet of Music" (1633), presumably by Rembrandt (1606–
1669). While some scholars believe the man portrayed in this portrait to be the German musician
and composer Heinrich Schütz, other theories about the identity of this man exist, too. One of those
theories, suggesting that the man portrayed is actually Constatijn Huygens, seems the most
convincing. The theory that the man portrayed in the portrait is Heinrich Schütz (1585–1672), a
German composer, was first suggested in 1937 by Bruno Maerker (Brook and Oja). He compared
three known portraits ... Show more content on Helpwriting.net ...
Nevertheless, the argumentation would only be reliable if the painter of the portrait is truly
Rembrandt. In 1969, H. Gerson, a well–known Rembrandt scholar, expressed his doubt that
Rembrandt painted the portrait, suggested that Rembrandt's pupil Jacob Backer painted the portrait
instead, and based his argument on details in the painting he believed showed that Rembrandt did
not paint it, for example the way how the painting of the hands was performed (Brook and Oja). He
is not the only scholar who has doubts. In his letter reacting to Hevesy's publication in 1936, J.S.
Held suggests that the music scroll must have been added later (Held). However, the legitimacy of
the portrait has been generally accepted. The website of the National Gallery of Art in Washington,
where the portrait is currently located, states Rembrandt van Rijn as artist (National Gallery of

Comparing The Portrait Of Sally Fairchild By John Singer...
For my term paper I decided to go to the Cantor Museum in Palo Alto, and I chose to focus on two
portraits of women from two distinct time periods. First, I decided on the portrait of Margaret
Blagge, Wife of Sidney, 1st Earl of Godolphin. This portrait was painted by the artist Matthew
Dixon in 1675, in the Baroque period of art. The portrait of Margaret Blagge was done in England,
and it was painted as an oil on canvas. The second artwork I chose to compare was the Portrait of
Sally Fairchild by John Singer Sargent. This portrait was done from the year 1884 to 1887 during
the Realism movement in art. The portrait of Sally Fairchild was painted in the United States of
America, and was painted as an oil on canvas. When comparing these two portraits ... Show more
Value is the relative darkness or lightness of a painting, and it assists in creating volume for a
painting as well. In Matthew Dixon's painting, the Portrait of Margaret Blagge, the value falls under
tenebrism. Chiaroscuro is the contrast between dark and light in a painting, and tenebrism is an
extreme case of chiaroscuro, with a violent contrast between dark and light. Dixon was able to have
Margaret Blagge stand out from the background by composing the whiteness of her skin directly
next to the darkness of the background. By using tenebrism, Matthew Dixon was able to achieve a
great deal of volume in his painting. Where the whiteness of Margaret Blagge's skin touches the
darkness of the background it is as though she can be lifted out of her frame. John Singer Sargent's
Portrait of Sally Fairchild, is different in comparison to Matthew Dixon's portrait, because there is
not much chiaroscuro in it. The most evident contrast between dark and light is the transition from
the shadows fallen on the left side of Sally Fairchild's body and her white skin. The contrast of
shadow to the face helps create the volume of her chin against her neck. Both paintings are different,
yet they both have a sense of volume, despite having used different

Analysis Of Jan Van Eyck 's ' The Wedding Portrait '
Jan Van Eyck began his career as an artist in 1422 and continued until his death in 1441. While Van
Eyck was active, he created many well–known paintings. According to John Haber, Van Eyck was a
portraitist who was the first to paint in oils (pg.1). One of his most famous works is Wedding
Portrait, or Giovanni Arnolfini and His Bride. This painting depicts a man and a woman holding
hands in matrimony with many symbolic objects surrounding them. The painting was created in
1434 and currently resides at the National Gallery in London. Haber states that The Wedding
Portrait, "confront us with a reconstruction rather than a mere representation of the visible world"
(pg.1). Haber's quote shows how that The Wedding Portrait has a complex ... Show more content on
Helpwriting.net ...
Then he used the chandelier, curtains, and other accessories to bring visual pleasure to the viewer.
The objects in the painting are easily identifiable, so Van Eyck most likely used contour lines. He
also most likely used a multipoint perspective, because he gave the image a dramatic emphasis. He
drew the room dark with only the light from the window coming in. This can be seen as if God is
shining his light on their marriage, thus creating a dramatic effect. These elements found in the
painting can give the viewer a deeper understanding behind the complex meaning of Jan Van Eyck's
Wedding Portrait. Jan Van Eyck used composition throughout the work to give the viewer a better
understanding of the painting. As show in Figure 1, Wedding Portrait, an asymmetrical balance is
used in the painting. This means that if the painting were to be cut in half, it would not mirror or
reflect itself. There is no rhythm present in Wedding Portrait, because there is no repetition of
elements. In Figure 1, nothing seems to be out of proportion or scaled to a different size. The
painting does seem to have emphasis and accents, and unity throughout the work. The emphasis in
the painting are Giovanni Arnolfini and his wife, because as show in Figure 1, they are in the front
of the painting to show that they are the main focal point. The accents in art, are the lesser focal
points of the painting. In Wedding Portrait

The Art And Beauty : Leonardo 's Benci And Renaissance...
Acquired in 1967 by the National Gallery of Art in Washington, D.C., a 15th century oil–on–wood
portrait of a Florentine aristocrat entitled 'Ginevra de' Benci'. The painting depicts a young de' Benci
surrounded by a dreamlike background of juniper and hazy landscape as she looks the viewer in the
eye, while the reverse shows a wreath consisting of a sprig of juniper encircled by laurel and palm.
This portrait has been displayed in the "Virtue and Beauty: Leonardo 's 'Ginevra de' Benci ' and
Renaissance Portraits of Women" exhibit since 2001. Starting in 1969, it was part of the "In
Memoriam: Ailsa Mellon Bruce exhibit", also with the National Gallery of Art. Prior to that, it was
displayed with the National Gallery in London having ... Show more content on Helpwriting.net ...
It is speculated that her betrothed Luigi Niccolini to whom she was married to in 1474
commissioned this portrait. It is unknown who actually did commission the portrait as Ginevra was
known to have had several admirers who composed poetry in her honor and entreated her to share
own verse with them. Among them was Lorenzo de'Medici, whose elite family was known for its
patronage of the arts. It may have been he who commissioned her portrait to celebrate, or even
substitute for, the object of his admiration and esteem. Many portrait subjects of the Renaissance
were from a wealthy family, and educated. Ginevra was well known as a poet and learned
conversationalist within her community. She, like many young women of the time were expected to
comport themselves with dignity and modesty. Virtue was prized and guarded, and a girl's beauty
was thought to be a sign of goodness. Therefore, her flawless chalk–white skin, porcelain–fine
features, and a reserved, somewhat impenetrable expression reflect her education, virtue and
obvious beauty. Her simplistic lack of obvious finery, however, is somewhat surprising. Women in
elaborate dresses adorned with jewels and luxurious brocades displayed a family's wealth in most
portraits of the time. This lack of adornment and the three quarter pose reveal young Leonardo as an
innovator. Additionally, Ginevra de' Benci is one of the first known three–quarter–view portraits in
Italian art. Leonardo placed her

Rembrandt Self Portrait Analysis
1. Rembrandt Self Portrait with a Wide–Brimmed Hat 1632
In the Baroque period, artists started to depict themselves as the main subject matter more often.
Rembrandt had painted a lot of self–portraits in his entire life. In his self–portrait did in 1632,
Rembrandt is the focus and he is dressed fashionably. Like most of the self–portraits in Baroque, he
only painted his upper body so his face can be seen clearly. At the age of 26, Rembrandt showed a
sense of youth and pride in his gaze. The painting is done in a realistic way which the details of
clothing can be seen clearly. Back in the time when camera did not exist, painting is the only way to
capture the world in graphics. Self–portrait is the record of a person's physical appearance. At that
period, self–portrait was not only appreciated as art but also a record of the people and the society.
2. Van Gogh Self–Portrait with Bandaged Ear 1889
At the 19th century, the invention of camera has provided an easier and faster way to keep records.
The function of realistic painting had been replaced. ... Show more content on Helpwriting.net ...
Under her brushstrokes, raw emotions are shown in the portrait. In Beyond Grief, Busschers showed
her fragile and delicate side. There are tears in her eyes and blood vessels on her face. From her
gaze, viewers can feel her sadness. She seems to have just gone through an emotional break down
but at the same time she looks peaceful. Looking into her eyes, she is like staring at something far
away, something that she cannot reach. The painting is painted realistically yet different from the
style of Baroque. Busschers's work is so real in a way that it can trigger viewers' emotions. Through
her self–portrait, viewers can feel a sense of connection with the artist and have their own
interpretation on the story behind each

Jan Van Eyck's Arnolfini Double Portrait
In the article "Sexuality and Social Standing In Jan van Eyck's Arnolfini Double Portrait" the author
analyzes the religious and social grammars of marriage. This short paper will be a reflection of
Harbison's article that discusses religious and marital norms throughout, with also analyzing various
sections of van Eyck's piece, for example: implying the piece as a marriage document or contract of
the marriage, which immediately makes the viewer look deeper into the double portrait. All of this
helped me realize that pieces of art are not simply "pictures," rather they are narratives like a scene
in a documentary. The author starts the article with a clear thesis of analyzing the social religious
and marital norms when this piece was made. There are different scenes of this portrait that van
Eyck's uses throughout to identify social standards of the time this piece was done. The fruit is there
to identify the intimacy of marriage. The dog and gargoyles also represent various implications of
religiosities. Going in enormous detail of what everything means. The gargoyles are there to display
deceptiveness in the marriage of the couple's nature as well as being somewhat ... Show more
However, later in the article the author also says the following, "We should thus be wary of the kinds
of compartmentalization we usually employ when faced with intricate problems of interpretation in
this kind of imagery."(41) Consequently using that statement to present an almost changed thesis. I
feel that this statement was hugely important because it changes the entire dynamic of the
conclusion. From that point on it is implied that the author has an open mind of the piece at hand,
while it does show a lot of religious and marital grammars it may also have been an edit of the
director (artist) of this piece to examine how he wanted to tell this families

Julie Heffernan Self Portrait as Wunderkabinett Essay
| Julie Heffernan Self portrait as Wunderkabinett | | | 7/2/2013 | Museum Visit Assignment | | |
Julie Heffernan Self portrait as Wunderkabinett
Museum visit assignment The Mint Museum in Charlotte, NC is a timeless building and a work of
art itself. The building was designed with a contemporary style and is an outward expression of its
artistic, belongings inside. I visited the Museum on Tuesday, July 02, 2013, at around 2 in the
afternoon. I was within the museum for about 2 ½ hours, observing the exhibits. The building itself
exceeded my expectations, but the inside took my breath away. Every detail within was elaborate
and intended with thought; from the glass windows, to the straight lines of the architecture, to the ...
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The artist creates a focal point with the only woman whose face viewers cannot see. The women's
dress appears to have caught on fire and produces luminosity around the chandelier, forming a
shadow within the corners of the room, which brings the viewers eyes from the main woman, up to
the chandelier, as shown in the picture to the left. Heffernan's paintings express her untamed
imagination with majestic fantasy, dream–like subjects, yet she paints with a very classic technique.
When I first viewed The Self Portrait as Wunderkabinett, Michelangelo's Sistine Chapel came to
mind. Michelangelo illustrates the desire and describes the oneness that humans anticipate with God
through salvation. The artists painting technique is traditional, with the sensible and realistic
proportions of the human body, the distinguishing lines, the application of shadow, the intricate
detail on every object within the painting, and the use of traditional complementary color pairs. Julie
Heffernan was born in 1956. She was raised in Northern California but resides in Brooklyn, New
York today. She received a BFA from the University of California, Santa Cruz and incredibly, her
Masters of Fine Art in Painting from the Yale School of Art. A significant moment that contributes to
her talent as an artist was in 1986 where she lived in Berlin for two years, studying and practicing
constantly during her stay. Her process for creating a new

An American Portrait Photographer, Philippe Halsman
An American portrait photographer, Philippe Halsman, in the mid 1900's once said, "A true portrait
should, today and a hundred years from today, the Testimony of how this person looked and what
kind of human being he was." He provides a good point, as he gives his opinion that portraits are a
representation of an individual, to show the memory of their soul through artwork even if it's
photographs, paintings, drawings, or sculptures. Whether it is to remember the past or present,
portraits tell their own story in a moment of time through the frame of the artistic eye. Portraits
consist of many underlying layers that are exposed by the artist to mesmerize the viewer to the
unique personality of an individual by the style of the portrait, ... Show more content on
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For example, Yousuf Karsh characterizes Muhammad Ali (plate 1) through a powerful photograph,
not only as an individual but an American hero who shows power and strength. When looking at the
image the most apparent form is his face and the emotion that is being expressed. While Ali's head is
turned at forty–five degrees, he remains to have eye contact with the viewers, which means he is not
afraid to show the world who he is and how he wants to be represented. Furthermore, the bold
stance of his fists carefully placed on his hips and his shoulders slightly forward exemplifies his
fearlessness and confidence that he has in himself and that many others who chant his name know
him to be. While Karsh identifies a more serious approach to a portrait that captures what
Muhammad Ali stood for, there are also more whimsical ways to apprehend the narration of a
person. Gwenn Seemel is one amazing artist that truly captures the essence of a person and makes
them come alive on the canvas. During the course of an hour long interview, Seemel takes hundreds
of photos while her subject spills his or her whole life's story. In a video about her artwork and the
process that goes with it she states, "Portraits should not be a still thing." While portraits are often a
two dimensional representation of an individual, their spirit is conveyed by the sitter's facial
expression and the style in which the artist wants to convey their personality. In a portrait of a young
girl named Lily (plate

Self Portrait With Monkey By Frida Kahlo
Self–Portrait with Monkey: By Frida Kahlo
Self–Portrait with Monkey made in the year of 1938 by Frida kahlo a Mexican artist who was
influence by the traumatizing events that occurred during her early life. Which were physically and
psychologically tragic. Frida Kahlo used her personal tragedies to create art. She painted herself
because it was what she knew best. Kahlo's Self–Portrait with Monkey, was made to show a living
and soulful being holding her by having his arm around her neck as a form of protection. She
described the pet as the child she couldn't have. The portrait is in the Buffalo Art Gallery in New
York, and has been stationed there since 1966 by collector Anson Conger Goodyear.
Self–Portrait with Monkey is a portrait made by the Mexican painter, Frida Kahlo. In 1938 a French
poet and founder of Surrealism, Andre' Breton was visiting Mexico for a lecture tour, where he
stayed at the Rivera's. it was than when he first saw Frida Kahlo's art as Surrealist and and he
claimed that Kahlo to be part of his group. Andre' Breton was a poet, writer, and the founder of
Surrealist, who happens to be an anarchist who wrote the first Surrealist Manifesto in 1924. It's been
said that Breton proclaimed Mexico as the Surrealist country par excellence. Frida Kahlo did most
of her self portraits with several pets. In a way, Kahlo did this to substitute the children she could
never have due to her severe injuries. Kahlo's first illness was when she was six years old.

Self-portraits
Each artist is an individual with a unique style, and although these styles can be similar in practice –
the individuality of the artist often proves the discriminating factor for a successful artwork. Self–
portraits are beneficial when looking at the individuality of the artist as there are two aspects to look
at – the artist's style, and the artist's view of him/herself. The latter can provide a brief insight into
the mental situation of the artist as well as any apparent influencing factors of the artwork. This
view can often also include fragmental insights into the society and culture of the time. Rembrandt
van Rijn and Vincent van Gogh are 2 artists of whom are well represented by this statement.
Rembrandt was born into a Dutch ... Show more content on Helpwriting.net ...
The most common of these portrayed garments were the generic Berets that have now been typically
associated with the common artist as a stereotype. Looking at the untitled self portrait of 1657
(Figure 1) you can see Rembrandt's attention to detail and his persistence to achieve life–likeness.
He has built up the wrinkled brow, the puckers of skin, in very detailed and effective passages of
reddish colours. You can see the application of chiaroscuro in this painting which is obviously
intentional as even his clothes, including fashionable beret, are dark to help with the distribution of
light and dark with the focus being on his face. This self portrait is one I consider to be among his
best. This work provides an insight into Rembrandt's indifference to self–consciousness as you can
see an aged, wrinkled man with a large broad nose and gray wisps of hair, all of which he has made
no attempt to positively alter, he simply strives for realism in his works and finds no reason to alter
the physical reality of his work for mere aesthetic purposes. It provides an insight into the culture of
the time with the fashion state Rembrandt has depicted himself in as well as the common
chiaroscuro methods used in the painting which were common for the culture or society of the time.
The self–portrait of 1630 (Figure 2) shows how even from early in his career Rembrandt strove for
realism in his works. You are once again struck by the honesty

Judith Leyster Self-Portrait
Self–Portrait by Judith Leyster
One of the famous painters of the 17th century, the Dutch painter Judith Leyster, and the first female
artist admitted to the Guild of St. Luke of Haarlem. This electromagnetic picture shows what is
beneath the top coating of paint. The portrait on the easel was originally a self–portrait of Leyster.
However, she transformed her observance and painted the violin player over it because her most
fruitful and gainful paintings were scenes of merrymakers, a type of picture very popular with
customers. She must have decided that this painting could advertise several messages at once: I am a
successful woman, I am sought–after painter, I can draw great portraits, and I am skill at painting
lively scenes of people. ... Show more content on Helpwriting.net ...
Five years earlier, her proficiency and talent had already drawn public praise. A chronicler of
Haarlem described Leyster, then only nineteen years old, as a painter of "Good and keen insight." In
the late 1640s, another city historian wrote that among the many women experienced in the field of
painting, one excels exceptionally, Judith Leyster, called "The true leading star" in art. The
compliment cleverly alludes to the artist's family name, witch mean "lodestar" The artist herself
incorporated a star in her professional

The Arnolfini Portrait
The Arnolfini Portrait is a very cleverly composed single picture story. Various singular objects,
depicted within the image, all of which contain an individual meaning/symbol. For example, the
oranges within the painting display the couple's wealth, for such a fruit would have to been imported
during the times the wedding took place and would cost a small fortune to purchase. Two pairs of
wooden shoes can also be seen in the image, one a bright ruby red the same as that of the bedding
and couch symbolizing fertility, the other plain and wooden representing faithfulness. Both, bride
and groom, depicted can be seen with pale skin draped in lavish furs, the bride also displaying a
high forehead and wrapped in a blue underdress. This not only

Holbein's Portrait Of George Gisze Analysis
Based on this week's assigned chapter, West, "Introduction," answer these questions.
1. What does West say about the space in Holbein's portrait of George Gisze? What is in the space
and what is the contradiction she sees between the things and the figure?
Holbein's portrait is one that contains many contradictions. The composition is somewhat confusing,
for it is a meticulously detailed painting; yet, the painting is riddled with perspectival
impossibilities. The space surrounding Gisze is cluttered with objects that look entirely out of place
in the portrait. These objects, so carefully rendered, are at odds with each other, and the surrounding
area. The sitter is depicted in a most uncomfortable manner; each part of his body is oddly
positioned. ... Show more content on Helpwriting.net ...
Most often, the function of the portrait determined the status of portraits. For instance, when a
portrait was a likeness of an important historical figure, it was thought to be of higher status. If a
portrait was of a funerary nature, its status would probably be considered to be lower because its
subject could be considered to be of less importance. During the Renaissance and the years that
followed, the portrait's status became less highly regarded as this led to a democratization of
portraits. Before this, it was far less common for those with low income or rank to be able to sit for a
portrait. As artists began to focus on simply being portraitists, it allowed for more people to be able
to have their portraits

The Importance Of Self Portraits
Throughout the twentieth century numerous standards were pressured onto women. Whether they be
physical standards, such as feminine features and modesty, or standards in relation to their actions,
such as the need for women to be mothers and have men in their lives and to keep their sexualtiy
hidden from the world. There were many female artists who protested against these boundaries
women were put into by society through self portraits. However, these forms of protest expressed
through art were not always accepted or praised as well as they are in modern times. There were
many women who took a stand within their art against standards placed on women. In the 20th
century, self portraits were heavily used as a form of protest by female artists in order to reject
societal standards placed on women. Paula Modersohn–Becker was a female artist whose self
portraits opened up a new path of self expression of European female self portraitures within the
20th century. For years, nude portraits were created primarily for male gaze; female models were
purchased by male artists and were painted as sex objects. Paula Modersohn–Becker rebels against
this sexist norm by simply being her own muse. Modersohn–Becker's use of the female nude was a
powerful reclaiming of her own body. A new trail was blazed in 1906, with her painting Self–
Portrait, Age 30, 6th Wedding Day. In the painting, for the first time, the partially nude model is the
artist herself. She stands there, looking at the

The Arnolfini Wedding Portrait: Interpretations
Jan van Eyck's work, The Arnolfini Portrait, is a famous piece of Flemish portraiture with a lively
history of interpretation (Hall xviii). Most interpretations of the work hinge upon the symbolism
found in the iconography of the work, while others rely upon the presumption that the work is
nothing but masterfully rendered naturalism, while still others apply various modern art history
methodologies. In this paper I will provide a brief survey of the leading interpretations and methods
that have been applied to the Arnolfini Portrait.
One cannot review the analysis and historiography of the Arnolfini Portrait without encountering
some sort of rehearsal of Erwin Panofsky's reading of the work in his book Early Netherlandish
Painting. ... Show more content on Helpwriting.net ...
Before Panofsky, even the National Gallery of London, the home of the work, was uncertain as to
the subject of the portrait. Panofsky's interpretation rests in part on the inscription above the mirror
behind the couple, which says "Johannes de Eyck fuit hic," or "Jan van Eyck was here". Because of
the stylized scripts and the assertion that the artist who painted the wedding was present to it,
Panofsky and others have made the argument that the work is nothing less than a signed, notarized
wedding portrait (Farber).
Besides allegorical interpretations, some scholars have pointed to naturalism as the prime window
through which this work should be viewed. This view sees van Eyck as attempting to depict the
scene completely naturally, or in all of its total, unembellished glory. For example, Carrier quotes
Ludwig Baldass as saying of the mirror behind the couple: "The convex diminishing mirror is there
in order that the whole of the room may be seen Convex mirrors are always round, for which reason
the roundness in this case is not to be interpreted as a symbol of the world. Stated in another way,
the mirror is there to show everyone the entirety of the event, including the witnesses, leaving no
allegorical description necessary. The same naturalism

Portraits During The Renaissance
During the Renaissance, portraits were very powerful to the Italian culture and society because they
highlighted the development of the individual. This is important because the Renaissance focused on
classical learning and art, rather than just religious figures which can be portrayed through different
portraits showing actual living people and represents humanism. Portraits in the early 15th century
were meant to be represented as the "ideal republican citizen", and were also made to honor the dead
and be given as wedding gifts. People giving others portraits as gifts was a very popular thing to do
back then, especially to friends or family members because it was a way to express love and
affection towards others. Also, portraits during the Renaissance highlighted the importance of family
ancestors through history in the Italian culture.
It is very important to emphasize how Italian women were represented in portrait painting during the
Renaissance, considering how much it changed from the early 13th century, to the 15th century. In
the 13th century, the women in different portraits during the ... Show more content on
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The portrait of Mona Lisa is very different to other portraits of women because Mona Lisa is seen
looking directly at the viewers, which is very uncommon because almost all women are seen
looking off into the distance. Also, she is sitting directly in front of the audience giving us a clear
view of her full face, instead of only being able to see her side profile. Lastly, when you look at
Mona Lisa's face it is clear to see that she looks calm and assured, which is something that is seen in
mens portraits not women's. Leonardo da Vinci's painting of Mona Lisa was the start of a very
important change on the way society viewed women, and he started a trend that continued to
influence portraits of women in the

Van Eyck The Arnolfini Portrait
The video Van Eyck, The Arnolfini Portrait displays a detailed analysis of the painting The Arnolfini
Portrait. In the video, Dr. Zucker and Dr. Harris discuss all aspects of the painting and their
significance through visual interpretation. Although there is some definite facts about the painting
and information both Dr. Zucker and Dr. Harris have about the time period, most of their
interpretations come from observing all details of the painting. Dr. Zucker and Dr. Harris begin to
examine the painting by stating it is a double portrait of a couple who were already married. The
married couple in this painting represent wealth that can be observed from their clothing and
furniture displayed in the painting. Dr. Harris makes a statement that

The Self Portrait : An Interesting Genre Of Work
Both of the women are well known for their self–portraits. The self–portrait is an interesting genre
of work. There is a sense of spontaneity. The engagement is greater since the artist has a longer
period of time to examine their own face, instead of having limited access. A painter knows their
own face the best; in many artists' work other subjects resemble the artist themselves. Women often
portray themselves in their studios at work, evidence of professional accomplishment. Sometimes
self–portraits are very truthful since the artist had time to examine every detail of their appearance.
On the other hand, artists also can take liberties in creating their image in order to project
themselves in a way that they desire. Salesmanship can come into play, even falsehood. Both
Labille–Guiard and Kahlo were mostly truthful in their work, but chose carefully what they
emphasized in order to best depict themselves in a desired manner.
In Self Portrait with Two Students, painted in 1785, Labille–Guiard presents herself as poised and
self–assured engaging in painting, and also as a teacher. This uses the rich palette and fine detail
which reflects her earlier training. After the scandal in 1783, she wanted to start a fresh after the
slander, but the Academy drastically limited her show casing any of her work. She wanted new
prestigious customers, but could only get them if she could show she was capable. Her solution was
to put all her energy into making a self–promotion piece. She

Self Portrait In A Straw Hat Essay
The two paintings which will be compared and contrasted are entitled 'Woman with a hat' by Henri
Matisse and 'Self–portrait in a Straw Hat' by Elisabeth Vigee Le Brun. Both of these artists have
used the portraiture as a subject and have chosen painting as their art form and oils on canvas as
their medium. However, each of these artist's interpretation of their artwork is very different.
Matisse has concentrated on colours as he has applied a mixture of brilliant colour all across his
subjects face, hat, dress and even the background, whereas Vigee Le Brun has focused on showing
extreme reality in order to demonstrate her painting skills which will be explored further.
Each artist has used a different style in their painting. Vigee Le Brun ... Show more content on
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Both portraits are paintings that include a woman and a hat. Though Matisses' art is a portrait of his
wife while Le Brun is painting portrait of herself. In each of these portraits the artists have
approached it differently and have different intentions and meanings. Matisses' use of bright colours
communicate his painting subjectively and the loose brush strokes made the painting look almost
unfinished which was essentially the artist's move towards an expressive individual style. Matisse is
communicating subjectively as he has used colours not to imitate nature but to produce a reaction in
the viewer. The hat is being used to show that she is an upper class woman. In Matisse's portrait
Amelia is holding a fan which is seemingly important as it's used to show mood, while in Le Brun's
self–portrait she is holding a paint palette. The hat is important to the painting as in fact it is the
main purpose of his painting. As the painting is entitled, 'Woman with a Hat'. Le Brun's self–portrait
represents how she's painting it in the first place straight up. Hence, she is trying to communicate
and put things in the painting to give clues about what she's about and what she does for a living
subjectively. It is also a means of representing her physical attributes, self–portraiture, her place in
society and her style. And therefore she is subjectively communicating herself. As she was

Jan Van Eyck's Wedding Portrait And The Aztec Marriage Couple
Although they appear vastly different, Jan van Eyck's Wedding Portrait, and the painting of the
Aztec Marriage Couple have several similarities. The obvious similarity the paintings share is
subject matter. They both depict a couple participating in a wedding ceremony. Another similarity
between both works is the depiction of witnesses to the marriage. In van Eyck's work, the
witnesses's reflections can be seen in the mirror in the background of the painting. The Aztec
Marriage Couple shows the witnesses more clearly as the ones surrounding the couple getting
married. The paintings were both most likely used for the same purpose; to document and legalize
the marriages. The differences in the paintings are a bit more obvious than the similarities.

Poe Oval Portrait Essay
1. Why did the mysterious gentleman and his valet break into the abandoned chateau? a) The valet
brings the mysterious gentleman, who is also the narrator, into an abandoned chateau because the
man is injured and he does not want the man to have to sleep outside.
2. What was unusual about the oval portrait? a) The oval portrait was so unusual because it had been
hidden in the dark near the bedpost. The painting is of a young girl who looks like she is about to
become a woman. The painting startled the narrator because it looks so real that he almost thought
the girl was in front of him in real life.
3. What did the gentleman find out about the portrait from the book he had found?
a)The gentleman read about the portrait ... Show more content on Helpwriting.net ...
I think he was more in love with his paintings and art in general. I believe he married his wife
because he knew that she was an obedient caring woman and would support him. A man who truly
loved his wife would not put art before his own wife and would definitely not allow her to die in
front of him. This just proves what his true priorities in life are.
6. Can you imagine a similar situation occurring today? Explain why or why not.
a)I feel like this situation is quite common in relationships. A man or woman goes out with someone
just because they know that person is a good person at heart. They believe they love them, but it is
their qualities the love, not the person as a whole and definitely not for the right reasons.
Relationships like this never last, because the person is always choosing other things over their
"loved" one. Gambling is a perfect example for this scenario. A person may choose gambling over
the person they love, because in fact they love gambling more than the person itself, and therefore
cannot stop gambling and will put nothing above it.
7. In what descriptive terms does Poe describe the environment of the chateau and its turret room?
a) The chateau seems abandoned and worn–out. The turret room is in a remote section of the
chateau. The room is rich in decorations, but they are decaying and antique. The walls are filled with
tapestries, trophies, and many paintings.
8. How is the

Poussin Self Portrait Analysis
on their studies about optics. Both of them have their unique insight into the nature, their curiosity
and persistence have not only drive them to represent what our eyes perceive the reality, but also
lead them to go deep into a philosophical height to unveil both scientific and humanistic reasons
underlying the surface of things. Poussin is considered as the model for rational painting to the
French Academy, was born 1594 in France yet he spent most of his lifetime in Rome. He was the
illustrator of the first published edition of Leonardo's Treatise. If the frontispiece to Poussin's
biography reveals the possible connection of Poussin's study of chiaroscuro; in addition, his interests
in optics and colors could be reflected in his two self–portraits.
In Self Portrait I (fig. 1), Poussin stands in front of the of a slab in three–quarter profile. His head
slightly leans to the right. He is gazing at the front, seems like there are some ideas are running
through his mind. His subtle smile has given a sense of gentleness and relaxation. In this self–
portrait, Poussin did not employ any palettes or other art tools as props to indicate his identity as a
painter, instead, he was depicted in a black academic gown, holding the book entitled "DE LVMINE
ET COLORE" ("light and color") and with a drawing pen in his left hand. He was trying to identify
himself as an intelligent scholar. The book and the drawing pen tells his pursuit in finding artistic
principles as well as his respect

Portrait Of The Artist As A Young Man
Portrait of the Artist as a Young Man is an excellent novel, written by James Joyce, about the life of
Stephen Dedalus and how he overcame the barriers of his family and his religion to pursue his life
as a writer. Drawing on details based on his own early life, Joyce provides us "with insight into how
his own imagination worked" (Gose, 267). Extensive use of stream of consciousness, which
represent the character's inner thoughts and perceptions, and like human thoughts jumping from one
thought to the next, oftentimes make Portrait a hard reading. This is however intentional as Joyce
wants his readers to be "obliged to re–create his own space in the inner universe of the text, to
participate in a sort of intransitive discourse, one that bears no ﬁxed meaning in relation to external
reality which tends, in fact, to destroy referentiality and with it, the readers' sense of balance"
(Sabatini, 95). Joyce wants his readers to experience Stephen's inner thoughts starting from a young
age, and to see the world from his perspective. "Once upon a time and a very good time it was there
was a moocow coming along the road and this moocow that was coming down along the road met a
nicens little boy named baby tuckoo...." (Joyce, 5). Joyce's Portrait, his introduction to Stephen, his
introduction to himself begins with a story, expressing just how important art is in Joyce's life, and
in a way, in Stephen's life. Stephen is just a small boy then to whom his father is reading a children's

Portrait of a Lady
First written in the 1880s and extensively revised in 1908, The Portrait of a Lady is often considered
to be James's greatest achievement. In it, he explored many of his most characteristic themes,
including the conflict between American individualism and European social custom and the
situation of Americans in Europe. James proclaimed that "The only reason for the existence of a
novel is that it does attempt to represent reality." Plot was for him but the extension of character. The
novel must show rather than tell – he was interested in why people did as they did, rather than
simply in what they did; motive was more important than deed. The observer of the dinner table and
the drawing room, the country house and the salon, the library ... Show more content on
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But the narrative technique did not allow for it. So in the end The portrait of the Lady is finally not a
modernist novel. There is no such a thing yet as the autonomy of the character; truly an exploration
of a character's psychological frame or mind, options. In a way Isabel remains emplotted by James.
Like most of James's fiction of the 1870s, and the majority of his writing for the rest of his career,
Portrait focuses on a group of expatriate Americans in England and Europe. Leisured, cultured, but
just a bit bored, Daniel Touchett and his son Ralph are idly passing their time at Daniel's country
estate, Gardencourt, but find themselves reenergized when Daniel's all but estranged wife, Lydia,
brings with her to England her niece, a beautiful and enthusiastic orphan named Isabel Archer.
Isabel is everything these men are not: lively, enthusiastic, and alert, she is a less flirtatious, more
thoughtful version of Daisy Miller. But this American Girl, too, has the resistance to convention that
both marks the type and makes its fate so problematic; when her Aunt Lydia reproaches her for
staying up late to talk to Ralph and his friend, Lord Warburton, Isabel thanks her for informing her
of the social prohibition but claims that she wants this knowledge only "so as to choose" whether to
follow it. Despite, or perhaps because of, this very American insistence on freedom of choice, Isabel
attracts one suitor after another: first Lord Warburton; then

I Love This Portrait Of The Mona Lisa
With "The Mona Lisa", a lot comes to my mind, as well as to the minds of others when we all think
of this painting. Some people would even say that this truly is a classic and timeless painting in the
art world. Many people would agree. This is all true, and personally, I love this portrait for so many
different reasons. This painting is really brilliant. It is a really well–known painting that has really
captivated so many for centuries. This is a truly beautiful painting, especially to me.
"'Mona Lisa', oil painting on a popular wood panel by the Italian painter, draftsman, sculptor,
architect, and engineer Leonardo Da Vinci, probably the world's most famous painting" (The Editors
of Encyclopedia Britannica). This painting has become so important to many people. "Five centuries
after its creation, the Mona Lisa remains a touchstone for people around the world" (The Editors of
Encyclopedia Britannica). There are even different versions of the Mona Lisa. "At least a dozen
excellent replicas of the Mona Lisa exist, many of them by the master's students" (The Editors of
Encyclopedia Britannica).
The "Mona Lisa" has really made an impact, not just in art but even more than that as well. "Over
the centuries this quintessential woman has taken on a new life in popular culture" (The Editors of
Encyclopedia Britannica). There is so much that can be described in this beautiful painting that has
captivated so many for so many years. "The sensuous curves of the sitter's hair and

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