During the Rococo period, Jean- Honore Fragonard painted many important and beautiful paintings. Two very interesting pieces were “The Swing” and “The Stolen Kiss” both were painted by Jean-Honore Fragonard. Fragonard was a French painter during the Rococo period, he produces more than 550 paintings. “The Rococo movement was an art movement that emerged in France and spread throughout the world in the late 17th and early 18th century. The word is a derivative of the French term rocaille, which means “rock and shell garden ornamentation”” (Savanah Cox, 2011). “The Swing” and “The Stolen Kiss” are both playful, loving, and witty themed. “The Swing,” (1767) was also referred to as Happy Accidents of the Swing was painted for a French Libertine Baron de St. Julien. It was a portrait portraying his mistress he gave specific directions on how he wanted this piece of art, “I desire that you should paint Madame (indicating his mistress) on a swing which is being set in motion by a Bishop. You must place me where I can …show more content…
This painting is supposed to portray two teen lovers “The painting captures a perfectly frozen moment in time; two lovers caught by the spectator in the act of stealing a furtive kiss while no-one else is looking,” (Artble, 2016). The flirtatious young maiden is leaning in for a kiss while simultaneously looking back towards the party to ensure no-one is looking. The maiden was painted with such fashion and detail in her outfit. The main focus of the painting is the women and her facial expressions discerning the illicit action. Starting by glancing at the two lovers while they share a kiss, her beautiful dress catches the viewer’s eyes and wonder downward in a diagonal line. Following the direction of her dress, making a discovery of people in a shadowed room in the painting shows that they have ran off for their private moment
The Kiss v. Gnaw “Art is not what you see, but what you make others see” (Edgar Degas). There are hundreds of artworks in progress right now, all around the world, and every single one of these pieces have a common goal, as all art does, which is to communicate. An artist aspires to express themselves and their ideas to others through their work, therefore every piece they make tends to have some underlying, or obvious, meaning for their viewer to interpret. The Kiss and Gnaw share the same goal as well.
The first thing that I notice in this painting is that the white woman is the brightest thing in the painting. It makes it seem as if she is the most important thing in the painting. The viewer cannot see any brush strokes on the white woman. Her clothes are nice, she is very clean, and is seems as if she just got back from a nice Sunday stroll in the park. The white woman does not seem like she is in her normal environment.
The painting has a light and smooth finish to finish to it, and at the same time the bold outlines of the male figures appear like a sketching. Little detail compared to the woman in the center of the canvas. The clouds are dark and made with
Over in the middle of the painting, there is a more pronounced aperture looking over a waterway and rocks. The outline of the aperture makes up the shape of the face, the woman sitting down looking over the other way forms the mouth and nose of the face and the rocks at the distance form the eyes. All these objects clearly form the face of adolescence. Over on the right side there is a smaller aperture looking over the shore and what seems to be a woman on her knees. The figure of
Finally, I will give small conclusion about the whole paper. Description1: The first artwork is Madame Jacques-Louis Leblanc.
The still life of the centre is advanced to first term and the jar with flowers disappears. In this second sketch is already shown an essay of the colours of the finished work. The brothel scene is not as clear as in the previous sketch, and each female figure takes on a leading role by itself. In the final painting just appear five naked woman, two of them are looking to the “viewer”, other two, on the sides, are opening a curtain.
Filmmakers use specific shot composition to present the portrait as a character who can interact with others. Hitchcock, in Vertigo, uses the traditional Hollywood shot–reverse–shot: We see a character, then what the character sees, and then its reactions. In the museum scene, the magical and obsessing power of the portrait is conveyed by the camera movement. The camera switches between the female character and the painting. Indeed it first switches between the bouquet on the museum bench and the identical flower piece in the painting, and then it switches between Madeleine’s curl of hair and the identical curl of hair on the painted portrait.
In Kiss and Tell, Alain de Botton humorously describes a situation between tactless and socially oblivious parents and their uncomfortable adult daughter, Isabel, who is on a date with her new boyfriend. Using immaturity and a lack of etiquette in the actions of the characters, multiple examples of irony, and the anticipation of Isabel’s father’s actions which all ultimately lead to a comedic effect, de Botton produces a universal experience that brings humor to the audience while commenting on family dynamics. To depict the immaturity and lack of etiquette in the actions of the characters, de Botton uses juxtaposition in the setting, onomatopoeia, and other literary devices. De Botton intentionally sets his story in a theater with an “elegantly
Melvin Williams Arth 1381 Professor Zalman 13 November 2014 Visual Analysis The painting, The Basket Chair c.1885 by Berth Morisot, and the painting The Orange Trees c. 1878 by Gustave Caillebotte, are both magnificent and interesting pieces that I got the opportunity to see. The paintings are both wonderful pieces and their composition overall is very impressive. Both paintings have different aspects in the way the artist displayed modernism, formal characteristics, class and gender, and the subject matter of the painting itself.
Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light.
Thousands of paintings and sculptures were made in these periods of time. In this essay, I will imagine myself being a curator of an art gallery that has a Greek room, a Roman room, an Early Christian room, a Gothic room, a Renaissance room, and a Baroque room. I will select two pieces for each room and discuss why I would put those paintings and sculptures in each room at the gallery. I will explain two pieces that I would place in the Greek room at the gallery. The first piece is a painting called "Amphora".
The artist Dieric Bouts painting is called Virgin and Child. This painting dates back to 1455-1460 and is drawn with oil on a wood panel 81/2 x 61/2 . The time period is Netherlands, Haarlem. The Virgin and child are paint about the Virgin Mary and her love for her son. The Virgin and Child coloring is mostly pale skin tone, with royal blues symbolizing royalty and, white symbolizing purity.
Her daughter tenderly embraces her mother, we are able to see her dependency but also her love. This is how Lebrun wants to be seen, as an honorable mother. All the details of this painting, from it’s composition to the reference it makes to the Madonna and Child, put Lebrun in a flattering scene during a
Remarkable though it is, the description of the sitter - with the stubble on his chin prickly against the soft fur collar, and his bloodshot left eye - is less arresting than the depiction of his head-dress. Van Eyck is noted for the impassivity of his figures, and it is instructive to compare this portrait with that by the Master of Flémalle (Robert Campin) of a man wearing a similar red hat. There, the scarf ends hang down, serving to frame a face in which we read force of character and upon which we can project an inner emotional life. Van Eyck 's personage gives much less away. A greater area of the picture is taken up by his red hat than by his face, its three-dimensional bulk is more assertive, it folds and tucks more dramatic.
The artist Dieric Bouts painting is called Virgin and Child. This painting dates back to 1455-1460 and is drawn with oil on a wood panel 81/2 x 61/2 . The time period is Netherlands, Haarlem. The Virgin and child are paint about the Virgin Mary and her love for her son.