Vigee Le Brun: Marie Antoinette In Court Dress

Wharton utilizes Catherine’s physique to express her individuality and tremendous authority along with her bedroom to express her individuality in a pursuit to provide the readers with a physical manifestation of two pieces of her soul. Catherine Mingott’s physique represents her individuality and tremendous authority over her family. The narrator describes Mingott’s obesity as being very prominent declaring that “the immense accretion of flesh had descended on her in middle life like a flood of lava on a doomed city”(Wharton 24). Despite obtrusive shape which is described as a “natural phenomenon”(24), she composes herself with dignity and has a high level of self-esteem, revealing her tremendous level of strength. Regarding her physique, Catherine “had accepted this submergence as philosophically as all her other trials , and now, in extreme old age, was rewarded by presenting to her mirror an almost unwrinkled expanse of firm pink and white flesh”(24).

4) is another outstanding example of Raphael’s Roman portraits. At the centre of this harmonious composition Raphael adds a curious psychological note in the melancholy eyes that illuminate the cardinal’s pallid and exhausted countenance. The portrait has been drawn in accordance with Leonardo’s opinion that portraits can be drawn best with a dark background. A reference to dark backgrounds may remind the reader of Raphael’s Florentine period under the influence of Leonardo when he produced “Granduca Madonna” (fig. 5), the masterpiece where he was able to draw exquisite rhythmical modulations out of the motionless simplicity of the design. Giorgio Vasari noted that Raphael excelled in creating effects of drapery folds disappearing into shadows and coming forward into light, and that he knew how to relate the colours of drapery to the flesh tones so that semi-nude figures did not seem cut into two.

Meredith Liu Professor Ila Sheren TA: Heather Read (Section K) 28 April 2017 Paper #3 The Transformed Dream: Elusive Realities The most fascinating art is often the most perplexing. In the case of Giorgio de Chirico, his repressed consciousness manifests itself in the surreal concoction of oil paint on canvas known as The Transformed Dream. At first glance, the viewer might simply see an odd collection of objects composed into an oblong still life.

In this essay I will prove how the various themes greatly effects the overall heroes in Marie de France. For this essay I will look at pages 44-81 of the story Marie de France into the Lais. Throughout the Lais of Marie de France there are several themes presented as central to the various stories. Some of these themes are concurrent in all of the lais. With an example of courtly love and its consequences.

The image of a young smiling carefree Marilyn Monroe elicits reverence, yet also sadness. Monroe is an iconic figure yet her tragic existence and early demise contribute greatly to status as an icon. Marilyn, appears to be an oil painting. It is a still life and the colors are vibrant and saturated. There are many items; the main being the image of a smiling Monroe inside of a open book; her image is on the right side and on the left is a page of unreadable text.

The usage of curvilinear lines emphasizes the rounded shapes within the painting and the model’s moment of reflection. Fragonard uses curved lines to cause the viewer to lean in and look deeper to find the lines and shapes created by the subject, her dress, and her mirror. These flowing lines are seen in the background which gently fades from a deep blue sky to pale white clouds behind the allegorical Prudence. Rather than distinguishing fields or levels of sight, the lines

Mary Ann's trial lasted three days and afterward, she was found guilty and was executed in Durham Jail on March 24th, 1873 by William Calcraft (Wilson). Rumors had been flying all over the area of the infamous Mary Ann Cotton; people wanted to see how this case turned out. Therefore, about 50 people were present, half of them journalists, with 200 waiting outside of the prison ("The Story of Mary Ann Cotton: A Frail Dressmaker's Poisonous Past"). At 8am on March 24, 1873, Mary Ann Cotton, then 41, was taken from her cell and led across the yard at Durham prison to her hanging station, flanked by two female guards to whom she declared "Heaven is my home."

In her short story “Marigolds”, Eugenia Collier, tells the story of a young woman named Lizabeth growing up in rural Maryland during the Depression. Lizabeth is on the verge of becoming an adult, but one moment suddenly makes her feel more woman than child and has an impact on the rest of her life. Through her use of diction, point of view, and symbolism, Eugenia Collier develops the theme that people can create beauty in their lives even in the poorest of situations. Through her use of the stylistic device diction, Eugenia Collier is able to describe to the reader the beauty of the marigolds compared to the drab and dusty town the story is set in.

The portrait was painted on wood panel and in gothic like form. Nonetheless, this masterpiece is representation of time, the complexity of the painting and the

Then the way the woman is smiling in the picture, could look almost comical, but she still has some backbone. The way she is shaped in the portrait shows she has some strength and will fight for her sanity if necessary. Despite how one can see a strong, firm woman in this painting. Still today people discriminate against them, some men don’t like the idea of a woman being independent and stronger than him. However, that still won’t stop women from showing who they really are and what they have to offer to society.

His technics are unsurpassable the light illuminates Mary in her contemplation is stunning. His paintings were so famous and wanted pushed French government to prohibiting his paintings to leave the country. The Magdalena with the smoking flame is art piece was the only art piece of Georges de La Tour work to leave France thanks to Simone Lahaye, a resistance fighter during World War

In comparison to the rigid patriarchal society portrayed in “My Last Duchess”, Keats’ “La Belle Dame sans Merci” illustrates how the freedom of individual expression in the romantic period affects people’s perspective on love. While the narrative persona in “My Last Duchess” demands his wife to devote her love to him, the protagonist of “La Belle Dame sans Merci” devotes to the woman he loves even though the love is unrequited. This is evident through the repetition of the line “On the cold hill side.” throughout the poem. The noun phrase “cold hill” suggests that the knight is lonely and depressed when he waits for the woman solely, however unlike the narrative persona of “My Last Duchess”, he would not demand the woman to love him instead he would wait patiently until the day his affection towards her is accepted.

Vigée Le Brun’s self-portraits with her daughter extol the joy of motherhood, but not without a subtle narcissistic touch consisting of emphasizing her own good looks.”(61) In the self-portrait Vigée Lebrun compares herself and her daughter to the Madonna and Child. The Madonna is the ultimate figure of feminine virtue and motherhood. By placing herself and Julie in the center of the composition and through use of neoclassical robes the viewer is forced to make the connection. She presents her relationship with her daughter as idyllic.

The Young Martyr, a painting by French painter Paul Delaroche, is currently housed in the Musee de Louvre in Paris, France. It was finished in 1855 and was painted during the Romanticism era. Although it is not as famous as the Mona Lisa, it is still a beautifully done oil painting that continues to enchant museum visitors. After the French Revolution in 1789, everything about society in Europe was changing.

The “Mona Lisa” is the best known and most visited piece of art. It is a portrait painting done by Leonardo de Vinci. The portrait is an oil painting on a white Lombardy poplar panel. The woman in the portrait is sat upright in an armchair, with her arms folded. This painting was one of the first portraits that depicted the sitter in front of an imaginary landscape.