Counterfeiter Of Grace Analysis

The artwork I chose to view through a gendered perspective was John Sloan’s Three AM. Three A.M. was made in 1909 and is an oil painting on canvas. John Sloan describes the painting as a look at a “curious two room household” ("Philadelphia Museum of Art - Collections Object: Three A.M."). I chose this painting because it reminded me of times I have shared with my best friend. The scene reminded me of the countless nights I have spent with my best friend in the kitchen baking cookies and gossiping. When I went to the museum, I was with my best friend and the first thing that came to mind when we saw this was, “This looks like us in my kitchen like two weekends ago.” It made me think, if someone had just captured a small moment of us and painted it, it would look very similar to us. Sloan characterized himself as a sort of “window watcher” (Coco 1), which is evident in the way he painted the two women. He painted the room in a “binocular view” (Coco 1) that looks like it was painted while watching these people from a window. This painting has many gendered aspects, some of which are stereotypes. My gender, as well as the artist’s gender, influence the understanding of the work of art.

Often, we think of older people as being smarter, wiser, and generally more mature, but this is not always the case. Ordinary Grace by William Kent Krueger gives a number of examples that shatter this generalization, offering an alternative to age as the primary factor in one’s level of maturity. Ordinary Grace shows how maturity is a result of circumstance and does not necessarily correlate with age.

A Grace Disguised written by Jerry Sittser, is one of the most heart felt and transparent books I have ever read. The idea that our purpose and who we are is shaped through our suffering and loss, puts one in perspective to understand that our pain lies a blessing, even at times we don't understand. Jerry Sittser, a husband, son, and father of four is a true witness to what its like to experience loss and even feel hopelessness in times of despair. In the fall of 1991, him and his families lives were changed forever. Driving back home from a Native American reservation in rural Idaho, an incoming car driving extremely reckless and fast, jumped its lane and smashed head-on into their families mini-van. Rescuing his daughter Catherine and two sons David and John, Jerry Sittser had to endure seeing the lives of his wife Lynda, mother Grace, and four year old daughter Diane flash before his eyes (Sittser, 1998 pg. 26). Three generations instantly gone without any signs or warnings. Letters of comfort that was sent by mail frequently asked Jerry the question, “Why did this have to happen to your family? Y'all were the ideal family to model. If bad things can happen to good people like the Sittser’s then we’re all in trouble (Sittser, 1998 pg. 30).” In this book Jerry Sittser highlights many different aspects of how to differentiate our view of loss from both a carnal and spiritual perspective. Yes, its no debate that loss is a terrifying and dreadful event to experience, but

Have you ever looked at a piece of art and wondered how it could be based on real life, because it was just so beautiful? Well Elisabeth Vigee Le Brun was able to paint in such new and exciting ways; people were left wondering just this. Elisabeth Vigee Le Brun was a woman of many talents. In her life time she came up with new ways of painting, revolutionized fashion in France, and overcame any prejudice thinking because she was a woman. Before dying at the age of eighty-seven, she had gained the respect of women and men all across the world. Being a female artist in the eighteenth century was not easy, especially when you had to keep a career and your life together during the

The painting I chose to research from the Los Angeles County Museum of Art is Gerrit van Honthorst’s The Mocking of Christ. Honthorst was a Dutch painter from a Catholic family in Utrecht. He was the son of a painter and trained by his father and Abraham Bolemaert, the leading artist of his town. Upon completing his education, Honthorst traveled to Rome in 1616. He was one of the many artists from Utrecht drawn by the world of art within Rome. These artists were named the Utrecht caravaggisti because upon arrival, they became inspired by Caravaggio’s paintings. Honthorst gained success painting in the Caravaggesque style and became known for his depiction of artificially

Mary Cassatt is known world-wide for her impressing art in which she focuses mainly in the everyday life of women and children. She is an American artist born in Pennsylvania on May 22, 1844, but later relocates to Europe in 1866 to pursue to work in art. This was mainly due to her family’s and society’s objections to women in the field of art. There she met and befriended famous Impressionist Edgar Degas. Because of her close friendship with Degas, she grew courage to continue to do art in her own way. She continued to paint until she slowly began to lose her eyesight and later died in 1926. Cassatt was part of the Impressionist style movement, in which she painted portraits unlike many others who painted landscapes (biography.com). Her artwork

Alice Neel and Egon Schiele were some of the most daring artists of their time. Neel was especially known for her uncaring attitude of what was “in” at the time, while Egon Schiele was similarly known to paint some of the most bold nude figures of his time. Both painted what they wanted, not a thought towards what was socially acceptable. They both focused on painting people around them, or in Neel’s case, random people on the street, and Schiele was often compared to Picasso in his obsession with self-portraits. Either way, while Alice Neel and Egon Schiele were from opposite sides of the planet, they shared a remarkably similar style of painting and rendering of the subjects in those paintings.

Very little is known about Johannes Vermeer. He was exclusively devoted to the arts. Due to his elusiveness, Thore Burger named him “The Sphinx of Delft” (“Biography of”). Vermeer was an artist during the Dutch Golden Age, a period of wealth for the Netherlands. Many outbreaks of the plague had come and gone, but things were finally returning to what they were like before it began. Trade flourished through the East India Company. The arts became popular, and artists were gaining wealth and fame. Many art guilds were formed where artists could communicate with other artists in their community.

Modernity and the Spaces of Femininity was written by Griselda Pollock in 1988, and later published in The Expanding Disclosure in 1992. Griselda Pollock is an art historian, and writes this article for fellow art historians. This is an article written to show the different approaches to femininity in the late 19th century, mainly dealing with the field of art. This article shows how during this time period there were women artists, but due to the gendered ruled ideas attached to art history, these women are largely ignored by art historians. Pollock thought that these women artists are primarily overlooked due to the fact that they are judged by the same standards that are affixed to the work of their male counterparts. But she argues

The world of art is plagued by forgeries. In the case of some artists, such as Vermeer, there are often nearly as many fakes out there as there are genuine pieces. The infamous forger Han van Meegeren was known to have made at least 11 forged Vermeer’s that were accepted as genuine until his arrest in the 1940’s (Wynne, 257). Wolfgang Beltracchi made millions selling pieces that his wife claimed to have inherited from an uncle, telling brokers, art historians, and museums that the pieces were rare works, previously unseen. In actuality, Beltracchi was using modern techniques to make paintings in the style of 20th century masters (Birkenstock, Beltracchi). These are genuine criminals, no different than people who scam the elderly via email or

In the Vermeer case, it is not the technique that was forged but his discovery of it; his originality in its use. Lessing further defines his view of artistic originality and its importance. He contends that true artistic originality comes from the impact on the history and progression of art. Vermeer, he says was a great artist because he brought new and original technique and style to the artistic community and profoundly impacted art history. The ability to produce aesthetically beautiful pieces of art is not all that makes a great artist, but it is this originality or “the fact that [Vermeer] painted certain

Jan Van Eyck artistic style is very identifiable. Eyck's use of iconography, the use of symbolism in a work, occurred in a majority of his paintings. His creation of oil paint allowed him to create a detailed painting with varying textures. The use of natural lighting and vibrant colors, known as impasto, is very characteristic of Van Eyck painting.

A review of the world’s great artists conjures familiar images: Michelangelo’s Sistine Chapel; Vincent Van Gogh’s Starry Night; Pablo Picasso’s The Tragedy. There are many more, of course: Monet, Moya, Warhol, Rembrandt, Kandinsky. What is immediately noticeable, however, upon any brief study of art, is the significant absence of women as heralded artists—not only in our ancient pasts, but even today, amongst valiant efforts for gender equality.

In Alias Grace, Grace Marks is a servant in the mid-1800s who performs chores and other household tasks for her employers. Throughout the book, Grace describes in detail the type of work she performs, and how she and her fellow coworkers are treated. A theme that more or less dominates the background of the novel is the apparent sexism of the mid-1800s. The women are considered too “weak” for the “tougher” jobs that were selected for men. However, it was not just a workplace issue; there is clear social sexism presented in the novel, as well.

In addition, I will examine the differences between male and female sexuality and how each tended to be perceived and treated by society. Then, I will look at prominent female artists and their personal experiences and beliefs on feminism and the female in their art focusing on how it tended to be received along how male artists responded to it. Mainly, I will be analyzing the clash of sexualized images in art, focusing on the differences not only between male made art versus female art, but the differences in the women’s art community, as well. What are the reasons and goals for women to use a “sexualized image” of women in their art versus