Leyster And Daumier Painted Everyday Life Events

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

This painting is a portrait of an old woman who is sitting on a chair while facing to the left. She is wearing a yellow flower dress with a beige jacket while sitting in an empty room. Her beauty is illustrated by her curly, gray hair and also her wrinkled face, neck, and hands. These details is what makes her look real and pure. I like how detailed it is because it reminds me of my grandmothers.

The paintings that I will be talking about from the MIA will be Portrait of Catherine Coustard (1673-1728), by Nicolas de Largilliere, Diogenes (17th century), by Johann Carl Loth, LES FLANEUSES (2008) by Ghada Amer, and Portrait of Lucia Wijbrants (1638-1719), by Gabriel Metsu. My critique will be from the perspective of Berger.

Elizabeth Proctor has a complex role in Arthur Miller’s The Crucible. Elizabeth Proctor was married to the adulterous John Proctor. She finds it painful that her Husband committed adultery with their young worker Abigail Williams. Elizabeth didn’t forgive her Husband she just dealt with him because back then she couldn’t leave her husband he had to leave her so yea, she just dealt with him. Elizabeth Proctor has a conflict with Abigail Williams.

The overprotected nature of the children's life is revealed in several visual elements in the painting. First, and most obvious, the mother leans over the children as she puts them to bed. The father also stands close, looking down at them, with a fond smile on his face. While it is clear that they love their children, the parents' physical orientation towards their children can be said to hover. Another interesting element in this regard is that the father accompanies the process of putting the children to bed. He stands next to his wife as she works with the children. He does not help, but gives the impression that his

Document four shows the role of women to obey men, "-by meeting my father's demands and, at the same time, the needs of my husband.... I have no free time at all to spend on my books unless I work productively through the nights and sleep very little." Women didn't have the time to be educated, they were busy cleaning house and obeying men. Louis Labé's letter, document seven, showed that educated women were very scarce, for even her words could only be expressed in a private letter to a friend. It was written in the later years of the Renaissance when only very few, rich women had access to enough education to be able to write. Another assumed role during the Renaissance, the duty of bearing and raising children, is very evident in document two. The painting was done by Jan van Eyck, a Northern Renaissance artist, a large part of the art movement involved realism, or showing daily life. This particular painting depicts a pregnant woman resting her hand on her stomach, shows that child bearing was very typical in everyday life. Being a mother was a major role for women. In the painting she's also bowing her head, showing the role of women to be

context such as race and gender, and the history of the painting. In addition, I will be

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

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

introduction: Some people may say that gladiators were the heroes of rome, but I think that this is unrealistic because, they were really enslaved people with no choice but to fight. just imagine being kidnapped and sold as slaves, then being whipped and forced to fight other slaves in the arena, just for others entertainment! My argument is that gladiators were just poor abused people forced to kill and fight by the corrupt emperors and the ruthless roman masses even if they had no chance or didn’t want to. BP1: TS. For example: The gladiators didn’t want to fight.

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

The idea of this piece is to show the connection between mother and daughter being painted. It shows the time and the classic style of the

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the