Madame Pierre Gautreau - Essay Example

Madam X Figure Madame X (Madame Pierre Gautreau) – 1883-1884 By John Singer Sargent. Accessed on 1st December Part1: Formal Analysis Value/Tone In this image, the artist intended to capture viewers’ attention by dexterously employing an aspect of value. This is evident in the way the entire picture in comparison to the woman; the latter bears strong tonal color intensities that will enable her to stand out (“The Metropolitan Museum of Art”). Other areas in the image seem to have less shading intensities compared to the woman’s stature whose lighting is a bit strong. Hence, combining with other aspects like line intended by the artist to draw viewers’ attention towards the central image, which occupies better part of middle ground. Line It comprises one of the essential aspects utilized by the artist in this work to highlight varied aspects that draw demarcation of varied objects and their respective shapes (“The Metropolitan Museum of Art”). This is evident in the extreme edges of painting parts whose demarcations with other is by use of lines besides detailing varied shapes in the entire image. For instance, the circular shapes defining the nearby table where the woman seems to be leaning on, which is also evident in the way line acts as a boundary between her body’s upper exposed physique and the black dress (Costache 94). Hence, line in this case besides showing outer forms of varied aspects characterizing the entire portrait, it also acts as detailing element evident from the table’s sharp edges. In addition, induces portrait’s movement marked by the way it directs eyes of the viewer from the fore front parts of the table towards where the main image seems to lean on besides detailing the entire shape including that of the woman. Color The use of color in this image besides making the image appear more lifelike it emphasized on the main image, which is the woman (Costache 95). This is evident from the skin’s color, which reveals her beauty besides the entire dress being darker compared to other objects comprising the portrait. Therefore, color in this case similar to line acts as a detailing aspect evident from its varying intensities when used for varied objects that characterize Madam X’s artwork. Emphasis This is noticeable in the way artist has preferred abstract colors with those comprising the woman’s settings with the intention of making her stand out. Mainly, this is by using shades or colors with less intensity compared to those of the woman’s dress and skin. Depiction of emphasis is also noticeable by use of the image’s central placement and subordinating other diverse objects towards making that of the woman appear a bit bigger besides being appealing (Brynjolson & Rhian 129). Light This portrait lacks adequate illumination, which could have resulted to sharp shadows. However, by observing the woman’s face and darker areas from where she is standing towards the background, it is evident the light is in front and above but bearing extremely weak intensity. However, its low intensity contributes to the emphasis of the main image by ensuring other objects that do not have strong shading in comparison to the woman do not emerge to over power portraits core focus. Texture It ranges from smooth to rough. Smooth surfaces in the portrait comprise the table surface, woman’s skin and her silk like dress whereas rough embrace the wall and floor from which the main object (the woman) stands. Space Detailed placement of varied objects comprising the portrait create a three dimensional appearance, for instance, the table and woman standing a distance away from the wall or at the center of the portrait (Jarvis & Irene 44). Hence, create the aspect of depth evident from the unclear illumination of rear objects. Mood The absence of clear and defined color of the wall presents the mood of ethereal or abstract. Hence, prompting a keen viewer to suggest there is what seems to be a wall, which ought to differ with the floor both in texture and color but the artist chose to use similar shading. Paer2: Contextual Analysis The 2.08m by 1.09m portrait represents realism era evident from the artist’s exact presentation of the sitter’s true self besides confirmed by the exact date of its creation, which is 1884. However, the current state of the portrait does not reflect its original representation because Sargent had somehow to straighten up the strap of the Sitter that lay off her left shoulder. This is because of the then criticisms that ended up to tarnishing both the Sargent and Sitter’s reputation but later found to be the most intriguing artwork of its time. Those against the initial representation of Madam X (Sitter) in Paris deemed the work was “flagrantly insufficient” by allowing one strap dropping off her shoulder thus prompting the artist withdraw it from salon exhibition (“Artble”). Hence, revealing the then keen observance of French culture and morals that somehow influenced the artist to alter by some means his work to fit general viewers’ anticipations (“Artble”). This is in line with realism of the then period whose emphasis encompassed presenting objects and all other aspects as they were with devoid of exaggerations or depiction of perverse artworks. Therefore, Sargent artwork’s criticisms emanated from its failing to align with other French works that represented social realism meant to criticize evils of the day as evident in the works of Jean-Francois Millet (Jackson 759). This was French realism whose focus focused not only was on natural depiction of daily on-goings but also observance to morals though being slightly diverse compared to that of the then American depicting evils characterizing industrial revolution (Jackson 759). Insight from Sargent’s works encompasses the aspect of alienation, which sometimes due to being in a mixed culture may end up influencing what one aspires to do. This is evident from various scandals he encountered and especially concerning the portrait of Madam X, which he had to alter the placement of shoulder strap. This is to align with the settings’ expectations even though an artist has the freedom to operate within the then realism framework. Sargent’s Madam X portrait during then yielded to intense negative debates whereby majority of its critics cited the artist’s sheer audacity to produce “a bold and sexually provocative image” (McCarthy & Walter 16). This was extremely contrary to French norms thereby prompting Sargent almost to relocate to London but managed to put the portrait out of the public until he sold it to the museum where it turned out to famous. Consequently, these negative retaliations to the artist’s work gives the real picture of the then social norms whereby despite the Sargent there earlier experienced American realism, which was more democratic and a bit of freedom compared to Europe, he was in a wrong place (France) to try his artistic freedom. This is especially in trying to exhibit a bit of sexuality as an aesthetic aspect meant to draw viewers into liking the portrait besides Sargent’s thinking it will receive positive criticism. This occurred because of then French realism’s emphasis on moral decency despite citing to accommodate the then global depiction of art images. Part3: Interpretation Sargent’s expertise evident in producing this artwork represented the advent of “Timeless realism” though doing it unknowingly. This is because of its unique representation that aroused negative criticisms grounded the aspect social observance especially when producing any artistic product. Since, it had to align adequately with true nature of the natural object as well aid in upholding French social culture whose mode was more of religion compared to other norms globally. This is evident in the way the then general realism was slightly diverse compared to French realism whose emphasis encompassed daily on-goings but not political expressions of industrial revolution era. Therefore, Sargent’s artistic representation based on Madame X’s portrait his ideas seemed to emulate those of Claude Monet despite working within great framework of realism movement. This is to come up with a more refined work whose intriguing aesthetic could stand out from the rest but not to appear provocative as majority of the then era implied. Hence, use moral ground to disregard his work because it had not only defied observance of the then norms but also fallen out of French realism. Similarities between these two artists (Sargent and Monet) encompassed use of brush strokes though the latter preferred small as well as short strokes to induce an aspect of blurriness, for instance, when drawing the atmosphere. Through this image, Sargent sought to establish his reputation by obtaining a unique niche though being far from what critics of the day understood the portrait. Sargent intentions encompassed producing a an intriguing work that was so close to the relayed person’s true self and conduct thereby attain his goal but not to appear provocative through defying societal norms. Hence, exercise the true aspect of realism or naturalism that comprised the then artistic framework but eventually turned out to be the contrary. This is almost similar to Bathus’ Cats and Girls portrait whose intention received negative interpretations even up to date where it has yielded to its placement in the provocative section of the Metropolitan Museum (“The Metropolitan Museum of Art”). Bathus’ intention similar to that of Sargent’s did not aim at being provocative but revealing the utter scenario concerning teenage girls while in the transition stage from being young children to womanhood stage where they will be able to compose themselves. However, contrary to Sargent, Bathus’, Bathus did not heed pressure of his critics to the extend of altering anything but eventually his work managed to be among the most adored due to utter creativity though to some appearing as a metaphor in artwork form. Both of these artists represent realism era whereby based on their then unique presentation of products that seemed being contrary to majority’s anticipation, they represented the onset of current “timeless realism”. This is modernism where one exercises unlimited freedom in coming up with an intriguing artwork devoid of minding upcoming criticisms. Since, artwork products besides relaying intended information and being extremely intriguing to viewers, they are subject to criticism from varied sources based on critics’ interpretation. Work Cited Brynjolson, Rhian & Rhian, Brynjolson. Teaching Art: A Complete Guide for the Classroom. Winnipeg: Portage & Main Press, 2009. Print. Costache, Irina D. The Art of Understanding Art. Chichester, West Sussex, UK: Wiley- Blackwell, 2012. Internet resource. Jackson, Ronald L. Encyclopedia of Identity. Thousand Oaks, Calif: SAGE Publications, 2010. Print. Jarvis, Daniel & Irene M. Naested. Exploring the Math and Art Connection: Teaching and Learning between the Lines. Calgary: Brush Education, 2012. Print. “Madame X”. Artble. 2013. Web. 2nd December 2013. Madame X (Madame Pierre Gautreau): John Singer Sargent (American, Florence 1856–1925 London). The Metropolitan Museum of Art. 2000-2013. Web. 1st December 2013. McCarthy, Laurette E. & Walter, Pach. Walter Pach (1883-1958): The Armory Show and the Untold Story of Modern Art in America. University Park, Pa: Pennsylvania State University Press, 2011. Print. Read More