Brooding Woman and Gabrielle with Jewel Box - Essay Example

Comparison of Eugene Henri Paul Gaugin's 'Brooding Woman' (1891) and 'Gabrielle with Jewel Box' by Auguste Renoir (1910) This essay will examine both pieces in detail, in the contexts of history, style and technique, with some background regarding the artists. The paintings will first be analyzed separately, with mention of their artistic similarities and differences. Comparisons and contrasts will then be expanded on. The personal evaluation and impressions of each will form the conclusion of the essay. Gabrielle with Jewel Box - 1910: (Renoir, 1841-1919). Although this is the later of the two works, because it adheres historically more closely to the earlier artistic style of Impressionism, this will be analyzed first. Painted in 1910, the picture is oil on canvas, with dimensions of 82cms.high x 65.5cms. wide, and is held privately in the Ikira Collection in Geneva in Switzerland. When he painted it, Renoir was suffering from severe rheumatoid arthritis, as he did for the last 25 years of his life. His hands were so deformed that the brushes had to be strapped between his fingers and bandages worn to collect the sweat and prevent infection. He could not abandon the creative urge to paint and even direct the making of sculptures. He believed that this helped him to live as normal a life as possible, despite pain and deteriorating health. The subject here, Gabrielle Renard was his wife Aline's cousin, and nanny to his children. She joined the family at the age of 16, and was the model for many of his works. At the time of completion of 'Gabrielle with Jewel Box', she was 32 years old. The style of the painting captures the essence of the Impressionist movement, though late in his career; it still embodies the translation of light into color, giving a shimmering, atmospheric effect. It is said that he had moved on from the open air paintings which were a key feature of the Impressionist movement, where nature was captured and atmospheric conditions portrayed. This picture would seem to confirm that idea. This is something it has in common with the woman in Gaugin's work under discussion. Not that it is not natural. On the contrary, there is something totally real and comfortable about this young woman in half-undress that speaks of the realism and desire for things to be painted as they were; natural and unimpeded by imaginary additions, just the unadorned truth of what the artist perceived. This premise may be applied, in part, to 'Brooding Woman.' In order to achieve the effects mentioned earlier, Renoir used only certain colors, and as can be seen, little darkness is present to represent shadows in the background. These are merely suggested by pure and definite color in the foreground. There is chrome yellow, silver white, cobalt, and ultramarine in the necklace she wears, then vermilion and rose, in fact all the colors of his palate. As in the Gaugin, the girl is the focal point, placed within a basic triangular composition, with the arms balanced in such a way as to create a moving elliptical shape. Yet there is nothing angular in any aspect of this three dimensional construction, all is gently curved from her face to her fingers, breast to jewelry box. The circular curving movements are repeated further in the table's leg and front, the mirror's side and Gabrielle's hair, shoulders and legs. The positioning of the arms draws attention to the detailed objects she holds, a flower to pin in her hair, a jewel to be chosen from the box on her lap. The short, sharp brushstrokes, while creating a luminescent light in the detail of jewelry and gilded dressing table, bring the gown alive, as if it were made of feathers or delicate lace. It suggests luxury, something which Gaugin's woman is totally without. The darkest sections of the picture serve as complementary colors which give the whites, reds, golds and oranges a further vibrancy. Gaugin achieves the same effect, but with more definite use of dark against light. The most outstanding aspect of Renoir's painting must be the translucent reality of Gabrielle's skin, the smoothness and roundness of her body, so that shape and texture exude a warmth associated with the colors used. The light shining on the cheekbone and nose brings the mirror to the viewer's attention; there is a suggestion that light is reflected from there onto her face. In contrast, a darkness is reflected onto the Brooding Woman's face. Renoir's composition is one of light, warmth, comfort and peace, though no light source is evident; instead, it emerges from the subject and the artist's brush. This is also true of the Gaugin piece, where no source is detected, and the mood created is quite different. The mood is pensive, and the facial expression, one of Renoir's greatest talents, shows deliberation and concentration, suggested by the downward tilt of the eyes towards the mirror, and the slightly pursed lips. The viewer can almost hear her asking "which is it to be, flower or gold" and could well pose the question as to whether the artist intended some symbolic meaning regarding 'nature' or 'artifice'. The picture has a visual power which engages on the physical, psychological and emotional levels of awareness. The warmth and light raise the spirits, the texture suggests a tactile response and the emotions aroused are of comfort and calm. With similar colors, but with original and sensational composition and definition, Gaugin creates an entirely different viewer response. 'Brooding Woman' 'Te Faaturuma' - 1891: (Gaugin, 1848-1903) This oil on canvas painting, standing 91cm high x 69cm wide, is owned by the Worcester Art Museum, Massachusetts, bought in 1921. It may be termed an example of the Post-Impressionist period. It shows how the artist broke away from the Impressionist, realistic style, and moved towards experimentation with color and originality of technique and expression. The influences of Japanese art, African and Asian folk art and medieval stained glass are all apparent in this piece. His work has variously been described as Cloisonnism (after the enamel art in which dark outlines emphasize images), and Synthetism, which suggests a simplification and depicts aspects of nature which correspond to his thoughts and interpretation, not as they really are on the surface. Symbolism is another label attached to Guagin, where the picture symbolically expresses his thoughts, but he denied any 'ism', saying he had no system. How he felt is inherent in his words, stated in 1888 at Pont Aven: "If a tree appears green, use your greenest green. If a shadow seems blue, paint it as blue as possible." So he sought to transpose nature and use what he saw to express the sensations he experienced, something he no doubt shared with Van Gogh. While Renoir had moved away from early Impressionism, he did not go so far with the concept of 'sensation' or two dimensional flat planes. It was while living in Tahiti, away from crowded cities and in the countryside, that he concentrated on creating a more liberated and original style, more primitive and different. If the label of Synthetism is applied, then 'Brooding Woman' contains certain elements which can be attributed; the two dimensional flat patterns, little subtlety in creating realistic three dimensional forms and a less 'natural' representation. The picture suggests something experienced as a memory, dream or sensation. Yet there is a three dimensional aspect to the woman, who is roughly blocked in to foreground, as much a focal point as Renoir's Gabrielle. But the blue, green, black, background adheres to the Synthetism style, while confirming his assertion that he was not working to any 'ism', creating with bold, original color and form. Strangely, the picture directs the viewer to the mystery in the background, which appears to have some power over the woman's state of mind. That she is placed to the right gives credence to the idea of imaginative thought, as in 'right brain, left brain.' Unlike Renoir, whose background to Gabrielle serves only as an enhancement to her brightness. The green of the grass and blue of night outside are more primitive and beyond the realms of traditional realism, almost childish in simplicity, as are the figures. Given that Gaugin studied the religion, myths and legend of Maori culture, these might be taken from that source, and thus impact on the woman. The use of color throughout is complementary, with blue shades making pink, ochre and white more vivid. The screen to the right, with indigo blue contrasting with shades of lemony green, suggests a light source beyond view, as do the pink floor and the shadows around the woman. The yellow and red of the hat, in direct contrast to the blue of her dress create the sensation that there is hope. It is the warm colors in both pieces which elicit positive responses. The picture disobeys conventional perspective, when looking at the background figures in relation to the woman; she is enormous in proportion to them, they are two dimensional, she is emphatically not. The ochre shades segue into deeper shadows on face, neck and left arm, and add to the illusion of the light source 'outside' of her. With the right arm supporting her head and leaning on the folded legs, this forms a right angled triangle, with the head as a circle at the apex. The powerful muscularity of the legs emphasize the three dimensional aspect and suggest, both symbolically and figuratively, great strength. She is rounded, strong and intelligent, and not without hope. Her rounded form has a more primitive quality than the roundness of Gabrielle. The mood is one of thoughtful dilemma, with a glimmer of hope, as evidenced by the objects before her. There is food, light, adornment and whatever she is brooding over, the sensation created is that she has the qualities to overcome problems. Guagin has expressed sensation, feelings, memory, dreams possibly, incorporating them into both primitive and natural depictions. Interesting to note, the dog's posture reflects hers - the idea of painful choice is created, confronting them both. It is as though the dog waits for her resolution and will then raise its head and go forward with her. Renoir has incorporated no other living images, painting only what he saw with no imaginary thoughts or sensations adding to the picture. This piece is a fine example of an artist released from the bounds of convention, exploring his ability to exploit any and all creative possibilities, abandoning strict 'naturalistic' rules and creating feelings, memories, sensation and mood. Emotionally, the picture engages the viewer with the woman, while questioning the significance of the background figures and how they impact on her situation. Psychologically, it confuses, by altering perceptions of nature and causes the questions as to what and why she is brooding. In contrast, Renoir's work seems to provide answers more explicitly. Comparison: In both pieces, light plays a large part in focusing the attention on both peripheral and central objects. The subjects in both are well-rounded women with dark hair and eyes, and the positioning of these figures shows both artists' intent to engage the viewer with them. They appear to be of similar age. Both have slightly elliptical, triangular composition, in which the arms are an important aspect in dictating the mood. The eyes of Gabrielle and Te Faaturuma are downcast, the mouths both slightly pursed. Similar warm colors are used, though with differences in technique and intent, and equally, light comes from outside the paintings; peripheral objects are used in both to create light and dark. The use of complementary colors serves the same purpose, to enhance the vibrancy of the warm colors and dictate mood. Both women's clothing is white, with textures added by the use of light and shadow. The mood in both is pensive, as if an important decision must be taken, and both pieces contain articles associated with feminine adornment, Gabrielle more connected to these than the Brooding Woman. Gabrielle is comfortable with herself and the semi-nakedness of her body, and exudes affection and trust towards the artist, whose representation echoes those feelings. The Brooding Woman also shows trust in that she is unafraid to share her mood, thoughts and dilemma with Gaugin, who has captured these, and more, dramatically in this work. Contrasts: These are more evident in the style of painting than in the main subjects, though several exist in the women. Looking first at them, their expressions of thoughtfulness create the mood, but the difference lies in the artists' meanings and intentions. Gabrielle is comfortable, almost cozy, her decision seems of lesser importance, while the Brooding Woman has something heavy weighing on her mind. She is more sad and lost, there may be a threat present, as evidenced in the set of her shoulders, which the dog's posture reflects. She is fully clothed, looking inwards, while Gabrielle is half-undressed, looking outward towards the mirror. However, this might symbolize self examination, deeper than surface appearance. Symbolism in general is a further area of contrast; Gaugin's background has more impact on the woman's mental state, contributing to the dejected, brooding body language and mental dilemma. Renoir's background, on the contrary, suggests and enfolding warmth, despite the green color, a softness which enfolds Gabrielle in safety. This is realistic drapery, Gaugin's is complete imagination. As to perspective, the realism is obvious in the Renoir, with geometrically perfect proportions and shapes, whereas the background figures in Gaugin are out of proportion to the woman, suggesting a distance and thus a sensation of dreaming or remembering a feeling. It might be said that Renoir's background is a back-drop, while Gaugin's is an intrinsic part of the whole. Further contrasts exist in the cultural and economic contexts which the artists have succeeded in portraying. East and West, poor and rich, educated and primitive, loved and lonely, all the opposites come to mind when looking at the women. The Brooding Woman wears a simple garment which speaks of poverty and lack of sophistication, while Gabrielle is wearing a gown of some luxury. That is only one of the outward symbols of the contrasts. Personal Evaluation and Impressions: As with any painting, an immediate emotional response is aroused, usually from the visual impact and personal aesthetic values. On first examining the two pictures, 'Gabrielle with Jewel Box' was more appealing, mainly because of the light, warmth and tactile qualities I perceived. The grace and beauty of her appearance, the feelings of calm and peace, contributed to the initial reactions. However, in analyzing these responses on a more rational and deeper level, and looking critically at both paintings, I am convinced that Gaugin has created a more powerful and thoughtful response. There is no doubt that this was his intent, for in moving away from conventional realism, he has enhanced the conceptual nature of the picture, making a composite whole from both flat planes and a three dimensional live, woman. The contrasts, the potential symbolic meaning and the nature of the woman all combine to engage me on a psychological and emotional level. I see this woman as having strength and intelligence, of being able to hope in adversity and to overcome her problems, all of which influence my choice. If the artists intended to capture the imagination, to make one see beyond the surface, then Gaugin does if for me. Works Cited 'Brooding Woman' 'Te Faaturuma' - Paul Gaugin . 21 December 2006 http://impression.alloilpaint.com/gaugin/gaugin45.jpg 'Gabrielle with Jewel Box' - Auguste Renoir. 21 December 2006 http://www.expo-renoir.com/1_3.cfmid=1700703050 'The Modernist Text' Unit 3 pdf. 20 December 2006 http://www.oscail.ie/students/moduletext2006/BA_1stassign/Lit%202%20unit%203pdf Read More