Name: College: Instructor: Date: Similarities and differences of Comtesse de La Tour-Maubourg, 1841 and Madame Cezanne in a Red Dress, 1888-90 Chasseriau used the portrait of the Comtesse de La Tour-Maubourg to express his subtle defiance through diverting from his master’s approach and subverting to a new approach that enabled him to cast casting a melancholic mood over the painting…
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On the other hand, Paul Cezanne used Madame Cezanne’s portrait to express classical calm and ultimate simplicity. In the portrait, Cezanne does not capture the social status of his wife and therefore there is nothing to express her status as a model, lines and other artistic features are used to express emotional distance (Athanassouglou-Kallmyer, and Provence 234). This essay will give a brief biography of both artists and expound on similarities and differences of Comtesse de La Tour-Maubourg and Madame Cezannes portraits as mediums of expression. Theodore Chasseriau was born in Samana Dominican republic and his family moved to Paris when he was the age of three. His artworks have been influenced by Ingres and therefore his paintings, drawings and styles exhibited in his finished works are relatively close to the works of Ingres. Chasseriau started working at the Master’s Studio at the age of eleven where he met Ingres and continued working until Ingres left to lead the Academic de France in Rome in 1834. Through his brother’s connections, he was able to draw portraits of elites in both the church and the state and his works were easily accepted in the society. He started producing his artworks in 1836 and moved to Rome in 1841 to join his mentor Ingres. Chasseriau’s greatest artworks were the Othello etchings in 1844 and a trip to Algeria exposed him to Orientals subjects that he was learning and was interested in exploring in the field of art. After his death, the staircase for Cour-des-Comptes that symbolized war and peace were destroyed by fire in 1846. Paul Cezanne was born in 1839 in Aix-en-Provence in France in a well-off family that assured his financial stability and supported him in his artistic works, an advantage that was missed by most artists of the time. Cezannes father wanted him to study law and he was forced to study Law at the University of Aix. However, he inherited a vivacious and romantic touch from his mother, and in 1857 he went for drawing classes under Joseph Gilbert at the Free Municipal School of Drawing at Aix. Because of a strong desire to pursue his passion, Cezanne went against his father’s wishes and under the encouragement of Zola, delved into artistic works, and moved to Paris where he developed his artistic skills, through the mentorship of Camille Pissarro. In his early works, Cezannes paintings were majorly large heavy figures in the landscape that were painted through imagination. However, as he developed, he advanced to working and painting from direct observation and this culminated into a light airy painting style. He struggled to create a connection between his observations and classical compositions. The Comtesse de La Tour-Maubourg portrait is symmetrical, with its proper positioning and proportional utilization of space allowing the artist to fix the background and other natural features in a proper proportion and distance in reference to the subject. On the other hand, the portrait of Madame Cezanne in a red dress her posture sitting on the yellow chair and the details of wall bring out a very symmetrical relation of the different features that have been captured. The Primary colors, which are blue, red and yellow, are used to bring
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