Artworks Comparative Analysis - Assignment Example

COMPARATIVE ANALYSIS Name Lecturer Course Comparative Analysis I. The Gian Lorenzo Bernini, Apollo and Daphne, 1622-1625, marble, 2.4m, Galleria Borghese, Rome. The artwork happened presents the theme of human transformation. The visual aspects of the artwork illustrates an artwork with metamorphosis. It illustrates the transformation of human being into the leaves and bark of trees (Barber, 1998). The sculpture is presented in a position that portrays the true nature of love. The juxtaposed position of the two sculptures in its entirety presents the theme of love. The sculpture historically sets the phases of pre-metamorphosis, metamorphosis and post-metamorphosis with the illustrated static phase of the picture and the motion part that shows the transformation of the hands into tree barks and leaves. The motion part of Daphne is also presented with the upper part of the sculpture leaning forward and in a motion with Apollo closely behind her. This illustrates the motion of the marriage. Daphne stable legs that are transformed into the bark illustrates firm stability depicting the pre-transformation period. This depicts love deeply rooted in the not only on the outer aspect but that is felt within the soul as well. Daphne hairs are sculptured to stream out behind her in a motion and turning into leaves (Douglas, 2011). This is used to illustrate the transfiguration period. The motion as depicted on the discontented face of Daphne shifts the focus towards an erotic chase to a more of negative lust from the Apollo’s chase intent. This aspect is also furnished by the Apollo’s hands that depict that of a hunter for a prey. It is further supported by the Apollo’s left leg that is at a flail angle that is odd this propels the counter adjustment in Apollo’s position compelling him to raise his right arm as illustrated by the artwork to gain his balance (Douglas, 2011). This art work was used by Gian Lorenzo Bernini to present both pagan life by his and the Christian morality by his presentation of the patron in an ecclesiastical position. The Christianity ordination of the sculpture by the Cardinal, shows its importance in the Christian morality as having presented the molding of the pagan myths into the Christian life (Barber, 1998). In the support of the Christianity belief, the motion of Daphne could further be used to explain the idea of her escaping from Apollo who might likely break her virginity and thus making her unchaste. Gian also present the theme of hope and fear. In this regard, the two sculptures, Daphne and Apollo, are presented as hopeful and fearful respectively. This is evidently brought out by his ability to incorporate emotions into stationary sculpture. This is supported by the visual aspects of the sculpture that presents Apollos as in pursuit of something with his pulled chest, struggling legs for power to thrive towards Daphne. Daphne as fearful, is presented with her, pulling her body in a manner that illustrates a struggle to distance herself form her pursuant (Barber, 1998). Her facial impression together with her bodily posture is that of terror. Gian is therefore able to sculpturally present the incorporation of the mythical beliefs into the Christianity perception of life. II. Caravaggio, The Conversion of St. Paul’s on the Way to Damascus, 1601, oil; on canvas, 2330cmx175cm, Cerasi Chapel, Santa ,Maria del Popolo, Rome. Caravaggio Uses black and the while colors in the picture. This presents the events that took place during the conversion of the St. Paul’s and the subsequent religious ecstasy in his life. Paul’s arms are stretched out illustrating the shock that befell him (Caravaggio et al, 1992). The painting also have a sword and a cloak which are used to illustrate the period before transformation and the vents as well as the activities that marked the period. This is used by Caravaggio to illustrate the period pre the event thus forming a continuity form the previous lives. Both the horse and the maid are looking towards the ground indicating the ignorance or their oblivion to realize the happenings around them. The horse’ tail is readily posed in the air to illustrate its readiness to move into action. The brightness is used to illustrate the power of God that would later according to the Biblical teaching make Paul blind for three days. The picture shows Paul’s eyes as closed a further illustration of the bright light that brought St. Paul to the ground. This is used to incorporate the Christian perception of a magnificent God. The motion and the intensity of the shock that marked the scene is illustrated by the horse raised feet. The horse’ juxtaposed posture as well as the alluded ears illustrates the surprise compelling the horse to jeopardize its balance depicted by the raised feet (Liddell, 1730). This is most probably due to the surprise seeing St. Paul on the ground and the immediate preceding event of his fall to the ground. This also illustrates the imbalance of the horse and the prevailing tension even though the horse is oblivious of the actual religious transformation taking place. The horse is however terrified by the physical happenings with its feet raised as a way of depicting its shift from stepping on the transformed St. Paul’s. This is also aided by the maid who is depicted supporting the horse preventing it from harming St. Paul’s who is on the ground. The lightings also illustrates an idea of Christian perceived rupture at the end of the existence in which a sense of crisis will erupt with the Christ at the center of the happenings. St. Paul’s who is on his back on the ground is illustrated as the most illuminated by Caravaggio as a way of expressing him as the only one in the scene who was undergoing transfiguration (Liddell, 1730). The rest of the actors, the horse and the maid, are in the dark with dim lighting to illustrate the separation of Paul from darkness to light. Christ would then disrupt the mundane world. An ideology of the fall as a result of the embracing the divine light is depicted with the hands spread to the air as opposed to the fright of seeing the light that could be defined by a different posture of St. Paul’s. Caravaggio succeeded in his stylistic composure that illustrates the emotional aspects of the actors (Caravaggio et al, 1992). Therefore, the artist used the theme of colors perfectly in illustration of the events that took place during the conversion of St. Paul’s from a prosecutor of church believers to a preacher and a writer to the different groups of people. III. Watteau the pleasures of the ball, c.1715-17, oil on canvas, 525mm x 652mm Watteau has used variety of colors illustrating several people each in a more of action. This depicts the different activities that define a society. The painting if the nature and the motion aspects pf the people illustrates the happiness with which the people live. He has used a varied lighting for each specific artwork (ARTE France, 2010). The right side is more lit than the left with a heavy painting on the Pierrot. The painting creates an open back door that appears as a Royal door. The door depict the setting of a royal state. Through the door, the artist presents the natural life beyond. This is illustrated with the paintings that depict trees and the sky. In a drama setting, this is used by the artist to illustrate the fading stage away from the real point where the drama is taking place (Watteau & Gauthier, 1960). This painting of the regions beyond is used by the writer to illustrate the true nature of the lives beyond and the manner in which it coexists with the human lives. The banded columns and the portico at the right background marks a similarities with his preceding works. The back part of the painting with a focus on the central part illustrates a shell of fountain that depicts the natural pictorial fountains that sprouts out water (ARTE France, 2010). The Pleasure of ball is historically relevant with the 1668 ball through various paintings of the picture. The painting of the couple dancing on the ballroom floor with a painting of on looking people. This if further illustrated with Watteau dress painting that included the gloves a characteristic feature of the court ball dress code. These paintings illustrates the true set up of the dramatic events. The presentation of the theme of royal set up is further depicted with the painting of the serving dishes of silver and gold well-paced on the buffet below the arch (Watteau & Gauthier, 1960). The painting of the fruits of golden colors illustrate the setup of the royal orange bowls. The placement of the protagonists in a soaring open place is an illustration of the theme of love that if further furnished by the ornamentally paved floors. This theme is also brought about by the key focus and the painting of the onlookers as paying much focus on the dancing couple. In the Painting, Watteau is able to incorporate different age groupings in this set up with the children making meant to drive away the thought of too much erotic scenes. This set up is therefore an illustration of a set up that could be used as a stage for the drama and other theatrical set ups (Watteau & Gauthier, 1960). IV. Boucher, Portrait of Madame de Pompadour, 1756, oil on canvas, 212x164cm The woman is portrayed to as have paused from reading a book or after completing the book she was reading (O'Brien et al, 2015). The Boucher uses this painting to illustrate this young lady as having been among the most read women of her time. Historically, it comes at a time when very few women were read but in this case, the lady in the picture, Marquise de Pompadour, was among the most read of her time (Nolhac, 1948). On her side are ink pot, seal and sealing wax together with an envelope. This further illustrate a woman who is likely to resume her writing of letters. This is further illustrated with the presence of an open desk drawer that would be most likely used for the paintings. The artist was therefore able to present the two themes of reading and writing that were complexed into the painting. This period was historically marked with uncensored letters and among them that were written by Pompadour at that time have been traced and found (Nolhac, 1948). The artist through the numerous letters that marked the period and that the painting itself illustrates writing, the theme of family affection emerges as several letters were circulated mostly to family and friends. The painting describes an artwork in a private setting of Pompadour as she is in her private room. This defines her interest that she could pursue in privacy out of personal will. The painting illustrates a formal woman considering her dress as presented by Boucher in his work (O'Brien et al, 2015). The use of shadows by the artist makes the dress more realistic and easily incorporated into a natural set up. Historically, Boucher was able to cope with the then trend that called for an elegant style. This is illustrated by the artist in the painting of the hair, dress. The artist has succeeded in the creation of a picture of a wife to a King. This is evident from the wealth and the social life of Pompadour at large. It is historically important in illustrating the importance of Pompadour having been a friend to King Louis XV. The artist was therefore able to present the Rocco spirit in the paintings. Further illustrations depicted the beautification of the lady with the red colors and paints (O'Brien et al, 2015). The choice of Pompadour was critical in illustrating the Rocco culture having been among the most read women of her times and her gallery set up that depicted bright promising woman. V. Fragonard, Happy Hazards of the Swing, ca 1767, oil canvas 64.2cm The artist, Fragonard, present a painting of a mountaineering region in a vastness of the space. This presents the idea of the power of nature. In this the paintings of the plants as green are an expression of sex and in an association birth (Cepeda, 2006). The artist present this region as green to impart a negative impression on the erotic aspect the view. He present the limitless mountains paintings this paintings extend into far beyond the human activities illustrating the eternity of the world. The trees are painted to appear taller than the rest of the painting. This illustrates a dwarfism nature of the rest of the paintings as a way of expressing the triumph of the plants of the sexual perception. This is complemented with the painting of the clouds that additionally contributes the creation of a relative scale to present the triumph of the nature over love. In this painting, Fragonard has used a cool blue light color to present the early morning, he has also used the swinging art of the picture to create the association of the picture with summer (Yanow, 2000). He then bring the element of a bright sunlight midday. These tandemly present s the changing nature of the natural contexts of the plot. The act of swinging from the painting can also be used to present the theme of activities that happens when at the setting of the sun. Fragonard presents, below the swinging woman, two hidden men on both sides who are dimly painted in comparison to the woman’s dress, the right and the left sides. This present the idea of an association between men and women that is withered and triumphed over. Of the two men, one is looking up the skirt of the swinging woman. Having the woman on the swing with the man looking up into her skirt is an illustration of infidelity represented by the swing. The other man at the back appear older than the other man in front and is obviously oblivious that the other young man is on the act he is doing. This oblivion is also presented with the man not paying attention to the painted small dog on the right front side of the picture (Yanow, 2000). The painting of the cupid is such that a finger is on its lips perhaps signaling the two, the man below and the swinging woman, through a signal not to give up on their act. By observation, the region around the swinging woman is congested limiting the space for swinging of the lady. The region is also marked with plants that have overgrown that would not make it easy to swing over them. The paintings have also been presented with trees and other plants around the swinging woman. This presented the privacy of the woman and a more of a secret place for erotica (Yanow, 2000). Fragonard has perfectly achieved his objective of creating an imaginary presentation of an association between various aspects of life. Through his painting, the presentation of water and air leading to the theme of flow illustrates an important aspect of the painting with that supports interaction ranging from trade in ideas and the actual goods (Cepeda, 2006). This art is also made vivid by the creation of the pictures of the trees that also present with the association of its various parts to support peaceful existence. VI. Gentile Bellini, Portrait of Sultan Mehmed II, 1480, oil on canvas, 69.9 X 52.1 cm, National Gallery, London This work of Gentile Bellini is historically relevant considering the period of the occurrence with the event that led to the portrait. This portrait followed the triumph of Mehmet II when he emerged triumphant over the Byzantium and the subsequent seizing of Constantinople (Kritovoulos, 1970). The picture is therefore an example and an indication of the then warring factions and thus the emergence of strong units hat could offer true military leadership. The portrait was thus used to present the two warring regions (Kritovoulos, 1970). The picture is however repainted thus lacing the originality it had. The repainting shows the clashing of interest among various players. This is as illustrated by the artist during the change and the use of varied. During the then histories of wars between different empires, some would lose the war and automatically become a group of the conquering empire. Some would not join the subduing empire and as such would be destroyed completely and their cities burnt. The artist has therefore succeeded in creating a memory of the warring factions. Historically, it presents with the marginalization of various groups. In planning for the subsequent wars, Bellini presents an enabling environment for the Ottoman man paintings (Orbay, 2000). To present Mehmed as a true Muslim, the artist has wrapped his distinguishing feature, a white turban that is wrapped around a red Taj. This is complexed with his long brown beard that were unkempt. The appearance of the picture illustrate an originally purple plaque but that has been a subject to discoloration due to time factor. Bellini has also managed to present Mehmed II as protected. This follows the Sultan’s surrounding by arches that present an architectural design antiques over the leader (Orbay, 2000). In his dressing, Mehmed II is presented as a conservative and an observant of the traditional cultures that would be illustrated through the dress code. As such, Mehmed was is in a fur mantle and wearing caftan, a traditional attire. This dress covers from his left to right side. This dress code is such that three identical crowns have been laid upon each other. These crowns confers great importance as they have a symbolic representation of the empires Mehmed II had subdued. These would represent the states of Greece, Trebizond, as well as Asia. The initial color of the plaques was so to express the idea of creating a copy of the porphyry. The artist is concerned with the audience attention thus limits the features that are used on the background (Orbay, 2000). This is so as a feature that would minimize deviation of focus. In this painting, the central focus is on the Mehmed II but not the other features whose inclusion would distract the audience. In this setting of having the picture occupy the three-quarters of the whole picture, Bellini is was therefore able to have a great painting of the dress of Mehmed (Kritovoulos, 1970). He could have his focus on the dressing and thus the paintings would be used to express the various features that the writer wanted expressed including the themes. VII. Anonymous, Kangxi Emperor Practicing Calligraphy, last ¼ of the 17th century, hanging scroll, ink and color on silk, 50.5x31.9com. Place Museum, Beijing With the pen on his hand, the Emperor is depicted as an educationalist and a leader who believes in communication as the strongest tool of leadership. He is portrayed to be looking forward, directly to the artist while holding his pen in a pause in a manner that would suggest a committed leader who has just paused shortly to attend to the needs and the request of his visitors’ (Kangxi, 1995). The Emperor is in a long grey long coat that is a true characteristic trait of the definition of the Chinese culture. On his head, the Emperor is depicted to have a red cap. This also complements the Chinese culture with a brown robe hanging over the waist. Another issue from the picture is the Emperor is presented in his privacy or a more generally secret place (Spence, 2013). This defines the importance of the task he is on at the moment. On the background is a dragon-like painting. This illustrates how prepared the emperor is to counter any attacks that would be levelled against his territory. The dragon on the background would also be an illustration of a fierce empire that can counter or launch an attack against the ill=motived rivals. The artist has presented the Chinese culture so well with the variation leading to presentation of a different theme. The ink on the table is an enough evidence that the emperor was a\writing some letter or just an important documentation (Kangxi, 1995). The floor has been decorated with a variety of colors ranging from red to blue to Nairobi. Historically, this period came at a time when the country was shifting from the emperors’ era to a democratic region. In this regard, the artist produced a painting that would run into the future generations after generation. His face is that of a n ambitious young leader who is enthusiastic of tomorrow and hope for the best. A focus would be given to the composure of the Emperor while handling issues. Even though not a handful of activities are shown, giving some moment of a pose to the artist would mean also the empire also had time for his people and the visitors. The frame at the back is large enough to permit the visibility pf the dragon image inside (Spence, 2013). The dragon is also drawn with an open mouth showing its teeth and illustration of anger with which it can make a move. The pillows beneath his feet are an indication that of authority as well. The artist has been able to complement the information of the Chinese culture and the leadership in the era of empires. This is attributed to his ability to transform imagination into a natural-like feature with different themes and illustrations to the audience. References ARTE France, Films for the Humanities & Sciences (Firm), & Films Media Group. (2012). Watteau. Barber, A. (1998). Apollo & Daphne: Masterpieces of mythology. London: Frances Lincoln. Caravaggio, Benedetti, S., Croke, F., & National Gallery of Ireland. . (1992). Caravaggio and his followers in the National Gallery of Ireland: [exhibition at the National Gallery of Ireland, 19th february - 24th march, 1992]. Dublin: National Gallery of Ireland. Cepeda, J. (2006). The swing. New York: A.A. Levine Books. Douglas, H. (2011). Apollo & Daphne. Yarrow: Weproductions. Kangxi. (1995). Kangxi zi dian. Xianggang: Zhong hua shu ju (Xianggang) you xian gong si. Kritovoulos. (1970). History of Mehmed the Conqueror. Westport, CT: Greenwood Press. Liddell, R. (1730). The whole tryal of Richard Lyddel, Esq: At His Majesty's Court of Common-Pleas, Before the Right Honourable Lord Chief Justice Eyre, for carrying on a criminal conversation with the late Lady Abergavenny. On Monday the 16th of February, 1729/30. London: Printed for A. Moore, near St. Paul's, and sold by the Booksellers of London and Westminster. Nolhac, & P. (1948). Louis XV et Madame de Pompadour: D'après des documents inédits, par Pierre de Nolhac. Paris: Calmann-Lévy. O'Brien, T., Gardner, J., Hutchinson, T., & Paul, G. (2015). Pompadour. Howdy Skies Records. Orbay, A. (2000). The sultan's portrait: Picturing the House of Osman. İstanbul: İşbank. Spence, J. D. (2013). Emperor of china: Self-portrait of k'ang-hsi. New York: Vintage Books. Watteau, A., & Gauthier, M. (1960). Watteau. New York: T. Yoseloff. Yanow, S. (2000). Swing. San Francisco: Miller Freeman Books. Read More