A Comparison and Analysis of Goya’s Don Sebastian Martinez y Perez () and Cezanne’s Portrait of Ambroise Vollard () Essay. A Comparison and Analysis of Goya’s Don Sebastian Martinez y Perez () and Cezanne’s Portrait of Ambroise Vollard (). Goya self portrait analysis essay Goya self portrait analysis essayEffects of nuclear radiation research paper integer essay. Gloucester king lear blindness essay armoracia rusticana descriptive essay is congress a broken branch essay writer internet addiction effects essay the great depression essay introductions sentence introduction and. A self-portrait of the early s, shows exactly that, the painter silhouetted in front of his easel and wearing a metal band round his hat to hold candles to light those “final touches”. Van Gogh Self Portrait Analysis Essay Sample. After having dreamt about an artist community for a long time, Van Gogh finally bought a ‘yellow house’ in Arles and invite Paul Gauguin. There Van Gogh and Paul Gauguin lived together, discussed artwork and focused on producing works of art. Self-portrait, this painting shows us that he seems to frown and wrinkle his brow in concentration, he looks very lonely. He use orange dots in the background seem to reflect the orange red of his beard.
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His planar compositions were later turned by Picasso into cubism; his innovative use of color was admired by other artists such as Matisse. Cezanne was interested in structure and the way paintings can evoke elements in Nature. He frequently made use of slight variations in color, with geometrical forms such as cones, cylinders and spheres — which he found to be abundant in Nature — in his portraits and still lifes, as well as in his landscapes.
Through the use of space and color, he was also able to project a wide range of expression. This particular fetish proved to be a nightmare for Cezanne. He was known to be extremely impatient and quick-tempered; worse, he painted very slowly.
This is probably the reason why the subjects of his portraits generally look grave and tired. For his portrait, the art dealer Ambroise Vollard reportedly sat times, sitting perfectly still throughout the sessions. But then Cezanne, dissatisfied with his work, abandoned the project with only two spots left unpainted.
He said that by adding even a single brush stroke, the whole portrait would become unbalanced. Cezanne was so disgruntled with his work that he told Vollard that the only thing about it that pleased him was his rendering of the white shirt worn by the subject.
Goya and Research on His Works Essay
The only difference was the palette and the reflection value of the painting. Ultimately, both the fruit and the person wilted. Most of his later work are more sparingly composed and open, and are infused with a sense of light and air.
The light coming from the window behind Ambroise Vollard provides this effect. The background is created through perspective and unusually subtle differences in tone. Cezanne was known for his use of color to evoke vision and passion. The dark somber tones in the Portrait of Ambroise Vollard suggest a feeling of solemnity, while the sharp golden and amber highlights provide contrast and dimension.
The Cronus Complex and Goya’s Paintings
The artist used his brush strokes to create structure and lend firmness to his portraits. In Ambroise Vollard, he makes use of broad, heavy strokes to build structure, as well as light, fluid strokes to outline and give contrast. Francisco de Goya is often recognized as one of the best Spanish artists and one of the leading proponents of modern art.
Like Cezanne, Goya is hailed as one of the most important artists of his time, influencing others like Manet and Picasso.
He initially dabbled in Baroque art and eventually came up with his own innovative style. His assorted sketches, paintings, and engravings mirrored current historical issues. He was a court painter, like Velazquez, but his best works were those produced apart from the ones who made for the Spanish court. He was well-known for his uncompromising portrayals of violence, particularly those induced by the French invasion of Spain.
Don Sebastian Martinez y Perez was created at the time when Goya had established himself as a portrait painter for the Spanish nobility. In it, the Don appears as realistic as natural, his clothes and features clearly defined and detailed. At the time that this portrait was created, Goya was interested mainly in portraying his clients as they are in life, without reference to the social climate at the time.
In Don Sebastian, Goya used light, fluid strokes and applied color that blended harmoniously into each other to achieve a natural look. Goya also made use of subtle differences in tone to create depth and perspective.
In Ambroise Vollard, Cezanne makes use of dark hues like black, brown and olive with lighter ones such as white, orange, gold and yellow. However, there is a remarkable difference in the way the colors are applied. The colors in Don Sebastian appear to be more harmonious and blend fluidly into each other. This gives the portrait a more realistic appearance, as opposed to the more abstract Ambroise Vollard wherein Cezanne has used the colors to depict planes and shapes in the portrait.
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Cezanne, in response to the lack of structure in Impressionist works, devised a method of using color to create planes and geometrical shapes in his paintings. In Ambroise Vollard, broad strokes of peach, yellow, orange and brown create a background for the subject; while the subject himself is rendered through quick, geometric strokes of olive, white and gold.
In Don Sebastian, the subject is placed against a flat background which appears, through a liquid wash of white that outlines the subject, to have no depth. On the other hand, the viewer can see that the subject in Ambroise Vollard is sitting near the corner of a room because Cezanne has created a complex illusion of spaces and edges.
This is accomplished through the use of straight dark lines that run parallel to and opposite each other at angles to depict two walls that form an L-shape. Dark lines also show that the walls are separated into two colors: The wall behind Vollard is further emphasized through the continuation of the horizontal line into a surface behind him. The position of the chair upon which the subject sits in Ambroise Vollard is directly frontal but the chair itself cannot be clearly discerned because its dark tones are indistinguishable from those of the background.
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In contrast, the chair in Don Sebastian, as well as the subject himself, is facing left. The chair is clearly defined and stands apart from the background. Despite these differences, both Goya and Cezanne are able to utilize dark tones and fluid strokes to create structure in their respective portraits.
Cezanne perceived his portraits as still lifes; Goya did not. Perhaps the disturbing feeling of uncertainty that Ambroise Vollard evokes can be attributed to the fact that the portrait is basically unfinished and that Cezanne intended for it to be left that way. He had discarded the painting after failing to find the proper colors for the untouched spots in the canvas.
This gives the subject, and consequently the entire painting, a sense of detachment. The grim-faced man, in his stiff pose and with his eyes represented as two pools of black, actually seems intimidating, even frightening.
His mustard yellow breeches and blue-striped jacket call to mind not only the fact that the subject is probably a member of the nobility, but also that the artist sees the person as a dignified and good-natured man. His approach was to take the immediate sensory perception and try to structure it into his intended vision through the use of abstractions in form and color.
This is a portrait, in the true sense of the word.
From princes to paupers: how Goya’s portraits tell the story of Spain
It has no abstractions. Goya merely wanted to render Don Sebastian in the most life-like way possible. Don Sebastian was commissioned at a time when Goya was beginning his observations of daily life. Don Sebastian Martinez y Perez is detailed and smooth, just as the client wanted.
It would be much later — after the war — that Goya would begin to depict social conditions and portray a sense of social awareness in his work. The details in the portrait are numerous: Other features are painstakingly rendered: Even the words in the paper that the subject is holding are clearly visible.
There are few details here. It is also unclear whether he is holding in his hand a sheaf of papers, a magazine, or some other paraphernalia. Both Goya and Cezanne are regarded as major influences on art forms that succeeded their own, as well as artists who lived during and after their time. There are many similarities between the two paintings.
Both showcased techniques unique to their respective creators, and both were portraits of people whom the artists had friendships with. Both portraits do not give any indication of the time of day or of the season. As has been mentioned before, this light does not give any indication of the time of day either. In the two portraits, both subjects are sitting, and each carries something in his hand. Timeline of Art History: Iberian Peninssula, AD. The Metropolitan Museum of Art. The Worldwide Art Gallery.
Great Artists in History: Goya and the Spirit of the Enlightenment. Choose Type of service.