The Artwork by Crsnidhi

the artwork ART

A N D D E S I G N A E S T H AT I C S

CONTENTS

the artwork

ON BEAUTY

ON UGLINESS

napoleon crossing the alps

potrait of sylvia von harden

Jacques-Louis David

Otto Dix

a frankish women and her servant

monk by the sea

Jean-Etienne Liotard

Caspar David Friedrich

potrait of queen elizabeth

the old women

Quentin Matsys

Giorgione 40

biblography

the artwork

napoleon crossing the alps jacques - louis david

Napoleon crossing the alps

the artwork

Napoleon crossing the alps An oil on canvas portrait of napoleon bonaparte painted by the french artist jacques-louis david in 1801, also known as napoleon at saint - bernard pass or bonaparte crossing the alps. The composition shows a strong idealised view of real crossing that napoleon and his army made across the alps through great st. Bernard pass in may 1800. The french ambassador to spain, charles jean -marie, requested the original painting from david on charles behalf. The portrait was to hang in the royal palace of madrid as a token of the new relationship between the two countries. Marengo was the famous horse of napoleon i of france. The original painting remained in madrid until 1812, when it was taken by joseph bonaparte after his abdication as king of spain. He took with him when he went to exile in the us. Like many equestrian portraits , a genre favoured by royalty, napoleon crossing the alps is a portrait of authority.

Napoleon crossing the alps

SELF POTRAIT,1794 JACQUES -LOUIS DAVID (1748-1825)

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He was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste of the era. After Napoleon’s fall from Imperial power and the Bourbon revival, David exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. David had been an admirer of Napoleo n from their first meeting, struck by Bonaparte’s classical features. Requesting a sitting from the busy and impatient general, David was able to sketch Napoleon. David recorded the face of the conqueror of Italy, but the full composition of Napoleon holding the peace treaty with Austria remains unfinished. David had to redo several parts of the painting because of Napoleon’s various whims, and for this painting, he received twenty-four thousand Francs.

difference between the version belvedere version ( top ) charlottenburg version ( below ).

Napoleon crossing the alps

A Frankish Woman and Her Servant

Jean-Etienne Liotard

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A Frankish Women And Her Servant

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A Frankish Women And Her Servant Jean-etienne liotard, who traveled extensively, became infatuated with all things turkish during a four-year stay in constantinople now istanbul (1738-42), a port of call in turkey for many grand tourists. There he made numerous pastel and oil studies of turkish and british notables, as well as street persons and acquaintances dressed in the striking patterns, colors and textures of native turkish costume. Here, a woman liotard described as “frankish”—of european ancestry, but from the eastern mediterranean—holds a long chibouk (smoking pipe) in her hennadyed fingertips. Turkish dress and customs: the lady’s embroidered caftan; voluminous pantaloons; pearl-draped turban; hennadyed fingers; ‘nalin’ or special wooden stilt-like bathing clogs for protection against the damp floors. A young companion carries a bath bowl equipped with a comb, lidded container for soap and lathering mitts that will be used, perhaps, at the marble sink behind them.

One outstanding feature of liotard’s paintings is the prevalence of smiling subjects. Generally, portrait subjects of the time adopted a more serious tone. This levity was a reflection of the enlightenment-era philosophies that inspired liotard. Also indicative of the era, liotard created works celebrating science, like the painting of woman paying homage to the doctor that saved her.

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A Frankish Women And Her Servant

Still life,tea set 1781-1783 (top) The chocolate girl (botton right) Dutch girl at break fast-1756 (buttom left)

Jean-Étienne Liotard was a Swiss painter, art connoisseur and dealer. He is best known for his portraits in pastel, and for the works from his trip to Turkey. A Huguenot of French origin and citizen of the Republic of Geneva, he was born and died in Geneva, but spent most of his career in stays in the capitals of Europe, where his portraits were much in demand.JeanÉtienne Liotard visited Istanbul and painted numerous pastels of Turkish domestic scenes; he also continued to wear Turkish dress for much of the time when back in Europe. Using modern dress was considered unheroic and inelegant in history painting using Middle Eastern settings, with Europeans wearing local costume, as travellers were advised to do. Liotard was an artist of great versatility. Best known for his graceful and delicate pastel drawings, of which La Liseuse, The Chocolate Girl, and La Belle Lyonnaise at the Dresden Gallery and

Maria Frederike van ReedeAthlone at Seven at the J. Paul Getty Museum are delightful examples.His eccentric adoption of oriental costume secured him the nickname of the Turkish painter.In his last days he painted still lifes and landscapes. He died at Geneva in 1789.

SELF POTRAIT-1749 JEAN-ETIENNE LIOTARD (1702-1789)

A Frankish Women And Her Servant

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POTRAIT OF QUEEN ELIZABETH Quentin Metsys

The sieve portrait of elizabeth i, in which she is depicted as tuccia, a vestal virgin who proved her chastity by carrying water from the tiber river to the temple of vesta without spilling a drop. Elizabeth is surrounded by symbols of empire, including a column and a globe, iconography that would appear again and again in her portraiture of the 1580s and 1590s, most notably in the armada portrait of 1588.

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Potrait Of Queen Elizabeth

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Quentin Matsys Quentin metsys the younger was a Flemish painter in the Early Netherlandish tradition. He was born in Leuven. There is a tradition alleging that he was trained as an ironsmith before becoming a painter. Matsys was active in Antwerp for over 20 years, creating numerous works with religious roots and satirical tendencies. He is regarded as the founder of the Antwerp school of painting, which became the leading school of painting in Flanders in the 16th century.He introduced new techniques and motifs as well as moralising subjects without completely breaking with the tradition. The younger Quentin was born in Antwerp, where he joined the Guild of St. Luke in 1574; by c. 1581 he was living in London, likely having fled religious persecution in Antwerp as his father and uncle had done. He left England for Frankfurt in 1588 and died there the next year.

Potrait Of Queen Elizabeth

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potrait of sylvia von harden Otto Dix

Potrait Of Sylvia Von Harden

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Potrait Of Sylvia Von Harden Sylvia von harden during her career as a jounalist she wrote for many newspapaer in Germany and england she is best known as the subject of a painting by otto dix. As a character of her time just as the woman herself, this image of Sylvia von Harden became iconic of the era. This portrait is perhaps Dix’s most recognized. It was even referenced in the 1972 film Cabaret, set in Weimar-era Berlin. It is said that Dix painted this portrait after seeing von Harden in the street and exclaiming, “I must paint you, I simply must! You represent an entire epoch.” She was amused. “So you want to paint my lackluster eyes, my ornate ears, my long nose, my thin lips. You want to paint my short legs, my big feet -things that can only frighten people and delight no one?” Dix claimed that she was a perfect image for a society that was less concerned about a woman’s outward appearance than her psychological state.

Potrait Of Sylvia Von Harden

OTTO DOX (1891-1969) Weiheilm heinrich otto Dix was a german painter and printmaker noted for his ruthless and harshly realistic depiction of german Society. Otto Dix has been perhaps more influential than any other German painter in shaping the popular image of the Weimar Republic of the 1920s. Otto Dix has been perhaps more influential than any other German painter in shaping the popular image of the Weimar Republic of the 1920s. A veteran haunted by his experiences of WWI, his first great subjects were

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crippled soldiers, but during the height of his career he also painted nudes, prostitutes, and often savagely satirical portraits of celebrities from Germany’s intellectual circles.Although Dix’s work is often noted for its sharp-eyed depiction of the human figure, his early fixation with crippled veterans and his resort to caricature suggest that he was uncomfortable with celebrating the human body - and the triumphant human spirit - in his paintings.His work became even darker and more allegorical in the early 1930s, and he became a target of the Nazis. In response, he gradually moved away from social themes, turning to landscape and Christian subjects, and, after serving in the army during WWII, enjoyed some considerable acclaim in his later years.

Van itas

St romt roopers Adv anc ing Under gas

Potrait Of Sylvia Von Harden

monk by the sea Caspar David Friedrich

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Monk By The Sea

Friedrich worked for the twoartwork years on this, ultimately his most famous work. The composition is divided horizontally into land, sea, and sky with a clear simplicity that shocked his contemporaries. A monk stands, bareheaded, on the shore. Seagulls circle around him. The lonely figure faces the leaden blackness of the immeasurably vast sea. The grey band of cloud over the water surprisingly gives way to blue sky along the top edge of the picture. No artistic composition had ever been as uncompromising as this: the main space of the picture seems like an abyss of some kind; there are no boundaries, there is nothing to hold on to, just a sense of floating between night and day, between despair and hope. In 1810 Heinrich von Kleist put into words, as no other could, the magical fascination of this painting: “Nothing could be more sombre nor more disquieting than to be placed thus in the world: the one sign of life in the immensity of the kingdom of death, the lonely

Monk By The Sea

center of a lonely circle. With its two or three mysterious objects the picture seems somehow apocalyptic, like Young’s Night Thoughts, and since its monotony and boundlessness are only contained by the frame itself, contemplation of this picture gives one the sense that one’s eyelids have been cut away.” This painting, in particular, has been linked with the post World War II Color Field paintings of Mark Rothko, also intended to cultivate a spiritual experience for the viewer. While Friedrich often painted landscapes without a human presence, this painting represents his second approach to investing the landscape painting with a deeper significance and connection to the viewer: the use of a proxy or stand-in. The solitary figure turned towards and in communion with the landscape, known as “ruckenfigur,” is one of the key ways German Romanticism differentiates

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itself from French and British Romanticism. Although internationally, Romanticism was occupied with the connection between man and nature, British painters tended to emphasize more nostalgic or bucolic landscapes, while the French painters often suggested man’s desire to conquer nature; the German approach depicts man’s attempt to understand nature and, by extension, the divine. This preference for an emotional connection between the viewer and the image replaced more literal or illustrative approaches, exemplified by Friedrich’s moody landscapes, which often thrust the viewer into the wilds of nature.

POTRAIT BY GERHARD VON KUGELGEN-1810-1820 CASPER DAVID FRIEDRICH (1702-1789)

A dull, overcast day. Or is it evening? Or perhaps early morning? Is a storm brewing? This painting does not let on. And then there is that narrow strip of sand along the water. And a mysterious figure, a monk gazing into the distance.

It seems strange now but for a while the art world turned its back on the German painter Caspar David Friedrich. Aside from being cursed with the label of Hitler’s favourite artist, for much of the twentieth century the Impressionists, with their loose, painterly style, were held to be the fathers of modern art. Friedrich’s work in comparison was considered too meticulous, too precise, too finely detailed to warrant serious critical attention. Over the last few decades though the tide of opinion has turned. Now it is generally accepted that both in his technical brilliance and theoretically in his views of what the purpose of art should be, Friedrich was as radical as they come. But if proof were ever needed again of his credentials as one of the great forerunners of modern art, then The Monk by the Sea would have to be it.

Monk By The Sea

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the old women Giorgione

Giorgione’s Old Woman shows an old woman. She appears in a format used in many Renaissance Venetian portraits, a head and upper body behind a stone ledge. And everything suggests that the model here is a particular person, a real individual, closely observed from life. But despite this, it is not a portrait - it’s not a picture of someone, painted for that someone or their peers. The old woman is poor and dishevelled and open-mouthed. (No portrait of this period is open-mouthed.) She is “in a state”. And the point of the picture, it seems, is not to depict her, but to illustrate this “state”. The image consists of a written label, and a body, and between them a bit of body language. The indicating gesture is an arrow that applies the caption to the person, and together they make a skeleton sentence that goes roughly: with time, this body. With time I became, you’ll become, we all become, like this body that you see. Old. It will happen. She carries a label. It’s a scroll, with two words written on it in Roman script - the consonants are big, the vowels squeezed in, and there are punctuating dots, as in a carved inscription. The words are “COL TEMPO”. “With time”, or, as we might say, “in time”. She doesn’t hold this label in her hand, but it seems to be attached to her. It’s tucked into her cuff, behind her hand. And with this hand she is pointing at herself.

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The Old Women

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The Old Women

The sleeping venus Potrait of young women laura (botton right) The tempest (buttom left)

Giorgione (1476-1510) is an enigma of an artist. Shortlived, almost nothing known of him, he left a small and uncertain body of work - much lost, much disputed - whose meaning is invariably perplexing.He is the founder of “Phase2” Venetian painting, the bridge from Bellini to Titian. His sacred scenes, nudes, portraits, human groups have an inscrutability that is possibly deliberate - an “open” art that makes the most of the image’s muteness, and the mystery of the human face, and invites the viewer’s fantasy. His picture of figures in a landscape called The Tempest is probably the most interpreted image in the history of art.The only other female portrait known to be by the hand of Giorgione hangs in the Kunsthistoriches Museum of Vienna.

A POSSIBLE SELF POTRAIT GIORGIONE (1470-1510)

Biblography

Biblography https://en.m.wikipedia.org/wiki/Napoleon_Crossing_the_Alps https://en.wikipedia.org/wiki/Jean-%C3%89tienne_Liotard https://en.wikipedia.org/wiki/Otto_Dix https://en.wikipedia.org/wiki/Quentin_Metsys_the_Younger https://artsandculture.google.com/asset/a-frankish-womanand-her-servant/NgGm3vmGzGH5xw https://www.khanacademy.org/humanities/becoming-modern/ romanticism/romanticism-in-germany/a/friedrich-monk-bythe-sea https://artsandculture.google.com/asset/monk-by-the-seacaspar-david-friedrich/KwEv_TMiJhn5kA?hl=en https://www.theartstory.org/artist/friedrich-caspar-david/ artworks/ https://www.independent.co.uk/ https://painting-planet.com/the-old-woman-by-giorgione/ https://www.theartstory.org/artist/giorgione/artworks/

BY CHELIKANI SRINIDHI SUMAIYA ALAM VANI KALYANI BULBUL ANAND