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This comparative study explores the body positioning and formal elements of three iconic artworks from different time periods: 'girl with a candle' by zinaida serebriakova, 'girl with a pearl earring' by johannes vermeer, and 'autorretrato dedicado al dr eloesser' by frida kahlo. The analysis delves into the use of color, texture, shape, and composition, highlighting the unique artistic approaches of each painter. The document also provides insights into the cultural contexts and intended functions of these works, offering a comprehensive understanding of the evolution of artistic practices and the significance of these masterpieces.
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Girl with a candle Artist: Zinaida Serebriakova Year: 1911 Autorretrato Dedicado al Dr Eloesser Artist: Frida Kahlo Year: 1940 Girl with a pearl earring Artist: Johannes Vermeer Year: 1665
COLOR Vermeer utilized the following colors in his palette: vermillion and red lake, lead- tin yellow and yellow lake, ultramarine and indigo, charcoal and bone black, and finally lead white. The use of a wide range of colors in the artwork demonstrates his passion of color. The use of yellow and brown colors can reveal information about her personality or socioeconomic standing. The paleness of her complexion tells us about the time period of the art piece. SHAPE Pearl earrings: Shape resembles a tear drop. This addition of jewelry to the image carries a feeling of commonality to the Dutch public— underscoring Realism. It likewise has a meaning of vanity — accentuation on the impermanent, material things and passing moments. Vermeer could be trying to suggest that “time flies by”. The earring seems to be suspended near her ear. It suggests some type of flow of sorrow, some type of freeness that is still bound by the folds of misery. TEXTURE Vermeer created an illusion of texture by using small black dots. Blue dots dapple the surface of the headscarf and yellow dots on the yellow jacket. Under microscope, it is seen that some dots overlap. These double dots further enhance the three-dimensional effect. COMPOSITION Simple. Here, the subject is a simple head of a girl looking over her shoulder at the audience. There is no hint of the setting, other than its atmospherically dark tone. The unusual direct contact between the subject and the audience /spectator presents a sense of immediacy to perhaps imply significant intimacy. VALUE The artist has employed value to create a contrast between light and dark. The contrast brings emphasis to the face structure by defining it. Because the left side of her face and turban are the lightest, while the right side of her face, turban, and clothing are the darkest, the light appears to be coming in from the left. LINE Line is utilized to outline and give detail to this painting. The subject's cheekbones are defined using line, creating contour and sharpness. Line is also used to form the folds on the headpiece and garment which furthers the realism aspect of this artwork. SPACE The girl is surrounded by a dark, solid, and flat space. There are no light spaces, and there is no pattern. As a result, the juxtaposition of the highly contrasted body against the flat space behind the girl draws the viewer's attention to the girl's figure. FORMAL ANALYSIS – Johannes Vermeer
There are a lot of various shapes in this piece of art. Her brows, oval facial shape, and foliage in the background are the more prominent shapes that are simple to notice. Earring : Picasso gave her an earring in the shape of hands when she was in Paris. It can imply both mental and physical amputation.
Line is used heavily in this artwork. It is used to create texture on her garment, her hair, as well used in the background. Line is used, in the background, to form the shape of the leaves and the branches.
There is minimal use of value in this artwork. However, value is used to contour Kahlo’s face and add definition to her features. Besides from that, the garment involves the use of value to create the folds, to interpret actualities of that aspect in life.
The folds in the clothing she's wearing add dimension and texture to the scene. The shading of the leaves behind her adds depth to the image. Furthermore, the sky above is made to looks cloudy using hues of grey and white which therefore adds depth and dimension. COLOR Frida Kahlo commonly uses vibrant Mexican colors such as green, yellow, red. However, in this artwork the vibrant colors are minimized to one area, the flower crown. Other than that, the rest of the artwork includes moody green tones and earthy hues, no vibrancy, which suggests juxtaposition. The use of contrast between moodiness of the foreground and lightness of the sky and flower crown, color wise, can easily suggest the lightness signifying her love towards her culture and the moodiness to her not so easy life.
The leaves behind are crowded and not overly detailed which does not take away from the main subject of the artwork, which is the artist in the center. She is surrounded by those leaves as well as branches, and an overcast sky. Since this artwork is fairly busy, the only space where it is quiet and serene is in the overcast sky. As a result, the painting is balanced , as the bottom half is active and the top half is quieter. FORMAL ANALYSIS – Frida Kahlo
Vermeer’s work focused on domestic interiors. He painted images of the wealthy and of the working class, ranging across society and capturing intimate moments in his precise, studios style. The painting is a study of a female head, rather than a traditional portrait. This artwork has no official story behind it however art critics have made their assumptions. FUNCTION AND PURPOSE – Johannes Vermeer The mystery of the painting is its most appealing element. Several theories have been advanced regarding the identity of the "imaginary" girl seen in the artwork. Before I get into them, I'd want to claim that Vermeer intentionally created this work of art with a shock value in order to perplex the observer. Despite the fact that the picture is labeled as a "tronie painted in the Turkish manner," the girl in the painting is not a Turkish beauty. Vermeer fashioned her as an exotic Turkish woman out of a Delft girl. The turban adds an eastern taste to the painting, thus Delft girls would not have worn headdresses like this, but the 'jacket' or attire would have been worn by sophisticated Delft women. 1] One historian suggests that the mystery girl in the artwork is Vermeer’s eldest daughter, Maria, even though many Vermeer scholars dismiss that notation as a Romantic anachronism [a projection onto an earlier period of a modern view of art as a reflection of the artist’s circumstances]. 2] A novel written by Tracy Chevailer, provided an alternative, fictional answer; she was the family maids assistant, named Griet who was a 16 year old Dutch girl, who then becomes Vermeer’s mistress/love interest. In the novel, the artworks subject [the girl], Griet, is characterized as calm which helps her in her household duties, but also attracts the painter’s [Vermeer] attention. This novel is then transformed into a movie.
Location: State Russian Museum, Saint Petersburg Medium: Oil paint Dimensions: 72 x 56 cm Style : Art Nouveau https://www.wikidata.org/wiki/Q The Girl With a Candle, Zinaida Serebriakova, 1911 Zinaida Serebriakova was on December 10th, 1884, on the estate of Neskuchnoye near what’s now Kharkiv, Ukraine. She was born into one of the more refined and artistic families in the Russian empire. She belonged to the artistic Benoit family. Her grandfather, Nicholas Benoit, was a famous architect, chairman of the Society of Architects and member of the Russian Academy of Science. The majority of her family members had artistic abilities and were devoted to them. From her youth onwards, Zinaida strove to express her love of the world and to show its beauty. Her earliest works, Country Girl (1906, Russian Museum), speaks eloquently to this search, and for her a cite awareness of the beauty of the Russian land and its people. FUNCTION AND PURPOSE/ CULTURAL CONTEXT – Zinaida Serebriakova Zinaida Serebriakova was a Russian painter who was a member of the "World of Art" movement and a representative of neoclassicism, realism, and impressionism. After the Russian Revolution, she moved to Paris. Zinaida was born with the ability to live " two lives ." In the first, she was a descendant of an artistic family, a joyful beloved and loving wife , a mother of adored children, and a gifted artist who broke into Russian painting with a self- portrait in front of a mirror that seemed to concentrate happiness, fulfillment, and love of life. In her second life, she was a widow separated from her children, bending over backwards to earn her daily bread, seeking to find a place in a foreign country, having lost interest of her beloved homeland, torn apart by anxiety and devoured by hopeless longing. WORLD OF ART [Mir iskusstva] An art magazine functioned as the manifesto de facto for an artistic movement that had a huge influence on the Russians who helped transform European art in the first decade of the twentieth century. The magazine was started in 1899 with the goal of criticizing the obsolete Peredvizhniki school's low creative standards as well as advocating artistic independence and other Art Nouveau principles. The Peredvizhniki were essentially the first private commercial art initiative, free of state patronage. They rejected the Russian Academy's limited and foreign-inspired classicism in favor of a new realist and nationalist art. Carnivals, dreams, and fairytales were among the things that these artists were most interested in. The objective was to turn painting into a magical experience. EXPRESSIVE AND CONCEPTUAL FUNCTION Zinaida’s fate was not easy; the death of her husband, emigration, separation from her children, two of them whom remained in Moscow – all these things influenced her work. However, despite that, from the very first picture to the end of her creative path, her art is dominated by brightness, admiration for beauty, and love for the world. Although she didn’t just paint for the sake of earning money, she moved to Paris in hope it would bring in more portrait commissions to support her mother and four children back home. Meanwhile, she still prioritized her image of showing off her love for the world and its beauty. Research shows there is no official purpose behind this artwork. In my opinion, this artwork screams innocence and independence. In a basic sense, walking through a dark tunnel or down a dark corridor can sometimes be frightening so since in this artwork it seems as if she is peaceful and understanding, it shows off her independence and perhaps maturity. Furthermore, her posture and facial expression shows her off as peaceful.
CULTURAL CONTEXT – Johannes Vermeer Vermeer's choice of subject matter was critical to his understanding of art. It is wrong to think that he painted for the sake of painting and that the subject matter is secondary to aesthetics. His subject matter is limited, yet it provides a pool of pictures that allow him to dive deep and play with universal feelings. Johannes Vermeer was a Dutch Golden-Age painter best renowned for his Delft works, including 'pearl picture' such as 'Girl with a Pearl Earring.' On October 31, 1632, Vermeer was born in Delft, Netherlands. For generations, his paintings have been a source of inspiration and curiosity; nonetheless, much of his life remains a mystery; following his baptismal record at a local church, Vermeer appears to vanish for over 20 years. Girl with a Pearl Earring is an oil painting on canvas. The work permanently reside in the Mauritshuis museum in The Hague. It depicts an young woman in exotic dress and a very large pearl earring. She wears a blue and gold turban, titular pearl earring, and a gold jacket with a visible white color beneath. Unlike Veneers other works, she is not focusing on a daily chore and is unaware of her viewer. Instead, it looks as if she is caught in a fleeting moment, she turns her head over her shoulder, meeting the viewer’s gaze with her eyes wide and lips parted as if she’s about to speak. Many critics consider the Girl with a Pearl Earring to be a portrait, while the majority of people believe it is a tronie. A tronie is a study of a living model's facial expressions. Vermeer created 36 paintings, many of which featured lone ladies performing everyday duties like as pouring milk and writing letters. But, we have no notion who those women are. Location: Mauritshuis, The Hague Medium: Oil on canvas Size: 44cm x 39cm Style of art: Dutch Golden Age https://en.wikipedia.org/wiki/Girl_with_a_Pearl_Earring Girl with a Pearl Earring, 1665 The new disclosure of significance on reason was an explicit feature of this time. During the time of critical painters such as Vermeer and Rembrandt, Rene Descartes wrote the Discourse on Method. Because of the shifting focus of art to Realism, the concept of reason was critical to the realm of handicraft. Subjects were no longer merely strict or documented events, but rather common day-to-day existence occurrences. In today's art world, the notion that the worth of a painting is judged by its subject matter is a far-fetched notion. Theoretically, the idea that little life events, such as those described by Vermeer, may be used to create great art had not yet been established. The conceptual distinction between art generated by an intellectual endeavor to depict observable things (imitare), and that which just consisted of replicating a certain appearance (ritrarre) was the foundation of classist subject matter Dutch Golden Age^ hierarchies. Vermeer was a late bloomer in the art world. Despite painting outside the traditional historical painting idiom, which had been abandoned by most Dutch painters, he embraced the main theoretical precepts of European art and strictly adhered to his school's common technical approaches. One of the most notable differences between traditional and modern painting procedures is that painters in Vermeer's day rarely utilized "direct painting" (alla prima), in which the eventual color, form, and lighting of the piece are faintly registered from the first touch.
FORMAL ELEMENTS COMPARE & CONTRAST Girl with a candle, 1911, Zinaida Serebriakova Girl with a pearl earring, 1665, Johannes Vermeer Autorretrato Dedicado al Dr Eloesser, 1940, Frida Kahlo Space: There is negative space in all three paintings, which draws attention to the main aspect of the art piece itself, the woman. Vermeer and Serebriakova : However, only in both of them is the negative space dark. Both used dark backgrounds to focus the viewer's attention to the fair-skinned person in the center. Color: Kahlo and Vermeer: They both implement the use of golden earthy tones on the clothing in comparison to the “Girl with a candle”, where she’s wearing a white sleeping gown. Vermeer and Serebriakova use quieter and more muted colors. Composition: All: All three artists exert influence over the audience's attention through the implied central composition. The three women are all placed in the center of the canvas to underscore their importance as the painting's focal point. The juxtaposition of the foreground and backdrop emphasizes this. Shape: Kahlo and Vermeer: The shapes in all three paintings are similar. In comparison to Serebriakova, both Vermeer's and Kahlo's women have oval facial forms. Serebriakova’s face is more trapezoidal in shape.
Color: Serebriakova: In comparison to the other two artists, her color choice for her art piece is limited to two minimal colors: white and brown tones. Kahlo: Kahlo employs the widest range of colors. She employs a variety of vibrant colors and hues on herself (as seen in the flower crown, dress, and makeup) as well as in the nature in the background. Texture: (background) Vermeer: In Vermeer’s backdrop there barely is any evident texture, compared to the other two artworks. Texture: (clothing) All: The use of texture in all three of the woman's outfits adds aspects of realism and depth to the works. Line: All: Line is heavily used throughput the paintings, and is used for so many different purposes.
CULTURAL CONTEXT COMPARE & CONTRAST A period in time in the history of the Netherlands, in which Dutch trade, science, and art were among the most acclaimed in Europe. During that time, art took independent directions, developing an emphasis on secular subjects, emphasizing human life. Although Vermeer’s other art works are of women performing daily duties, this artwork does not. (The Art Story Foundation) Dutch Golden Age (1609-1713): Serebriakova, along with other students, formed an artistic group founded in 1898. They aimed on promoting artistic individualism and other principles of Art Nouveau. The group promoted understanding of the art of previous epochs, particularly traditional form art and 18th^ century rococo. (“World of Art - Russian Art Movement and Magazine Mir Iskusstva - the Art History Archive”) World of Art Movement: Began in 1910 when Kahlo was 3 years old however Kahlo, later, claimed that she was born in 1910 to directly associate her with the revolution. (“BIOGRAPHY of FRIDA KAHLO”) Mexican Revolution (1910 – 1920): After the Mexican revolution, art was seen everywhere. Mexican Mural movement: Following the Mexican Revolution, the government financed a sort of public art, notably large-scale wall paintings in civic buildings. Out of a host of Mexican artists, three stood out as the most recognized and prolific, earning them the moniker " los tres grandes ." One of them was Kahlo’s partner, Diego Rivera. (Mann) Both of the artworks were done during similar time periods. Both artists were motivated by something that had happened, whether it was to the country or to the art of the country. Painted by women who have suffered physically and mentally. During times where there was promotion of going independent directions and artistic individualism.
