Works form the MET. Analysis and comparison of either two paintings.
This paper is an analysis and comparison of either two paintings or two sculptures. The two artworks should relate to each other, have something in common. Identify the objects, its dates, medium and if known, the artist's name. What was the goal of these works? Was it religious, secular or for the court? How was the work used and what was it's context? What was the common lineage or influences for these objects? If from different countries, how are the differences in technique, conception and overall approach? Did these individual artist reflect the politics or aesthetics of their time, and if so, how? Is there a personal or eccentric approach, which departs from convention? What is the subject? How is it formally organized? Describe it in relation to how a viewer might perceive or read the piece. How does the organization of the picture help to communicate the meaning? How are light, space and scale used? What and how are the materials used? Is there anything unusual about the piece? Any personal theories about the content or how it was executed? And what is your overall impression, or response?
WORKS FROM THE MET
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Abstract
A research paper dwelling on two classical Japanese paintings-Woman in a black kimono, 1783-89 and Beauty of the Kanbun era, late 17th century. The paper explores the various similarities between the two paintings and how they impacted society.
WORKS FROM THE MET
Painting has been an old practice exercised by various artists to address their societies' political, social, cultural, and economic challenges and achievements. Classical Japan was quite diverse in its socio-cultural setup. Numerous artists arose from this Samurai entangled political leadership. There have been multiple artists in the Japanese culture, notably Kitagawa Utamaro (1753 – 31 October 1806), most often referred to as the godfather of Japanese art. Most artists of the Edo era (1603-1868), the foci of our painting analysis, heavily borrowed from his works. He was one of the pioneers of ukiyo-e woodblock prints and paintings, and the design of -"large-headed pictures of beautiful women" of the 1790s, a style famously dubbed bijin ōkubi-e .
The two paintings illustrated, both from Edo (modern Tokyo) era, exhibit several similarities in relaying the message as much as the media they occupy. At the beginning of the 17th century, Edo became the Tokugawa shogunate's seat (Japan's feudal military government of the Edo period from 1600 to 1868). There was a hierarchical leadership system in the Edo shogunate and various social classes. As the city experienced rapid economic growth, the merchant class, at the bottom of the social order, benefited exponentially from the development and began to frequent entertainment spots of kabuki theatre, courtesans of the pleasure districts, and geisha. The painting genre ukiyo-e (floating world) was coined to describe the lifestyle. The merchant class, who had now become wealthy due to the booming economy, influenced the emergence of the ukiyo-e genre of painting in the late 17th century. They gladly decorated their homes with paintings in droves.
Both paintings, Woman in a Black kimono and Beauty of the Kanbun era, depict young and beautiful women in stylish cultural clothes. It is a culture intrinsically engrained to appreciate women and a high sense of fashion and originality in Japanese. Woman in a black kimono represented an elegant woman with a stylish hairstyle draped in an expensive garment, perhaps to elaborate her social class status, while posing in a blank background-intentionally to let the viewers concentrate on the Woman and not any distraction in the background of the painting. The Bea...