Comparison of Eugene Henri Paul Gaugins Brooding Woman (1891) and Essay

Comparison of Eugene Henri Paul Gaugins Brooding adult female (1891) and Gabrielle with Jewel Box by Auguste Renoir (1910) - Essay ExamplePainted in 1910, the reckon is oil on brush offvas, with dimensions of 82cms.high x 65.5cms. wide, and is held privately in the Ikira Collection in Geneva in Switzerland. When he painted it, Renoir was ugly from severe rheumatoid arthritis, as he did for the last 25 years of his life. His hands were so misshapen that the brushes had to be strapped between his fingers and band eras worn to collect the sweat and prevent infection. He could not abandon the original urge to paint and even direct the making of sculptures. He believed that this helped him to live as normal a life as possible, despite pain and deteriorating health.The subject here, Gabrielle Renard was his wife Alines cousin, and nanny to his children. She joined the family at the age of 16, and was the model for m both of his works. At the time of completion of Gabrielle with Jewel Box, she was 32 years old. The style of the image captures the essence of the Impressionist movement, though late in his career it still embodies the translation of light into color, expectant a shimmering, atmospheric effect. It is said that he had moved on from the open air paintings which were a signalize feature of the Impressionist movement, where nature was captured and atmospheric conditions portrayed. This picture would seem to confirm that idea. This is something it has in common with the fair sex in Gaugins work under discussion. Not that it is not essential. On the contrary, there is something totally real and easygoing about this young woman in half-undress that speaks of the realism and desire for things to be painted as they were natural and unimpeded by imaginary additions, just the unadorned truth of what the artist perceived. This premise may be applied, in part, to Brooding Woman. In order to achieve the effects mentioned earlier, Renoir used only certain col ors, and as can be seen, little darkness is present to represent shadows in the background. These are merely suggested by concentrated and definite color in the foreground. There is chrome yellow, silver white, cobalt, and ultramarine in the necklace she wears, then cinnabar and rose, in fact all the colors of his palate. As in the Gaugin, the girl is the focal point, placed in spite of appearance a basic triangular composition, with the arms balanced in such a way as to create a moving elliptical shape. Yet there is nothing angular in any aspect of this three dimensional construction, all is gently curved from her face to her fingers, breast to jewelry box. The round curving movements are repeated further in the tables leg and front, the mirrors side and Gabrielles hair, shoulders and legs. The positioning of the arms draws perplexity to the detailed objects she holds, a flower to pin in her hair, a jewel to be chosen from the box on her lap. The short, sharp brushstrokes, wh ile creating a luminescent light in the detail of jewelry and beautify dressing table, bring the gown alive, as if it were made of feathers or delicate lace. It suggests luxury, something which Gaugins woman is totally without. The darkest sections of the picture serve as complementary colors which give the whites, reds, golds and oranges a further vibrancy. Gaugin achieves the same effect, but with more(prenominal) definite use of dark against light. The most outstanding aspect