Comparison of Adam and Eve and The Blacksmith Cupids - Essay Example

Comparison of Adam and Eve and The Blacksmith Cupids The two above figures are paintings Adam and Eve and TheBlacksmith Cupids which are both found at the Dallas Museum of Art. They are both oil paintings done in almost the same period by different artists. They present similar attributes such as the materials used in addition to the techniques, but differ in some such as the presentation offered by the framing and other finer details included in the compositions. However, their biggest similarity is that they are unique dominant works which can be defined as interesting masterpieces, and which are pleasing to both the eye and feelings of the audience. Their comparisons will be detailed in the following sections. The Adam and Eve piece is oil on canvas painting done by one Jean Francois Troy, a French artist who was the principal painter of King James II. Its creation time is estimated period 1718. Its overall dimensions are 99.06 centimetres by 64.14 centimetres making up a rectangle in a portrait orientation. It is currently on display at the Dallas Museum of Art where it hangs at normal eye level. Owing to it being hung on the wall, viewers can only access it from the front. Although not confirmed, the Adam and Eve painting was possibly inspired by the Christian-themed paintings of the Renaissance period who drew inspiration from the holy bible. This particular painting was based on the creation story from the book of Genesis, which defines the origin of the world from a Christian perspective (Dallas Museum of Art n.p.). In the Adam and Eve, there are two human figures of a male and a female in close embrace wherein the man is seated on a mound of earth with the woman standing to his right side with her left arm hanging around his neck. Her right hand is held in the man’s right hand and she is staring at the man straight in the face as she seems to push a fruit into his hand. The man is staring back at her and seems to be explaining something to her. This is shown by his left hand, which is pointing upwards and outwards from his body. Behind the two human figures is the figure of an animal, which is a cow. It is overlapped by them, and is facing towards the far background, away from the viewer and in an opposite direction to the two figures. To their right and below them are two animals, a dog and a lion. To their left there are three animals; a cat, a sheep, and two cows. In the midground centre and behind the two figures is a densely leafed tree which is in fruit. In the background there are distant blue hills meeting the sky. The use of line is perfect as they work to subdivide the work into the foreground, midground and background. The foreground starts from the bottom line of the frame and ends just behind the figures where a diagonal line to the left cuts between the red earth and some water mass. The midground runs from here and extends until a diagonal line (the Horizon) cuts across the work, and this is where the sky begins (background). Lines are also used to define the anatomies of the two figures wherein the woman’s hair and curves, plus the man’s muscles and body curves as well show this. The lines can thus be said to create harmony. When it comes to forms, the artist brought them out perfectly by observing proportion of all the constituent elements. They are constructed in ways that give them three-dimensional perceptions by the artist’s use of tones (shades and lights). This applies in the woman’s breast, her face, and arms, as well as the man’s muscles, face, and his strong thighs. The same applies to the animals, all of which appear healthy and “full” owing to the creation of forms that make them appear plump. Texture is highly used in the entire work. It begins in the foreground, on the earth below the figures’ feet. By making use of colour variation and differing tones, the textural feel of soil particles is achieved. The bodies of the two figures are flawless owing to the use of a single graduating colour making their skin look smooth and shiny. The animals also have the “furry” feel as the use of lines and tonal variations cater for this. The trees and bushes in the composition also leafy and rough, and the fruits have shiny, smooth appearances, plus where the barks are visible; they have the “hard” and woody feel. Finally is the use of color’s tonal variation which works to give the piece depth and a three-dimensional look. The earth at the foreground is dark and gets lighter as the eye progresses towards the background, the bushes are darkest in the inner parts of the trees, and the sky’s darkness graduates as one moves up towards the upper frame. The main color (brown) is used on most of the forms, and this gives the work a feel of unity. Finally, the variation of the color’s shading is what gives the forms a 3-dimensional appearance. By highlighting some areas and darkening others, such as the woman’s breasts and man’s knees, the 3D look is achieved. The placement of the constituent elements is symmetrical as an imaginary line drawn vertically between the painting gives two equal parts. The Blacksmith Cupids is also oil on canvas and was done by one Charles-Antoine Coypel in the estimated period around 1715 to 1720. It is said to have been a gift commissioned to Coypel for a couple, Mr. And Mrs. Thomas Campbell, but the commissioner is unclear. It is enclosed within a circular frame measuring 43.2 centimeters in diameter. It today hangs at the Dallas Museum of Arts, at eye level. It is visible from the front as it rests on a wall. There is no hint regarding any earlier copy of this art piece, but it depicts a theme of the Renaissance artists, that is cupids (Dallas Museum of Art n.p.). Within the circular frame is a centralized composition consisting of seven cupids (small winged babies) all of whom seem engrossed in different activities. The foreground has a plain floor upon which a pair of the cupids is toying with a rod-like item and some boxes. In the midground to the left is a lone cupid looking down at his lower thigh with a smile on his face. To the right is another pair of cupids who are playing with some items played on a wooden carved stool. Between and above them is an airborne cupid holding an arrow in an upraised hand, and is staring at a larger figure to their furthest right. This lone figure is leaning forward with an outstretched arm dipped in a bag with some flowers. The figure is staring at the six cupids with a smiley face. The most outstanding element here is form. The first thing that captures one’s attention upon staring at the composition is the perfectly done bodies. They are right in proportion and adhere to anatomy. They protrude and sink where they have to, and every object in the composition appears stable. The construction of the forms is made better by the variation of tones which fade or darken with respect to the light’s direction. The artist used contrast to create lines which define the outlines of the forms. This is evident on the foremost cupids’ feet, which contrast with the dark floor, giving a clear, distinct outline. Texture also dominates the painting, and although much of it originates from the canvas, Coypel also included his own. One, the bodies of the cupids are smooth as the color was applied uniformly. In addition, the muted use of colors created a harmonious overall feel. The pieces of garment in the composition appear shiny and silky, this done by varying the tone of the colors. In the background which appears leafy, the outlines of the bushes are rough as leaves overlap and vary in color intensity. The use of line is also interesting in that apart from enclosing shapes and creating the overall forms, they direct the audience around the composition. For instance, when one looks at the foremost cupid, the direction of the arm takes one to the next, whose head direct one to the next, a pattern which repeats itself until the larger figure is reached. As such, harmony and unity is created. The curvy lines creating the cupids create a rhythm as they flow into each other. Most noticeable is the inner circular frame line which encloses the work and directs the eye round and round the forms. This, together with the centralized composition creates a symmetrically-balanced painting. Work Cited "Dallas Museum of Art - Collections." Dallas Museum of Art - Collections. N.p., 2014. Web. 23 Apr. 2014. Read More