A Comparison Between The Works Of Amedeo Modigliani And Jacques Villon :: essays research papers

Italian-born Cubist puma, AmedeoModigliani (1884-1920) and the French, Jacques Villon (1875-1963), some(prenominal)painted vibrant and expressive portraits during the early twentieth-century.In this case, the chosen portraits be Modiglianis Portrait of Mrs. Hastings,1915 and Villons Mme. Fulgence, 1936. some(prenominal) of these compositions are portraits.Nothing is of more importance than the brood hen herself. The female sitterin Modiglianis temporary hookup, sits in an almost dizzying pose with a twist inher elongated neck (a Modigliani trademark), a stylized and mask-like headand a columnlike neck. All of which give the sitter a blank andashen expression. She looks at the viewer, head-on with a most piercingair in her eyes. In Villons case, his female sitter has been createdsolely with the lend oneself of layered wrings and a very random synthetist outlinetechnique (a similar technique the post-impressionist painter Gaugin used).Modigliani outlines his figure moreso in bl ack than Villon.Mme. Fulgences age is understood by the noticeable dynamic colour qualitythat has been used to break her face apart. In a way, these colourfuldivisions act as wrinkles. For instance, the chunk of layered criticiseon her lip creates a scowl and the heavily applied uncontaminating on her nose helpsit to seem upright a snobbish upturn. Colours much(prenominal) as the orange,have been used to highlight her left cheek and sole(prenominal) visible ear.With these effects, the viewer sees Mme. Fulgence as a very proper andposh (if you will) woman. saddle sore is only a common linkage withthe other attributes. Modiglianis Hastings on the other hand seemsto be an intense woman of a condole with nature. Both of these pieceshave relied heavily on the expressive and wild use of colour to createemotional expressions and unerring form.Both of these portraits are created employ oil paints--Modiglianis on cardboard and Villons on canvas.The most important segment that draws th eir work away from the mainstreamis their heavy application of paint. Although they both apply theircolour liberally, Modiglianis strokes are thick, jagged, and for the mostpart random. His brushstrokes are also particularly long, whereasVillons are short and brief. Modigliani uses monochromatic huesof red to create the prominent colour of the piece and like Villon, hehas used a very vague terra firma to express the importance of his sitter.Colour is of equal importance in both pieces as it draws the viewer inand allows the viewers eyes to be brought around the piece. Modiglianihas teardrop his background from top to bottom, using red and strokes of burntsienna at first, hence an auburn and deeper red for the bottom.