My Kid Could Paint That

Richard R. Brettell, author of Modern Art 1851-1929, depicts Pissarro as a dedicated painter of traditional rural life. However, the author also explains how the artist, an anarchist, differentiates himself in the category of rural depiction because of his use of urban art techniques. Brettell explains the artist as seemingly a perfectionist and possibly insecure because Pissarro painted this three times before finally selling it. I believe that Pissarro excluded the sky from this work to remove the subjects from the natural setting and more so resemble a factory as they hunch over in the heat exhaustedly. 

Critics and the public adored Marie-Guillemine Benoist's Portrait Of A Negress when originally shown because of its unique subject. The subject, a black woman, is shown with draped fabrics to cover herself yet leaves her breast exposed. Despite the more plain background, the chair and accessories, such as her earrings, indicate a somewhat wealthy setting.

The praise also came because the painter was a woman, which was unusual for the time. When a painter (male) paints a black female, it is seen as a type of objectification. However, Benoist depicts a genuine relationship between the subject and painter because their bond over their gender and struggles because of it which in a way overrule their differences in race and wealth. This rare relationship probably derived from Benoist's opinions, which developed from her childhood as the daughter of a civil servant in Paris.

Benoist married a public supporter of royalist causes, creating problems with judgement from critics and the public. At the height of her popularity, she resigned to focus on advocating for women's rights especially during the rise of conservatism in Europe.

This painting reminds me of "Still I Rise" by Maya Angelou. Every line applies, however most preeminent are "You may write me down in history with your bitter, twisted lies... Did you want to see me broken? Bowed head and lowered eyes," "Does my sexiness upset you?...Still, I rise."

BY KAELYN ROSS

Jacques-Louis David, the most preeminent painter of the Neoclassical Era, painted The Intervention of the Sabine Woman (also know as The Rape of the Sabine Women) after being released from jail in 1799 after the fall of his beloved friend, Robespierre. His wife, visiting him in prison, inspired him to make this, and he decided to align himself with yet another ruler -- Napoleon. 

Dear Owen,

I admire your curiosity, especially of art. Every time I begin the process of a new painting, you question the techniques and concepts even once completed. You always offer your help whether it be with ideas, painting, or cleaning. You, a seven year old, make me see my own art and others' differently. 

You will not only like this piece for less mature reasons such as the vibrant colors and abnormal depiction, but also for how it makes you feel. You empathize and have an insatiable desire to help others and to keep everyone happy. When I see this picture with you in mind, I see the subject as myself, feeling anxious and upset. I know that I can depend on you to always give me a hug and ask about my day because you genuinely care about my feelings. You have the ability to change any bad day into a better one and manage to end it on a happy note. I felt that you would appreciate this painting because of all of the techniques and abnormality in order to express movement and emotion. You inspire me. 

Watteau painted this life-size portrait, which he originally titled Gilles, using oil paints. A museum later changed the name to Pierrot, meaning actor or buffoon, to help others relate to the work. Many critics appoint Watteau as the pioneer of Rococo painting,  and his work ischaracterized with faded colors and details, soft lines, and common themes of youth, love, and nature. Despite the cool tones and depressing expression on the subject's face, the painting leaves me feeling content despite the obvious story.

The subject is assumed to be the artist, sad because his lover left him for another man. The natural lighting in the scene directly shines primarily on the subject and then on the other people. The bright white draws the eye to the centered subject surrounded by the circular composition which the subject and some trees intercept. 

The background is lighted much darker than the rest except the sky. The people in the foreground show movement with the wind and their actions. On the left, another clown rides a donkey while the boss, on the right, instructs them. The two lovers watch the secondary clown and the subject appears ignored. I initially looked at the subject's uniform, and then at the secondary people, adding to the concept of people ignoring the subject through his face and expression. Overall, I enjoy this painting because despite its sad story, it remains an aesthetically appealing painting that leaves me feeling carefree as opposed to stressed.

By KAELYN ROSS

Oh, Bacchus. You know my one weakness -- the way your pectoral muscle defines your masculine chest. My eyes immediately focus on your suggestive yet elegant torso. After appreciating that area, my eyes wander to your flawless, hairless arm pits. The shadows created by your muscles pull me in continuously deeper into that arm. But, no! Not yet. I pull myself out of it because I know that your biceps also require praising.

Your protruding ivory collarbones guide me on a journey to your superbly highlighted shoulder. I trail down your forearm to notice your hand as it gently pinches the draped sheet that unfortunately covers the rest of your chest. The surplus of your off-white linen sheets swathes a tainted pillow, which is kind of gross. I am willing to ignore it for all of your positive aspects.

Your flamboyant headwear that your mother probably made for you from findings in the background truly captures how greatly you value family. Aw. I admire your courage to spray tan only your face, beautifully defining your jawline. You obviously are staring at me, giving me that signature smolder. And the eyebrows, of course! The framing of the whole face. They say that eyebrows are sisters and not twins, but oh my, I beg to differ with yours.

That hair... Those curls are like millions of little arms reaching out to embrace me. This photo is obviously him asking me out. Yes, a million times YES!

By KAELYN ROSS 

Diane Arbus began her career as a fashion photographer and had a husband and two children. However, her dissatisfaction with her work of perfect individuals led to her quitting her job and divorcing. She began photographing those on the margins of society, suc as transgenders, crossdressers, dwarfs, nudists and so on. All of her photos were black and white because of the limited technology in her time, but I believe that she would have still chosen black and white to suppress aspects such as race because of her desire for equality in sex and race. Her photo, Transvestite on A Couch, showcases a "male" who identified as a female. This statement seems common now, but many people were oblivious to the transgender community and she argued for it alone.

Her style often includes a large part of a solid background with the subject centered in a pose. When I first saw this piece, I thought it was just a women casually lounging in her home until I read the title and noticed more. Her titles often claim a name for the subject, changing the viewers opinions. The person in the photo appears very put together with the hair do, makeup, jewelry, and clean house but has relaxed body language. She uses the contrast of the shadowless wall to the subject in addition to the harsh vertical and horizontal lines on the walls that complement the softly curved human body. This photo's context plays a vital role in understanding her artwork as one of the few advocators of this group.