1. In Elisabeth Vigee-Lebrun’s picture of the Queen of France. Marie-Antoinette. in the late eighteenth century. the queen is shown sitting with her three kids in a formal gown at the border of the Hall of Mirrors. Colorss that were used can be described as fundamentally feminine—shades of ruby. cherry. velvet. vermilion. and salmon ; yet darker colourss were used in the cot of the eldest boy to portray his decease. From the colourss of the picture. the queen appears to be sitting on a glistening topographic point. but around her is a darker. gloomier colour that may portray danger to her and her kids.
Textures. on the other manus. look to be soft and feathery. which shows wealth and comfort. The lines in the background are parallel and horizontal. which points to her heterosexual. steadfast place in her place. The place of the queen and her two kids beside her signifier a consecutive cross beside the cot that looks like a cave. The eldest boy alive who points to the cot may look like the angel beside the cave where Jesus was buried. The boy was like stating. ‘You’re looking for my brother? He’s non here any longer but has gone up to the Father.
’ On the other manus. the eldest boy alive bases steadfastly entirely. which shows independency and strength…even at an early age. The steps in the background may intend political celebrity. but it was portrayed to be darker and more shadowy above. so that it would be best for the queen to be where she is—with her kids and her place ( please see painting in the appendix ) . Formal elements show that this good queen is a devoted mother—full of quiet dignity—by the manner the colourss. the textures. the lines. the forms. and the infinite interact with one another.
The whole scene portrays soundlessness. peaceableness. every bit good as acceptance—things that image her as a good and pleasant being. There is besides the intimation of wealth and extravagancy. particularly the portraiture of the Hall of Mirrors. In the overall. the picture is meant to give her a positive. submissive. and maternally aura. 2. John Singleton Copley’s picture of Paul Revere in 1768 is an illustration of a Rococo picture. The Rococo manner. which emerged in France. characterizes luxury. grace. and lightness. as seen in the picture ( Figure 2 in the appendix ) .
Copley used contrasting colourss like black ( as the background ) and white ( as Revere’s shirt ) to set more accent on the chief object. The lines. colourss. and objects are all simple. Lines. particularly in the caput and in the tabular array. are all analogues. which may indicate to neutralism and evenhandedness. It was said that Revere was “uninterested in political relations ; he wanted merely to be impersonal. which was non possible” ( Artchive. 2007 ) . The eyes. on the other manus. portray artlessness. cognition. and equity.
The textures used are all smooth and shiny. which may besides reflect luxury. It focuses on ‘carefree blue life’ . with direct mention on Revere’s being a silversmith—with a piece of silverware on his manus. He was portrayed with such extravagancy. as shown in the linen fabric. which at that clip was non yet available in America and could merely be imported to the land… every bit good as the aureate buttons that lay on his waistcoat.
However. the portraiture of ‘flowing linen’ could point—not to the linens of England—but to the production of a 100 ells of linen in America during that clip. which for Revere was something to be proud of. However. it is said that the picture is a kind of a ‘balancing act’ conducted by painter Copley ( Artchive. 2007 ) . particularly that he is about to get married one of the Clarkes who were proprietors of “the ill-famed tea concession” ( Artchive. 2007 ) .
The Ag teapot appears to be a big issue so. since merely their enemies—the Tories—drank tea ( the Whigs drank the Boston tea. which was a clout ) . Revere is shown as a impersonal individual who wears rich linen vesture. but which comes from his ain land. He is keeping a silverware teapot. which is one of his expertness. but points to the character of the enemies and to the concern of the Clarkes with which Copley is about to portion his life with. Therefore. Revere is impersonal. as he is unfastened to all.