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Compare Essay On Paintings

Comparison Essay Example – Principles of Art

Images (for sample essay):

Grant Wood, Parson Weem’s Fable, 1939Artemisia Gentileschi, Judith and Her Maidservant, ca. 1625

Amon Carter Museum, Dallas(Detroit Institute of Arts)


In comparing Wood’s Parson Weems’s Fable and Gentileschi’s, Judith and HerMaidservant with the Head of Holofernes, though the subject matter between both of them is very different, there some striking similarities in composition- looking at these elements yields a better understanding and appreciation of both works.

First, compositionally, both paintings are asymmetrical.While asymmetrical, both also seem balanced.In Judith…, the gazes and gestures of the characters suggest that there is something beyond the darkness on the left side of the composition- they suggest that there is more going on than what we see, providing a sort of implied balance.In Weem…, although the composition is asymmetrical, Wood creates a central focal point so deftly (as will be explained throughout) that the asymmetrical nature of the composition is not distracting, therefore it seems balanced.Additionally, Artemisia’s composition has a good example of tenebrism- it is overall, very dark, and Wood’s does not. Hierarchical scale helps Wood draw attention to George, the most important figure (and focal point).He is much smaller – by scale – than any other figure.Artemisia doesn’t use hierarchical scale.

Regarding viewpoint, Wood places viewers on the outside of a curtain that the Parson is drawing aside.It reminds me of a movie or theatrical production (which, indeed, the whole scene is a fabrication of Weem’s mind).This helps to portray the subject matter as just a fable.In Artemisia’s painting, viewers are in a very different position.It is as they are crouching near Holofernes’ heard with the maidservant- in a worm’s-eye-view perspective – thus adding to the sense of urgency in the scene- viewers become a part of the story, opposed to just looking at it.

Both artists, though using different techniques, create an illusion of depth in their works.Wood calls on strong diagonal lines (in the architecture) to draw viewers back into the picture plane.There is also a touch of atmospheric perspective (as the trees on the hillside see to get hazier as they recede into the background).Additionally, the background figures, (esp. the trees) get smaller as they go back – this suggests diminution in scale.One element that both artists use to create the illusion of depth is directional lighting. In Weem’s Fable, there are very obviously cast shadows created by the figures this suggests their three-dimensional quality and depth.The light seems to be coming from the lower left side in this painting.In Judith…, the light also seems to be coming from the candle on the left side of the composition.This illuminates any surface turned toward it, but leaves theirs in shadow, creating a strong chiaroscuro effect and sense of depth.Artemisia also calls on overlapping to create depth in her work – Wood uses it a bit where the cherry tree overlaps the father’s leg, but it much more prevalent in Artemisia’s work.

Both artists use line, both actual and implied, very effectively in their work.Wood uses strong curvilinear lines (in the curtain and the cherry tree) to frame the scene between George and his father- thus drawing attention to the central focal point.Similarly, there is a strong curvilinear line created by a curtain in the Artemisia work.Wood also uses implied line – through the parson and the father’s gestures to draw attention to little George.Again, Artemisia uses implied line as well to suggest that there is something or someone in the darkness on the left side of the composition.One use of line is evident only in Wood s the rectilinear line created by the building at the right side.

Finally, perhaps the starkest difference between the contrasts between these two works involves color.Artemisia uses a very limited palette for her painting.The rich gold and red hues are quite saturated and rich, whereas the purple worn by the maidservant is moredesaturated and less illuminated, and thus that figure is of secondary importance.The small amount of white on the women’s clothing create the brightest spots in the painting.Drastically different is the somewhat high-key palette used by Wood.He uses a range of color, from a very saturated red on the father’s coat, to desaturated shades and tints of the same color on the curtain and building. The dominant red and green tones, which are complementary colors, serve to intensify and unify the representations.George, in his stark white tunic, is the brightest character in the composition, again reminding viewers that he is the focal point.

When pulling all these elements together, viewers can begin to see how they can help the artist to convey their subject matter.In the case of Artemisia, the overall darkness, contrasted with the bright light from the candle lends to the dark, morbid subject matter, but the redeeming idea that the enemy captain is dead.In addition, the implied lines and gestures add to the sense of urgency in the scene.Finally, the white articles of clothing that each woman is wearing could suggest that even though they killed Holofernes, they are pure or innocent in motive.These are just a few of the ways that the art’s choices in technique and form help convey the subject matter.In Parson Weem’s Fable, the viewpoint (as discussed earlier) helps viewers to remember that the scene they are witnessing is fabricated.They are, in essence, watching parson’s fable unfold – I liken it to watching – a sit-com on TV.Also, Wood uses line very effectively to focus on young George – without the curvilinear frame and implied lines, one might not be drawn to the focal point.Finally, the generally high-key palette lends to a feeling of lightness 0 just as the Parson’s tale should be taken lightly.

Critically examining two works of art, and finding their similarities and differences allows viewers to better appreciate each piece and the choices that the artist made in its creation.

The views and opinions expressed in this page are strictly those of the page author. The contents of this page have not been reviewed or approved by the University of Minnesota.

Renaissance and Neoclassicism are two major periods in the history of art, during which different forms of art including architecture, painting, music, and visual arts significantly progressed. During these eras, many artists gained enormous fame as a result of the masterpieces they produced, reflecting how the ideologies and artistic philosophies evolved during that time. This essay compares and contrasts these two art periods with respect to the major works created by prominent artists. In this regard, the masterpiece David, created by Michelangelo has been compared with Antonio Canova’s statue Psyche Revived by Cupid’s Kiss. Both of these works reflect the artistic progression of their ages. David represents Renaissance art by reflecting the political situation of that time, whereas Psyche Revised by Cupid’s Kiss depicts the artist’s focus on classical Greek and Roman styles.

The Renaissance Era refers to a period of rebirth in art. It was a cultural movement that took place between the classical and modern periods of art (Johnson, 2005). During this phase, there were significant developments occurring within different art forms. The artists widely reflected the culture, social conditions, and political structure of their societies. They went beyond the boundaries of classical art, and created art with unconventional ideas, and depicted the political and social conditions of their societies (Earls, 1987).

Neoclassicism, also called the Era of Enlightenment, is the period after the Renaissance, during which artists mainly focused on exploring and recreating classical art, especially Greek and Roman styles. During this period, the artists widely emphasized reviving the classic antiquity that highly inspired the art pieces created during this period. It was in reaction to peoples’ opposition to Romanticism (Bietoletti, 2009).

There are some renowned artists who made major contributions in the emergence and development of Renaissance art. For instance, Michelangelo is a notable name in the history of art, playing a vital role in the fruition of Renaissance art. He was an Italian painter, sculptor, and poet who adopted several unconventional styles of art and significantly contributed towards the progress of western art during this period. He introduced versatility within the art forms, and created several masterpieces that truly represent Renaissance art by depicting certain social, cultural, and political issues.

An important creation of Michelangelo’s during the Renaissance phase was the marble statue of a nude standing male named David. The statue was made to represent the biblical hero David who was one of the most favored subjects within Florentine art. The statue David depicts the political situation of the country. With a warning glare in the eye turned toward Rome, the statue symbolizes the defense of the civil liberty of the Florentine Republic that was threatened by the surrounding powerful states during that time. The statue is an excellent and renowned example of the Renaissance Era because it reflects the political and social conditions of that time.

The Neoclassicism Era also gave birth to many exemplary artists (Chilvers, 2004), including Antonio Canova, who was an Italian sculptor from the Republic of Venice. His art pieces indicate the return of art towards classical refinement. His statue Psyche Revised by Cupid Kiss is an important example of neoclassical devotion to love and reflection of intricate emotions. The statue shows the love god Cupid at the heights of tenderness and affection, kissing the lifeless Psyche to make it alive. The statue reflects the Roman style of portraying delicate emotions within art, for which it has been regarded as an example of the Neoclassical Movement.



Earls, I. (1987). Renaissance Art: A Topical Dictionary, London: ABC-CLIO, 1987.

Bietoletti, S. (2009). Neoclassicism & Romanticism. NY: Sterling Publishing Company, Inc.

Johnson, G.A. (2005). Renaissance Art: A Very Short Introduction. Oxford: Oxford University Press, Jul 28, 2005.

Chilvers, I. (2004).  The Oxford Dictionary of Art. Oxford: Oxford University Press.

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