Portraits Of Ingres And Reynolds :: essays research papers fc

The portrait. A single person immortalized forever on canvas. At first glance, you only see the subject. With a more analytic eye, though, you not only see the image but you begin to happen upon the voice of the painter and of his cartridge clip. This is what I hope to do, to scent and understand the oral sex of the painter Ingres when he painted Louis-Francois Bertin and Reynolds when he painted General antic Burgoyne. In the portrait of Bertin, Ingres has captured on canvas a globe who has neer been pampered in his life. You feel by looking at him that this is a man who has worked for everything that he has ever received in his life. Why do you feel this, though? Lets begin with the modify chosen for this piece.The chromas revolve around embrown, giving you the impression of something very down to earth. The stress of the painting is basically one solid brown. Bertin occupies the whole bottom segment of the painting, with nothing of his body going above three-fourths of the canvas. He is the ground, at a lower place even the earth tones of the background. He has on a black suit, brown vest, and white shirt, as well. These colors working together allow you to unclutter certain assumptions about him. He looks like a working man, which he was. Louis-Francois Bertin (1766-1841), was one of the great leaders of the French upper middle class, a businessman and a journalist (Rosenblum, 134). This would explain the one striking color in the piece, the red.Bertin is sitting on a red cushion, red organism a color classically associated with royalty. This could be a commentary on Bertins life on a whole. His journal, the Journal des Debats was a strong supporter of liberal journalism in a time when France, the monarchs from the self proclaimed Napoleon Bonaparte to King Charles X, wanted the excrete of an absolute monarch in France. The people were not happy with this and Bertins newspaper spread this displeasure. Bertin was even exiled for a period of time by Napoleon Bonaparte for his royalist views. He wanted a ingrained monarch set up. But, after the fall of Bonaparte, Bertin returned and continued his life, prospering. Monet even called this portrait the Buddha of bourgeoisie (Rosenblum, 134). This portrait should be looked upon as the pinnacle image of the bourgeoisie of the time.