Self-Portrait by Chuck Close and Sunday on La Grande Jatte by Georges Research Paper

Self-Portrait by Chuck Close and sunlight on La Grande Jatte by Georges Seurat - Research root ExampleIn the Self-Portrait by Chuck Close, the compositional structure appears to consist of subject within a glass or a glassy metric grain bearing byzant grid. The grid frame exhibits patterns of intersecting line segments forming tiny squares which carry with them specific details of color and shape. Each square making the diagonal grid of the human face may be observed to encapsulate a somewhat abstract irregular form with a set of modify distinct from the rest yet as a whole, the unique pieces converge to unify into a focus that lies somewhere in the plane that connects the substance of the eye to the lower portion of the face. One recognizes the finite sense of continuity in the balanced wholeness of the portrait that evokes a character of calm insight as seen through the composition of the eyes and the presence of symmetry indicating how the artist strives to attain an ideal he ad pose and tilt that introduces the confidence of the figure to the audience. Apparently, the glassy essence neutralizes the rather rigid and rough-looking facial profile as sustained by the quality of light in perspective as well as the crackers blend of shades. Chuck Closes Self-Portrait speaks to the viewer in a way that communicates the essence of parts in an approach that signifies how the coming of captured irregularities may elapse to establish logic and meaning of the art in-toto. On the other hand, while the work of Close in Self-Portrait takes on a modern concept, the creation of Sunday on La Grande Jatte by Georges Seurat tends to remind a critical viewer of an art in the period of Neo-impressionism. Strokes of subtle and sublime impressions are projected in each figure where Seurat occurs to refine all curves and lines to the mood of a carefree Sunday just as how the thematic time and space is ideally imagined. fogginess among elements in texture, color, and movemen t implies rhythm of pure order and smooth gestures that send the painting adrift to a valuable social dimension which flourishes ones concrete thought of a light afternoon day in which the chief subject is leisure. Sunday on La Grande Jatte as it is exudes richness in classic attitude that can be dated back to the Renaissance wherein the equilibrium existing between emotion and intellect in the characters of the composition is extremely manifested in the spatial arrangement of literal forms which go well with the aspect of meticulously blended hues. Within Seurats frame, the look and feel of landscape is moving much as the sight of fashion in French womens late 19th century clothing and demeanor that reflect through the get a line of hats, long ballooning skirts, and fancy umbrellas of common design featured with even distribution across the scenery. Compared to Closes Self-Portrait which seems to represent the notion of individualism and concentrate on at pondering on the mans modern expression, Seurats Sunday on La Grande Jatte promotes the value of having company, a symbol of mutual affection, so that the principle of focal point in this case is applied in a manner that renders one to look around and examine the paintings context from the inside out. It would feel as if Closes theme, on the contrary, draws the inspecting task from the outside going in since the external with all the minute solid details are initially scattered for the view to collect the parts of the work into the