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arthistory6cpaper - Shannon Stoufer 4/18/07 Art History 6C...

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Shannon Stoufer 4/18/07 Art History 6C Professor Monahan Art Comparison and Analysis Just as single words can give rise to multiple definitions, so can similar images elicit a range of feelings when being evaluated. From Jean-Auguste-Dominque Ingres’ Large Odalisque , and John Henri Fuseli’s The Nightmare, the female subjects can be seen as emblems of sexuality. However, these two paintings differ in the types of ideas they invoke in relation to the figures displayed. While both women are initially seen in provocative poses, Ingres and Fuseli use a combination of colors, lines, expression, and composition, to move their images to different and deeper emotional arousals in the viewer. Ingres creates a sense of exoticism and enticement by highlighting the nude form of the Odalisque and attracting attention to the odd placement he has chosen, while Fuseli arranges his painting for the natural female body to stand out as well as the dark images creating a hesitation to be associated with her sexuality. While both painters place their viewers at an eye-level with the scene, their choices in position and depth vary enough to produce different effects. The Odalisque is much closer in the painting then the woman in The Nightmare . Not only does the close up show the detail in her direct gaze, but places the viewer inside of the scene. Ingres does not give his painting any clear boundaries of space, as the curtains seem to start outside the frame and the bed ruffles outward as well. Furthermore, by making the background dark, there is no clear depth in how far the scene extends beyond the Odalisque. A sense of the viewer being at the side of the bed is created with the lack of clear beginning and ending of framing objects. By using the space in this way, Ingres
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enhances the curiosity of the audience in his female figure. Although not a distance scene, Fuseli’s subjects are placed slightly farther back in space as to make clearer distinctions in the room and what is happening with the figure. He not only gives a defined backdrop of the curtain to be able to see the borders, but also shows the floor and the beginning of the bed. It can also be noted that her position demands room as she is stretched out along her bed instead of tightly laying on it. The viewer could still be in the room, as the figure on top of her has a very direct and level stare, but is farther back (hence being able to see the floor). This relates to the feeling
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This note was uploaded on 04/15/2008 for the course ARTH 6C taught by Professor Monahan during the Spring '08 term at UCSB.

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arthistory6cpaper - Shannon Stoufer 4/18/07 Art History 6C...

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