Criticizing, Evaluating, and Describing Works of Art

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 The artwork is a depiction of a bar at the follies, popularly known as Bergere, painted by

Eduard Manet. It was considered the last of his work in 1882 and was displayed at the Paris

salon of the year. From a critique perspective, it features no space. The discussion can be based

on involving a barmaid while the clients represent an optical trick. This leads to the emergence

of issues with the artists as illustrated form standing upon the left side, which is away from the

artist's angle of vision (Marvick, 2018). As such, he ought to ensure they stand on the right and

ensure they are close, as contrasted by the reflected image depicting a man's presence.

The art is named Judith beheading Holofernes. It illustrates taking the head of Holofernes

by Judith as the Name of the art depicts. From a critique point of view, the artwork represents

deception as illustrated by a stage that is painted in black ink. An analytical look at the piece of
art, Caravaggio was entirely on the driving seat as Holofernes head is adjusted appropriately

awaiting being chopped off (Estes, 2013). As such, it represents contrasting platforms and times

since there are significant narrations that depict Judith as seductive and pleasing towards

Holofernes.

The Pieta sculpture depicts the Virgin Mary. The instance represents the Virgin Mary

holding Christ's body after being crucified, having died, and subsequent removal from the cross

prior to being placed in the tomb. It is one of the significant events in her life popularly dubbed

the seven sorrows of Mary, which are subjects to Catholic Church players. Such artwork was

non-existence during the renaissance period. Closer evaluation of the art, Mary's body occupies

more space than Christ's body, implying that she is strong and big enough to hold Jesus the way

she is represented (Bernardini, 2012). Nonetheless, the virgin in the artwork looks younger for a

person strong enough to hold a thirty-three-year-old son.

 The artwork represents a Migrant Mother, depicting a life marred by courage and

hardship. The piece was developed in 1936 and was authored by Dorothea Lance. It was

developed for the support of the Farm Security Administration initiative during the great

depression in America. The face depicts an uncertain individual with feelings of exhaustion, fear,

and unease due to a lack of food. It explains the complete feeling of difficulties experienced in

the quest for survival during the significant depression era. By looking at the picture, the

audience can share in the woman's fear and strength and the progress of her kids (Poliquin,

2018). However, the photo does not overly capture the feeling of all women at the time, as well

as their societal roles.

 Popularly known as Les Demoiselles d'Avignon, the artwork deviates from the typical

traditional structure and painting idea. It features five naked women, featuring a flat figure on a

fractured plain with faces inspired by Iberian sculpture as well as African masks. The painting

was displayed by Picasso in one of the painting studios in Paris after several months of designing

and redesigning. A detailed view implies the figure on the left is a man, although the artists

deliberately excluded the detail from the final piece. Space appears withdrawn as it comes out in

spikey remains (Dasgupta, 2019). He is targeting life-threatening issues associated with

prostitution that inhibited the city. However, there are significant dangers to an individual due to

prostitution rather than sexually transmitted infections and morality.

The Basket of Apples was developed in 1893 by Paul Cezanne, who was known for being

prolific in his approach to coloring, meaning depiction, and purpose inclusion. In a critique view,

the artists, in the development of the artwork, assume that we are aware of apples and their looks.

His efforts go to the shape, color, composition, and perspective to replicate an already familiar

environment for the audience (Harris & Zucker, 2019). He incorporates perspective by

incorporating a table whose right side is not equal to the left.

 References

Bernardini, F., Rushmeier, H., Martin, I. M., Mittleman, J., & Taubin, G. (2012). Building a

digital model of Michelangelo's Florentine Pieta. IEEE Computer Graphics and

Applications, 22(1), 59-67. https://ieeexplore.ieee.org/abstract/document/974519.

Dasgupta, S. (2019). The Complexity of Creativity: Les Demoiselles D’Avignon as a Cognitive-

Historical Laboratory. Creativity Research Journal, 31(4), 377-394.

Estes, H. (2013). Feasting with Holofernes: Digesting Judith in Anglo-Saxon England.

Exemplaria, 15(2), 325-350. https://doi.org/10.1179/exm.2003.15.2.325.

Harris, B., & Zucker, S. (2019). Paul Cezanne, the basket of apples – Smarthistory. Smarthistory.

https://smarthistory.org/cezanne-the-basket-of-apples/.

Marvick, L. (2018). M. Manet Declines to Illustrate the Invisible. The Edgar Allan Poe Review,

19(1), 28-38. https://doi.org/10.5325/edgallpoerev.19.1.0028.

Poliquin, A. (2018). The Buckeye and a Missionary of Change: Representations of Working

Women in America's Great Depression by Walt Kuhn and Dorothea Lange (Doctoral

dissertation, Azusa Pacific University).

https://search.proquest.com/openview/f8da6e511feff729ede14aa515a3a066/1?pq-

origsite=gscholar&cbl=18750&diss=y.