Egon Shiele, (1890-1918) was a short-lived Australian painter

and a figurative painter of the early 20th century. He is noted

for his intensity and the large number of twisted portraits
make him a notable exponent of expressionism.

The originality of
defines him as an
effective-ness of
to be astounding,
lines, yet
easily identify the
align the
anatomy.

Shieles work is what

artist. Beginning with the
his linework. Which I find
as he uses very thin pen
contrasting this, you can
lines of the body, which
proportions of his own

The use of
makes him
artists do this style
effective. How he
the anotomical
while only hinting

expresionism, is what
original, as very few
of portraiture, but make it
does it is by focusing on
proportions of the bones,
at the muscles.

The effectiveness
of just showing the
anatomy of just
showing his bone
structure if
effective as of
expressionism. Of
course, you can identify
that this is
obviously not his to-scale
muscle, but it is an exaggeration of how skinny the artist is.

This image is familiar to Egons last self-portrait, as the

tones and colour palette as well as the style of
expressionism retains.
To begin, the skinny style is comparable to the last
image as you still only identify his bone structure and a
withdrawal of any actual muscles.
Moving on, the use of colour is also familiar to the last
image. They both use yellow and red respectively, without
using any other colours. This may be the artists way of
presenting his own skin colour, as a white male in sunlight
would have been close to this colour palette, red and
yellow.
What contrasts this piece is the effective-ness of gesture/
action. In this image, we can see the artist has put in a
action into his own person, where he would presume to be
stretching making the piece lively. In his other image, it
appears as if he is just showing us his arm, without much
clue if there is any gesture or action.

Alberto Giacometti, 1901-1966, an Italian Swiss sculptor

and painter. He was interested in art from an early age.
In 1922 he moved to Paris in order to study sculpting
under his master Antione Bourdelle this is where he
discovered cubism and surrealism for his sculptures.

Child, Oil on canvas, 1917. The style used on the canvas is blocky where the
child has been born by the effectiveness of the brush dabs, where he has
splashed colour for the overall form and shape, but then went into detail with the
facial features: eyes, nose, mouth, eyebrows

The dull saturation of the painting allows it to

feel realistic, as many artists amplify this with
very vibrant
colours,
which

compromises the realism of the image.

The high-key lighting is able to mature detail
onto the skin, which illuminates the hue: the
reds, yellows and green.

Woman, Oil on Canvas, 1916. In comparison to the earlier piece, it has the same
technique as this image, where Giacometti, does the same dabbing technique,
where he places colour through splashes of a brush, as well as keeping detail in
the facial area: eyebrows, eyes, mouth and nose.
In contrast to the earlier image, this piece is vibrant in its colours. The most
idolised colour is yellow, which is likely due to the sunlight, which surrounds her;
the yellow even washes the colour of the clothes.

John Singer Sargent, 1856-1925, one of the most successful portrait painters in
his era. Known for his amazing skill in watercolour and landscape paintings.
Using careful drawing and underpainting, this is how he was able to make
realistic images as of the paints tone.

This is
one of
my

favoured images from Sargent,

as the
vibrant painting looks
impressively surreal. Due to
the
warm Blue and hot red, which
complement each other to make the overall image as if this is a photograph. The
warm colours signify heat, the effective-ness of shadows is what makes the
realism pull through so well, as it overlaps the water, making the water look so
fresh and clean, as if she is fishing in a pond or in freshwater.
Moving from the colours, the shadows on the clothes are so close to real, due to
the gradients and highlights, which emphasise the fabric. The washed ones have
a familiarity to marker pens as of the watered colours.
In comparison to this image, they
both use, hyper-realistic saturation
when it comes to the compromise
of colours. The use or the sepia
brown and orange compliments
each other, making the image feel
warm and photographic, as in the
early generation of photography, it
began as black and white and dark
brown and white. A further
comparison is the narration of the
image, with the children holding the
laturns you can identify that they
are both lighting these for a
festival. This Is familiar to the
earlier image as you can see that
she is learning to fly fish, as of her
body language narrowed down to look more focused as if she is about to
throw the fly.