The reputation of Paris as a leading center of important economic, socio-political and cultural changes was already well established in European social circles at the beginning of the twentieth century. The artists from around the world were crossing each other on the streets of Paris, pursuing their dreams for a success and recognition of their talent.
Eugene Delacroix for his vision of “Liberty” appropriated the feminine image to connect together the two worlds: a mythical world and a popular realistic world. Delacroix’s references symbolize the antique divinities.
Mirror as a charming and mysterious object begun to be used by humans approximately from the beginning of six thousands years BC. The first traces of the object used as mirror were made from the obsidian,[1] which were found in Anatolia.[2]
The Van Dongen’s exposition in Montreal gathered artworks from different periods of his artistic carrier. The artwork, which captures a particular attention is the drawing titled, “Woman Drinking Absinthe.”
Before the concept of Childhood began to take shape during the sixteenth and seventeenth centuries, the concept of the Child had many symbolic connotations in the popular imagery through the history of art.
The scholarly world of the art history critics projects many conflicting theories when referring to the Artemisia Gentileschi’s artwork.