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The picture depicts a mother holding her child between the thighs. Her mouth is fixed on its chest in an effort to suck her child back inside her. [3] The artist used herself and her seven-year-old son Peter as models for this composition. [4]
File: Pablo Picasso, 1904-05, Les Baladins (Mother and Child, Acrobats), gouache on canvas, 90 x 71 cm Staatsgalerie, Stuttgart.jpg
A sample model sheet from the DVD tutorial 'Chaos&Evolutions' In visual arts, a model sheet, also known as a character board, character sheet, character study or simply a study, is a document used to help standardize the appearance, poses, and gestures of a character in arts such as animation, comics, and video games.
In contrast to the general rarity of artistic depictions of pregnancy, in the field of medical illustration it has been one of the earliest and commonest subjects, with the same "cutaway drawing" approach found in some medieval religious works typically used. The foetus is generally the main focus of interest, rather than the mother.
Munch completed the work after visiting the Hôpital Saint-Louis in Paris, where he saw a woman crying for her child with the disease. The baby in the painting is lifeless, pale and covered in spots. The mother, whose hands and patterned skirt are especially prominent, has a tearful red face and sits on a bench in front of a green background.
2. MOTHER WITH A CHILD AND A CHAMBERMAID. Sm. 31 and Suppl. 12; deG. 4. [1] To the left, but near the centre of the picture, sits a woman, holding a little child on her lap with her left hand. She wears a blue jacket trimmed with fur and a red skirt; at her right is a wicker cradle.
The Acrobats (or The Wounded Child) is an oil-on-canvas painting created in 1874 by French artist Gustave Doré.It represents a family of acrobats, who work in a circus, struck by a tragedy: their son, mortally wounded in the head, lies in the arms of his mother after an accident during a tightrope walking performance.
On the anniversary of the death of her son Peter, who died in 1914, Kollwitz wrote in her diary in 1937, "I am working on the small sculpture that arose from the plastic attempt to make the elderly. It has now become something of a pietà. The mother is sitting with the dead son on her lap between her knees. It is no longer pain, but reflection.".