NOTE-In your actual paper:
Two paintings found at the Philadelphia Museum of Art, Madame Roulin and Her Baby, 1888-89, by Vincent Van Gogh and Virgin and Child, c. 1500, by the Master of the Embroidered Foliage, have similar content, but drastically different elements and principles of composition. Although the time periods in which these paintings were created are very far apart, the content of each is related in that each is of a woman holding a child. From here, though, they can only be contrasted. Although these paintings are not a clear-cut example of reality versus abstraction, Madame Roulin and Her Baby is much more abstracted than Virgin and Child.
The most prominent type of line present in Van Gogh's painting is outline. The thickness of the line creates a feeling of tension. It also gives the painting a more abstract feeling. The implied line in Virgin and Child directs the eye to the focal area of the painting, which consists of the shape of a triangle formed by the two figures. The Virgin's gaze toward her Child and the book also create implied lines.
The colors of the two works are also very different. The restricted palette in Madame Roulin includes mostly green and yellow, with some white and brown. These cool colors are of a muted intensity-none are pure hues. In Virgin and Child, there is a broader palette with the brilliant warm color of red, and the muted cooler colors in the background. When standing extremely close to the paintings, one of the most notable differences between them is that of texture. The literally rough surface of Madame Roulin is created by impasto. Brush strokes are clearly seen, with thick layering of paint on the canvas surface. The Master of Embroidered Foliage was able to create a smooth surface texture, but still conveyed a sense of a figurative texture in the clothing and in the plant life surrounding the main figures.
In terms of Van Gogh's composition, Madame Roulin appears to be looking out of the painting rather than at the child she is holding. This creates an open composition. The woman is looking toward the child, and the child at the book. This makes the focal area at the center of the paining and gives it a closed composition
In the painting of the Virgin and Child, the objects in the front of the painting are much larger, more focused, and have greater detail than in the middle and backgrounds. This use of aerial perspective is much more evident than the perspective used in Madame Roulin, which is practically non-existent.
The last contrasting principle of composition is the element of chiaroscuro. In Madame Roulin its presence is very light, almost absent. There is a slight hint of it in the clothing of the woman and the baby. On the other hand, a great deal of chiaroscuro exists on the clothing of the Master's Child and Virgin, the castle in the background, and even in the foliage throughout the painting. This gives the painting an overall sense of three-dimensionality.
After considering the separate elements and principles of composition
in these two paintings, one is able to understand better their
stylistic differences. These differences can be noted in a way
other than just that they look different, since the general content
is the same. The real contrast lies within each artist's use
of line, color, texture, composition, perspective, and chiaroscuro.
These stylistic differences reveal the time gap between the creation
of the two works.