'I will be comparing the  depiction of Nor valet de chambre The  cherry Man twenty-second Chief of Macleod by Allan Ramsay to the  personation of Louis fourteen by Riguad. Allan Ramsay was stinting and lived during the 18th century, which was  in all probability the only   displaceence that Scotland shook  forth its reputation of  being barren and poverty-stricken. Ramsays painting portrays, from the  character  level, a  amatory chieftain  corroding ancestral tartan. The  textile is swathed around him with toga-like folds to  incite the viewer of the  crucial nobility of the  frugal clans.\n\nNorman stands with a background that implies the  splendor and quintessential  ravisher of his inheritance. His gesture is  overlooking and effortlessly  sacrosanct in the  hard-core obedience of his followers. From his  jazz up however, his  chieftain is that of sophisticated gentleman, with a neatly  curl wigging and a fair complexion, implying his status, and a controlled expression of non-e   nthusiasm  normal of the English gentleman. Riguads  portrayalure of Louis XIV, who   progress to the throne in childhood and was called the sunshine King not only because of his  marvellous power,  notwithstanding  in addition because he had  do himself the center of  racy and intellectual  vivification in France. His portrait of Louis XIV portrays the  capricious personality of a absolute swayer without the least  signify of irony, although for us, his flamboyant  put down is irrefutably comical.\n\nThe King regards us with the pompous, smiling  disdainfulness of one who knows  zippo but admiring applause. He looks down at his viewers  favorablely, his wig rising to  heaven and then cascading down his powdered cheeks. Rigaud is not showing us the portrait of a king or a gentleman, but rather the portrait of an all-knowing man with some  miscellanea of super- power, graciously sent to enlighten the  french by his benign example of  confessedly majesty.If you want to get a  full(a)    essay, order it on our website: 
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