Art 101 History and the appreciation of Art Research Project #2 I chose "A Stag at Sharkey's" by George Bellows as it depicts two boxers in the heat of battle. The colors of this piece take on a darker hue in the crowd, opposed to the boxers in the ring which are more lightly colored in order to become the highlight of the photograph. Shades of red on the boxers faces show the intensity which they both display. Additive colors were used in order make the boxers standout such as white, red, and yellow. The perspective of “A Stag at Sharkey’s” gives the feeling of being in the front row experiencing this exciting fight first hand in the foreground due to the relative size of the boxers and the spectators. The brightness gradient of the background
and also parts of the foreground, show that the spotlight is on the boxers center stage, where lighter colors are used then they fade as you move further away from the ring. As both of the boxers clash, you can see how motion is portrayed by the way each leg is raised, and their bodies leaning toward each other. Which relates to implied motion because you can feel the intensity although no actual movement is taking place. Also a sense of urgency by the referee can seem as if he is rushing in to pull these two fighters apart.
In this chapter of Davidson and Lytle’s After the Fact: The Art of Historical Detection, the authors use the raid on Harpers Ferry in 1859 and in particular the attack’s leader, John Brown, a radical abolitionist, to explain the massive increase in tension between the North and the South before the dawn of the American Civil War. After explaining the main premise of the raid and its immediate outcome, Davidson and Lytle use historical records and analyses made by historians from the 20th century to explore the possible reasons and motivations behind John Brown’s infamous attack that would define him as a martyr to some and an insane criminal to others. The attack goes down in history as the triggering event behind the American Civil War; Harpers
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
My picture contrasts the dark, sharp, menacing objects with the light, calm, serenity of the hand. Using Molly Bang’s ten principles, I was able to depict this evil and suspenseful moment from the story, "Sleeping Beauty." Molly Bang’s ten principles teach us how to illustrate moments from stories or poems with abstract shapes and basic colors. By applying these principles, any emotion can be expressed.
Through the use of complementary colors, she achieves great contrast. Contrasting hues develop a theme of light vs. dark, or in Liu’s case, expectations vs. reality. Dark colors are used to suggest the harsh, chaotic conditions experienced by the workers; while light, less saturated colors illustrate the calm passivity of traditional Chinese customs and ideas. The sky surrounding the stylized women contrasts greatly with the surroundings of the exhausted men. The dark hues establish heavy visual weight below the figures and the light tones of the sky create a sensation of weightlessness and help to further distinguish the fantasy like qualities. Liu also includes the application of analogous colors, primarily to make the traditional figures less dramatic and to help unify the surrounding
The right side is almost purely white, with blue and gray shadows; the rest of the body is black, dark brown, and navy. The profile of a white woman obscures the left half of the black face, facing to the right of the piece; her hair is in a large braid and she wears a simple pearl earring. The black woman has long, flowing, bright blue hair, as well as full red lips. The black woman’s body has a rose over it, and the white woman is wearing what looks like a straw bikini; the figure is wrapped in a thick rope from the waist down. The stark contrast between the white and black meet with a definitive line; there is no blending between the two colors, which amplifies the feelings of separation and difference between the two halves of the woman’s
how hot the setting of the movie is. The color also reflects tension, conflict, anger,
I find the color element to be the most prominent because of the well done contrasting of colors. The lightness of the model’s skin contrasts to the slightly darkened background to almost give her an otherworldly or angelic glow. The green in the background contrasts greatly with the russet brown of the mountain like trail that seems to be right behind the woman. Even her clothes show contrast because the sleeves are the same russet brown but the rest of her outfit is darker. Those darker colors make her skin tone seem lighter than normal and help to create that luminous or radiant color that seems to radiate from her. The principle that I think stands out the most is emphasis because while more emphasis is put on the model so she is the focal point, the background is also very interesting and not overshadowed by the model. Both of them complement each other with the contrasting light of the girl and the darker background. The viewer’s eyes will immediately go to the lighter section in the middle but will stray to the darker part because neither are forcefully dominating or fighting attention. The color contrast and light contrast aren’t at war with each other; rather they are more like two halves of a whole that perfectly fit each other in a way not commonly
The colours used in the artwork are earthy tones with various browns, greens, yellows, blues and some violet. These colours create a sense of harmony on the...
In Browne’s essay, he describes what he calls the “position of the spectator”, and suggests that cinematic techniques can constitute a connection between a given character(s) and the spectator. Browne values less of what David Bordwell believes to be important in narration, the syuzhet (Bordwell 1986). Browne believes the connection between the spectator and the character(s) solidifies less through narrative techniques, the syuzhet, than through cinematic means, for instance, cinematography. The composition of a shot can allow the audience to see over the shoulder of a given character, thus positioning the spectator in the character’s approximate point of view. Likewise, action or dialogue from another character can be shown from the approximate field of vision of the character that is linked with the spectator. (Browne 1986).
... applied this feature very well to create a sense of drama and suspense, the light illuminates on the faces of the subjects hence enabling a viewer to read the expression of the subjects. The same approach has been applied by Cosimo. Both paintings show ordinary events of life taking place, a hunting scene and a scene of men and women engaged in a discussion. Another common feature is the aspect of the painting seeming to be in motion.
Should judgement of people’s intelligence be based on their knowledge or their wisdom? While those with broader spans of knowledge have all the answers because of logic, they might not be able to see past the trivial facts they believe to become wiser and more enlightened. Some might be able to see the true reality they are in, but most are not able to grasp these ideas. Two of J.D. Salinger 's characters, Teddy from a short story of the same name, and Franny Glass, from the book "Franny and Zooey", both realize and have begun to “see” in terms of detachment and spirituality. They begin to differ on how knowledge can help or hinder in reaching that understanding, as Franny believes it is there to help guide and fuel, while Teddy says that one
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on
Eisenstein was radically more experimental than his contemporaries because in order to practice “intellectual montage”, one must be a practitioner of the avant-garde. Eisenstein’s theory of “collision montage” is that cinema never speaks through a single image, and the juxtaposition of several images act like words in a sentence, or parts of a character in Chinese or Japanese Calligraphy (Pg. 17, Eisenstein). Shots of foreign objects, or inserts, are not meant to contribute to a narrative but to deliver an idea intended by Eisenstein in the sequence. He also claims that montage films are faced “with the task of presenting not only a narrative that is logically connected but one that contains a maximum of emotion and stimulating power.” (Pg. 4, Eisenstein). A scene to illustrate this from Strike would be at the ending of the film where the putting down of the strike by the army is intercut with the footage of a cattle being slaughtered.
... subject matter. A wider angle or color photo would have diminished the strength of the argument by shifting the focus. The style of the photograph is important to the argument. The use of black and white photography is more dramatic and lends a more somber tone. It also allows for more contrast between the black horse and the background. The angle that the photograph was taken at is also important because it causes the sunlight to highlight the horse and the backward boot. The lighting also causes the crowd to fade into the background which further highlights the horse and handler.