An artwork will consist of different elements that artists bring together to create different forms of art from paintings, sculptures, movies and more. These elements make up what a viewer sees and to help them understand. In the painting Twilight in the Wilderness created by Frederic Edwin Church in 1860 on page 106, a landscape depicting a sun setting behind rows of mountains is seen. In this painting, Church used specific elements to draw the viewer’s attention directly to the middle of the painting that consisted of the sun. Church primarily uses contrast to attract attention, but it is the different aspects of contrast that he uses that makes the painting come together. In Twilight in the Wilderness, Church uses color, rhythm, and focal …show more content…
To begin, he uses an array of colors that allows each color in the sky to blend and transition harmoniously. Church also uses primary and secondary colors within the sky that consists of teal-green, reds, and bright yellow next to each other. This creates a contrast between the darker red shades in the cloud and the lighter shades of bright yellow in the sun. Besides the different shades that are being used, Church uses both neutral values and saturation. The neutral scheme can be seen in the black and gray-brown values of the trees and shadows in the bottom part of the painting. This, in comparison to the high saturation levels of the colors in the sky create a contrast. The colors in the sky are in their purest hue which means they are bright, and this being next to the dull and dark colored mountains and trees creates a contrast and more of an emphasis on the brightly colored sky. Those different colors also fall under complementary and analogous colors. The red cloud complement the blue-green colors of the sky they are in. There is also a heavy use of reds, oranges and yellows, all falling next to each other on the color wheel shows Church’s use of analogous …show more content…
One focal point in Twilight in the Wilderness is the sun. To bring the attention to the sun, Church uses the contrast in the colors in the painting to his advantage. He uses broad contrast as well as a focused contrast that reveals the main focal point. The broad contrast deals with the colors in the sky and the lack of the color of in the lower half of the painting. The brighter colors in the sky in comparison to the dull colors in the lower half of the painting draws attention to the brighter sky. Within the sky itself, Church uses the different colors and different color temperatures to bring the viewer’s eyes to the main focal point. The warm yellow colors being next to the cool and dark teal and red-orange colors emphasizes the brighter, warmer yellow of the sun and brings attention to
Additionally, Lie placed tall trees in the foreground of the painting to give a sense of the scale between the observer’s perspective and surrounding objects. Furthermore, Lie used dark, cold colors, such as purple, blue and black, to depict the feeling of a winter’s afternoon. Lie also used snow on the ground as an obvious indicator of the time frame in which the painting is occurring. However, in contrast to the dark cold colors used, Lie also used subtle hints of orange, yellow and red to show that there is some presence of light in the piece. The background of the painting is a sheen of yellow, suggesting the presence of light and the forming sunset.
In Richard E. Miller’s essay, The Dark Night of the Soul, he first focuses on two teenage boys, boys who murderously rampaged through Columbine High School in Santee, California. Then he further discusses who was to blame, but most importantly would this event not had transpired if education had a more adamant impact if these young men had read more. Simply, would Eric Harris or Dylan Klebold killed if there was a more proactive approach to the educational system or government to “reduce or eliminate altogether the threat of the unpredictable or unforeseen [the amalgamation of elements that would result in a mass shooting] (Miller 421).”Additionally, if McCandless, a young man who eulogized the idealisms of authors that he used to make sense
“Black Awakening in Capitalist America”, Robert Allen’s critical analysis of the structure of the U.S.’s capitalist system, and his views of the manner in which it exploits and feeds on the cultures, societies, and economies of less influential peoples to satiate its ever growing series of needs and base desires. From a rhetorical analysis perspective, Allen describes and supports the evidence he sees for the theory of neocolonialism, and what he sees as the black people’s place within an imperial society where the power of white influence reigns supreme. Placing the gains and losses of the black people under his magnifying glass, Allen describes how he sees the ongoing condition of black people as an inevitable occurrence in the spinning cogs of the capitalist machine.
In The Way To Rainy Mountain, the author N. Scott Momaday makes a clear use of figurative language throughout the story and descriptive language to describe the nature around them, explains their myths about how their tribe came to be a part of nature, as well as the importance in nature that are a part of the Sundance festival and the tai-me.
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
W.E.B. Du Bois is a world-renowned American sociologist, historian, civil rights activist, and author whose life goal was to educate African Americans and whites about the realities of race by posing and answering the question, “How does it feel to be a problem?” On the other hand, William Faulkner is an American writer whose specialty in Southern and American literature won him a Nobel Prize laureate from Oxford. Faulkner’s Southern literature illustrated the difficulties of being behind a societal veil, with special attention to gender and racial issues. Both of these authors have attempted to tackle the difficult questions regarding race and addressed some ties between race and economics. Du Bois focuses on the black narrative and Faulkner
Color is used to draw attention to important characters and objects in the painting. The red of Mary’s shirt emphasizes her place as the main figure. A bright, yellow cloud floating above the room symbolizes the joy of the angelic figures. De Zurbaran uses warm colors in the foreground. The room, used as the background for the scene, is painted in dark colors utilizing different hues of gray and brown.
A distinction of colors exists within the painting: there is dreary dark blue background contrasted by the intense shades of red and white worn by the figures. A specific example of this the women flanking the Virgin Mary. The woman to the right of Mary attracts the most light and is the brightest in color. The Virgin Mary herself is dark, dull, and shadowed. The woman behind Mary, similar to the other woman, is wearing red and bright. In reality, the lighting of these figures do not make logical sense. If Rosso’s mission was the depict reality than the women would be shaded evenly from light to dark. Due to the overall lack of a single swath of colors, the eye is forced to look all over the painting rather than focus on one main
Looking at landscape art, especially when painted by one of the masters, many have undoubtedly pondered: what would it be like to live there? Shapes and attention to detail are, of course, important in a painting. However, it is color that draws the eye and inspires the heart. Oscar Wilde, an Irish poet and dramatist, spoke well of this when he noted that, “Mere color, unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways. (qtd in “color”)”. Vincent Ward had a similar understanding of this impact when, in 1998, he directed the movie What Dreams May Come. Looking at this film, one can easily imagine being inside a living painting. The use of color to emphasize the emotional state of a character or event is common in films; nevertheless, Director Ward goes even farther in using color to represent the actual characters themselves. Red is the shade chosen to signify Annie and likewise, blue is used for Chris. Both of these, as will be shown, are accurate in defining these fictitious people. However, it is the profound use of purple in this film that is the true focal point. When mixing red and blue paint, one would find that, after being mixed, they cannot be separated. Likewise, this is true of the life and love these characters build and share. Purple represents the many ways in which Chris and Annie are melded, and joined.
However, Moran sided with the “sublime” aspect of Romantic landscape in which he uses the properties of form and color to evocatively paint a landscape meant to push the limit of formal expression. Moran doesn’t use just these techniques of the “sublime” to make the painting overwhelming, but also combined it with the sheer size of the canvas. He utilizes his space very well to make his viewers feel like he did when he found the canyon. He involves an aesthetic attack on our senses as viewers. Moran uses all of these elements to make the viewers feel like they are actually at the canyon. He used other tactics like the expansive sunlit landscape of the valley below, the tiny people that are dwarfed by the enormity of the landscape around them, and the enormous shadowing of the plane in the foreground which is symbolic of the fleetingness of a storm passing overhead. There is a tree that looks to have had barely made it through a powerful storm. All of these elements are meant to communicate just how small humans are in the wake of the destructive elements and splendor of nature. Yellowstone painting signifies the sheer power of nature and what it can bring which Moran uses to his advantage to captivate the masses.
In conclusion, Van Gogh used the elements above to create a man by himself in a field. He used color to represent feeling rather than represent realism of an event. The cool colors represent the field and happiness in his work. The warm colors represent the harshness of the day and could be a metaphor for life. He used scale and proportion to emphasis the overbearing sun. He also used proportion and scale to represent literally and figuratively how far away home was. The linear perspective was only evident to me after I really studied the used of lines. I followed the lines to the horizon and left side of the painting.
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...
After World War II, as a result of changing values and attitudes, American literature witnessed a new movement that countered modernism: the postmodernism movement. Postmodernism is characterized by a rejection of previous literary themes and techniques. Specifically, postmodernism rejects straightforward meanings in favor of interpretation in which there are various meanings or no meaning at all. Literature of this time completes defies the boundaries defined in previous literary movements such as incorporating multiple different genres and types of literature. Charles Frazier’s novel, Nightwoods, is one literary work produced during this movement. Frazier’s use of combined styles and genres of literature and unique literary structure distinguishes
...f the shadows is sprinkled with the orange of the ground, and the blue-violet of the mountains is both mixed with and adjacent to the yellow of the sky. The brushstrokes that carry this out are inspired by the Impressionists, but are more abundant and blunter than those an Impressionist would use.
... all to itself. The care and detail that went into the hills that are closer to the stable is breathtaking. It almost has a sense of life. The way the lights and the shadows are hitting the grass gives it life. The artist again shows his mastery of atmospheric perspective by slowly fading the hills that are meant to be further from the viewer to blue. He does so until all the viewer sees all the way in the back of the painting are blue suggestions of hills.