The eyes are supposed to be windows into the soul--here I see stubborn resentment, fear, hurt, dull lifelessness and simply the question "Why?"
The June 1985 cover of National Geographic portrayed a young Afghan lady with beautifully eerie green eyes during a period when turmoil shook the Middle East. The afghan young lady, picture shot by National Geographic photographer Steve Mccurry. Sharbat Gula was one of the learners in a casual school within the refugee camp; Mccurry, seized the chance and caught her picture. She was roughly twelve years of age around then. She made it on the cover of National Geographic next year, and her identity was discovered in 1992.
The girl in the picture has face full of distress and eyes filled with fear. She represents the struggles of every Afghani refugee. It’s an astonishing photo in itself. There is so much emotion in the guarded, scared face within a static sphere. The colors are amazing, from the striking, dirty red of the scarf, to the green background that seems several shades darker than her eyes, creating a sort of illusion. It is visually ...
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
The visual I have created is meant to display how the author Seven Galloway effectively used descriptive language and imagery in the novel The Cellist of Sarajevo to demonstrate character development in Dragan, one of the protagonists. For instance, in the first image moving forward from the 12’oclock section of the clock, we can see an image of Dragan in Sarajevo with the intent of setting the mood of war, where “everything around him is a peculiar shade of grey”. This imagery is meant to display not only the visual cast set upon Sarajevo in a time of war, but also to show Dragan’s internal demeanor and how he initially perceives the world around him, while the idea of a ‘grey’ world surrounding him outlines his pessimistic worldview. These ideas are also manifest in the following image, where we
The somber and effusive tone of the selected passage from Their Eyes Were Watching God, by Zora Neale Hurston, is shown through its general diction and imagery. Hurston uses skillfully chosen words to enhance the imagery, and both devices contribute to the tone of this scene.
Many different sensory properties compose the artwork. There is a soft light that seems very natural coming off the boy’s face. The light shines at the boy’s face at an elevated level, as if he were outside on a hot afternoon with the sun overhead. There is a wide range of tones from very bright, in the reflection off the boys cheeks to very dark in the skin of the boys face. Muniz does an excellent job using shadows to provide a feeling of depth and adding curves to the boys body and face. The shape of the boy is positive, but the background is not defined, allowing a negative shape or void in the picture. Although there is no actually texture on the photograph the texture from the original work of art is apparent. The use of sugar gives off a hazy effect preventing the photo from having a clear focus.
Eyes in “The Displaced Person” tend to be illustrated with violent terms. The eyes are harsh and very rarely are they described softly; Mrs. McIntyre has eyes like “steel or granite,” characters’ gazes often “pierce,” and “icy blue eyes” and other similar descriptions are common.
Imagery of the eye appears throughout Ridley Scott’s Blade Runner. From the opening scene depicting an eye glaring upon the dystopian future of Los Angeles, to Dr. Chew’s genetic laboratory with hundreds of replicant eyes, to finally the graphic scene with Roy gouging out Tyrell’s eyes, eye imagery evidently plays a certain significance. What are we to make of Scott’s tremendous fascination with eyes? Traditionally, eyes have been used in literature and film as a motif representing identity, surveillance, vulnerability, and the window to one’s soul. Scott builds upon these existing definitions and uses the eye motif to help us better understand the film’s main characters and themes, as well as to help answer the fundamental question that Blade Runner offers us: What does it mean to be human?
"SparkNotes: Their Eyes Were Watching God: Themes, Motifs & Symbols." sparknotes. SparkNotes, 2013. Web. 20 Nov. 2013. .
I stared into his face, feeling a sense of outrage. His left eye had collapsed, a line of raw redness showing where the lid refused to close, and his gaze had lost its command. I looked from his face to the glass, thinking he's disem...
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
middle of paper ... ... He attempts to convince the public that discrimination has gone on for far too long and it is time for a change. As for the photo, it mainly uses the appeal of Pathos, but it does not lack in power. The image is simple but communicates a powerful image revolving around discrimination.
After meticulously reading the article “ A Life Revealed” by the National Geographic Magazine, I have developed numerous thoughts over what it truly means to have a story. The article declares the abilities of one photographer who struggled to rediscover one of the subjects he previously photographed. Her name was Sharbat Gula, the woman whose photograph drastically changed the others’ opinions over refugees in the Middle East. With captivating sea green eyes and a flat expression, she stared into the souls of the people, revealing all the hardships she experienced, through simply an expression. Back in 1985, this picture inspired thousands to aid the refugees. But if this enthralling woman truly affected my view of the refugees, should I not know her name?
These authors want us also to see the little girl as the main focus point of the picture and see the amount of pain she is showing us emotionally.
If the eyes are the windows to the soul, Dickens recognizes this in depicting Fagin as he faces his death. When he is in the courtroom Fagin finds that “inquisitive and eager eyes peered from every inch of space” (426) and he cannot escape their judgment. As Fagin listens to the judge his eyes “turned sharply” (427) on his jury in the hopes of finding even a single person who feels sympathy for him. However, such a friend is not to be found, and when the guilty verdict is brought down, Fagin is sent to prison to await his sentence, “to be hanged by the neck, till he was dead” (429). Once Fagin is brought to his cell, his eyes cease their wandering and “casting his blood-shot eyes upon the ground” (429) he attempts to gather together his thoughts.
In the story “Eveline,” the main character must make an important decision about leaving Ireland, with a man her father doesn’t approve of, for a new life in Buenos Aires. Eveline ultimately uses her vision to give her faith to stay rather than her eyes giving her reason to leave. Sight is a theme in this story from the very first line, “She sat at the window watching the evening invade the avenue.” (JJ, 29) Eveline spends her time “looking over” her life in the past and present to decide on her future. When Eveline looks at different aspects of her life, the better parts seem to be visions, or feelings rather than physical, and the worse seem to be physical present day resentment.
To me, looking close and deep into one's eyes is the easiest way to see who they really are. For this photo, I used diopters in order to get a close-up shot of an eye, which I then placed a photo of someone having a mental breakdown in the iris along with sticky notes that say 'be better’ on them. This represents how I feel like there is a constant reminder that I must be better. In addition, the obliques of the sticky notes add a feeling of confusion and disorientation to the photo. Despite the uncertainty that the obliques add, though, the eye still appears calm and unworried. In addition, to draw attention to the pupil, I have used a large aperture to create a narrow depth of field.