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The Immaculate Conception by Pereda is very dark and rich with the lighting focused mainly in the middle of the image on Mary to depict her innocence and purity. The light appears to be coming from above and just like the last painting this gives the shape of a triangle pertaining to religion. Two puttoes are at the top of the image holding a crown. This symbolizes innocence and more cherubs’ faces are along the bottom of this painting. The puttoes are all looking up while Mary is looking down with her hands touching as if in prayer. This painting comes off as serious and Mary looks very realistic. The cloth that is draped on Mary is also dark and has many folds to it. Along with one black piece hanging over her shoulder loosely. While the
attention seems to be on Mary you can’t help but focus on the bottom of the painting along with the cherubs appears to be a crescent shape. The cherubs look lost and emotionless. Mary and the skin of the cherubs is very white could represent how pure this biblical story is. This painting appears to have no movement to it and is very still. The space is evenly distributed in this painting and the perspective makes the image appear almost touchable. The perspective also focuses the attention on what is right in front rather than looking past Mary you get caught up in the space. The painting is accurately depicting of the baroque time period due to the colors. The brush strokes appear to be broad and large which make this image appear glossy. The light reflects upon making the space look larger and the figures in the painting to look larger. Lines are important to this painting because they outline the light source. This painting draws viewers in and uses the colors of the time period to bring emotion and mood. The religious theme of this painting also ties in with the time period and this topic has been remade and done by many other artists.
When that room is entered all voices are hushed, and all merriment silenced. The place is as holy as a church. In the centre of the canvas is the Virgin Mother with a young, almost girlish face or surpassing loveliness. In her eyes affection and wonder are blended, and the features and the figure are the most spiritual and beautiful in the world's art.
I found the photography piece “From the Road to Tepeyac,” by Alinka Echeverria intriguing. This photography piece was a man kneeling down with a sculpture tied to his back. The woman in the statue had a green flag with multiple stars draped around her. This woman appeared to be the Virgin Mary. Underneath the Virgin Mary was an angel with green, white and red wings. The colors on the flag around the Virgin Mary and the angel’s wings represent Mexico. Also, the stars on the flag present the repetition constructed in this photography piece. There is no physical line for the foreground; however, this piece directs the eye from one point to another by implication. When I first saw this photography piece, I questioned why the statue of the Virgin Mary and an angel were on the man’s back. I realized the Virgin Mary and ...
At first glance, the painting is very dark and shadowy convening the message of a sinful world. The chiaroscuro represents that we do not live in a perfect world, there is always evil lingering in the shadows. The main light source in the painting
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
In her essay, “A Defense of Abortion”, Judith Thomson argues that abortion is morally permissible in most cases even when the fetus is considered a person. She does this by claiming that the right to bodily autonomy supersedes the right to life in almost every case and that the intention of the mother is important in defining when an abortion is permissible. Through multiple thought experiments she shows that the Western perspective often places more importance on the right to autonomy than the right to life even though it is claimed otherwise, and that if a mother does not intend to become pregnant she is not morally obligated to carry the fetus to term in most cases. I will examine these thought experiments and their implications in Thomson’s argument, present a rebuttal and speculate on her response.
The immediate background consists of natural mounds of dirt and a brick wall that enclose the Virgin, Child, and St. John, amplifying the protective effect that Mary’s figure has. The dirt mounds roll inward with a brick wall bordering them on the right, drawing the viewer’s attention towards the three figures. The background is painted in broad terms, with a simple, uniform depiction of tree leaves and smooth rock faces on the horizon. This contrasts with the fine-lined detail and texture of Mary’s hair, facial features, and veil, which further contribute to her elegance and highlight her
The ability to create a picture of The Annunciation in one’s mind is a key factor in understanding the analysis of the work. Francisco de Zurbaran approaches the painting with a naturalistic style. The painting features a room in which a woman – like angel is seen at the left kneeling on the ground before the Virgin Mary. The figure of Mary is placed between a chair and a small wooden table draped with a green cloth. Mary disregards an open Bible on the table, as she appears solemn while staring at the floor. Floating above the two main figures in the upper left side of the painting are cherubs resting on a bed of clouds. They happily gaze down at Mary with eyes from Heaven.
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
Abortions occur for all types of reasons, whether it is because the pregnancy was unplanned, rape-induced, or that it holds a life threatening capacity for the woman herself. Pro-lifers believe once one is conceived, he or she are entitled to a right to live. It does not matter whether or not the pro-lifers are able to prove that a fetus consists of personhood. The life of a potential person should not be able to override the right to one’s body. Judith Thomson presents a though experiment where personhood is granted to a fetus, but how that mere fact still fails to override the woman’s right to her body.
The first time the beautiful lady spoke was on February 18. She told Bernadette, “I do not promise you happiness in this world but in the other.” She then made a request to Bernadette, “Would you be kind enough to come here for a fortnight?” Bernadette accepted to visit the apparition site for a fortnight. Truly, Bernadette went through a lot of suffering particularly in the hands of the government authorities who sometimes sent the local police to either arrest Bernadette or disperse the people who by now have started going to the apparition site for prayers. On February 24, the lady asked Bernadette to do penance. She said “penance, penance, penance” she also told her to pray for sinners.
The Divine command theory states that morally right actions are those commanded by God, and any action going against it is morally wrong. People that accept this theory can only consider an act to be right or wrong if God commanded it to be so. Therefore, supporters of this theory have a moral obligation to do and obey whatever God considered to be right without questioning his judgment. Those in favor of this theory should fulfill his will without any hesitation, regardless of its consequences to society. So if God had claimed abortion to be morally right, everyone supporting this theory were to happily accept it. Moreover, this theory suggests that those who act on a moral sense God desires will be rewarded at the end, perhaps in the afterlife;
Raphael’s The Marriage of the Virgin is a typical High Renaissance painting from the early 16th century because of it’s style, sense of a three dimensions, and the subject. The subject is the competition of suitors for Mary and she would marry the one who’s rod miraculously bloomed, in which ended the marriage between the Virgin Mary and Saint Joseph, that Raphael depicts. This was painted as an attempt to create a balanced, harmonious and movement of a religious event that we associate with of that time. If we use the linear perspective system, we can trace the line back to a centrally place temple that allows us to venture around the figures placed on the steps and then even further through the doorway that shows the sky behind. The use
Anne and From the top of the painting we see a pale blue sky that blends into an icy blue mountain landscape set behind the figures in the painting that culminates in the earthy rock base wear the figures are placed. The colors darken, and indeed contrast, as the eye moves down and into the foreground of the painting, where the colors change from pale and icy blues to warmer earth tones, creating a sense of depth in the space. Though, the lines in the forefront of the painting are soft and muffled, as seen in the softer sweeping curves of the natural female form and the vague features of the rock base where the figures sit, the lines grow more blurred as the landscape disappears into the diminishing point, further creating depth in the space. The focal point of the painting is the Virgin Mary’s alighted face and the intent gaze of her and the Christ child, but the face of St. Anne with her enigmatic smile looking down at mother and child with maternal wisdom is impossible to
He will then use implicit lines which are the strands of Virgin's hair that direct viewers’ eyes to the middle of the painting right above the rich tone of red in Mary's dress that highlights the natural beauty of the “Lady". Blocks of hair that are horizontal and vertical in certain places of her head echo the shape of her dress. Therefore, both lines and shift in color are used together in some places and separate in other places to create the shapes in the artwork. The light color of the empty space is visually light; therefore, it does not have as much weight as the darker, amber colors of the rest of the Virgin's dress. This visual lightness along with Virgin’s dress is strong enough to balance the multitude of the blue folding draper that fold down by her right solder and most part of the landscape that is on her back. In this piece, the light source is not seen. However, the natural light source coming from left of the artwork (if we face the Virgin) because Raphael uses a light ochre color on top of the brown color that is already present on the left side of Virgin’s face which makes it seem like a glow is cast upon her face. These warm colors make her stand out from the background. Also, the warm colors against a calming blue background give Virgin an ethereal quality. The other two figures in the artwork which happen to be in front of Virgin makes the viewer
These first lines of Mina Loy’s poem “Parturition” indicate the way in which the poet distin-guished herself from other (male) modernist poets: “I am”, writes Loy, and puts a woman in “the centre” of her poem – a poem which has a distinctly female experience as its topic, childbirth. As modernism was a male-dominated literary movement, the experiences of women were largely disregarded but Loy aimed to give the “new woman” a voice and “pre-sented a new female perspective”. In 1914, Loy wrote her “Feminist Manifesto” that speaks out against the inferior position of women in society and stresses the importance of the aban-donment of the traditional view on women. Loy supported her position through her poetry in which she objected the position of women in a male-centred society and presented a new