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Perception of art
Interpretation of art
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London is such a beautiful and busy city, if only the human eye can capture it all at once. London, is an astonishing piece of artwork capturing the breathtaking city of London during sun down. The painting style of Chiaroscuro was used to paint London. The artwork London, by Thomas Kinkade, allows the viewer to feel as one with The House of Parliament, Big Ben, and The Westminster Bridge. To the far left corner of the painting, smoke, as white as a marshmallow, blows into a spiral like shape. The steam boats glide through The River of Thames as if showing airplanes flying through the never ending skies. As two eyes wander above the boats, The House of Parliament materializes. Brilliant architecture makes The House of Parliament appear like
pure royalty in the breathtaking city of London. The radiant glow from the shiny beams of yellow light make the wealthy establishment stand out for all the residents of London to observe. Dead in the center of the painting, Big Ben stands strong like a Bobby ordered to protect the queen. Big Ben, a piece of history, glimmers in London’s enchanted sunset. Once the little hand strikes the twelve, tourists and natives will hear the thunderous bang of the bell. As people taste London’s signature desserts, take a whiff of the English Puddings that fill the air with a decadent scent. People from near and far have come to enjoy a night in the remarkable town. On the immediate right of the majestic painting, London’s notable red double decker bus drives smoothly across the bridge that separates the unknown city from lavish London. Buildings that are a great distance from The Big Ben lose their glare from being overshadowed by the marvelous clock tower. The apartments that can be seen with a naked eye are lit up like a blazing fire. Chattering on each floor can be heard; British accents enunciating every word perfectly. The lights in the apartments flicker off one by one, as families depart for an extravagant night. As the artwork comes together, a beautiful painting of lavish London is visible. The painting London, shows a glimpse of amazing objects that can be seen in London like The House of Parliament, Big Ben, and The Westminster Bridge. From the ancient looking towering buildings to the Big Ben towering above city streets; London is truly a magnificent city. If only really, the human eye could capture it all at once.
Joseph Hirsch’s painting Daniel was painted in 1976-1977. In 1978 during the153rd Annual Exhibition of the National Academy of Design, it won the First Benjamin Altman (Figure) prize. It measures 38 inches by 45 inches (96.52 cm x 114.3 cm) with a five inch gold wood frame surrounding it. The medium is oil on canvas. Everything within the painting is centered to draw your eyes to the action of the turned head and the pointed finger. According to the placard next to the painting this is a modern day version of the biblical story of Belshazzar’s Feast following the sacking of Jesualism from the Book of Daniel. From this point on, each figure within the painting will be addressed as Hirsch intended. The painting depicts a seated king, a dozing courtesan and Daniel. The three figures are the focal point of the composition. Hirsch uses a strong color palette to give the painting a luxurious and wealthy feel. Although the detail is not miniscule, the composition as a whole is easily understood. The use of oil paint allowed Hirsch to play with the composition as it was created.
When I read the article by Susan Orlean, I am very aware of the big business Thomas Kinkade is trying to create by reproducing his original paintings mechanically using digital technique, but I have also carefully examined whether this article which discusses about the reproduction of his art works has a correlation with Walter Benjamin’s essay “The Work of Art in the Age of Mechanical Reproduction”.
Since she could not own, much less lose a realm, the speaker seems to be
The major structures in the painting consist of an umber colored cross and three ladders. Starting from the top of the image, there is an old man with a scraggly, white beard holding onto and leaning over the top beam of the cross. He is set off by color, wearing a bright red gown and azure head wrap. The majority of his body rests atop the cross while he stands on the ladder that is leaning on the back of the cross.
The representation of the new age of exploration, which serves as an allusion to man’s potential, is starkly contrasted with the depiction of Icarus that serves as an allegory for man’s limits, indicating the shift from a euro-centric universe. This painting is an oil canvas landscape of the sun setting on the horizon of the ocean sea, while the ships were sailing through the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman, showing the increasing artistic methods that begin to be utilized.
Reginald Marsh incorporates many key characteristics into his painting that serve to embody an overarching dreariness in the atmosphere. The painting depicts a small crowd of middle-aged men, cloaked in dark bronze coats, soliciting and wandering their gaze among the shadowy floors and the other inhabitants of the New York street. One of Marshall’s key elements in the painting is his utilization of color and painting technique. The painting emcompasses unpolished brushstrokes that serve to produce a haze-like quality to its people and the environment. Many of the subjects throughout the painting have a sketch-like quality that are animated by the saturation of oils. A variety of dark, rich brown palettes coat the backs of the people and surrounding structural supports that effectively contrast with the illuminating yellow hues that radiate from the local fur boutique. The highlights incorporated by the artist brings forth emphasis to areas that may
From the piece of artwork “Rain at the Auvers”. I can see roofs of houses that are tucked into a valley, trees hiding the town, black birds, clouds upon the horizon, hills, vegetation, a dark stormy sky and rain.
The formal analysis of The 3rd of May, 1808, Francisco Goya, 1814, oil on canvas. In the following written composition I will examine The 3rd of May, 1808 in a context which will allow me to identify formal elements that Goya manipulated to influence the viewers with a specific outlining message. This work was completed in 1814 using oil on canvas medium. This piece of art stands at approximately 266 by 345cm. This was common for historical paintings to be substantially grander in size. Goya’s goal in this specific painting is to depict the sorrow and heartache connected with the Peninsular war. In this specific work The 3rd of May 1808 he highlights the honor of the massacred Spanish rebellions opposed to the savage French troops. This formal analysis will examine the important technique used by Goya to organize societies depiction of the visual information. Within this work I will concentrate on these elements of color, texture, shape, lines, space, and the value to bring about my own opinion of Goya’s work. Using this strategy applied to The 3rd of May, 1808 work I hope to demonstrate a comprehension how to translate what I see into written words.
work of elegance, beauty, and one in which every character in the painting is expressive
I chose “The Martyrdom of St. Matthew” as the painting that best illustrates the baroque period. The reasons surrounding my decision are clear in Caravaggio’s painting. Here Caravaggio uses the entire canvas to illustrate complexity, flow, and chiaroscuro. The painting depicts the source of lighting to be coming from the left side of the plane. The brightest light focuses directly on Matthew’s executioner who intends to strike Matthew with an old balcanic hand weapon. Caravaggio masterfully illustrates the use of lighting by casting believable shadows. As an example, the shadow of the handle on balcanic hand weapon reflects on the executioner’s left thigh and knee. Another shadow appears on the executioner’s right inner thigh. The lighting source to the left of the executioner, the executioner, St. Matthews, the boy, the 2 observer’s bottom, right, and the fainter lighting upper left of the canvas illustrates the technique of visual movement. The lighting is placed strategically, causing visual movement within the piece. For example, the illumination of the executioner’s forearm directs my attention to the angel who appears to be handing St. Matthew a palm leaf. As a result, my eyes then focuses on the body of St. Matthew, lying on the bottom of the altar, then my eyes shifts up toward the Angle’s arm. The lighting on the angel's arm contrasted with the darkness of the palm leaf forces the viewer to look at the hand to see what St. Matthew is reaching for. The boy fleeing the scene further draws in the viewer. The two adult observers at the bottom right of the painting are illuminated but not as bright as the two main characters. Next, my attention is drawn to the man lying on the bottom steps, left side of the canv...
I think that Millais paints Ophelia with her palms facing up because it signifies surrendering. Having her palms facing upward makes it seem as though she is surrendering, and because at that moment she is drowning, it makes it seem as though her life is what is being surrendered. This choice by Millais furthers the painting’s mood of peace, as Ophelia is not struggling, but instead she is giving
In the poem “One Art” the thesis statement declared in the first stanza, on the first line as “The art of losing isn’t hard to master” also repeating it again in line 6 and 12. The statement is better interpreted as “The skill of losing is not hard to attain”. Bishop speaks in the poem as if she has successfully mastered the skill of losing. She also goes around in circles admitting that the art of losing is not hard to master as if that is what she is making herself believe is true. She is also helping the reader create a habit as the reader reads and repeats the refrain of “The art of losing isn’t hard to master” not to mention the line 4 where she tells the reader to make it a habit to, “Lose something every day”.
The pandying scene from A Portrait of the Artist as a Young Man is, in many ways, fairly typical of a coming-of-age story. A child or young adolescent discovers himself in a situation in which he is in conflict with the adults around him, and the situation resolves traumatically for the child. What is unusual about Stephen's experience is that he refuses to allow Father Dolan, a person of clear authority, to have the last word. By going to the rector and asserting his right to be treated fairly, humanely, and justly, Stephen as an artist-to-be reclaims authority over his own conscience. He emerges from the rector's office in control of his life, no longer a passive recipient of adults' misguided actions.
The Victorian era was a beautiful time. It was full of highly sophisticated people, not including the artists. The artists of the Victorian era were more to the common people that stood out. Most of the artists back then weren’t as big as they are now. They differed in so many ways trying to be individuals. In this, the works would all be outlining subjects but they differed a great deal. Artists in the Victorian era were expressing themselves with extravagant portraits of daily life in ways of romanticism, realism, impressionism, and post-impressionism.
How London is Portrayed in Composed upon Westminster Bridge and London. William Wordsworth's poem, "Composed upon Westminster Bridge" written in 1832. 1904 looks at the positive side of London city and its natural beauty. Whereas William Blake wrote the poem, "London" in 1794, the poem is negative. towards authority and politics.