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Egyptian representive art pyramids
Egyptian representive art pyramids
Egyptian representive art pyramids
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A myriad of different elements can be found in artwork. This reigns true for Frosty Morning by Fred Shane, who was a regionalist and muralist. It is an American painting created in 1939. Frosty Morning is oil on canvas laid on masonite that currently resides in Mobile Museum of Art in Mobile, Alabama. The prominent elements and principles of design in Frosty Morning consist of forms and rhythm.
The element of form comes from three-dimensional shapes. Forms portray a wide variety of different meanings and symbols. In Fred Shane’s Frosty Morning, the form of a pyramid is employed. The pyramid comes in the form of a haystack in this artwork. Pyramids symbolize many things, however, in this case it is utilized to portray a system of
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An assortment of different elements can be employed to convey rhythm. In Frosty Morning lines and shading are used to show this. One aspect of the painting that implements these elements is the grass throughout the fields. The use of lines tracking towards the same direction is one aspect of showing movement in the grass. The second aspect is the shading of grass. The lighter portions of the grass portray that it is facing more towards the sun, while the darker portions are facing away from it. This gives notion as to which direction the grass is moving as well. The element of shading to illustrate rhythm is also used in the smoke billowing from the chimney of the country home in the distance. The use of shading the smoke in darker and lighter sections allows an observer to distinguish which direction it is moving. This is based on the fact that the lighter portions of smoke have dissipated more than the darker portions, thus showing the direction based on where the concentration is greatest. The title of the piece of art is Frosty Morning, which tells that it is cold. Together, the movement of the grass and smoke also aids in further implementing the weather setting. By showing movement in the grass and smoke, it portrays wind blowing, which is often associated with cold weather. Combined, these two elements of movement are a major component of setting the overall tone of this work of
The composer gives the plant human characteristics to make the poem sound more alive and mysterious. By saying “Dipped her toe in weeds and so we caught her”, the word “her” is a reference to mother nature and gives the water lily a beautiful feminine quality. Therefor, the audience is able to feel a sense of calmness and peace. Also feel the interconnectedness with nature, spirituality and fantasy and appreciate it. Moreover, in “Nature’s Beauty” the poet applies personification to represent the earth as a queen wearing a long green robe and the rain is throwing the precious stones on its crown and cloths to make shiny and brighter
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.
“Trees of the Arctic Circle” and “Heat” depict nature as having its faults such as the trees being a disappointment in Purdy’s case and the weather being too intensely hot in Lampman’s case but by the end of each poem find clarity is almost essential not only physically but internally. The two works give nature characteristic views as well as personification that differ from 20th century modernist works to impressionist ideals upon nature. Both poems bring out realizations in ones self within coming to terms with shifting out of the negative to a positive and demonstrating that nature is always capable bring out
The painting’s canvas has been exploited perfectly. All the space on the canvas had been used. However, space was not used to create depth, and there was no layering or recession present. The painting does not feel that it has motion, apart from what it looks like the creatures eating from the tree of life. The eating motion was depicted by the posture of the creatures, with arms extending towards the plants – in the case of creatures – or beaks being wide open – in the case of birds. All these factors 'accord' the painting with a unique
The poet shows that this simple, pleasant memory and how it re-in-acts his childhood. The way in which the windmills squeaks and groans to bring water from the ground whereas during the period of rain they work in harmony, as the rain comes down. The poem is gentle and nostalgic. It seeks not only to recreate the scene for the reader, but to have the reader feel the day to day struggle of living in the hash Australian outback, the struggle of agriculture during a drought.
The confronting theme of life is shown through poetic techniques in the poems, Pieta and November. The cycle of life is shown through Pietà and November in two different ways. The child’s life is unfortunately cut short as it, ‘only [lives] one day.’ Whilst in November, the subject of the poem is about a Grandmother who is at the end of the cycle of life. This is unlike the baby in Pietà who is not able to live, or have a chance of living a long life. This may cause the audience to ponder about the purpose of life. Armitage uses consonantal alliteration and visual imagery, in ‘sun spangles,’ to symbolise that, ‘the only thing you can get, out of this life,’ is the beautiful happy moments. This logic is true for many non-believers as the purpose of life is unknown to them and the only positive reason for life is by creating happy memories.In November,the last moments of life are shown through the enjambment and flow. The audience is involved with the journey of bringing the woman to the hospital as if you are, ‘with your grandma taking four short steps to [your] two.’ This is effective as the audience can put themselves in the place of the narrator in the story.This is unlike Pieta which is written in past tense and is not able to put themselves in the place of mother but the audience is more sympathetic towards the mother and her loss of her child.
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
As characters in the poem are literally snow bound, they find that the natural occurrence actually serves a relaxing and warming purpose, one that brings together family. This effect is further achieved through the use of meter throughout the work as a whole. In its simplistic yet conversational tone, the author uses meter to depict the result that nature has forced upon these humans, who are but a small sample size that actually is representative of society that that time. Due to nature, the characters can talk, represented by the conversational meter, and thus, they can bond within the family. A larger representation of this more specific example can be applied to a more general perspective of human’s relationship with the natural world. Although “Snowbound” captures what humans do as a result of nature, it can also represent a larger picture, where nature appears at the most opportune times to enhance relationships from human to human. In “snowbound,” this is symbolized by the fire, “Our warm hearth seemed blazing free” (Whittier 135). This image relays a spirited, warm, mood full of security, which is expertly used by the author to show how fire, a natural phenomena, can provide such beneficial effects on humans. This very occurrence exemplifies how such a miniscule aspect of nature can have such a profound effect on a family, leaving the reader wondering what nature and its entirety could accomplish if used as a
Norstein has a very original, particular style to his animations and the purpose of this essay is to critically analyse the form and ideology of one of his animations with the intention of discovering what it is that makes his artwork so unique and has led to him being regarded as one of the greatest animators in history?. The method by which this will be done will be to firstly report the elements and functions that went into forming Norstein?s animations and ?Hedgehog in the Fog? in particular, then to analyse how these elements .mix with his personal influences to imply further meaning within his work.
In June Robison’s article,”Frosty’s story illustrates scope of animal cruelty”, she argues that animal cruelty is wrong and attempts to persuade the reader to feel sympathy for animals. Animal cruelty is indeed wrong and it must stop. The author made some strong points in her editorial; however, she left out several substantial sources. This evaluation will review Robison’s article and state the main points.
In Regina Barreca’s Poem, “Nighttime Fires”, she uses many elements of poetry to help portray the theme of the poem. Poetry is all about the way it is written. Poetry is short, so it tends to be much more complex than a novel. Poetry uses many elements to help the reader fully understand what the poet’s overall goal is. It is easy for the reader’s to enjoy this poem because it is easy to understand, and it can paint a great picture in the readers mind about the poem, using such elements. “Nighttime Fires” uses many elements such as: Tone, Image, and Figures of Speech.
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
The influence of nature theme, seen in Romanticism, prevails in “The First Snowfall” and “The Snow-Storm” through figurative language, but through different types of figurative language: similes and personification. “The First Snowfall” employs similes in lines 13 to 16 and 19 and 20; “The Snow-Storm” uses personification in lines 3 to 5. The simile in lines 13 to 16, “I stood and watched by the window, the noiseless work of the sky, and the sudden flurries of snow birds, like brown leaves whirling by,” describes the birds that the narrator sees as leaves falling, which presents an influence of nature. The simile in lines 19 and 20, “How the flakes were folding it gently, As did robins the babes in the wood,” again mentions birds. Whereas, the personification in lines 3 to 5 of “The Snow-Storm,” “...the whited air, Hides hills and woods, the river, and the heaven, and veils the farm-house at the garden’s end. “ personifies snow, (or “the whited air”), and claims that the snow hides and veils; snow, another element of nature, acts as Emerson’s gateway to bring nature into his work; Lowell’s birds act as his gateway.
...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.
Nature as imagery is a largely spread idea in most of Frosts poems. However he is not telling us about nature or trying to explain nature to us, rather, he is using it as a source of narrative to metaphorically position something else. This, we can deduce,...