Mark Rothko's Subway Scene
"Subway Scene" (1938), by Mark Rothko, depicts the inside of a subway station. At the front of the painting are two pillars, behind them is a staircase used by two faceless characters, decending into the underground. The staircase is surrounded by a cage-like grid. Behind the staircase are another two pillars next to a gate similar to the one around the staircase. On the left side of the gate is a wall where half a door is visible. Just behind the gate are two swing-doors and a booth with a man inside. Two men appear to be waiting in front of the booth. On the left and right sides of the booth is what seems to be a wall. There is also what could potentially be an advertisement, on the bottom left side of the wall. Above the wall are strings of the letter "N", which could maybe stand for "Northern". Left from the advertisment, is another flight of stairs, which could be leading down from the street. On the stairs is another person who is only half visible.
The characters in the painting appear to have no faces, except for the man standing in the booth, which is quite a symbolic portrayal of a subway station. There are constant floods of people coming in from the city streets, many who appear only for short periods of time, whereas, the man in the booth remains there for a long time, therefore his face becomes familiar. The people also appear to be wearing hats, this could suggest that it takes place during winter.
The artist, Mark Rothko, uses various shades of green, brown and grey to capture the bleak reality of an underground subway station. For example the sweeping grey floor and dull brownish walls. However, there is also use of striking colour, like the burgundy jacket and hat worn by the man decending the stairs and the bright green grid surrounding him.
There also seems to be a frame constructed out of the two front pillars in the painting where all the action takes place. It is also where the artificial light sources are coming from, like the booth, the staircase at the front of the painting and possibly some lights on the ceiling which cannot be seen. Everything outside of the frame seems alot darker in contrast, isolated and not so clear.
In this poem, “On the Subway”, written by Sharon Olds brings two worlds into proximity. We will identify the contrast that develops both portraits in the poem and discuss the insights the narrator comes to because of the experience. The author refers to several literary techniques as tone, poetic devices, imagery, and organization. The poem talks about a historical view based on black and white skin. It positions the two worlds the point of view of a black skinned and a white skinned. The boy is described as having a casual cold look for a mugger and alert under the hooded lids. On the other hand, based on his appearance the white skinned person felt threatened by the black boy. She was frightened that he could take her coat, brief case, and
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
The painting has an order and there are different shapes and angles. Rectangular shape is main trend around this piece, including the wooden chest, the leg rest and the canvass. Also things overlap, creating the illusion of the shape look closer to viewer than the shape behind it. The example in this piece would be the chair on which Adelaide Labille Guiard sits be close to viewer than the girls behind it. This adds depth to the space. Also due to linear perspective girls behind the chair are smaller due to being farther away.
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
The framing of this painting is so important because it really makes the viewer think about what is truly important in life. Rockman used the vibrant
The painting has realistic 3 dimensional space by the use of linear perspective and chiaroscuro. It also looks to be 2 dimensional as well, because it almost looks like some influence on the Japanese print, like flat patches of paint. The lines converge from the edges of the paint to the center letting off the effect of a background and a foreground. It looks as though the trash is in the foreground and the man is in the background. In the back of the painting, it is darker which also adds to the effect of the 3 dimensional space.
The original station had separate stairways for entering and exiting in a way. Although not much looks the same today, the mosaics on the walls are still there. ("28Th Street Subway Station (1) - Lost New England") . The 28th Street station was originally designed by George Lewis Heins and Christopher Grant LaFarge who gave those decorative identification plaques to the station; they were made of several pieces of ceramics that have adhered together. There are several remains of the original decoration of this station including the ID plaques and many round pillars with fluted tops and bottoms. Original IRT stations had entrance and exit kiosks but with the passage of time motorists began to find those great structures an obstruction to viewing traffic signals and stoplights, so they were phased out, with the last ones surviving until the late 1960s. A new entrance kiosk was built for the uptown Astor Place platform in the traffic island in the mid-1980s which could still be found at the Uptown 28th Street station. The new walls of the station that extended in the 1950s received IND-style mosaics with blue and gold color scheme contrast. Exteriorly the station is surrounded by beautiful historic buildings like Cathedral of Insurance Building and Madison Square Gardens. Most noteworthy entrance/exit of the station is from the New York Life's "Cathedral of Insurance" building with ornate iron signs Interborough Subway which lead to the breathtaking sea of polished brass architecture and two "SUBWAY" stanchions that appear at both staircases leading down to the station. The sign on the stanchions seems to be two barking dogs on either side of a flaming brazier and ceiling treatment with nine colored reliefs in red, gold and green. A chandelier hangs from the central tile. This treatment appears in front of each down staircase ("NYC's
B. Shape – The most obvious shape is the round sun in the upper left of the painting. The bottom of the sun is going into the horizon to represent sunset. The house is represented by a triangle front on top of a cube to give the impression of depth. An oval shape represents the figure’s face.
In the 1920s the new quantum and relativity theories were engaging the attentions of science. That mass was equivalent to energy and that matter could be both wavelike and corpuscular carried implications seen only dimly at that time. Oppenheimer's early research was devoted in particular to energy processes of subatomic particles, including electrons, positrons, and cosmic rays. Since quantum theory had been proposed only a few years before, the university post provided him an excellent opportunity to devote his entire career to the exploration and development of its full significance. In addition, he trained a whole generation of U.S. physicists, who were greatly affected by his qualities of leadership and intellectual independence.
Body language is non-verbal communication where your body reveals unspoken, usually subconscious, feelings and intentions physically. Body language is expressed through eye movements, facial expressions, body postures and gestures. It plays a part in how humans judge you while communicating or first meeting which is what we do when we see a characteristic we wouldn’t tolerate to possess or envy of the person which drives you to find faults within that person. Body language also indicates a persons state of mind; whether they are alert/attentive, bored, interested or nervous. Before language was developed, cavemen and other early ancestors used body gestures to communicate and judge each others body postures and voices to guess what they wanted to get across. Body language reflects who we are. One of the reasons television was so groundbreaking because radio couldn’t display facial expressions and body language. In 1960, Kennedy and Nixon had debates. Nixon was sweating, looking nervous whereas Kennedy wore makeup and looked straight at the camera to show conviction. People listening to the debates on the radio believed Nixon had won and the people watching it on television thought the opposite. After that event, non-verbal communication was taken more seriously.
In Office in a Small city, the viewer is looking through a side window of a plain utilitarian building of a solitary man in a corner office. The highrise the man currently occupies is unassuming. Its color a soft white. The only decorative feature of this highrise is the front. Two other buildings can be seen. Another highrise, with apparently no windows, is similar to the one that the man occupies. The other building that occupies the rest of the space, is reminiscent of a time before the rise of skyscrapers. It stands out as unique and more human when compared with the other structures in this painting. The office that man sits in is bare, nothing hangs on the walls and the interior is the same drab color of the outside building. The windows of this office aren't framed. The few things that occupy this corner office is a couple dull brown colored desks and chairs and the solitary man. The man, dressed in a white shirt and black vest, sits at one of the desks and looks across the way to another building, with o...
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
Public Managers are uniquely positioned to positively affect policy process due to their tenure, job security, absence of political pressure and expanded role in the society. The
It aims towards economic principles and to apply these principles in decision making while administration is fixated on the structural principles and policy implementation. Public administration centres on the procedures within an institute and they see everyone as being detached and professional in the workplace. Public administrative theories also emphasise that these organizations have a bureaucratic structure. The separation between public administration and public choice arise in a hypothetical field. Their concepts vary greatly in many features of procedures.
Even though bureaucratic administration principles were functioning efficiently for many years since its inception, it is claimed that inadequate to meet the current demands of citizens. Therefore, the New Public management (NPM) approach was developed in UK to substitute the traditional model of public administration in 1980s and 1990s as a response to the insufficiency