In Pierre-Auguste Cot’s All Souls Day at the Camposanto, Pisa, a mourning widow with her two kids are shown standing by her husband’s grave. As mentioned in the title, All Souls Day is a day that commemorates the souls of those that have passed. Commonly on All Souls Day, the graves of the dead are decorated. This is shown by the flowers lining the top of the cross and by the lantern the widow’s son is lighting.
The style Cot uses is comparable to that of the old master’s. The painting is done with oil on canvas. Cot shows a masterful use of value as within the painting, he explores a wide range. Even in the darkest areas of the painting, you can still see slight variations in the depth of the color, allowing for a significant amount of detail. This can be seen in the clothing of the widow’s eldest child and the lower part of the widow’s dress. When first looking at the painting, your eye is immediately drawn to the widow’s baby. Most of the painting has darker colors while the baby is lighter. The painting is meant to depict the sorrow the widow feels. However, the baby is too young to
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understand what is going on so it’s expression won’t have that same seriousness. The highlight Cot puts on the baby helps shows the lightness of the baby and the feelings of the baby. The darker colors of the widow and her eldest son show their understanding of what’s happening. In Vittorio Matteo Corcos’ painting When Love is Young, a young woman and man are shown. They are looking at each other lovingly. As the couple and the title suggests, this is the start of something between the two. It captures the mood of being young and just falling in love. Within the painting, Corcos uses a limited palette. He mostly sticks to blacks, greys, whites, and blues. Within the painting, Corcos shows textures well. His rough blending of the colors on the railing, help give it a stone texture. Since we see more of her, Corcos put more effort in making the young woman’s dress more detailed than the young man’s clothing. The way he highlighted her gloves gives it a satin look. There is a definite difference in the look of the material of her gloves versus her dress. His short brushstrokes help give texture in the front of her dress. There isn’t a lot of places for the eye to move through the painting. Your eye is immediately drawn to the couple and the foreground of the painting before going to the steamboat in the background. A lot of the space within the painting is taken up by the sky. However, the simplicity of the background helps keep the couple the dominant part of the painting. In Jozef Hendrik Hubert Lies’ Afternoon at Tuileries, people are shown enjoying a lovely day in a park. In the forefront, a group of four is shown chatting in front of a pond. A young boy and his dog are behind them. Further in the back is other people just strolling or sitting. The mood of the painting is calm as the people are enjoying the day. There is some movement within the painting. Your eye is first drawn to the group in the front. It then follows the edge of the pond to the boy and his dog, then to the couple strolling, before following the path behind them. The upper right corner is not very active. However, one of the lady’s pink umbrella can push your eye to that corner depending on how your eye goes through the painting. Lies shows a lot of texture in the painting with the trees, the dog’s fur, and the clothing of the people. With the people in the forefront, Lie’s shows what kind of materials their clothing is made of. The coat of the man in blue has a velvety look to it, almost like you could feel the softness of it. Lie’s uses proportion well in that the group in the foreground are bigger than those set farther back. In Joseph van Severdonck’s The Judgement of Solomon, King Solomon is shown sitting on his throne with two women on either side of him.
At the foot of Solomon’s throne is a dead baby. A soldier stands near them holding a baby by its ankle. Both women gave birth to a baby boy, but one of the woman accidently killed her baby. She switched the dead baby with the other woman’s baby. Both women argued that the living baby belonged to them. King Solomon decided that if both woman were to argue over the same child, he would have the soldier cut the child in half so each would have an equal piece of the baby. The child’s real mother is distressed over this idea while the other woman could care less. The painting shows the distress of the true mother as well as the fear of the other mother that her plan was foiled. This painting also represents the wisdom of King
Solomon. Severdonck uses the space well. Your eye moves from the soldier with the baby up to King Solomon then down to the dead baby and the true mother then back to the other men watching it all. Severdonck uses light and shadow to show the distinction between the two mothers. Besides the facial expression and movement of the two, the mother of the dead baby is drawing herself away from the scene. Severdonck also painted her in the shadows as if she is trying to hide away from everything. The true mother shows a lot of movement as she is reaching toward Solomon in desperation. He painted her with the light on her as if to say she is the true mother. Severdonck creates balance with the light and dark parts of the painting. If you split the painting in half, the soldier and baby are the light part of the left side and the other mother is the dark part. On the right side, the mother is the light part and the men in the back are the dark part. King Solomon, who is in the middle of it all, is equal parts light and dark.
They are durable and inexpensive comparing to canvas.The artwork shows the happy emotions and realism with his interpretation of his wife and himself. Color theme of the painting was blue and background/negative space is dark blue. His right side of face is dark blue to show the shadow of his face and distance perspective. He used the black line which is stained glass like to separate the negative space/positive space. He used dark blue green for negative space on the Masonite board. Texture of oil painting is rough and we can trace of the paint brush stroke. They give the vivid or liveliness that he was well known of. The figures are realistic and impressionism style rather than photogenic. The title of paining and sub title of paining itself tell the story of artwork. Esther looks very relaxed, content and happy. Rattner looks happy , passionate, proud of himself as well. He certainly looks overcame the grief of death of his first wife. This painting gives warm feeling even though the theme color is cool color blue because of two figures of face expressions and relaxed body
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
Solomon's silver watch contained multifaceted significance with regard to his character and it's effect on Livvie--it represented prestige and wealth, control and obsession, and a life of dark retreat. For Solomon the watch represented the prestige and wealth that were rarely attained by colored people. "For he was a colored man that owned his land and had it written down in the courthouse." (P. 85) Yet the watch also had another dimensionCit meant control over his life and his possessions, including Livvie.
She shows the true culture of her family’s life and how they act. Artistically, this frame includes lots of detail and is realistic. Behind the doors and windows is a blank, only shaded area. The conversation between the two sides shows the ignorance of her parents. While the child looks angry and seems to have looked everywhere (with the draws being opened already). This shows that the family does have transparency and doesn’t constantly cover-up the truth.
The painting is a large painting it is almost five feet tall and four feet wide. It is an oil painting on traditional canvass. The color choice is very dark and gloomy. It serves the purpose of putting the viewer in a somber mood. From the first glance you can tell that this is a sad setting. To some viewers Ida might bring a feeling of disgust, however, after closer inspection of the painting, the inner beauty seeps out. The black backdrop works to bring Ida out to the viewer. The fact that Albright was able to take a young and pretty model, transform her into an almost “Walking Dead” type creation from his own mind, shows that Albright had a very creative mind. The patterns of the carpet, along with a tear in the fabric beneath the chair she sits on give the carpet a life of its own, distinct, yet worn from time and abuse, much like Ida herself. The texture of the vanity behind her is duller. He gives no real definition to the outline of the lower drawers, there was nothing in there of any significance, but it works as a great background for Ida's leg.
The first effect of the birth imagery is to present the speaker's book as a reflection of what she sees in herself. Unfortunately, the "child" displays blemishes and crippling handicaps, which represent what the speaker sees as deep faults and imperfections in herself. She is not only embarrassed but ashamed of these flaws, even considering them "unfit for light". Although she is repulsed by its flaws, the speaker understands that her book is the offspring of her own "feeble brain", and the lamentable errors it displays are therefore her own.
It differs greatly, in its portrayal of mothers, from Le Brun’s Self-portrait with her Daughter and Cassatt’s artworks. Behind Marie Antoinette, you see a jewelry cabinet, off to the right of the canvas. This illustrates that, although she is with her children, she finds treasure within her own materialistic objects. Furthermore, her expression lacks emotion as she holds the child loosely within her arms. The child looks off, barely acknowledging its mother, who is holding him. Next, the child, on the far right of the canvas, reveals an empty cradle, alluding to a child who has died. Again, Marie seems unfazed or simply chooses not to acknowledge the boy’s actions. Furthermore, the young girl, on the right of the canvas, clings on to her mother as she lovingly looks up to her mother. Marie holds a wry smile, appearing somewhat annoyed or displeased. The color scheme is dark, but Le Brun utilizes contrast to emphasize the royal family. However, it only works to further expose the detached relationship between a Marie and her children. According to the lecture, “To counter people’s hatred of the queen and their criticisms of her as a bad (even a degenerate) mother, Vigée Le Brun was commissioned to paint this portrait of Marie Antoinette and her children” (Gartrell). Sadly, the painting was
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.
Song of Solomon tells the story of Dead's unwitting search for identity. Milkman appears to be destined for a life of self-alienation and isolation because of his commitment to the materialism and the linear conception of time that are part of the legacy he receives from his father, Macon Dead. However, during a trip to his ancestral home, “Milkman comes to understand his place in a cultural and familial community and to appreciate the value of conceiving of time as a cyclical process”(Smith 58).
Desiree’s Baby starts out with Desiree and the baby not being seen by Madame Valmonde. They were gone for four weeks. They come back and Desiree goes to sleep with the baby in her arms. Madame takes a look at the baby and says, “This is not the baby!” (903). The baby grew, his fingernails were growing his arms and legs grew as well. (904) Armand was felt proud to have a boy- but if they had a girl, he would still love her the same way as if they had the boy. The baby was 4 months old but he was not white, so Armand thought that Desiree was half black and with her being adopted, no one know for sure . So he throws the baby and Desiree out of the house. “He thought Almighty God had dealt cruelly and unjustly with him; and felt, somehow, that he was paying Him back in kind when he stabbed thus into his wife's soul. Moreover he no longer loved her, because of the unconscious injury she had brought upon his home and his name.” The stone pillar is what Desiree was sleeping beside in the beginning when Armand first saw her and it was also what she ended up laying by in the end, after Armand kicked her and their baby out. The stone pillar is a symbol of Desiree’s unknown past and soon-to-be future of...
The mythical event represents the Greek hero Oedipus confronted by the Sphinx outside the kingdom of Thebes. Oedipus must solve the Sphinx’s riddle in order to live. (Morford, Lenardon, and Sham 422). The painted image shows the fallen victims who previously tried and failed to answer the riddle correctly. The myth behind the painting starts with a son that was born to Queen Jocasta and King Laius of Thebes (Morford, Lenardon, and Sham 420). The oracle told King Laius that a child born to him would grow up, murder him, and marry his own mother. (Morford, Lenardon, and Sham 420). In order to avoid this fate, King Laius ordered the child to the elements on Mount Cithaeron with a spike through his ankles. (Morford, Lenardon, and Sham 420). A servant ordered with this request, felt sympathy for the child and left him with a Corinthian shepherd, who then presented the child to King
All Souls Day, November 2nd, does anyone really understand why it is a holy day or is it just another meaningless holiday Catholics are asked to attend church? All Souls Day is a day that the Catholic Church has set aside to help pray for all the souls not yet joined with god. During this day, people are asked to pray for all of the departed who have passed on and are now in purgatory working very hard to have the privilege of joining to god.
In “The Spirits of the Dead,” Poe uses symbolism and personification from nature to speculate a sanguine version of death where the living and the dead still can make contact. Although a mortal “soul” may seem alone while walking through a graveyard alone, “The spirits of the dead who stood/ …In death around thee-and their will/ Shall overshadow thee: be still” (Lines 7-10). One is never truly alone with one’s thoughts because the spirits from the unknown world are constantly watching. In the second stanza, “The night, tho’ clear, shall frown- And the stars shall look not down/ From their high thrones in the heaven… But their red orbs without beam… Which would cling to thee forever” (Lines 11-18). In this stanza, “the stars,” who represent the spirits, are not responding to the living. This elucidates the barrier between life and death although the stars, which are looking down upon the living, and the night, who is frowning upon the living, are distant from the “soul,” regardless of their close proximity. Because...
...n and fertile part of the country was a symbol of the productive part of the woman and the barren part is the symbol of the man who did not want the baby. And the other readers stated that these two different parts of the land were a reflection of the inner part of the woman. The reason for the man not to want a baby was considered as an obstacle for him to travel. It was observed that the woman readers were supporting the woman in the story and the man readers were supporting the man’s part of the argument...
It seems to be his style of painting, thick brush strokes. It is not simple, there is much to the painting, there is emotion in the painting. It is a stunning piece made by him.