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Essay on joan of arc close ups
Essay on joan of arc close ups
Essay on joan of arc close ups
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Jules Bastien-Lepage is the artist who painted Joan of Arc in 1879. He painted a masterpiece using oil on canvas. He used a 100 x 110 in. Medium. This is a skillful representation of young girl amazed by the sight of saints in her garden in Lorraine, France. They're inspiring her to take arms against the English who invaded her homeland. The significant formal elements are lines, colors, and space. The movement of horizontal lines pulls the eye upward towards her face. The light on Joan of arc emphasizes the importance of her presence. Then diagonal lines move the eye to the saints seen in the trees. I'm drawn diagonally from the saints to the illuminated house in the background giving the piece space, perspective, and depth. This unifies the
painting giving it balance. I'm brought to Joan's horizontal outstretched arm; as if being led to an unknown place. The arm commits one to think she will move to a purpose. Analogous colors are colors used next to each other. In this piece, the greens and blues add a sense of tranquility, while the gold from Saint Michael's armor symbolizes a royal calling. The trees on either side of Joan of Arc form a diagonal path to destiny. The sight contrast between light and darkness is noteworthy in the forefront leading the eye out of the painting and on to an objective.
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...
B. Joan of Arc women, but have you ever read about a female general who led her troops against the enem and won? There are not many of them, and in medieval Europe there was only one loan of Arc, who was she? And how did it happen that a young girl who never learned to read and write became a general? At that time there were many wars between England and France to decide who should rule France. In i428 the English had almost won and there seemed to be no hope for the French. Then something strange happened. A 17-year-old girl came to the French King Charles VII and told him that she had been sent by God to drive the English out of France and to see him crowned. The girl was loan of Arc Joan of Arc is one of the most romantic figures
Marie de France uses several symbolic objects in her stories to get the point across. Sometimes what is the simplest object can have a thousands meanings. Whether you're talking about trees to the color of an article of clothing, there was a reason, a purpose for making it a weeping willow or a red scarf. You need to look deep within the story line and fine it's true meaning. In Yonec, Laustic and Milun, see the usage of birds, especially that of a swan. But why use birds? For the reasons that birds symbolize so many things such as love and romance, purity and redemption and forgiveness and the chance to start over.
( Legends): Based on history (Myths): Based on religions, and (Fairy Tales): Fiction/ false/unreal Each of them have been passed down through the years and have had changes made to them to make them more interesting.
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
Joan of Arc’s images all over the world breed symbols of patriotism, linked with French nationalism, fresh youth, and fair sex. She inspired hundreds of works of art, from plaster casts to re...
Elisabeth Vigée-Lebrun was one of the most successful painters of her time. Over the course of her life, spanning from 1755-1842, she painted over 900 works. She enjoyed painting self portraits, completing almost 40 throughout her career, in the style of artists she admired such as Peter Paul Rubens (Montfort). However, the majority of her paintings were beautiful, colorful, idealized likenesses of the aristocrats of her time, the most well known of these being the Queen of France Marie Antoinette, whom she painted from 1779-1789. Not only was Elisabeth Vigée-Lebrun the Queen’s portrait painter for ten years, but she also became her close, personal friend. She saw only the luxurious, carefree, colorful, and fabulous lifestyle the aristocracy lived in, rather than the poverty and suffrage much of the rest of the country was going through. Elisabeth kept the ideals of the aristocracy she saw through Marie Antoinette throughout her life, painting a picture of them that she believed to be practically perfect. Elisabeth Vigée-Lebrun’s relationship with Marie Antoinette affected her social standing, politics, painting style, and career.
About six hundred years ago in Europe, the French and the English were fighting for the French throne. Charles VII, the dauphin, was fighting against Henry VI, the King of England (Clin, 3). This war, later known as the Hundred Years’ War, took place during the 15th century. Joan of Arc, a peasant girl from Domrémy, joined the side of the dauphin after voices that she claimed came from saints, instructed her to help (Schmalz). Her influence brought about the end of the siege on Orléans and the coronation of King Charles. Joan was able to rally the French forces and turn the momentum of the entire war around (Clin, 3). Despite being a woman in a time when females were subjugate to males, Joan of Arc was the most influential warrior in the Hundred Years’ War because her leading role in the break of the siege on Orléans, the crowning of the king and her symbolic significance for France were major turning points in the war.
Joan of Arc - A Military Appreciation. Stephen Richey, 2000. Web. 4 Mar. 2014. .
The gestural and heavy working of the paint and the contrasting colors make the painting appear active yet are arduous to follow. The defining element of Woman and Bicycle is the presence of the black lines that do most of the work in terms of identifying the figure. Through the wild nature of the brushwork, color, and composition of the painting, it can be implied that the artist is making an implication towards the wild nature of even the most proper of women.
...retation of the painting some aspects were surprising to how dark and heavy hearted she could speak, she took an interesting perspective. However in her interpretative poem she found a perspective of the painting that connected with her. As she used every stroke of darkness painted into the canvas an opportunity to have it symbolize this darkness and evil that resides in the world. It told her story and her experience of a starry night. Similarly Van Gogh had used every stroke of light painted into the canvas to be a symbol of beauty, and a symbol of his fascination of the night sky and its illuminating lights. He uses swift movements of his brush to depict a sky that seem to be able to sweep the mind away from the frustrations of this world in to the dreamy night light. A single painting worth a million words tells many stories through every perspective.
We can see a clear representation of the impressionist that tended to completely avoid historical or allegorical subjects. In this painting, Monet’s painted very rapidly and used bold brushwork in order to capture the light and the color; include relatively small, thin, yet visible brush strokes. An insistence on what Monet called “a spontaneous work rather than a calculated one” – this in particular accounts for the sketchy and seemingly unfinished quality of the Impressionist paintings. In the texture, he played with the shadow and light and created variation in tone, he employs patches of depth and surface. The light in the painting come from back to the windmill, it is a light shines softly behind the houses and the windmill. He was shown each brushstroke in the painting. Balance is achieved through an asymmetrical placement of the houses and the most important the
This painting is an oil-on-canvas painting that was painted by John William Waterhouse in 1888. The painting measures at 200 centimeters by 153 centimeters which converted to inches is 60.2 inches by 78.7 inches. The painting is one of Waterhouse’s best known oil paintings. This painting is said to be a representation from a scene from Alfred, Lord Tennyson’s 1833 poem titled “The Lady of Shallot”. The poem “The Lady of Shallot” was built upon the Arthurian legend of Elaine of Astolat, which she was mentioned in the Italian novella titled Donna di Scalotta. Tennyson’s work was popular with many Pre-Raphaelite poets and painters. Some of the artists that illustrated pain...
The Passion of Joan of Arc tells a very structured story using the title cards, and uses visuals to complement every aspect of the film. One of the most curious aspects of the film is that most of the shots are close-ups. Compared to many films before it, and the many films to come afterward, the amount of close-up shots is off the charts. By using mostly close-ups, the audience is able to see a very high level of detail in the actors’ expressions. In addition to close-ups, the film makes use of high and low angles to visually tell the story of power. The judges are always shot from below, making them large and powerful in the frame. In contrast, Joan is always shot from a slightly higher angle, which makes her feel smaller and helpless. The camera also does a lot of tracking in the film, but mainly on the judges. The first shot tracks Joan as she walks by the many guards to the judges. This immediately sends an image of the long road Joan faces, as well as tells the audience that they need to side with
The art piece, Rue Transnonain, is a historical lithograph that was published in a newspaper on April 15, 1834. During this time period in France, where this piece was created, there was a surge of political and social revolution. The lithograph was created to represent the massacre of innocent people that happened in Paris, France. “[The French National Guard responded] to gunshots from top-floor windows at number 12, Rue Transnonain, troops stormed the building and opened fire, killing and wounding residents” (“Rue Transnonain”). The subject of this artwork is the innocent people that were killed by the military. The most prominent element of art in this piece is line. Daumier used lines in order to depict all of the shapes, with an example