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Magical realism and its uses
Magical realism and its uses
Landscape paintings analysis
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Magical, poetic, and awe-aspiring. This is what mere words at its best can accomplish when trying to capture the essence of the painting, The Glory of the Light Within, by the renowned artist, Dale Terbush. This specific masterpiece is representative of Terbush’s art and reveals much about his outlook towards nature. Viewers are presented with a breathtaking scenery and a natural beauty depicted in all its glory in this panoramic view (the painting is 4x5 feet). Indeed, because the well-defined foreground, distinct middle ground, and dim background compose characteristics of a magical scenery, this vista is transformed into an ideal utopia.
Since the painting focuses on depth, the picture is read near to far, starting with the obvious painstaking details in the foreground, and ending with the massive background.
Foreground-
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
Middle-ground-
The only part in the work that can be described as middle-ground lies at the bottom right, behind the land in the foreground. The middle-ground is entirely composed of a dark green pasture. It is designed in a slope-form, rising from the left and descending from the right. The reason why the pasture is colored in a dark tone is because it is framed by high trees which block the light from shining through.
Claude-Joseph Vernet’s oil on canvas painting titled Mountain Landscape with an Approaching Storm was created in 1775, and it is currently located in the European Art Galleries (18th- 19th Century North) 2nd Floor at the Dallas Museum of Art. It is a large-scale painting with overall dimensions of 64 1/2 x 103 1/4 in. (1 m 63.83 cm x 2 m 62.26 cm) and frame dimensions of 76 1/8 x 115 1/4 x 4 3/4 in. (1 m 93.36 cm x 2 m 92.74 cm x 12.07 cm). Vernet creates this piece by painting elements from nature and using organic shapes in order to create atmospheric effects, weather and different moods. This piece primarily depicts a landscape with a rocky mountainous terrain and villagers scrambling to an upcoming storm.
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.
In the book, Apostles of Disunion, author Charles B. Dew opens the first chapter with a question the Immigration and Naturalization service has on an exam they administer to prospective new American citizens: “The Civil War was fought over what important issue”(4). Dew respond by noting that “according to the INS, you are correct if you offer either of the following answers: ‘slavery or states’ rights’” (4). Although this book provides more evidence and documentation that slavery was the cause of the Civil War, there are a few places where states’ rights are specifically noted. In presenting the findings of his extensive research, Dew provides compelling documentation that would allow the reader to conclude that slavery was indeed the cause for both secession and the Civil War.
Dennis Covington writes about a unique method of worship—snake handling, in his memoir, Salvation on Sand Mountain. He begins as a journalist, looking in on this foreign way of life; however, as time progresses he increasing starts to feel a part of this lifestyle. As a result loses his journalistic approach, resulting in his memoir, detailing his own spiritual journey. Upon the conclusion of his stay in this world, Covington realizes the significance of this journey, and argues in his memoir that we cannot entirely know ourselves until we step outside of our comfort zone and separate ourselves from our norm.
David W. Blight's book Beyond the Battlefield: Race, Memory and the American Civil War, is an intriguing look back into the Civil War era which is very heavily studied but misunderstood according to Blight. Blight focuses on how memory shapes history Blight feels, while the Civil War accomplished it goal of abolishing slavery, it fell short of its ultimate potential to pave the way for equality. Blight attempts to prove that the Civil War does little to bring equality to blacks. This book is a composite of twelve essays which are spilt into three parts. The Preludes describe blacks during the era before the Civil War and their struggle to over come slavery and describes the causes, course and consequences of the war. Problems in Civil War memory describes black history and deals with how during and after the war Americans seemed to forget the true meaning of the war which was race. And the postludes describes some for the leaders of black society and how they are attempting to keep the memory and the real meaning of the Civil War alive and explains the purpose of studying historical memory.
The Dying of the Light is an article by Dr. Craig Bowron that captures the controversy surrounding the role of medication in prolonging life. The author describes that many medical advancements have become a burden to particularly elderly patients who in most instances are ready to embrace the reality of death. Dr. Bowron believes that dying in these modern times has become a tiring and unnatural process. “Everyone wants to grow old and die in his or her sleep, but the truth is most of us will die in pieces,” Bowron notes (Bowron). The article does not advocate for euthanasia or the management of health care costs due to terminal or chronic illness. Bowron faults humanity for not embracing life and death with dignity as it was in the past. He blames the emergence of modern medical advances and democracy as the sole reason why everyone is pursuing immortality or prolonging of life rather than embracing the natural course of things. The article is very articulate and comes out rather persuasive to its target audience that happens to be health-conscious. Craig Bowron uses effective rhetorical strategies such as logos, ethos, and pathos to pass on his message. The article’s credibility is impeccable due to the author’s authority in health matters as he is a hospital-based internist. A better placed individual to dissect this issue by analyzing his experiences in the healthcare profession. The article incorporates a passionate delivery that appeals to the readers’ hopes, opinions, and imagination.
The painting is of a large Brown chestnut tree with a mountain and sunrise view in the background. The chestnut tree is located in the center of the painting and starts at the bottom of the painting and starts to branch out on the top 1/3 of the painting. The tree is brown and has a deeper/darker brown on the edges and slightly lighter toward the middle. The tree is sitting on a red/brown clay surface, it looks as though the tree is on 1 mountain overlooking another mountain in the distance. The mountains in the background are grey toned and smooth and rounded. Above the mountains you can see the sun beginning to rise over the mountains, the sun rise has pink and peach tones that blend into the top of the painting where the blue sky begins. In the very center of the
Michael MacDonald’S All Souls is a heart wrenching insider account of growing up in Old Country housing projects located in the south of Boston, also known as Southie to the locals. The memoir takes the reader deep inside the world of Southie through the eyes of MacDonald. MacDonald was one of 11 children to grow up and deal with the many tribulations of Southie, Boston. Southie is characterized by high levels of crime, racism, and violence; all things that fall under the category of social problem. Social problems can be defined as “societal induced conditions that harms any segment of the population. Social problems are also related to acts and conditions that violate the norms and values found in society” (Long). The social problems that are present in Southie are the very reasons why the living conditions are so bad as well as why Southie is considered one of the poorest towns in Boston. Macdonald’s along with his family have to overcome the presence of crime, racism, and violence in order to survive in the town they consider the best place in the world.
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...
It captures a calm scene during the winter. Looking at the painting, some of the things that jump right out are the paved side walk/ bike path, the evergreen trees, and the ground covered by clear fresh snow. The side walk starts on the right side of the painting, curves to the left and comes back to the right and fades into the evergreen tree, which is right in the middle, the emphasis of the painting. The other evergreen trees are painted behind the middle tree. They are evenly spaced and each tree is painted in different perspectives, which adds depth to the view of the nature/scene being captured. Since there is fresh snow on the ground and the time seems to be set in the morning or midafternoon, the whole painting has a snow white
The French 1884 oil on canvas painting The Song of the Lark by Jules-Adolphe Breton draws grasps a viewer’s attention. It draws an observer in by its intense but subtle subject matter and by the luminous sun in the background. Without the incandescent sun and the thoughtful look of the young woman, it would just be a bland earth-toned farm landscape. However, Breton understood what to add to his painting in order to give it drama that would instantly grab an onlooker’s interest.
In this artwork the the majority of the painting is painted in middle tones, however there is also a dark contrast created by the Cypresses.Cool colors are dominant throughout the artwork except for the warm yellows of the wheat field. He uses the color scheme of green, blue with green, and yellow which is the analogous color scheme. These colors that are next to each other on the color wheel and white give the artwork a color harmony with using few colors. The mountain with the light blues that seem to be pushed back way in the distance is created due to the Arial perspective. On the lower third is where the horizon is and the elements are placed to lead the eye throughout the painting and straight to the vocal place which is the Cypress trees.The
...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.
While the most significant amount of details are centered in the left part of the picture and the foreground, the background lacks elements. The main image which has been depicted in the background space is the sea along with the rock cliff. Probably, the sea symbolizes the time, spaceless and without boundaries. At the same time, the body in the center of the picture appears to be a focal point for the viewer, hence representing the idea of fadeless eternity.
“The Sun Rising” by John Donne is an aubade all about two lovers getting woken up by the sun when all they want to do is lay in bed all day. The entire poem is the speaker, presumably Donne himself, is talking to the sun and telling him to go away. This poem is broken into three stanzas with a rhyme scheme of ABBACDCDEE. Each of those stanzas represents what Donne is telling the sun to do, which is, to go away, I am stronger than you, and that he and his lover are the center of the world. Donne uses diction throughout all three stanzas to make his three points and to give the overall point of the poem, that love is not affected by time.