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Baroque vs renaissance
Renaissance art vs baroque art
Renaissance art vs baroque art
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CRN 71523 - ONLINE
Valeriia Baumgard
Critical Analysis 3
Artwork #1
Jean-Baptiste Greuze, The Village Bride, 1761, oil on canvas a. Rococo was both the logical result of its development and artistic antipode to Baroque. Rococo combines the desire for completeness of forms, but if the baroque tends to be monumental solemnity, Rococo prefers the elegance and ease, alternate light colors - pink, blue, green, white with lots of details.
b. Convincing credibility depicted the situation and its naturalistic treatment makes the viewer to empathize with the heroes as if they were their relatives or friends. However, the enormous success of the "The Village Bride " was also due to its didactics in the spirit of the new sentimental novel and the new ideology (the secular concept of marriage is considered mainly as a civil act, not a religious sacrament sacred, "a contract with God").
c. Under the influence of the cult of sensitivity inherited by sentimentalism, Greuze gives his characters touching motives, manifested with exaggerated pathos. Conceived by the context of the Enlightenment
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"Morning in a Pine Forest" pacifies its steadiness composition. Three bears look very harmonious with their mother and two halves of a fallen pine tree and it looks like a divine proportion. This picture is like a random frame on an old camera that the tourist could make, have been looking for a true virgin nature.
When you look at the color of the picture, the artist tries to capture all the richness of colors dawn pores. We see the air, he was not familiar blue hue, but rather a blue-green, slightly cloudy and foggy. The predominant colors that surrounded clumsy inhabitants of the forest are green, blue and sunny yellow, reflecting the mood of awakening nature. Bright flickering golden rays in the background like a hint at the sun, which is about to bring to light the earth. These are the highlights and give a picture of solemnity, they talk about the realism of fog over the
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.
Satire criticises and makes fun of the norms of human society. It adds an intellectual humour along with the archetypes that is present in the story. In The Princess Bride, by William Goldman, satire is in a wide variety of parts in the story from the communication between others to the character themselves including the Spaniard, Inigo Montoya. The author portrays Inigo as a Spaniard who becomes a fencer to seek revenge on the six-fingered man for the murder of his father, Domingo Montoya and he becomes a henchman to the criminal Vizzini. He is a very caring man to people he cares about, but he can only act on vengeance since he truly loves his father. With his attention only on reprisal, it can blind him from achieving the results he wants and that can significantly affect his personality as he is driven by it. When he finds the six-fingered man, he prepares after many years of training with famous fencers and even has a saying that he plants in his brain so that it is the driven force of vengeance. He is the ‘evil figure with an ultimately good heart’ archetype as he is a part of Vizzini’s group with Fezzik, but he has a change in heart that he needs Westley’s help to storm the castle. Although Inigo is a prestigious fencer who only cares about revenge, the author plays with satirical devices that portray the faults and weaknesses of his characteristics while maintaining his status as the best swordsman in his generation.
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...
There is, however, a slight opposition to this intense realism. It can be seen in Wood’s representation of foliage. The trees that appear in the upper left corner look like large green lollipops peeking over the roof of the house. The viewer knows that trees do not naturally look like that. Wood has depicted them as stylized and modern, similar to the trees seen is Seurat’s Sunday Afternoon on the island of La Grand Jatte. After viewing other works by Wood, it is clear that he has adopted this representation for the trees in many of his paintings.
Voltaire's Candide and Mary Shelley's Frankenstein are classics of western literature, in large part, because they both speak about the situation of being human. However, they are also important because they are both representative of the respective cultural movements during which they were written - the Enlightenment and the Romantic Era. As a result of this inheritance, they have different tones and messages, just as the Enlightenment and Romanticism had different tones and messages. But, it is not enough to merely say that they are "different" because they are linked. The intellectual movement from which Frankenstein emerged had its origins in the intellectual movement from which Candide emerged. By examining each of these works from the context of these intellectual movements, the progression in tone from light-hearted optimism in Candide to a heavier brooding doom in Frankenstein can be explained as being an extension of the progression from the Enlightenment to the Era of Romanticism.
From the piece of artwork “Rain at the Auvers”. I can see roofs of houses that are tucked into a valley, trees hiding the town, black birds, clouds upon the horizon, hills, vegetation, a dark stormy sky and rain.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
The relationship shared by Pierre and Helene is best described as a lustful charade. It is no coincidence that Pierre, one of the most introspective characters in the novel, first marries a shallow, inwardly-ugly adulterer. His first recorded attitude towards Helene is one of admira...
“The Vow” is a movie that encases the turmoil and hardship associated with retrograde amnesia and the classic symptoms and steps associated with recovering and potentially regaining lost memory. Taking into account the information gained through multiple sources; such as, lecture of Mental Health, medical databases, and the personal experiences of Krickett Carpenter, the Vow provides both an accurate and inaccurate depiction of retrograde amnesia.
“I can trace - of a summer day in Kentucky of a meadow that seemed as big as the ocean to the very little girl walking through the grass, which was higher than her waist.”(17). This was just one of the memories Edna, the protagonist in Kate Chopin’s Novel, recalls of her childhood. It is later revealed that she was “running away from prayers” which escape she believed was “just following a misleading impulse.” This demonstration of impulsiveness embodies the Freudian concept of the Id. This essay will analyze the entire novel through a Freudian interpretation. According to this father of psychoanalysis, the Id is an unconscious part of the psyche that demands immediate pleasure, regardless of the consequences. It is characterized by two impulses:
Most of the lighting for the forest was soft light from the overcast that the trees gave and it made the forest look even more enchanted. When we first see the Faun, under-lighting was used to make the Faun’s surroundings behind him dark and to make all the focus go on him to make him look scarier. Another major lighting effect that was used was frontal lighting. Frontal lighting was used a lot on the Captain and we received good view of this when the Captain was sewing up his face after Mercedes had cut him. Hard lighting was also incorporated when the Captain was looking for the soldiers in the woods because we could see the defined shadows of the forest trees. I think the filmmaker chose to give soft lighting for part of the forest scenes to make it look more like a fairytale and I think the under-lighting was used to portray the monsters as being mysterious and creepy. The frontal lighting was used on the Captain a lot so that the audience could really focus on his character and to show that he is the main part of that particular scene that is
In doing this I will start with the more theoretical backround. As many others have already I will stress the decisive influence of DELEUZE'S thinking, but I will also try to indicate the impact GUATTARI had on him. This account will therefore show DELEUZE'S attempts - before GUATTARI - to concieve of a non-dialectic philosophy of becoming. After that I will turn to the rethinking of such an approach given the influence of GUATTARI and his anti-psychoanalytic analysis of territorial processes. The outcome will be the resulting conception of the philosophical activity as an act of 'becoming-minor'.
In contrast, the romances written by Chrétien de Troyes focused on a different aspect which manly about people’s emotions. The protagonists’ emotions are described as well as their actions in his works. The first crucial theme of Chrétien de Troyes works is that
...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.