Van Gogh’s ‘’Starry Night’’ has more definite figures as opposed to Munch’s the ‘’The Scream’’. The human figure on the foreground leaves one wondering if it is a man or a woman. Each painting have a fluid brush stroke style which gives that distorted look to it and motion seems to be prevalent in each piece. Though the scream was supposed to show the sun setting, still, it’s ushering in to the dark. Both paintings are also inspired by true personal experiences by the artists.
When one first glances at the painting, they see a peaceful, still pond, with a delicate flower standing tall. However, when they look closer and focus on what the artist desired to convey, they might be able to sense the conflict happening under the surface, like the conflict happening with the rhymes. In “To Paint a Water Lily”, the poet uses imagery, personification, and rhyme to convey the attitude that nature may seem serene and peaceful to the eyes of a human, but to the eyes of an artist, it is a veritable war ground. There may be attacks from unseen and ancient enemies below, and from the ghastly-named dragonflies above, but the artist still paints the lily as standing tall and strong, even when facing her worst adversaries on the battlefield of
Turner was well known for this theme and painting in its style. His use of vivid colors to enhance the ocean scene in this painting along with the setting sun brings the viewer to understand the events of this painting. His use of color shows the setting sun with storm clouds forming. His light to dark fading brings a contrast to the painting that enhances the nature theme over any other. We also see that romantic painters were principally partial to showing the effects light in their paintings which is one of the most obvious visible cues that shows this as a piece done during the romantic period.
Van Gogh is the king of light because he disperses a lot of colors on to this painting, making it look very illusive, or different. Another thing about this oil painting is the colors, which is yellow and blue, and they point out his work of art is classified as impressionism, which overall, “Van Gogh oil painting to display in their vision of reality” (oil painting-planet.com). Van Gogh also uses tone when creating light for his paintings because this is an example of his expression lines and which this also creates an arbitrary color scheme through the painting. Arbitrary is the artistic style that makes sense for this painting because this shows how the mixture of colors can become implied to its mediums. For this painting, the medium was oil, or oil pastel, but the point is that the colors has to blend in with the canvas which Van Gogh masters to create an impressive impasto painting.
The theme dehumanization can be seen in different types of forms for example novel, poetry, art, etc. I will be using the novel, All Quiet on the Western Front, poetry, The Rear-Guard and I will be using a painting, Bathers with a Turtle that was painted by Matisse in 1907. The dehumanizing art is mostly used to trigger familiar emotions and feelings, and this is really the abiding subject of the viewer’s delight. This art is used as a narcotic way that allows us to enjoy what we are most familiar with, our own emotions. Gasset said: “Tears high noon of the intellect”.
In the Santa Maria Gloriosa dei Frari many of the high altars were painted by Titian; this was a very big deal because it gave him exposure as an artist. Titians portraits are unforgettable because they seen to express a psychological dimension while also portraying the objects status and
Upon looking at the Matisse’s Bonheur de Vivre we see that ultimate departure. My interpretation is of this painting is that it is certainly a contrast with bright colors while at the same time also having a somewhat distorted view of reality and of the human form. This painting was certainly significant in making a bold statement of the human form as well as of human existence being viewed as being leisurely and indulgent. The second painting, could be seen as a departure, just as discussed taking the dehumanization to a different level. The distortion is far more angular and of course, as noted above, the background follows this distortion and further emphasizes this style of
Tennyson captures Iphigenia by using descriptive and rhythmic word choice that paints a picture of Iphigenia to the readers. Tiepolo captures Iphigenia by the layout of the painting that makes people see and feel Iphigenia 's story without words to tell it.
At a very young age she has shown a large amount of empathy rather than self indulgence. She goes beyond that as well by shielding the turtle with a leaf, rather than grabbing it and tossing it to the ocean, giving the turtle a chance to try and get the ocean by himself-with her help. Because of her humanity and in her vulnerability, she was able to reach Te Fiti. She was the only one to realize that when it came to returning the heart, it wasnt about defeating Te Ka with brute force, rather it was about seeing who she really was. Moana’s willingness to sacrifice herself for her people over a large theory of Te Ka and Te Fiti being the same person only solidifies the ocean’s reasoning as to why it chose
Modern art takes the best of artists and their art work and adapts it, adding new techniques and personal styles of each. When one carefully analyzes different pieces of art with openness to emotional impression and introspection it allows appreciation and pleasure towards other artists as well as their works. This paper will provide information on the artist Paul Cézanne and his work The Large Bathers, look into Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon. It will also discuss the influence Paul Cézanne had on the aforementioned artists upon producing their masterpieces. Paul Cézanne, The Large Bathers, 1906, oil on canvas, 210 x 250.8 cm (Philadelphia Museum of Art) The Large Bathers is the largest of Cezanne 's pictures and because it is also the most formal in aspect, it has been cited often as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century.