Reflections, shadows, and earthly objects can be portrayed in this painting as well. Although they are both telling stories about
In this scene there are a lot of dancers on staged, different from the first when at max was five dancers in the space, now there were more than ten in different costumes and each representing a different spirit. The mood was slightly unsettling due to the sound having an eerie effect, and the dancers movements in a large kinesphere with carving and directional shape, structured ballet, the dynamics was mostly fast movement with some bound movement juxtaposed with free flows and light weight (dancers were en pointe), the music was eerie giving a style of the Grim Brothers version of Cinderella, but this was co existing with the strong technique of ballet. Each section of the spirit did not relate in movement, but contributed to the overall story and the performers were all visible trained in classical ballet, similar to the third scene, and their movement integrated well with their bodies. Looking at a specific phrase, there was a preparation in which the dancers quickly paused in four position plié, and initiated to rise up their leg to passé to pick up momentum to turn, which was the main action, following through dropping their leg into a plié in fifth position and transitioning into a pas de bourrée. There was a
To demonstrate how Debussy can use imagery to paint a picture in music, the YouTube link will be used, and the subsequent times will refer to the video: https://www.youtube.com/watch?v=rfSBddhFvyA. In the beginning, starting at 0:01, Debussy starts with notes G and D, with a low register in the left hand and a high register in the right hand. Playing these notes simultaneously create a “holy” kind of sound, like how the Greeks in the church used Gregorian chant. This sets the image of a cathedral and the “holiness” of the surroundings. This lets Debussy “paint” the setting and exposition from the beginning. Debussy continues to build with the fourth and fifth relationship with a G pentatonic scale.
Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light.
The Young Martyr, a painting by French painter Paul Delaroche, is currently housed in the Musee de Louvre in Paris, France. It was finished in 1855 and was painted during the Romanticism era. Although it is not as famous as the Mona Lisa, it is still a beautifully done oil painting that continues to enchant museum visitors. After the French Revolution in 1789, everything about society in Europe was changing.
This also ties into the fact that bodies are natural things, and we should not be afraid of them. This painting was practically all occupied organic space, except for manmade buildings that are actually colored light brown to blend in. The mood of this painting is serene and natural, because of the calm expression on Venus’s face and all the nature around her. The focal point of this picture, Venus’s face and upper body capture the viewer to really examine the painting and think about what it is trying to convey to
It have two angels next to him. During that time, Saints were highly recognized and play a significant part in all social group and class. Therefore, this painting shows how important Saint and religion were during that time. This painting also suggests that Saint Francis is big and mighty. In addition, the angels give an image that Saint Francis is protection.
The art produced today has been influenced by the rebellious founders and their development of the impressionism movement. Even though the first exhibition of the impressionism movement was not as successful as they hoped, it was the starting point for a new way of thinking about and creating
The artist Dieric Bouts painting is called Virgin and Child. This painting dates back to 1455-1460 and is drawn with oil on a wood panel 81/2 x 61/2 . The time period is Netherlands, Haarlem. The Virgin and child are paint about the Virgin Mary and her love for her son. The Virgin and Child coloring is mostly pale skin tone, with royal blues symbolizing royalty and, white symbolizing purity.
This helps to create a close up look at the view outside the window suggesting the intimacy between the artist and the habitat outside. This is because the focus is almost wholly given to the view outside the window. The view, which is embellished by the presence of flowers sitting on the windowsill, and creepers climbing on the railing, is located in the center of the composition. Despite the lack of a line of symmetry and any logic or geometric order, Matisse has been able to draw the attention of the viewer’s eye through the use of bright colours, almost fluorescent, which were used to portray the calm sea with its floating blue boats, and the sky tinted with the colours of the sunset. The calm sea at the horizon is painted with unreal tones of pink, sky blue, and violet whereas the boat, painted with tones of indigo, orange and green, seem to move along with the light breeze.
Viewing the painting, brightens the light in the artwork. There is a sense of reality as the light seems to move through the clouds. The faces of the characters are shown by light and there is an effect of light moving by walking in front of the scene. Emotions are evoked when one looks at this scene. There is a state of protection and safety.
In the painting there is a great detail that is shown. The tassels on the bed and the way the curtain falls gives a textural component to the painting. The artist also chose to use vertical repetitive lines in the tiles, and the tassels are feminine. There is also a slight curve in her body shape and her backbone, and her voluptuous yet curvy silhouette that shows femininity. Her legs overlapping each other, turban on her head and having her
The main focus of the painting is the architectural aspect. The scene is dominated by the main building and the large arched bridge that juts out in front of it. It is proportionally placed within the canvas. The width of the central façade makes up the central portion of the painting with the doorway being centered within the entire composition.
Section I — Of Vanity and Reflection In Jean-Honoré Fragonard’s Allegory of Prudence, the viewer is presented with a young woman who gazes at a mirror. The painting conveys a moment of prolonged reflection and self-evaluation that encourages the viewer to pause, if only briefly, and utilize a moment of reflection in art to turn the viewing inward upon the self. Prudence’s moment of prolonged reflection is created by line, compounded by the color and lighting of the painting, and reinforced by the interactions of shape that emphasizes focus on the mirror. The painting utilizes the interaction of line, color, and scale to display the subject’s moment of reflection, but also to question the fine line between self-reflection and vanity.