The vertical lines are prominent in this painting as they are visible on all of the buildings structures and are prominent when looking at the pitchfork that the man is holding. Along with the vertical lines, geometric shapes can be spotted throughout the painting to include the circles on the wife’s dress, the shapes that are present on the gothic style window on the top floor, and the triangles that are seen on the trim of the wife’s dress and those that are formed by the roofs of the buildings. Although this painting is visual pleasing to the eye of its viewer its true glory is in the story is portrays. Outside of the
The painting by Cole obviously depicts a landscape, especially one of the iconic bend in the Hudson river, but in fact there is much more to the piece. It is filled with distinct uses of line, space, shape, color, and value. The variation between the right and left sides of the painting are what most stands out, and symbolically show the contrast of the sublime to pastoral. In The Oxbow, line, shape, and color all aid in the symbolic contrast of the iconic painting.
In Kahlo’s painting the first thing that catches your eye is Frida, same goes with Beard’s painting being that Janet is what first catches your eye. In Kahlo’s painting the fact that she is human, the colour of her skin and her size contrast with the smaller animals of different darker colours around her. Everything around Frida in the painting seemingly affiliates with Frida somehow; such as the monkey pulling on the necklace attached to Frida. Janet Laurence’s darker colours of her face contrast with her white back ground and the fact that her headshot takes up most of the painting that is one of the more significant reasons as to why she is the main focal point of the painting. In Kahlo’s piece the animals come into tie into the secondary focal point, and in Beard’s piece the secondary focal point is the details in Janet’s face; the wrinkles in the shade, the make-up and youth in the bright side of her face.
Finally, a man’s portraits in the bottom right of the painting. This painting is supposed to represent the bible story, Noah’s Ark. There are four prominent art and design elements that were utilized in this painting: lines, shapes, light and value, and color. The first element is directional lines. Directional lines are used to guide the viewers eye to the main piece of the painting.
Mary is in this way expelled from solid reality and set in a "celestial" measurement. This likewise clarifies the robe observed behind the Virgin as underscoring her power. In The Annunciation, there is a spatial relationship between the figures, such as Jesus being engraved in the sanctuary while looking at Mary, implying that Jesus administers everything from above. In The Annunciation, there is a room that can likewise be perceived as Mary having enclosure to God and his word only. Just as an anchoress that is a person that leaves from the world.
It is a very vibrant piece that it filled with objects of geometric shapes and intensity. The painting has objects in it that tell the meaning of the painting which is that death is inevitable. This is seen by the fact that the hourglass represents that time is always moving and it cannot be changed. The candle represents that life is short and fades faster than a person wants. A skull in the front of the painting
This Greek myth has inspired art since the classical period. The relationship between Leda and Zeus is shown in different ways, such as violent or seductive. Most of the art focuses on the seductive aspect of the story. Most of the pieces of art show certain themes that portray different aspects of the myth of Leda and the swan. The setting of the story, the facial expressions on those who are in the painting, and what are the clothing articles that shown in the painting and their color.
When looking closer, the women near the saint are angelic looking, and as they dissipate in the background, the forms of women seem to vanish. None of the female figures touch the monk, but one offers a glass of amber liquid. The Tassaerts painting could be an allegory in the personal struggle with alcoholism, seeing the monk as sobriety and the women the darkness of alcohol use. The painting “Temptation of Saint Hilarion” is a mixture or Realism and Romanticism and the combination of the two create the depth of emotion of this painting. Baudelaire mentions “that Romanticism is precisely situated neither in choice of subject in exact truth, but in feeling.” ( Honour, p 14) The monk, a symbol of purity, could be the reason he painted the scene this way.
Peter and scenes like the nativity, the Ascension of Jesus, his Crucifixion, among others. The religious theme fit closely with the life of individuals within the society of the time of the production of these works of art. Some art was even commissioned by Popes, priests, church ministers and other patrons. The artists produced sacred images, imagery and subjects in their paintings and sculptures - which were at the time used for religious purposes and not to be admired solely as works of art (History). Some of the best, most well-known and most copied art and artists had emerged from this time period.
To reflect this flaw in sight and consumption Eve then had to remove her clothes as a sign of humility, revealing her body as sin. For this reason nearly all of the female monsters within the Middle Ages reflect some deformity of women’s turpitudinem. The Sheela-na-gig (Figure 1), as example, represents the likeness of a female figure but only demands attention to four fragments of the body; the vagina, breasts, mouth and eyes. Importantly these are areas of the body that are also associated with a transgression between life and death in the abject; the vagina menstruates, the breasts lactate, the mouth speaks, swallows and spits, and the eyes reflect something non gendered, tears. The structures of the real therefore begin to ‘meld into one another in a cascade towards the absurd’.