Vicent Van Gogh once said, “If you hear a voice within you ‘You cannot paint,’ then by all means paint, and that voice will be silenced.” Like most of Gogh’s paintings, Bonaventura Berlinghieri painted what he was passion about. Berlinghieri was “…know for his poignant and detailed scene from the life of the Saint Francis on the predella (based of the altarpiece) of the Church of San Francesco at Pescia” (The Editors of Encyclopaedia Britannica). The Saint Francis Altarpiece is a five feet panel, created in 1235 as a depiction of Saint Francis and the church. The portrait was painted on wood panel and in gothic like form. Nonetheless, this masterpiece is representation of time, the complexity of the painting and the
Peter Max is known as one of the most popular pop artists in today’s art circles. His work is easily recognized by bold and uncommon color and line choices, as well as the wide uneven brush stroke found in the majority of his work. “Vase of Flowers Series 60 Detail Ver. VI #40” is representative of Max’s work as a whole. It possesses the gradients, rustic brush strokes and the unusual color choices and gradients that have become characteristic of his style. This painting is able to redefine the “still life” painting; Max’s piece is abounding with movement and energy seen most easily in the choice of color as well as brush stokes.
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. In this case, the lines starting from the top right of the painting are directional. They lead your eyes to the large boat, onward to the bottom, where there are animals boarding it. The lines are also very sharp. They outline the shapes in the painting, giving the shapes a clear border. The next element is shape. The shapes are at very sharp angles. The animals tail is not curvy, but a sequence of hard lines, making the illusion of a curve. The eyes of the men are sharp lines. This painting, by definition, uses geometric shapes. Geometric shapes are lines connecting the points in a closed chain. There are no variance of shapes. All the figures can be split into differing
Study of Marilyn (Vanitas) II is one of the great fine art made by Jewish American artist Audrey Flack (1931, New York) in 1976, and made of oil over acrylic on canvas and it is 2.25 x 2.25 inches transparency was taken by the artist with the Hasselblad Camera and the projected from the slide onto the canvas where it was painted. It is purchased and housed in Arizona University Museum of Art. The reasons of choosing this painting are new realistic method and highly emotional and famine painting, famous photorealist, associated with life, death and pleasure, still-life painting and rich in symbols. Mainly, this painting refers to photographic expression of the vanities in life.
In the short stories “The Birthmark” and “Rappaccini’s Daughter” by Nathaniel Hawthorne, the value of science over human life is established. Nathaniel Hawthorne explores the characterization of beauty, emotion over love, versus intellect over science, and an exploration of creator over creation. He presents an idea about scientific research, especially regarding feminine beauty. These tales are told with a motive to give the audience a sympathetic understanding of women’s beauty; which is something precious and already the model of nature’s perfection.
A varied balance between the symbolic and realism has been struck world over by the painting. In the fifteenth century Western painting began to turn from its age- old concern with spiritual realities towards an effort to combine this spiritual expression with as complete an imitation as possible of the outside
In the essay “Beauty: When the Other Dancer is the Self” (1983) by Alice Walker exhibits the effects vanity had on her from a young age until she became partially blind due to one of her brothers accidently shooting her eye with a BB gun. Because of this incident, Walker was forced to confront her fears—not being beautiful and never looking up—regarding her physical appearance using rhetorical strategies to help contribute to her struggles of becoming comfortable in her own skin once again.
Writer, James Baldwin believed as an artist, one must pursue and attain a “state of being alone” to find one’s way. (Baldwin, Creative America, p. 1) Like Baldwin, aloneness was a “silence” that painter Beauford Delaney described and which he found in light, a spiritual as well as atmospheric light. Each man needed this “light,” this “silence,” and this “aloneness,” as Baldwin said, to “illuminate [the] darkness;” to delve into their individual creative spaces, explore their shared cultural backgrounds, and embrace their trans-global identities.
“Descriptive Technique in Sir Gawain and the Green Knight” is a psychological criticism by Alain Renoir that focuses on the techniques that the poet implements throughout Sir Gawain and the Green Knight. Renoir begins by expressing that there are many critics and scholars who have different stances on what makes this epic a “superior” poem. They all, however, agree on one central idea: “Sir Gawain and the Green Knight owes its compelling vividness equally to its author’s psychological insight into the nature of the experiences he describes and to his flair for significant details” (Renoir 87). In other words, the poet shows evident understanding of the nature of the experiences that he describes and implements significant details to captivate
The theme of appearance is illustrated through underlying criticism within Wilde’s use of motifs and symbols. A main motif used by Wilde is the painting done by Basil Hallward. Early in the novel, the reader gets the impression that the painting is pervaded by the longing for the youth that one has lost as well as the frightening deficiency of human life. In chapter eight this painting is described as: “the most magical of mirrors.” (Wilde 98). The portrait works
The researcher decides Oscar Wilde’s The Picture of Dorian Gray and Fitzgerald’s The Beautiful and Damned to be the objects of the study on inferiority and superiority complex causing hedonistic lifestyle in main character. The first reason, both of literary works cover the changing of each life of the main character, society and ultimately the individual. Second, they both share the same social background of the main character in The Picture of Dorian Gray, Dorian, displays a well-respected young man. He doesn’t recognize his own beauty until he sees it reflected in Basil’s portrait, and, once he does, it’s all too late. While Anthony in The Beautiful and Damned is illustrates reaching pleasure as the lifestyle and it becomes a habit. To get what they want, he will do anything and they do not want to feel the hurt. They think the important things in their life are pleasure and happiness. Pleasure for Anthony is when he lives freely without hard work, spends a lot of money for drunk, goes to the party and also makes up his wife more beautiful using luxuries treatment. The important thing for him is could get his grandfather’s heritages. Here, hedonism is used as the main theory to analyze because the problems of these novels are related to the luxurious lifestyle and temporary happiness.
At Eternity’s Gate is an Oil Painting created by Van Gogh in a time of deprived health for the artist. This work was created only 2 months before his death. The man, sitting uneasily with his hands on his head clenched, wears only a blue overall. The condition of the work, as most art, has slightly faded, and is no longer densely colored, but mostly faded or worn out.
This essay will approach the poem My Last Duchess, by Robert Browning, from two perspectives: Masculinity and femininity. The essay will illustrate how the abundant details of this poem can be clear representations of many of the concepts of masculinity and femininity contained in the pertaining theories.Among the theorists that will be used or referred to are Kate Millet,Janet Saltzman Chaves, Helene Cixous and Michel Foucault.
M.H. Abrams’s The Mirror and the Lamp: romantic theories and the critical traditions is one of the most influential books in the field of western criticism. It was published in the year of 1953. The title of the book refers to the two contradictory metaphors used to portray the artist – one comparing the artist to a mirror which reflects nature as it is or perfected whereas the other compares the artist to a lamp that illuminates the object under consideration. Professor Abrams in his book illustrates the transition of the perspective of the theorists on the artist from one to the other and the ramifications of the latter in aesthetics, poetics and practical criticism. The essay “Orientation of critical theories” is the first chapter of this book. It provides a condensed history of the evolution of critical theories and discriminates between them with the aid of a simple diagram.