Art are also included in books or maybe in magazines. Artworks are also defined by illustrative works prepared for reproduction what may consist of drawings, hand lettering, paintings, photographs or anything. Expressing the feeling of the author’s imaginative, intruded to be appreciated for their beauty or emotional power. In their most general for, these activities includes critical thinking or works of art. The criticism of art, the study of history of art and the aesthetic destination of art.
Identification, Symbolism, Integration: An Analysis of the Role of Objects in Clarissa In Clarissa (1748), Samuel Richardson deliberately and carefully chooses which objects to present in the story. In general, the frequently presented objects are directly or implicitly relating to social hierarchies, cultural background, and gender roles embedded in the story; indicating characters’ preferences, tastes, dispositions, as well as part of their self-identities. Objects in the novel create either connections or obstacles among different characters. Often times, objects serve as symbolic icons that reveal deeper critiques that go beyond the surface level. Among all the objects, clothes, doors, keys, and the coffin stand out to be the most symbolic ones that play crucial roles in the storyline.
The Definition and Connotation of Art All humans require ways to channel their inner feelings; usually through expression. As humans changed over time, so did their means of communication. Thus, art became a primary channel of expression because of its effectiveness and versatility. According to the Oxford English Dictionary, art is defined as “skill; display, application, or expression.” While this basic definition accurately depicts art in a literal sense, it fails to provide specific information regarding the nature, purpose, or methods by which art is created and practiced. Thus, art can be defined as a skill used by humans to express and communicate that normally utilizes the creative process to create works or products that can be abstract or concrete.
Similar to color in formal elements of art, contrast is cohesive in terms of principles. Contrast is basically something that resembles a strong difference; black and white. Tarbell manipulates contrast to bring out different parts of the subject. Angela has dark hair, dark eyes, and dark lips with a white contrast to show depth and glare. Darker areas generally are focused on first which provides a focal point.
The jumping off point for this project came when I was reflecting on and reviewing my works and practices to date, trying to locate the question of what it is I wish to express. My work thus far has been interrelated and my voice as an artist is imbued within the corporeal and the formal qualities of the materials. My research and practice lie within the human condition, from the somatic to the many varied psychological landscapes we experience. I explore the question of what it means to be human and our understanding of ‘place’ within the world. Maurice Merleau Ponty’s essay ‘Eye and Mind’ examines how art displays the act of viewing, extending from Martin Heidegger’s Being-in-the-world, ‘The Sense of Being’.
Intended to keep history alive, the art was expressed in paintings and sculptures that were fascinating. The style of representing this art varied from one period to another as artists strived to fascinate the reigning Pharaoh (Robins, 2008). Although major developments occurred in other periods, the Amarna period of art is acknowledged as a period in the history of the Egyptian art. The focus of this paper is to discuss the artistic differences between the Amarna period and the preceding periods. The early ancient Egyptian art was characterized by various factors.
Particularly in these two stories, there are alot of themes pertaining to darkness, death, and isolation. These themes are supported by certain symbols lying within the text. The Scarlet Letter contains a myriad of symbols that are crucial to the novel. One symbol that is very prominent in the novel is a rosebush or a rose. This is shown when Hawthorne writes, “Finding it so directly n the threshold of our narrative, which is now
The analytical techniques The analysis of wall paintings is affected by many factors; the small size of sample, the degradation processes, the multi-layers of the structure and the complexity of the mixtures (organic and inorganic compounds). The analyzing method for ancient materials should be micro or non-destructive, fast, sensitive and multi-elemental. Optical Microscopy (OM) The examination of painting materials usually begins with visual observations. That are useful in providing data about the stratigraphy of paint layers, their microstructure, grains size, colors, and the detection of any impurities. Paint flakes and mounted crosssections are commonly used for that purpose.
All these types of art are the various fields or the various ways by which an artist can exhibit his creativity and skills. Fine Arts: “This category includes all those artworks that are created primarily for aesthetic reasons (art for art’s sake) rather than for commercial or functional use”. Visual Arts: visual arts include not only all the fine arts but also media and other contemporary forms of expression i.e. performing art, photography, video art, animation, environment land art. Plastic art is the art that denotes three-dimensional works employing materials that can be moulded, shaped or manipulated.
For achieving the dramaticizing effect or creating a sense of eye-witnessing, the artworks can also encourge the spectator “to identify with a victor or a victim” which I believe this is closely relevant with the painting I am going to analyze further in the paper. At this point, I want to briefly mention about theatricality and its close relation to Orientalism as a discourse in general and to Orientalist painting in particular. Let me briefly explain first how the concept of theatricality will be integrated to the essay. Among the complex conceptualizations of theatricality, parallel with the objectives of this essay theatricality will be adapted from Elisabeth Burns. According to Burns theatricality is a “historically and culturally determined” mode of perception.” Agreeing also with Balme who reappropriated the notion, I will also conceptualize theatricality both “as a mode of Perception” and as a “discursive practice”.