Van Gogh painted this piece in 1889 while he was in Saint Rémy seeking treatment in a mental asylum. Interestingly enough, he painted this piece from his memory and it was supposed to have been based on a constellation arrangement he had seen earlier on in the night sky of Provence. Starry Night is perhaps one of his most famous and yet most elusive works. The first thing that I noticed was the overwhelming night sky, which takes up most of the background. Its swirling, flowing lines appear to be swishing across the background in this gentle, wavy motion and seem to be merging at the centre to form this spiral-like formation.
The film Lord of the Rings: The Fellowship of the Ring makes use of low key and high key lighting. The low key lighting is seen when Gollum is first introduced in an ominous dark blue lighting that creates suspense and suggests an air of mystery. Further on the unnatural chiaroscuro is created when the Nazgul on his horse stands on a cliff with a lit up background surrounded by a dark forest. This makes the Nazgul seem more mysterious and threatening to the audience. Soon after the four Hobbits: Frodo, Sam, Pippin and Merry wake up with Aragon II keeping watch for the Nazguls.
About the Work The title of this piece is The Starry Night by Vincent van Gogh, completed in 1889. Van Gogh created this piece inside the Saint-Paul-de-Mausole lunatic asylum. The Starry Night is an Oil on Canvas and currently located in the Museum of Modern Art in New York City. From the Work Line The basic building block for this painting is lines. When looking closely, small lines making one big shape/movement bring each part of the piece together.
Raiko Kutrev fastened his steps in the shiny night: the devries had gone out and he did not want to meet any of them – they would have stopped him for he was walking in the dark without lantern; they would have searched him and he was holding a revolver under his shirt. When the swain entered town’s upper quarter, where the cottages were scattered amidst wide and desolate gardens and yards, he saw moon’s silver disc beaming right in front of him. The youngster turned the corner and stopped farther on by a low stone fence. A small cabin with outspread eaves was visible across the fence. Two of its little windows were lighted.
In this essay, there will be fall into several parts. Firstly, the historical information of Impressionism and the reason of how the work fits into Impressionism would be mentioned. Then it will move to the analysis of the paint. Last but not least, there would be some reflection on this painting. Historical background In the 19th century, scientists found that the sunlight contains seven colors in which red, orange, yellow, green, blue, indigo and violet.
“It was only the darkened house that could contain her. When sunshine came again, she was not there,” (Hawthorne 145) the sun only shone while hester was not there, it was dark and gloomy in here presence. The contrasts between the sunlight and the shade depicts the importance of light vs. dark. Sunlight never shines on the house when Hester is there because of the sin she has committed. The sun is used as symbolism for purity in a character.
Penitentiary and military language is seen in words such as ‘’barracks’’ and ‘’search’’ to portray the poor Jewish folk as prisoners of war, prisoners of a crime that they have not committed, and words such as survived don’t offer much hope for the imagination of the reader either, the situation is very grim. These passages indicate a very military and war like setting displayed firmly by the two authors as they have both experienced war. In the last night a sensation of fear is explored by the author in personifications such as ‘’trembling bus” for we all know that buses don’t tremble and that if anything they rattle but no, the author chose tremble to personify the bus and to display the true emotions of all the deportees on board… In conclusion I would say that both of these tragic texts, thought set in the nineteen forties are almost comparable to today with refugee’s leaving places such as Iran and religious massacres taking place in Gaza. The authors of these text do an excellent job of evoquing just how horrible it must have been for German Jews during the Nazi
He dropped his eyes when he passed the watchman, who even during his beat did not acknowledge him, uninterrupted cry came from afar to him but neither was addressed to him. Not even the sole luminary clock against the sky gave him company to light up his steps through the night. The author, narrator, exposes his solitude, his sadness and how he dealt with it by qualifying his state as acquaintance, (l1 -l14: “I have been one acquainted with the
The restorer put a new canvas to, but an important work about varnish and colours was completed in 1988 after the Frankfurt exhibition. Then, the painting returned from Monte-Carlo to Ajaccio on January 1989. So, except in Rouen for the bicentenary of 1998, its colour can only be seen in Corsica. Above all, there was no reproduction usable for art books: publishers used an old photograph taken before restoration. This is why descriptions continued to be misled, frequently describing a dark harmony with ochre and brown however disappeared since
But Time, being a fleeting ghost of a word, leaves us always short of breath and unprepared for dissolution. And all the words I would have spoken again to you in love, lie crying like lost children behind a barrier I cannot breach... “Ute Mountain” Isolate, shimmered cones top the corners of the sky, waiting through cold and lonely nights for reawakening... Slumbered fast against the blue, massive shoulders shrug away winter snows, unaware of the slow life-pulse beating around them; the change of subtle rhythms marching to meet new suns... Silent, aloof, you brood behind hooded eyes–– not so much patient, as unapproachable... “Blurring” Clocks whir their laughter away in leaded frames; each successive mosaic blurred and stretched through the moments as we voyeurs slip along (in ignorance or in love) to blend indistinguishably, frame into frame, until at last our borders become hazy and inseparable from one another... “Refusal” A piece of me recalls the warmth of you; the fierceness of