The claustrophobic, inescapable attack seems broken up into numerous perspectives and reassembled on the canvas in geometric shapes and layers of symbolism which reveal themselves one by one as one takes in the painting, assaulting the senses with the sounds, smell, taste of death and blood, and terror; an abyss which could never have its emotional depths plumbed with the same effectiveness in a less abstract style. In the same token, the Dada movement is apparently reflected as the artistic movement was propelled by anti-war sentiments, and Surrealism in Guernica 's merging of reality with the darkest of our Dreamscapes, with this marriage, ironically offering the most accurate
He practiced the meticulous techniques of old master painters, but, at the same time, he betrayed these abiding techniques by using them to render strippers, geeks, monsters, and other salacious characters who have never defaced the canvas of an academic artist. The dichotomous aesthetic in Williams’s art is a parallel to his polarizing
Jealousy and envy are not only two very powerful emotions but can also be seen as two influential forces that can dictate the actions of an individual. These emotions assist in igniting and fanning the fire that motivates people to seek out their desires. In the Shakespearean tragedy, Othello written by William Shakespeare, Iago utilizes his emotions of jealousy and envy as a catalyst to commence his plan of achieving the highest level of military and political influence while also destroying Othello’s social reputation. The development of the character, Iago throughout the play, happens very seamlessly and in a very gradual fashion, with the help of the writing and rhetorical strategies of bestial imagery, dramatic irony, and pathos. Furthermore,
The viewer can predict that Satan is pretentious based on his gesture. The artists shows the pretentious of Satan in the drawing:“Satan and Beelzebub, who face the viewer, towering above the fiery clouds. Naked and wearing a helmet of antique style, Satan is depicted standing firm and raising his hands up in a gesture of power” (Paradise). This quotation describes Satan and Beelzebub in the drawing. Satan’s gesture gives the emotion to the painting.
Masaccio’s “Expulsion from the Garden of Eden” depicts Adam and Eve shamefully being led out of the Garden of Eden after taking part in the original sin. The fresco is world renowned for featuring remarkably lifelike characters and beautiful colors carefully contrasted with pieces of light, all carefully representing the mood inclined by the work (Tuscany). Masaccio was commissioned to complete the painting as well as other stories of St. Peter after fellow artist Masolino left them incomplete in the Brancacci Chapel in the Florentine Church of Santa Maria del Carmine (Diane). To better understand such a powerful work of art that has transcended time, it is important to understand the artist himself, why it was painted, as well as the technique used to create such a powerful fresco. Born Tommaso di Giovanni di Simone Cassai, Masaccio was born December 21, 1401, near Florence, Italy.
His art often portrayed tortured subjects and nightmarish scenes. His powerful imagery showed his fascination and obsession with popes, and often contained portraits of friends, self-portraits and scenes of greek mythology. His art is a reflection of the anxiety of the modern condition and a critique of humanity. Bacons style is known for its “daemonic, hysterical, monstrous”( Margaret Walters Cork, 1985) captivating subjects, who are dehumanised and disfigured yet let of a sense of isolation, desperation and a need for human emotion. This can be seen in Bacons art pieces called “Study After Velásquez’s Portrait of Pope Innocent X’” painted in 1953 and “Self portrait with injured eye” in 1972.
Upon looking at the Matisse’s Bonheur de Vivre we see that ultimate departure. My interpretation is of this painting is that it is certainly a contrast with bright colors while at the same time also having a somewhat distorted view of reality and of the human form. This painting was certainly significant in making a bold statement of the human form as well as of human existence being viewed as being leisurely and indulgent. The second painting, could be seen as a departure, just as discussed taking the dehumanization to a different level. The distortion is far more angular and of course, as noted above, the background follows this distortion and further emphasizes this style of
Browning’s poem bears apparent meanings so that the readers will be misleading. Consequently, it is compulsory to observe the speech, rhetoric, and tone of the poem to evaluate characters. Ultimately, the poet tried to reveal the devilish characters of the Duke and he has a number of faults, but primary of them all is his supreme arrogance as the poem reveals. Immediately, in the first lines of the poem, the Duke is boasting about the painting at the art gallery. The Duke pulls off the curtain and shows the painting of his wife to the envoy.
Within this book, he wrote that he felt Surrealist artists should “depict a kind of madness or fever in which a thing could look like one thing one moment and like another the next.” To achieve this, several Dali paintings used these ‘double’ images to confuse and disturb people looking at them. An example of where this can be seen within his work is in one of his most prominent pieces of artwork ‘The Persistent of Memory’. This image depicts a watch flopping over what appears to be a strange, paled-coloured rock. Observing the image more closely, nonetheless, it could be suggested that the image is a clear representation of Dali’s personality traits. It is important to remember that his paranoia and anxiety are traits that various people remember him by.
In Othello by William Shakespeare, Iago uses his words to exploit vulnerabilities and manipulate people. Throughout the play, Shakespeare introduces poison, herbs, and medicine to depict how words affect a person and bring out their inner flaws or desires. Poisons reflect how all of the characters’ actions, reputations, and affections are governed by what they have heard, or what is said about them, not their own opinions. Words are Iago’s poison, which he employs to manifest ideas of self-deprecation in Othello’s mind, causing him to seek revenge. At the beginning of the play, Othello is confident.