It is specifically based on the author and the reader's perspective of the work. Many times, the meaning is concluded from the knowledge we have already acquired, which leads to an enormous variety of interpretations of an author’s work. Meaning can also be created from concepts or ideas that are not present in the work being analyzed. The painting Nighthawks, the Oates poem, and the film La Mustache are perfect examples of the creation of meaning. The thoughts of the people in the background of the painting are not present, for the painting has no words.
His work was large in scale, flamboyant in color, and fluidity. He is most closely linked with what is known as action painting. No drop of paint is an accident and loose, rapid sweeping brushstrokes make this style reminiscent of the Surrealists. Pollock became influenced by Picasso, Miro alongside Rothko and the surrealists but soon developed his own unique style which he would later become famous for. Mark Rothko’s technique of painting departs from Pollock’s actions.
closed forms of the paintings, Raphael displays more of an open form compared to Perugino’s closed form. In “School of Athens”, an arch seen in the picture restricts what the viewer can see beyond the boundaries. It leaves room for the viewer to interpret what lies outside that arch. In a painting with open form such as “School of Athens”, it suggests that characters are in motion and the painting captures a specific moment in that time frame. In “Delivery of the Keys”, a frame can be seen that holds the reader to just focus on what is inside of it.
In The Masque of the Red Death by Edgar Allan Poe, the author uses allegory, metaphorical speech, and chronological order to create the desired feeling in the text. For instance, the seven rooms in the story represented a certain time in a person’s life. The first blue room represented the beginning, while “the seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls… upon a carpet of the same material and hue. But in this chamber only, the color of the windows… were scarlet --a deep blood color,” and represented the end, or death (paragraph 4, Poe). In this room, to further the aforementioned representation, “...there stood against the western wall, a gigantic clock of ebony.
The theme of possession is prevalent from the onset and throughout La Voz a ti Debida. This is seen even in the very beginning of the poem in the first fragment. The first few stanzas of the poem describe the amada’s reflection in the mirror that the narrator admires every morning “al despertar”. This image of the amada in the mirror is almost as if the narrator is attempting to freeze his lover in an attempt to understand her “enigmas” because, in the mirror, they become “cosas tan claras”. Bermúdezz explains that the amada in the mirror is a flat image, easy for the narrator to comprehend, and she is able to recognise that she is simply “someone else’s object of affection” (332).
The analysis of the two stories will attempt to generalize what elements of real and fantastic are in most, if not all of “lo real maravilloso.” Before we analyse how magical and real elements are used in short stories, we first need to point out the definition of this literary style. Magical realism was first coined by German Franz Roh in 1925 to refer to a style of painting. Later, Alejo Carpentier took the term and expanded on it thanks to his early influences of surrealism. Carpentier was in fact was not satisfied by his poor contribution to surrealism, so he took ideas from the literary approach. The South American termed the new literary style as “lo real maravilloso.” Even up to now, there is still no agreement on a clear definition of what exactly defines a story as magical realism.
The painting done by Jim Dine called Dexter’s Four Robes and the painting by James Lechay called Sky, Sea and Samos are two paintings that are vastly different, but both exhibit similar and different Elements and Principles of Design. I will analysis both paintings and compare as well as contrast the similarities and differences of each painting. I will than explain my opinion on which painting I believed is more visually appealing and what I liked and disliked about each painting. The Elements of art that I will be comparing as well as contrasting are Lines, Shapes, and Colors. The Principles of Design that I will be comparing and contrasting are Emphasis and Subordination.
"Prometheus Bound” is an oil painting done on canvas by a Baroque artist, Peter Paul Reubens. The painting which was completed in 1618 though started in 1611 is based on a character, the Titan Prometheus, in one of the Greek myths. Reubens sought the help of Frans Snyders, a famous animal painter who painted the eagle in the painting. The painting which measures 242.6 cm by 209.6 cm is currently available for public viewing in the Philadelphia Museum of Art. With its sensuous richness, color and movement, "Prometheus Bound” is typical of baroque painting that evokes strong emotions in the viewer.
The Man in the Fur Cloak Albert Durer painted the Man in the Fur Cloak or his self- portrait in 1500. This painting is oil on wood panel and is located at the Alte Pinakotek in Munich, Germany. The Man in the Fur Cloak is a half-length and frontal portrait. The painting lacks a conventional background, uses the technique of Cortina and representing the absence of time and place. The painting has symmetry incorporated including several highlights aligned close to a vertical axis.
His unique ideas and techniques have influenced numerous Surrealist artists, both past and present. (SUCH AS?) Dali was chosen to design the opening image of the second ‘Surrealist Manifesto’, published in 1930 and around this time, Dali was developing his own idea about Surrealism. Hi ideas were expressed through his book called ‘The Visible Woman’ (1930). 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.