Some see the ugliness in the most beautiful things but others see the beauty in the most hideous of things. The poem William Street by Kenneth Slessor demonstrates this thesis statement as he talks about how he sees the beauty in the street that is renowned for its ugliness and the unsightly surroundings it is engulfed with. This poem's literary techniques and imagery gives the readers an insight into the environment and the surroundings that are seen vividly even though they are described through the use of foreshadowing. Each stanza gives the readers a different understanding on what is going on during the poem.
Henri Regnault’s “Summary Execution in Granada Under the Moorish Kings” is a riveting visual experience on multiple levels. Through calculated artistic choices, Regnault ensures that the painting’s grotesque nature strikes first, shocking the viewer on a primal level. He plays with theatrical scale, angles, and lighting to elevate the drama of this scene in a way that would certainly have appealed to the fantastic imaginations of his audience in 19th century France. But equally as mesmerizing is how Regnault quietly imbues the painting with a sense that its characters are subject to some larger, unseen power. Through the use of line, color, and brushwork, Regnault forces the viewer to suspend judgement of the scene by alluding to the the complexity of what influenced the action.
Capote uses this choice of words to establish a setting and paint a picture in the reader's mind of what Capote truly wants them to see and to expand on the grim and dismal mood that the readers feel throughout the entire passage. He uses many tone words like, slapped, pruned, stamped, cursing, and numbed as tone words to shift the mood of the reader to the depressing mood that Capote intends for the readers to feel and to help provide vivid imagery for the readers. These words are used to help Capote and help the readers understand what is happening in the passage with detail and with a unique perspective. In conclusion, Truman Capote effectively uses rhetorical devices such as metaphor, imagery, and diction to contribute to the shift from the third section of In Cold Blood to the fourth and final section and to pride a grim and dismal mood for the readers throughout this entire passage.
“On the Subway” by Sharon Olds is used to describe the racial aggression during the 1950’s through 1980’s. The author use literary devices such as imagery, symbolism, and theme to describe the situation on the subway with the the man and woman on it. This literary device is used to give us an image of the scene. Such as “He’s wearing red and has big feet.” and “ He is black and I’m white”.
The bodies are not mimed perfectly and are twisted. When looking at this piece there is a sense of desperation. To be able for humanity to see its flaws, Orozco uses mastery of movement and color in his murals. At time his art can give off an eerie feeling due to his use of expressionism. The size alone of the work he did at Dartmouth is incredible.
The Masque of the Red Death Analysis Edgar Allen Poe’s use of vivid words and phrases in “The Masque of the Red Death” allows the reader to visualize the events as they unfold in the short story. In addition to these images, the reader is engaged by the use of irony that is built upon throughout the story. Also, the personification of the disease, the “Red Death”, causes the reader to feel fear as the masked figure walks through the rooms. These literary devices generate feelings in the reader that have him or her experience the characters security and dread. Therefore, the language used in the piece, along with the irony and personification, allows the reader to fully enjoy it.
actual identities, and love and death in The Picture of Dorian Gray , Wilde conveys the inevitable internal deterioration interwoven with the influence art has upon the human psyche. There are three important aspects portray the influence art has on humanity: the influence that manifesting Dorian’s corruption into a physical form of a portrait has on Dorian’s state of mind, the bias the art of beauty generates towards judgements made when determining an individual’s morality, and the transformation the art of love induces over an individual dependent towards another's affection. Due to this, we are prompted towards acknowledging one conclusion; art, whether premeditated or not, has not only the power to shape our perceptions of the world in which we inhabit, but also the capability to change the world for the better
Figurative language is a great tool in poetry for the author to express meaning that surpasses the literal context. The poem contains the figurative language of personification, which is the use of human characterizes to an inanimate object. An example is when Frost describes the speaker looking “down the saddest city lane” (4). Clearly, a lane cannot express emotions such as sadness, but this figurative language helps to paint a gloomy picture to convey the message to the reader. Frost uses multiple types of figure language throughout the poem to add more description to the image.
That is, the composition of the painting violates the frame. One very important mannerist characteristic is the technique of changing colors used by Pontormo. It can be clearly seen that the colors are changing; for example, the drapery of the figure on the right goes from orange to gold to beige and the drapery of the figure leaning on his toes goes from gold to orange.
For example, a piece of abstract art can have ridged lines and warm vibrant colors. The ridged lines may be representing anger in the artists painting, but the warm colors give the viewer a different opinion. This is why the colors and shapes also help to define the different styles that are encompassed in abstract art. One style is curvilinear. When abstract art relates to this type of style, the motifs employed are interlaced patterns, spirals, and knots.
Each painting is unique, with a tactile presence, which reveals the hand of the artist. The image, which was the product of a split second drive by photo, now takes on substance through both the physicality of the paint, and through the contemplation of place and time. In this, the paintings come to represent more of a testament to her experience than the photographs. In the essay An Art That Eats Its Own Head – Painting in the Age of Images Barry Schwabgley acknowledges photographs place in contemporary art while also confirming the significance of painting, “ Although it was