Summary Of William Maw Egley's Omnibus Life In London

“Light Rain at Shono” by Utagawa Hiroshige is the example of a Japanese’s technique of ‘printmaking’ that was quite famous among the middle-class families of the 17th to 19th century. This print making gain popularity among the vast group of people because of their cheap prices compared to the paintings. These prints usually depict the scenes during the commute from Edo to Kyoto.

Throughout the novel he uses imagery and expressive language often to paint as vivid of a picture he can, without the use of visual effects. This causes the reader to be immersed within his memoir and to experience and live through what he felt. He attempts to humanize himself and those around him when media seeks to do the exact opposite.

There are four prominent art and design elements that were utilized in this painting: lines, shapes, light and value, and color. The first element is directional lines. Directional lines are used to guide the viewers eye to the main piece of the painting. In this case, the lines starting from the top right of the painting are directional. They lead your eyes to the large boat, onward to the bottom, where there are animals boarding it. The lines are also very sharp. They outline the shapes in the painting, giving the shapes a clear border. The next element is shape. The shapes are at very sharp angles. The animals tail is not curvy, but a sequence of hard lines, making the illusion of a curve. The eyes of the men are sharp lines. This painting, by definition, uses geometric shapes. Geometric shapes are lines connecting the points in a closed chain. There are no variance of shapes. All the figures can be split into differing

Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light. This makes us instantly look at them. The wide space between the man and woman has no major distractions within in, the artist could have filled that space with some interesting art, but chose not to because it would have drawn the viewers’ attention away from the woman and man. The authors choice of color is quite plain, but the bright colors that follow the sides of the viewing box help guide the viewers eyes to the man in the background, assisting the implied created by the railings. The author used value in the artwork to show what is important. The woman’s body is heavily shaded and doesn’t catch the viewer’s eye. Her head and hand suddenly come into the bright light helping to show that her gaze is clearly on the show; the man in the background is also barely shaded helping to show that his gaze towards her is just as strong as her gaze is towards the

Overall, the unity of the painting comes primarily from the visual elements. On the sliding scale from blandness to chaos, this piece falls in the center of the spectrum. The quadrilaterals and the swath of green keep the painting interesting, and the soothing colors and horizontal lines make sure it doesn’t become too chaotic. The quadrilaterals, horizontal and vertical lines, and the analogous color scheme are the primary visual elements that come together to give this piece a feeling of visual

Edward Hopper’s painting, House by the Railroad, portrays an abandoned, Victorian-styled mansion built adjacent to a railroad. Hopper depicts the lonely state of the house by emphasizing the shading of the house, colors, architectural design, and placement. In the poem, Edward Hirsch emphasizes the houses’s “emotions” through the usage of personification, diction and metaphors. Hirsch’s personification of the house provides us insight on how the house is feeling. For instance, he describes the physical appearance of the house by using words like “strange, gawky house”(142) and “faded cafeteria windows”(143). By examining his choice of words, we can visualize the extent of how unappealing and out-of-place the house appears in comparison to other

He employs kinesthetic and organic images in “swollen legs, moving with fear” (5). He is trying to depict the feelings of the Jews in the ghetto before the raid. They were always afraid of being captured. Their life was controlled by other people and this is one of the reasons why they now suffer from complex trauma. Furthermore, he uses an auditory image in “The shouts of the Raiders, enjoying the hunt” (8). One can hear the sound of the German soldiers while attacking the Jews. They enjoy killing them and this may be considered a symbol of

The most fascinating art is often the most perplexing. In the case of Giorgio de Chirico, his repressed consciousness manifests itself in the surreal concoction of oil paint on canvas known as The Transformed Dream. At first glance, the viewer might simply see an odd collection of objects composed into an oblong still life. The subject matter in their particular setting are, in this case, bewildering and unsettling. Read from left to right in the western tradition, de Chirico paints a marble sculpture of a man’s face, two pineapples, and two piles of bananas. These objects are placed on a platform in a shadowy plaza,

The usage of curvilinear lines emphasizes the rounded shapes within the painting and the model’s moment of reflection. Fragonard uses curved lines to cause the viewer to lean in and look deeper to find the lines and shapes created by the subject, her dress, and her mirror. These flowing lines are seen in the background which gently fades from a deep blue sky to pale white clouds behind the allegorical Prudence. Rather than distinguishing fields or levels of sight, the lines

We go through life with important, beautiful things hovering right below our nose in our reach the whole time yet for some reason we never seem to notice them they slip right out from under us like they were never there at all. We’ve been in water but never been able to distinguish it. David Foster Wallace touches on all the aspects of selfishness and belief in his changing speech to Kenyan students called This is Water David Foster Wallace uses vivid imagery, figurative language , and symbolism to enhance the readers/listeners experience well making the piece seem more personal.

In this essay I will explore the history of Cornerhouse, Oxford road. I will look at the history of Cornerhouse as a building to its role in the change of Manchester 's social environment.

Both "Ulysses and the Sirens" by John William Waterhouse and "Siren's Song" by Margaret Atwood uses the myth of the siren's song to show that most people have similar, if not the same, mindsets which very few even try to break free from. “Ulysses and the Sirens”, is a painting, painted by John William Waterhouse in 1909, while “Siren’s Song”, is a poem written by Margaret Atwood in 1974. Though they are different types of art, they both are equally as capable of getting their point across. Both compositions of art are based off of Homer’s Epic Poem “The Odyssey” which was written in 700-800 B.C. In “The Odyssey”, Ulysses or Odysseus is an arrogant and prideful man who is on his way home from Troy. His journey home takes 10 years, and the only word to describe it is dangerous.

The image of this milkmaid is an intricate symbol of her sexual availability1,2 (13) perceptible by several elements throughout the image. Milkmaid is an oil on canvas, Dutch painting done by Johannes Vermeer in 1657 and finished in 1658. It is a realism modeling painting of a woman, who is a milkmaid, standing around a still life image of a table of food in a kitchen pouring milk out of a pitcher into a bowl around the food. In this essay, I will explain my analysis and interpretation of this painting through describing elements and defining my own meaning from thoughts on research.

Freedom is an element, which is often used as an expression within modern art practice. Artists strive to show their creative process, along with their ideals and truths freely. But what about art that talks about freedom in a literal sense? In Halifax there are two public art sculptures that appear to play with that with the notion of freedom, in very different ways. Donna Hiebert's The Wave is a perfect example of freedom, because it engages with the public in a physical way; or one could argue that Sara Hartland Rowes Travellers the perfect example because it explains freedom from psychological prespective. Regardless of perspective, these pieces engage interaction from folks across the board.

The theme of appearance is illustrated through underlying criticism within Wilde’s use of motifs and symbols. A main motif used by Wilde is the painting done by Basil Hallward. Early in the novel, the reader gets the impression that the painting is pervaded by the longing for the youth that one has lost as well as the frightening deficiency of human life. In chapter eight this painting is described as: “the most magical of mirrors.” (Wilde 98). The portrait works