It was evident by the quote, “A woman’s finger nails must never be too long.” (pg. 19), that having long fingernails was pretty useless and again it was not stylish , nor beautiful. Constance also teaches her to bleach her own hair with dove poo. Having blonde hair was very popular. Every woman in medieval Flanders wanted bright blonde hair because it was very
The bodice is tight, showing off her figure and she isn’t wearing any padding. The V- shaped neckline extenuates her long neck. Even though you cannot see her shoes, they are probably opera pumps. There are blurry people in the back-round walking in the other direction, all with their backs turned. Probably not even paying any attention to Sylvie.
the dolphin. As will be discussed in Section 5 as well, the dolphin king myth is an example of an etiological myth and has special ties to not only Neptune, but his wife Salacia (Amphitrite) as well. Lastly, when examining the Fountain of Neptune in Florence solely, there is even more iconography to be noted. For one, found on the edges of the fountain are the more inferior Greek sea gods such as Thetis, Doris, Oceanus and Nereus, depicted alongside other mythological figures like Scylla and Charybdis. There are also four amphibians playing flutes and these a significant in particular because amphibian creatures are seen to be Neptune’s children.
In her work Wallace Stevens and the Feminine, MelitaShaum remarks that: From Stevens, black is neither absence of colour nor lack of light, but an erotic and enveloping ambience rich with anticipation and the suggestion of limitless possibilities. It is the “essential dark” the originating materium out of which all creation flows. (215) Two poems that represent the feminine nature of the black are “Two Figures in Dense Violet Light” and “Stars at Tallapoosa”. The night conceives and gives birth to strong emotions under the stars and moonlight. The moonlight which belongs to the night and dreams stands for imagination.
When Hedda finally enters the play, her lack of femininity is emphasized: her eyes which looks like steel-grey; cold, clear and calm are the antithesis of a feminine or womanly woman, such as Mrs. Elvsted’s for instance, whose eyes are "light blue, large, round and slightly prominent, with a startled, questioning expression" and hair is "remarkably fair, almost silver-gilt, and exceptionally thick and wavy" (Act-I, 10). Ibsen uses hair to symbolize both Hedda’s and Mrs. Elvsted’s natures. Hedda 's hair is attractive but not particularly abundant. In contrast, Mrs. Elvsted’s is unusually abundant. Hair is often associated with creativity or fertility
They also have lights on the side of their body to attract prey in the dark. They are a bioluminescent creature which mean that they have lights on their body that they can activate. They have lights on the bottom of their body that they use as a defense mechanism to get away from predators like sharks, dolphins and the dragon fish and those are their main predators and when they see the light under the Viperfish they believe it's the faint light from the top side so they just ignore them. When it's daylight they hunt at depths of 1500 meters or 5000 feet and when it starts to turn night time they go to shallow waters of about 600 meters or 2000 feet where it is more active and alive with creatures that they can feed on. The diet of a viperfish consist of shrimp, hermit crabs, anchovies, mackerel, and other small fish they can feast on.
Yes it really wasn’t just the pupil it was the deepest black you can imagine, and if you looked into it, it seemed to pull you in. Around the black hole were four colored dots equidistant from each other, they moved clockwise in the left eye and counterclockwise in the right. They seemed like planets orbiting around a black sun. One was a dark green like the forest in summer. The second was red and seemed to burn with an inner fire, the next one was of a dark blue like the deepest of oceans.
Water was moving down on the edge of the bath. Surrounded by thick steam, a girl was sitting in the water, hiding from the real world that was behind the window and dreaming. Water splash - and her thin legs merged to each other, transforming into azure, scaly mermaid tale. The steam became thicker, and then purple whales and giant pink elephant flew above her head. The noise around transformed into the songs of sirens that lured her to join the dream, leaving any troubles behind.
Matisse, according to Carrier, is not a realist: “He shows the real world not as it is, but as seen aesthetically.” (81) In Luxe, calme et volupté, Matisse is depicting seven female nudes “bathing and sunning at the water’s edge in Saint-Tropez” (Mattera). This composed Arcadian unreal world is an ideal world, it is an attempt to find a beautiful harmony away from reality. As the title indicates, calm and voluptuousness are encountered there. In that sense, Matisse is clearly following Baudelaire by depicting a dream. Beyond the dream, Matisse is offering a full aesthetics experience, “Following Baudelaire, we might compare looking at Matisse’s images to being high on drugs.
Two naked adult female figures shaped out of surrealist abstracted forms are portrayed in this Picasso 's 1937 painting. The figures seemed to be playing with a toy boat on the edge of the beach. A third figure, quite similar to the other two is rising above the horizon, watching the female figures in their act. Picasso chooses to use straight geometric shapes and lines to portray the figures hands and legs, and rather curved and soft around the breasts and stomach areas. This gives the painting a more erotic, somewhat perplexing feeling as the observer might wonder why two full grown women are playing with a toy boat on the beach.