The Tenth Street Studio Analysis

The background of the main street is rather dark. There are not much light in the main street. The light getting to the main street is from the residue of light from the shop inside the buildings. The residue of light lights onto the shadow of passengers. The shadow is in multi layers and It is showing numerous of passengers are passing by with the overlapping of shadows.

Robert literally can’t see, but he does obtain vision only on a deeper level. The narrator isn’t too enamored with the idea of another man coming to his home. He is insensitive and makes some harsh comments that make Robert feel a little uncomfortable. Due to his callous and unsympathetic personality, the narrator is never able to connect with his wife while Robert is instantly able to. Robert comes to visit the narrator and his wife at their home for the first time.

Nevertheless, Philip Pearlstein manages to create a notion of philosophy in each of his paintings. One of the paintings by Philip Pearlstein that I chose in the museum is the painting “Butterfly Kite” that was painted in 2006. The painting is a lithograph signed and drawn in pencil. The manner of drawing allowed the

She kept her eye fixed on her husband, as if to keep him from saying unnecessary things that would go into that note-book and make trouble. Hale did speak guardedly, as if the pencil had affected him too

The book suggests that the readers do not like her due to her instructiveness with the others, creating her as a tart. The readers would find it quite easy as her humanity is removed as well as showing her to be too forward with the men. This conveys how the men are intrigued with aesthetics, showing how they only care about the outside and do not want to get to know her true feelings. This is shown in the quote “Ranch with a bunch of guys on it, ain’t no place for a girl, specially like her.” This conveys to the reader her presence is not needed on the ranch as it is only a place for men and also showing that she would not be happy on the

The viewers are not aware where these flashes are coming from or if they are in the past, the future, or just made up entirely. This means the viewers experience the same feelings of frustration and confusion as Louise may be feeling, without having Louise tell them how to feel. By using visual images to depict these scenes, there is no need for any character to narrate them to tell the reader what is happening. This allows the readers to get a less biased perspective of each scene. In contrast, the written word of Heart of Darkness creates clearly subjective viewpoints of what is happening to Marlow.

Krebs is used to the women overseas. With the women speaking different languages, he did not have to be creative with his words. He did not have to be kind or sweet to the women verbally. If he spoke to the women from the war they would not even know what he said. Between the rejection from his war stories and the rejection from women, Krebs begins to feel lonely and depressed.

In this quote it portrays how Mr.Prufrock isn't afraid to show his emotions. In society for a man to show his emotions that would be considered feminine and the man would be looked down upon or seen as lesser. Mr. Prufrock and Nick are very similar because they both aren’t the “Manly” or “Macho” type. Being insecure has many different cover-ups. Different people have different ways of hiding their insecurities.

Hawthorne writes, “It was only the darkened house that could contain her” (148). Alluding to the fact that Hester feels out of place everywhere but in her darkened home, this reference is one of a dark theme. It shows that the other towns-people did not show emotion towards her which causes her behaviors to change. Soon after you can find “The effect of the symbol—or, rather, of the position in respect to society that was indicated by it—on the mind of Hester Prynne herself, was powerful and peculiar” (Hawthorne 149).

Even though she was physically disabled, she sometimes didn’t portray this in her paintings. She really did not indentify herself as a member of the disable community. In the article “Of Our Spiritual Strivings” by W.E.B Du Bois he says, “-a world which yields him no true self consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity” (131). We can see how Frida Kahlo had a double consciousness.

In this book it makes you think and wonder what was going on

He isolates himself by painting brown as an exclusive group: “You can’t know what I’m feeling unless you are me” (26). This distances Rodriguez from the reader and makes it difficult for the reader to empathize. Also, Rodriguez appears attention seeking, perhaps due to the lack of recognition of brown people, such as himself. He searches for pity by explaining the exclusivity of a white and black society: “brown was like the skinny or fat kids left over after the team captains chose sides,” (5). Rodriguez feels isolated from society, although he has created an inclusive group for brown people.

Vik Muniz has a artistic process in which he makes a piece of art, sometimes by the help of people and he also photographs it. An example can be the piece of art he created of the man that was in the tub. He set up the area for it to seem like he 's covered with a cloth and he made a certain type of scenery; Once he had achieved his desired look he took the picture added garbage to add personal meaning to the photograph and he photographed it. Another example can be the brown sugar he used for contouring to represent the sugar fields. He uses items with meaning to the subject and includes it in his work.

If they are successful in doing so, they will be aware of, or feel, what the artist is trying to convey. Jervis McEntee was able to achieve this effect through his work. More specifically, I felt similar emotions while looking upon the painting, Evening Landscape. In a room where landscape paintings decorated the walls, this one stood out.

In the Arnolfini Wedding Portrait by Jan Van Eyck, (1434, oil on wood, 82.2 cm x 60 cm, National Gallery, London) a wealthy merchant is depicted taking an oath, presumably to marriage, while embracing the hand of an elegantly dressed woman. Portrayed from a balanced, one-point perspective, the viewer feels as if they are present in the room with the couple. A cleverly placed mirror gives the room depth while enhancing the sense of realism by reflecting and illuminating the vibrant colors and people in the space. Jan Van Eyck’s complex painting uses rich detail and symbolism to imply the significance of material wealth and a marriage union.