A Color Scheme Of Black And White

This exhibition showcases art from the fifteenth century and early sixteenth century with Lord of Texcoco and the Texas Fragment. These two pieces represent post-Conquest art, and how indigenous figures were represented with European influence. In the seventeenth century, Antonio Rodriguez painted The Portrait of Moctezuma as well. His representation of Moctezuma showcases traditional clothing with European influence of modeling figures. This exhibition also features Miguel Cabrera, who was trained in European techniques and styles in Mexico during the eighteenth century under the patronage of Archbishop of Mexico, Manuel Joseph Rubio y Salinas. The exhibition features various artists from the nineteenth century as well, such as Felix Parra, Leandro Izaguirre, and Juan Cordero from the Royal Academy of San Carlos in Mexico City. Artists in the academy were trained in European styles of Neo-Classical forms to create their historical subjects. The purpose of the academy was to provide an outlet for legitimacy through the visual arts, and to reflect a nation's history. Often times, these paintings were political in nature, and reflected the patrons' wishes. This exhibition will link the representations of indigenous figures that appeared in Latin America through art in Mexico from the fifteenth to the nineteenth century and showcase how art

Illustration from Sahagún, Historia general de las cosas de Nueva España, c. 1575-1580; ed., tr., James Lockhart, We People Here: Nahuatl Accounts of the Conquest Mexico (Univ. of California Press, 1993)

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

2. There are many people included in the artwork. I can see about twenty one people and some of there faces. There are two people in the middle and their names are Jesus and Judas. They both appear to be kissing. Judas's arms are around Jesus's neck. There is a soldier next to them. There is a guy in a pink robe pointing at Jesus and Juda.There are people surrounding them with sticks and some had torches. Since they are carrying fire it is safe to say that it is night time. Some of those people are followers and others are enemies of Jesus. They are all wearing robes. There is one person blowing on a white horn. All of the people in the painting are bare foot. Some of their expressions on their faces are anger. On the guy the guy on the left who is wearing blue is Peter. A

The sculpture is made out of bin bags and … it is a very creative way to make ripped bin bags look like fire. Seeing a burning man can make people feel

The sarcophagus shows 10 panels in the front that show a scene from the bible. Starting

Stone sculpture was abundant in the Aztec world. The Aztec looked to their regional ancestors and the natural landscape around them to inspire both their art and their cosmology. The object discussed in this paper is a stone-carved mask representative of the god Tezcatlipoca. The trickster divinity Tezcatlipoca was a powerful foreseer and chaotic god of the Aztec peoples, represented through ritual objects like masks or pieces of obsidian. Masks were important high-value ritual and ceremonial objects. Masks, like the one discussed in this paper, are representative of the Aztec state in terms of their socio-economic structure, and the warfare-based political goals of the state.

In the article, “The Continuing Significance of Colorism in the 21st Century,” JeffriAnne Wilder explains what colorism is and how it affects African-American women. Colorism is described as the unequal treatment of people based on their skin tone, facial features, and hair. The author starts off with exerts from different black women who state they have been judged and affected by the color of their skin tone. She explains that she is a light-skinned black woman and that although she is happy with her skin, she has always had people compare her skin color to material objects. She further describes how she began to research skin tones in college. She learned about colorism and how people are discriminatory towards African-Americans, based on

<br>At the bottom left side of the painting is a man about to be eaten by a termite who has a game table on his head. This is illustrating that the tables are turned on the man who has committed some terrible crime. In the Inferno this is represented by Lucifer eating the three worst sinners, Judas Iscariot, Brutus, and Cassius, all who betrayed their

Christ with Symbols of the Passion by Lavinia Fontana is a small but interesting piece. It depicts Christ being supported by two wingless angels between two wingless angels carrying the cross and two wingless angels holding the column that Christ had been tied to after his arrest. At Christs feet are the other symbols of the passion: The crown of thorns, the whip, and the stones that were cast upon him. In the hand of one of the angels carrying the column are the nails that were used to pin Christ to the cross. At the bottom left corner is a what looks like a gravestone or a carved tablet signed and dated by the artist. They appear to be on a path entering a wooded area and a mountain can be seen in the far background. The subject of the piece is “a scene that does not occur in the Christian Scriptures” (The plaque accompanying the piece) but what makes this piece so interesting is the style of which it was painted. It can’t be stated as a full manneristic piece, but it can be said to have mannerisms main features of unnatural proportions, affected poses, spatial ambiguity, contextual ambiguity, compositional complexity, unnatural palette, and high anxiety varying degrees.

According to Jennifer Eberhardt (2004), the mere presence of black individuals, is associated with violence and crime. She stated that, “Not only are Blacks thought of as criminal, but also crime is thought of as Black” (Eberhardt, 2004). It is also quite disturbing that these finding were found consistently and frequently. Psychologist Jennifer L. Eberhardt, confirms this theory, collaborating with Phillip Atiba Goff, Valerie J. Purdie, and Paul G. Davies. They performed a study using police officers, as well as college students as participants (Eberhardt, Goff, Purdie, & Davies, 2004). They performed five different studies and the results were all consistent. In the first study they used pictures of black and white faces, then they were shown unclear objects and asked to identify them. After concluding the first study, they found that, “mere exposure to Black faces facilitated the detection of crime-relevant objects” (Eberhardt et al., 2004). The second Study was performed in a similar nature. Using images of crime related weapons and face stimuli, they found that the neutral images of crime related weapons became identified with blackness. During study three, they used neutral words instead of images, to test a neutral factor that was considered positive. During this the study, evidence stated that blacks were also identified as being athletic and musically gifted. In study four, they decided to test police officers and their ability to remember and identify

The allegorical symbol used is not new in visual art to speak to the thoughts, alluring qualities, political and social issues as a vital agent tool. The power of the allegorical style subsists in its capacity to spread into a wide range of parts of a contemporary issue utilizing numerous components. For example- The Irish artist Sean Keating's artistic creation “Night's Candles are Burnt Out" is a realistic style, yet mixing numerous metaphorical materials to say, on past, present and future state of Irish society around them. Indeed, even present time his profound direction by allegorical in painting is administering to the future direction of Irish (Flannery, 2009). Picasso's Guarnica, was an intense typical representation of hostility

Figure 8-6 shows the biblical episodes of the story of Jonah. To the left you see the sailors threw him from his ship and on the right he emerges from the whale that swallowed him. Figure 8-7 shows Christ as the good shepherd, whose powers of salvation the painter underscored by placing the four episodes of the Jonah story around him (Gardner's pg. 238).

1. Human sacrifice was a very vital part of the Aztec religion, as it was for many of the other societies in the new world, even including the Maya. In the Aztec world one of the main belief was Huitzilopochtli, known for the god of sun, which needs continuous nourishment in the form of human blood, in other words seen as the sacred life force, as it will keep the sun from moving east to west across the sky. Theodore de Bry’s engraving of Aztec human sacrifice pictured here was widely reprinted in Europe and helped spread the image of Aztec barbarism. The artist’s imaginary version of a ritual sacrifice atop a pyramid bears only slight resemblance to the reality. The pyramid in de Bry’s picture looks more like a European tower than a Mesoamerican structure. The two temples of the rain god

used draw the focus to the center of the painting and this is Parliament on fire. The dark and