A Portrait of a Young Man Essay

This painting is a portrait of an old woman who is sitting on a chair while facing to the left. She is wearing a yellow flower dress with a beige jacket while sitting in an empty room. Her beauty is illustrated by her curly, gray hair and also her wrinkled face, neck, and hands. These details is what makes her look real and pure. I like how detailed it is because it reminds me of my grandmothers.

1510, right in the middle of the Renaissance. The painting is rectangular in shape and

Perhaps one of the most disgusting accusations one can receive today is “You’re racist!” However as disturbing as racism is, it is just one of the many mediums in which people use to control others. Whether the motive is race, religion, nationality, financial standing, or even gender, in every society, certain groups of people have always been oppressed. The culprit of seemingly unnecessary and ignorant oppression is human nature itself. Humans will always experience the need to feel superior, and for that reason, similar connections can be made among those people living under oppression thousands of miles and centuries apart from each other. “The Man Who Was Almost a Man” by Richard Wright, “Sweat” by Zora Neale

This painting was created by the artist Parmigianino in 1534–1535 during the Renaissance & Mannerism time period in Florence, Italy. The painting is oil on wood. The painting portrays the Virgin Mary placed on a high pedestal in extravagant robes, holding a very large baby Jesus on her lap. Next to her are a few angels showing interest in the baby Jesus. In the lower right-hand corner of the painting shows the emaciated figure of St. Jerome. A representation of St. Jerome was required by the administrator because of the saint's relation with the adoration of the Virgin Mary. The Madonna with the Long Neck is a portrayal of the Virgin Mary who seems to be very disproportioned.

The piece portrays a middle aged man with his head slightly turned to the right. He appears to be looking straight ahead. It conveys an impression of intense concentration one can assume the sitter was a contemporary man in the guise of a thinker. His face is carefully modeled with wide furrows cut into the low forehead to intensify his expression.

The second painting, Youth, painted in 1842, oil on canvas, 53 in × 76 in, continues to have a beautiful green landscape, we still see trees, flowers, mountains, and now we see a castle in the back. In this painting the view is widening. The child from the last painting now looks like adolescent. The

Directly above his head, yet still connected to his head is a semi-circle of an image of a woman holding a baby. It appears that the image is a memory, perhaps of his mother holding himself or his wife holding their child. The man is surely a representation of the artist and this is “his life”. He seems to be the focus of the painting and the overall theme appears to be memories layered throughout. Right above the original semi-circle is another semi-circle of four small, colorful squares. Each square is red, yellow, and blue in color reminding me of the artists’ Hispanic origins. Moving inward from the darker, gray and white outer portion of the painting seems to be a bookcase with three separate images. Each image is of a man painting on a canvas. These three separate images of a man painting throughout the artwork could be the artists’ memories of his father, or a significant man in his life. The grays, blacks, and white used show the artists’ darker memories, while the vibrant, beautiful colors symbolize the joyous ones. Similarly, the softer, warmer colors that the artist uses represent his love, appreciation, and admiration towards his father. Overall, the painting is a memory timeline that

Manhood defines according to Merriam-Webster dictionary as the state or condition of being an adult man and no longer a boy. In addition, manhood can be understood as the capacity of a man to handle a difficult situation. However, some people believe that manhood comes through action rather than material possessions. By comparing the different paths to manhood taken by Frederick Douglass in “Resurrection” and Dave Saunders in “The Man Who Was Almost a Man,” readers come to understand that manhood comes through actions rather than what one possesses.

This author’s portrait is from a manuscript called Roman de la rose that was written by Jeanne de Montbaston, however, Roman de la rose was originally composed by Guillaume de Lorris and Jean de Meun. The manuscript was written somewhere between 1351 and 1375 in France. This version of the Roman de la rose is located in the National Library of France in Paris. The manuscript can be identified by the number btv1b6000307m. The author's art is located on folio 1 recto and it takes up the whole page with the painting being mostly on the top half of the page with text and two small pictures on the lower half. The artist chose to use red and blue paints as well as gold tin for the medium.

One of the best Netherlandish Renaissance panel paintings is "The Arnolfini Portrait," by Jan van Eyck. Painted in 1434 on 3 vertical oak panel boards. Its dimensions are 32.4 inches x 23.6 inches; panel 33.3 inches x 24.6 inches. It is on display at the National Gallery in London. It is a full length portrait believed to portray an Italian merchant, Giovanni di Nicolao Arnolfini and his wife. It was painted in 1434, but the wife in the picture died in 1433 Jan van Eyck applied thin layers of translucent glazes to intensify both color and tone. The realism of this painting is achieved by intense colors, variations in shade and light, the look of three dimensional forms, almost perfect textures, and the use of direct and diffused light. This painting is of a richly dressed couple, in what might be a reception room, with a bed, chest, and blooming cherry tree outside. The deep symbolism of many objects found in this painting are reinforced using color, light, and many of the principals and elements of art.

The Man Who Was Almost a Man, tells the story of a young seventeen year old teenager, named Dave Saunders, who finds himself struggling with the need to be taken seriously as an adult, while still being seen by his community, as merely a boy. Published in 1961 and written by Richard Wright, this short story focuses on the common struggle of young African American men in the South trying to find their identity outside of the box that the United States society put them in at the time. Dave felt that in order to prove that he was a man; in order to receive the respect he thought he deserved from Black and White Americans alike, he needed to purchase a gun. This, of course, proved to be of more harm than good, as Dave found himself incapable of using the gun correctly, and what resulted was the death of his employer’s mule. Dave then, after creating a nonsensical lie that does not convince anyone, decides to skip town in order to avoid the responsibility of taking up for his actions. When taking into consideration the story line and its relativity to the South during the 1920s, when the story is set, it’s clear to see that Dave Saunders’ story is more than what it seems to be on the surface. Dave Saunders’ story is a reflection of common coming-of-age struggles, and even more than that, the common African American struggle of trying to find power when everything surrounding you, and society as a whole, is telling you that you’re powerless; a struggle that is still very

Painted on a panel, this painting was done in tempera, a pigment dissolved in egg. The chief medium till the late 1400s, tempera dries very quickly and when it does it gives a flat and dry appearance. This painting has sharp brushstrokes that do not fuse together and the forms have very sharp edges. All this is attributed partly to his style, and partly to the limitations of his medium. Artists at this time did not know much about the study of perspective, and Barna di Siena’s image reflects this flatness and lack of dimension. Not only are there different people on different scales supposedly in the same plane, even individual

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

His soul had arisen from the grave of boyhood, spurning her grave-clothes. Yes! Yes! Yes! He would create proudly out of the freedom and power of his soul, as the great artificer whose name he bore, a living thing, new and soaring and beautiful, impalpable, imperishable