Analysis Of Jean Cousin The Elder: The Rape Of Europa

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

There are also several doves at the bottom of the painting, presumably indicating purity and perhaps symbols of love as well. (Wall Text 2012)

To begin, the main figures in this piece are Europa, a mythological nymph, and Jupiter, the chief god who transformed himself into a white bull and kidnapped her. We know who the main figures are due to everyone looking at their direction and the number of details that make Europa and Jupiter stand out. Such details include the flower crown around the bull and the excess of fabric wrapping and flowing around Europa. As a viewer, it can be noted that this piece is composed of various flanking figures that range from notable sea deities to flying Cupids. Above Europa, we see a wind god blow air in her direction. Additionally, on the far right, a woman sits on a shell throne with a man wielding a trident whispering at her side. Overall, the figures refrain from assisting Europa on her kidnapping and prefer to remain on the sidelines.

At first glance, the Red Fish looks like a decoration piece that someone would hang in their home or lake house for decoration. However, with a more in depth look, viewers will see that this painting illustrates much more than it appears. In 1990, Leonard Koscianski used a piece of canvas, 64’’x46’’ to paint the image of a fish out of water. Koscianski used oil and dark shades of red, orange, blue, green, and white to create the Red Fish. The Red Fish was painted vertically with the fish as the main focus point. Behind some green blade grass, a large red- orange fish appears to be leaping out of the water. The size of the fish helps show that the fish is the center piece of the painting. Behind the fish there is a small patch of land, filled with blade grass with two white house’s sitting off in the distance. Directly behind the houses is a section of woods. From left to right, the tree tops seem to follow and up and down pattern. The dark blue sky begins at the tree line and ends at the top of the painting. Throughout the sky there are patches of clouds that are an off white color. The contrast between the colors used by Koscianski show a lot of detail, but did not take away from the huge red- orange fish. Along with the color scheme, Koscianski used lines to add detail to the fish and to provide depth to the painting. With proper use of colors and lines, Koscianski was able to create the Red Fish. In 1991, the Montgomery Museum of Fine Arts

In Artwork 1, Mary is placed in the centre of the image between Christ who is on the left and God who is on the right. The Holy Spirit is between the two which forms the Holy Trinity. The composition can be viewed as forming an inverted triangle or heart shape. Mary is the focal figure with an attitude of modesty, reverence and tranquil emotion with her right hand placed upon her heart in which reinforces this. God is expressed as a picture of wisdom as He is crowning the head of Mary with a garland of roses, along side Jesus. The Holy Spirit is present in the image above Mary and is portrayed in the traditional form of a white dove. Cherubs, angelic beings, are visible at the base of the painting which can be interpreted as guards. The use of blue in their garments symbolising heavenly grace in

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

The piece introduces a moment of ecstasy created through an event of sexual tension. The strong presence in the figure begins to depict the emotions of the facial features in which is expressed through painted textures committing a exotic tension in the structure of Europa’s appearance. Emphasizing the emotion in the figure, Titian begins to express the sentiment through the creation of a dramatic presence. First with the colour scheme, he draw the attention to the figure with a light foreshadowing directly to Europa’s body accentuating the dramatization in the expression of the face. The appearance of the tense emotion conveys the illusion of fear, pain and distress causing a confusion of what seems to appear as sexual violence. According to A.W.Eaton the facial expression consists of exotic pleasure rather than an appearance devoted to despair and I quote “First, the painting eroticizes Europa’s rape by representing her as complicit and taking pleasure in the act. For instance, Europa’s facial expression does not obviously betray distress, fear, or pain, and is often interpreted as a look of ecstasy”(Eaton, P.162). Furthermore this quote explains that rather the expression interpreted from Europa was a moment of rapture or moreover an execution of enjoyment towards

Some of her works include “Radioactive Cats”, “Fox Games”, “Walking on Eggshells”, and “Shimmering Madness”. After seeing Ms. Skoglund’s work in the book Artforms , I was totally clueless as to what she was expressing. The particular illustration I’m referring to is “Revenge of the Goldfish”. If the name alone sets you back, don’t worry you’re not the only one. She has an eerie way of taking ordinary things, fish in this case, and forming a scene in which no one could possibly think of.

The color used in this painting is not too obvious, it seems like a pretty dark colored painting when first looking at it. After further examination, I started to notice more colors that are throughout the piece. There is blue, which is part of the angel’s garment. In religious paintings, blue often symbolizes a sort of heavenly grace. This blue is also seen in the sky surrounding the figures, perhaps another symbol suggesting that Adam and Eve still have their innocence, for they are surrounded by a heavenly grace. White is also seen in the painting, both as a part of the angel’s wings and the clouds in the sky. White often symbolizes purity and innocence, yet another symbol that shows Adam and Eve have not yet been shamed from the garden. Another major color that stands out more than anything else is red, which is seen in the animals right next to Adam and Eve. This could possibly represent the presence

context such as race and gender, and the history of the painting. In addition, I will be

My personal reaction to this art is that they are scary. Also, this is an old painting and it has to do something with religion.

This painting done by Correa is example of baroque painting with its rich colors and dramatic presentation. Correa in known for loose brushwork and the luminous quality of his paintings. The story in the painting references the biblical narrative in the book of Revelation where a woman gives birth to a male child and is attacked by a dragon. The child is sent into heaven and the woman is given wings to escape. Although the Bible doesn’t specifically state it the woman is usually identified as the Virgin Mary.

The painting is set like a square with different scenes on each side with space in the middle. In the background there is a blue sky. There is a dome structure and before it is a covered arch with four columns on its side. A railing is shown to separate two scenes in the painting in front of the arch. On the left side of the painting, it appears to be the exterior wall of a building.

The canvas depicts Madam de Pompadour, former mistress of Louis XV. Painted during the final year of her life and completed shortly after her death.

The Temptation of St. Anthony is an oil painting created in the 17th century by an unknown artist. It portrays a group of people in a cave. There are many questionable characters in this piece that could be viewed as possessive or demonic. There are creatures and animals that have unpleasant features such as wicked eyes and large open mouths with protruding teeth. All the animals have an evil appearance to them, including the creature in the back, with wings and claws. Looking closer at the picture, an individual that is painted has horns and he his holding the hand of an innocent, beautiful woman. There is also a man, who appears to be holy, wearing a robe and holding his hands together as if he is praying, with a book in front of him. I am assuming this is Saint Anthony, reading the bible. The creatures are all looking at the interaction between the woman and man with horns. They appear to be watching in excitement and eagerness while