Analysis Of Radha Krishna 's ' Lovers Under A Futon ' By Folio From A Gita Govinda

This piece is also an abstract form of art and more modern the color is red and has a feeling of happiness and joy and you have the urge to feel love just by seeing it so large and up front. “LOVE” has always been placed out in the open demanding attention from a lot of people to see. “The Kiss” is more of a classic form of art and has been placed in more private areas. Although it has a distressing grey color “The Kiss” has more depth; the feeling of intimacy is strong and makes a statement.

The woman is displayed from waist up in the central position on the canvas. She appears to be nude, her left breast exposed. Her face is upturned, gazing at something above the top of the composition. Her eyes are large and glassy; reflective pools. Her skin is clear and pale, a sign of youth and beauty. Her lips are slightly parted, and they are full and soft red in colour. The kitten looks up, at the same object as the woman. It has grey fur, red/pink rimmed eyes, ears and claws. The kitten digs it’s claws into the hand of the woman, which she holds beside her chest, cupping her hand, palm up. The kitten rests against her chest and grasps her hand, suggesting a bond or relationship between the two.

“From the Intimate Lyrics,” shows a woman crying, but her tears are words from a book. This represents what happened to Montag when he began to read the books and look into the subjects of happiness versus unhappiness. The books open up a door to a realm of feeling and thought for Montag. The woman in Furtado’s piece of art, is crying because of something she read. She too, is feeling from this new realm of words. Both works push through the idea that books show a different world to the reader. To both the woman and Montag, it showed them that what they thought was truth and happiness, wasn’t. Montag loses his wife and job to trying to find happiness, chance society, and protect the books. The woman loses her happiness over what was read to her, hence her crying. From Montag’s journey and the meaning behind “The Intimate Lyrics,” a reader could gather, that books and words written or said can indeed reveal their deepest

This dramatization brings the reader to the realization that the protagonist’s stream of consciousness narration is very unpredictable, yet will ultimately lead to his ability to expose his true feelings as the story develops. The author clearly likes to represent this feeling of indecision with poetic illustration as it is used several times in both stories. In “Newlywed”, the narrator vividly describes his mixed feelings toward his wife, Atsuko, during the peak of his epiphany-like experience:

This painting about the process of applying make-up at the mistress's vanity conveying a pure young woman. The lace and pink ribbons along the chest of her dress create an almost architectural quality, being able to see the weight and stiffness that they create. The subtle focus on the cameo on her wrist being a portrait of her lover, King Louis XV contrasted with that the size of her eyes compared to her mouth transforms her into a childlike state. The painting provides a sense of mirroring. Even though Madame de Pompadour has a mirror placed in front of her, she turns her body facing towards us with an expression of intended innocence.

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

This seems like the perfect time for an intimate secret interaction between the housewife and the speaker. In addition, the speaker depicts the housewife as moving “about in negligee behind the wooden walls of her husband’s house.” (lines 3-4). A negligee is a sexy nightgown that a women wears to bed. The only way for the speaker to know what attire she is wearing is for the speaker to have seen her through a window or an opening in her house. In the second stanza, the housewife exits her house and the speaker specifies something that can be interpreted sexually. As a case in point, the speaker notices that she is uncorseted. A corset is used to make the waist appear smaller, implying that the speaker is looking at her upper

The figures are disjointed, having multiple arms and legs, blending into one another. Almost unrecognizable. The figures have a distinct feminine quality, aligning with the common primitive associations. The bodies all have a pasty moonlight glow, with eerie facial expressions. The background of sugar cane identifies the setting as a Cuban sugarcane field, opening the aware viewer’s eyes to the political commentary the piece possess. The image, however confusing and chaotic, is aimed to address the history of slavery in colonial Cuba, an issue Lam addresses in many of his works.

Henri de Toulouse Lautrec said, “and everywhere, ugliness has its beautiful aspects” (Untermeyer). After accidents in childhood left Lautrec with physical deformities, he began to create art that looked for the beauty in the ugliness of the world. In his paintings, he focused on the day to day lives of those around him, painting prostitutes and writers. However, he focused not on their main activities, but the mundane, non-artistic parts of their lives. This is especially apparent in his painting The Sofa. This painting depicts prostitutes, but in a very relaxed setting, rather than traditional beautiful poses they take in many paintings. The ruffled, relaxed, almost ugly view in the painting shows that Lautrec embraced the ugly in his daily

Among the high art world it was still one of the more popular subjects to paint, one that Courbet had addressed with his avant-garde piece, The Studio of the Painter. The painting showed Courbet in the center of the composition, facing a canvas on which he was painting a landscape. Behind him stood a nude female, symbolizing himself and the art world turning away from the nude in favor of landscape painting. Even in painting this nude he continued to be subversive, showing a classical test of skills in the realist style of painting as opposed to idealized. It seems strange then, that twelve years later Courbet would choose to go back painting female nudes, even for patrons, when he had never shown an interest in such things before. In this way, Courbet’s choice to paint Le Sommeil is not as avant-garde as older works. However, despite the subject of the female nude showing favor to the status quo of the art world at the time, the narrative of the piece means the work is still just as subversive as past work by Courbet had been. The narrative of the nudes, in this case, is post-intercourse rest. Presently in the painting, the two women’s limbs are tangled together, the sheets rumpled, and various objects strewn about, such as a broken pearl necklace and a golden hairpin. These context clues make it obvious to viewers exactly what has taken place just before the events captured on the

This painting addresses two discussions by Marx in terms of feminism and postcolonialism. The Caucasian female is depicted to be nude as she sits down in a pose that was as appropriately executed as possible. She has a glow about her, as her red hair beautifully contrasts her milky white skin. During this time, it was a new concept that women were painted in the nude as the girl is in this painting. Caught in a moment of vulnerability, the woman in the Moorish Bath was considered to be the object of desire to whoever owned this painting as it was essentially compared to the idea of owning this woman, being able to admire her from afar and fantasize about her as they pleased. However, she was by no means indigenous of the Moorish people, who were Muslim and from Northern Africa. The fantasy was further enhanced when the viewer notices that she is this Moorish, exotic setting where she does not belong, giving her a goddess-like quality. As for the other woman, she is depicted as a servant. As she stands near the shadow, her dark and muscular skin masks any softness about her, making her more of a supporting character in this painting than an object of

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 ukiyo-e or the ‘floating world’ art form focuses on providing entertainment, eroticism, and beauty, with popular subjects of female prostitution, everyday objects, and florals, mirrored in Van Gogh’s work. Pleasure is an evident theme at the time as the poor viewers lived vicariously through the images. Woodblock prints were affordable and easily produced in mass quantities, spreading the usage of thick black outlines, distinct color differences, landscape images, and the seductiveness of the human form.

In Japanese society, at the time when these works were created, the feminine sexuality of a wife and of a courtesan were seen as two dichotomous roles that could not possibly be carried out by a single woman, at least in an ideal world. While it is true many

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this