Analysis Of The Poem ' Oil On Canvas, 1942 '

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

Within Fictional journey, both readers and writers have common companions who are characters. For readers, stars are a source of inspirations, but creating a popular character is an innovation for the author. After reading, a motivated reader wants to continue the story in real life. In Iran, a leftist organization made personage of a little, blackfish who is seeking the sea, its ideal personality for followers. Because of Samad-made artwork, the group became popular among young teenagers. Still now, after fifty years A little black fish lives inside the memories of the people looking for freedom and human rights. It does not matter that the fish has originated from the prominent Marxist-Leninist author; the free fish is sometimes an immigrant

Edna has been rebuffed by Robert who, having returned to New Orleans, and after a passionate kiss, on the verge of sexual and emotional climax, leaves her with a note that says simply “Good-by – because I love you” (124). He refuses complicity in her downfall on behalf of a dream. Edna, on the other hand, does not know how to wake from it. It is under the influence of the “voice of the sea” (16) that Edna first began to realize “her position in the universe as a human being,” and, more importantly for us, “to recognize her relations as an individual to the world within and about her” (16). For all her angst, it was not until her experiences in Grand Isle that her consciousness became irrevocably divided into inward and outward states; her love of Robert, the music of Mlle Reisz, and the sea. The sea is Edna’s mirror: it is “seductive; never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude, to lose itself in mazes of inward contemplation” (16). Like the sea, Edna is a fluid passion, inarticulate, constantly merging, warping, and pouring apart, a perpetual flux of unity, but fundamentally incapable of stability. We are told that the sea “speaks to the soul” (16), that its touch is “sensuous, enfolding the body in its soft, close embrace” (16), and this lulling, soft, unindividuated enclosure is the only one that Edna can finally take solace in, the only possible outward manifestation of her internal oblivion. She stands on the shore, preparing to wade out into her destiny, noting how, even at this late point, “she felt like some new-born creature, opening its eyes in a familiar world that it had never known” (127). She begins to swim as Robert taught her, going “on and on, thinking of the blue-grass meadow that she had traversed when a little child, believing it had no beginning and no end” (127), until “exhaustion was pressing upon

Looking at this painting instills in one a feeling of an almost serious sort of serenity. With the dark blue in the background gives the work an almost mysterious undertone, possibly portraying how life in the ocean is an unknown and often scary ordeal for the creatures that inhabit it. The viewer is struck with a sense of awe at the simplicity of the overall

The first thing that catches the attention of the audience is the boat containing two people in the lower center of the painting. The characters are noticeable due to their white clothing which contrasts from the dull gray of the sky and water. Another noticeable aspect of the painting is the line dividing the water and the cloudy sky, which is not straight and fades at certain points. Lastly, Hannah uses simple shapes like the rectangular sky and water, the triangular boat, and the round, long shaped people in the boat.

Under the sea, in an idyllic and beautiful garden, stands a statue of a young man cut out of cold stone – for the Little Mermaid who knows nothing but the sea, the statue stands as an emblem of the mysterious over-world, a stimulus for imagination and sexual desire, an incentive for expansion of experience, and most predominately, an indication that something great and all-encompassing is missing from her existence. Traces of curiosity and a vague indication of the complexities of adult desires mark the child mermaid; in such a stage of development, the statue will suffice. However, as the Little Mermaid reaches puberty, the statue must allegorically come alive in order to parallel

The focus of the painting is a woman in bright yellow. This woman stands above the crowd, showing only her back and a hunched figure. Her posture suggests that she is shy, self conscious and is afraid of the spotlight that she suddenly finds herself in. Her head is bowed which hides her face and deters us from seeing her identity. She looks as if she carries a great burden on her shoulders. She shares her pedestal with another woman in red who is smirking and confidently showing herself off. She, unlike the other woman, displays herself to be seen by all. She leans against the building behind her, her arm thrown to the side, which opens up her posture. Her confidence is worn as easily as her revealing

Similar to the previous passage, this is another passage that is filled with children’s carefreeness and innocence. It is also very poetic and lyrical, as shown through the use of figurative language to compare the boat with a huge white fish. The narrator and his friends happily chat and laugh together in the dark night and thus develop communal spirit and friendship. Reading this passage more carefully, the readers may realize that the seemingly straightforward writing is actually not very simple. The sensitivity to the natural beauty and the poetic language in this story can hardly belong to a child’s narrative. He identifies himself with the adult narrator who reminisces about his childhood memory. Through this occasional return to the

For purposes of this analysis, the focus will be on the men on the boat. They are the most detailed elements of the image. The artist purposefully placed them standing rathe than nearly drowning and fighting for their lives for a reason. There are three men standing in the boat, two

In Behind the Paint Violent J says, “he would dreams or visions of a clown running through the ghetto”, Which led to the name Insane Clown Posse(Bruce). Each vision, six in total portrayed a message in the form of a “Joker’s Card(clowns)” telling him to convince people to change their evil ways before it's too late. When the last Joker’s Card drops its suppose to represent the end of it all. This is called The Dark Carnival mythology. Carnival of Carnage being the first Joker’s Card dropped in 1992, represents the violence in the ghettos as a traveling Carnival and the audience is the upper class who watches the ghetto tear eachother apart.

The narrator of “The Fish” initially stresses to portray the fish as worn out comparing its skin to “ancient wall-paper” (Bishop 11). When the narrator caught the “tremendous” (Bishop 1) fish she observed he didn’t fight, but his gills fought the struggle to strain the “terrible oxygen” (Bishop 23) being in air. The narrator illustrates visually dense phrases when comparing the fish eye to her own recognizing they are “larger than mine/ but shallower, and yellowed” (Bishop 35-36). Not a shift in his eye then describes his iris as “seen through the lenses/ of old scratched isinglass” (Bishop 40). Becomes an eye-opening moment for the speaker and even the boat, becoming a moment of empathy and understanding. “I stared and stared/ and victory filled up/ the little rented boat,” (Bishop 67) the vivid personification prepared the reader to understand the dramatic narrative. Completing the image for the reader, “…everything/ was rainbow, rainbow, rainbow! / and I let the fish go” (Bishop 74-75) Bishop’s strong use of imagery and personification suggests the fish to hold a

The highlights and shadows in the painting also plays a part in suggesting that the woman is the main subject of the painting. Strong contrast between the middle area of the painting and the sides can be seen. This creates further emphasis on the woman as the light enable us to see most of the features on her face highlighted as compared to the rest. This creates an effect as if the light is directly on her.

Hans Christian Andersen’s “The Little Mermaid” and Ludwig Tieck’s “Rune Mountain” both use a great deal of distinguishing environments and variations in settings to drive their plots forward. The sea and land in “The Little Mermaid” and the villages and mountains in “Rune Mountain” not only physically portray the respective stories’ settings, but are also the foundation of greater ideas behind the tales. Such ideas are not explicitly stated, however are revealed through the spatial semantics of each story. With the visual aid of their various settings, “Rune Mountain” and “The Little Mermaid” enable the construction of the themes of afterlife, rite of passage, and sexual desire. Religion is a common element between the two stories.

In the short story, “The Handsomest Drowned Man” by Gabriel Garcia Marquez, a drowned man changes the lives of men, women, and children of a mundane village forever. The lives of the men of the village are changed because of the immediate affect he has on them by leading them to rid of their jealousy. The women of the story lives are changed because Estaban led them into a new world of fantasy, having their imagination to reach far beyond their ability. The children of the story are affected by Estabans spirit as a whole, putting them at ease. Resilient emotions are created as the story unfolds and imagination becomes a significant part of Marquez’s quest to reveal symbolism through

The writer is carrying out the message that ties back to the origins of how mermaids were portrayed, in times of people like Hans Christian Andersen, as defenseless woman whom the only thing they could do is “lure men” for marriage. The writer gave this message through the specific words choices to describe the “Victorian” woman in the era of Anderson. The women had to sacrifice their “voice” in society to be an ideal, domestic candidate to “lure” prospective husbands. The words or phrases such as “give up” and “lure” carries out a wretched and resentful tone that express negative feelings towards this display of women. The words choice effects the audience pathos inflicting a realization and pity moment towards what women had to do or be.