Analysis Of The Son Of Man By Rene Magritte

The manipulation of perspective was not only significant for symbolic meaning. It was used as a visual tool in order to create the “magic” that the painting is known for. Because the vanishing point is approximately 5 feet from the bottom of the picture, which is practically floor level, this allows for both the top and bottom of the picture to come together and establishes an illusion of an actual structure. While this “created space” within the picture appears to be real, it is actually just one of the

René Magritte Belgian Surrealist artist René Magritte was a master not only of the obvious, but of the obscure as well. In his artwork, Magritte toyed with everyday objects, human habits and emotions, placing them in foreign contexts and questioning their familiar meanings. He suggested new interpretations of old things in his deceivingly simple paintings, making the commonplace profound and the rational irrational. He painted his canvasses in the same manner as he lived his life -- in strange modesty and under constant analysis. Magritte was born in 1898 in the small town of Lessines, a cosmopolitan area of Belgium that was greatly influenced by the French.

God the Son is next in line of importance based on biblical readings. In the painting God the Son hangs tirelessly from a wooden cross held up by God the Father. God the Son also has a halo painted in sun gold over his head similar to the one on his father’s head. The son hands are extended wide apart and are held on the cross by nails driven into his palms; bloods run from his palms as a result. The son is

In Meditations on First Philosophy, René Descartes philosophies made a substantial advancement in enabling us to understand the world around us by querying many of the Aristotelian doctrines that are still being discussed in philosophy today. He attempts to answer the question; can you fully trust your senses? Descartes uses methodological doubt, which is a process of being skeptical about truths of someone’s belief to revoke from his senses. In Meditation One: Concerning Those Things That Can Be Called into Doubt, he argues that people cannot rely on their senses for full truths. Descartes says we must question everything and doubt everything because everything in this world is subjective as opposed to objective. He begins to argue by saying how when he was a child he believed certain things to be true but then later found out the real truth. Within his first meditation he uses an example of dreaming to prove how our senses deceive us. In Meditation Two: Concerning the Nature of the Human Mind: That the Mind is More Known Than the Body, Descartes starts off by questioning God and Heaven and provides another example of the ball of wax to support his ideas of how our senses cannot be fully trusted. Descartes does a fantastic job proving that the mind and body are disconnected and therefore we cannot trust our senses.

Three specific details that indicate that the artist is a close observer are one, the blood marks on the duck that one can assume his son shot at in order to eat on their way to their trade point. Two, if observed closely, one can see a flock of birds flying toward the sunlight draw lightly to demonstrate the illusion of afar. Three, one can see native symbols on the quilt that the son is leaning on. The painting is painted as if the viewers are on land watching the father and son rowing the boat towards possibly the end of the Mississippi river. The water is clear and it reflects everything in the boat. Both the father and son are calm. The son is lounging and the father is smoking a pipe giving off a calm mood. The artist uses curves to help demonstrate the son’s boredom by making look as if he’s slouching. Bingham made the father and son’s body to connect and make a semicircle. Bingham uses spring colors, happy colors, to portray a relaxed mood. He uses soft colors, for instance the soft red color of the father shirt and the matte color black of the cat’s fur the keep the tranquil feeling.

In the painting, Eve stands by an evil serpent and is falling for his lies and charm while eating an apple. On the other side of the painting, Adam is holding the apple that he received from Eve. Adam and Eve are naked in the paintings, which represents their purity and innocence. They do however use leaves to cover the private areas of their body. The paintings were made to be life sized. Both, Adam and Eve are shown to be tall and muscular. Durer did not put too much detail in the background because he did not want the background to be a distraction from the beauty of Adam and Eve. Adam appears to be hesitant in the painting, with his right hand open in an almost defensive kind of matter. Eve on the other hand looks like she is trying to persuade Adam of something. The painting is an example of implied time and motion because these actions are being implied and it is hard to know for sure what the actual motions will continue to be, all we know for sure is that both characters have different things on their mind by the way they are holding their bodies and their facial

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

The painting shows man and nature in harmony. A clear sign that he focused mostly on drawing is the geometric forms used in the painting. He used very calm tonality to give it the calmness. His artwork and brushwork are very fluid and focused. This painting has no historical meaning because this painting was after his transition from historical to landscape. Instead of telling a story it is supposed to evoke a calm mood. The golden light contributes to its peacefulness. Now that I have explained both paintings individually, in the following paragraph I will talk about their differences and what makes them different.

The artist depicts an initial confusing and weirded-out thought for the viewer at first glance, but as one deeply examines the art, the subject matter begins to become more clear. The vision being shared in this non-objective painting has a context of placing one in the standing of Mr. Man by gaining height and freedom from the (white) bars that are rising on each level that represent conflict which traps one in a “cage” of misery. The unbalanced symmetry of having the left side take up more space with little action, and the right side being smaller with the action unraveling, makes the viewer break down each composite perspective. For the left side, the mysterious female muse, Moon-Face, has an unproportional face that is almost blushing with shades of light pasty orange, with the mouth wide open. The energetic mood is amplified by the tone of yellow that is splashed in the mouth, representing a loss of words or at a state of disbelief. The female’s lower half is created with tints of red that enhances the curves on her body, as if chiaroscuro connects the light and dark contrast to show outline of the breasts, stomach, and hips in

The father's tenderness for Jonathan fills the painting, in which he cradles the boy in his left arm. The warm colors and loose application of paint hide neither the shadowed look on the father's face, nor the gentle vacantness on the son's.

After looking at the painting, it is possible to conclude that the artist is trying to portray a

This painting give us a clue that he was beginning to fall in a state of depression. The very obscure colors combined with glimpses of light are very common of his style during the early phase of his depressive moments. On the right corner of this painting we find a man and a woman many understand this as his conflicting relationship with his brother and sister in law.

I personally get a sense of perfection in a human world when I look at this painting, which is a bit misleading but appropriate for a time in which men were beginning to question the divine and finding answers in the natural world where science and mathematical solutions were starting to make sense of everything around us.

The artist of this painting was named Vincent van Gogh and he was born on the 30th of March in 1853. He was known to be a self-taught painter of the post-impressionist style. Post-impressionism was used to describe the development of French art since Manet. Vincent van Gogh artist style was to practice the uses of bright colors, distinctive brush strokes, thick application of paint, and unwavering subject matter about the realities of life in this masterpiece. Vincent van Gogh found his place in art and produced emotional and visually attractive paintings over the course of a career that lasted about a decade.

The Son of Man is a self-portrait. The painting represents a man in black coat pant with white shirt and a bowler had on his head. He is standing in the front of a short wall. The background shows sea and above it, there is sky with dark gray clouds. The surprising thing in the painting is that the person’s face is covered with a green color apple. The man's eyes can be seen looking over the edge of the apple. His left arm is bend to backward. The artist explains that the painting shows the human curiosity to see the things. The person always wants to see the hidden part. There is always an interest to see what is hidden and what the visible thing is hiding behind but then one is often angry with this interest. This painting brings that frustration or angriness in this painting by putting the person’s face behind the green apple. The argument between the observable that is available and the noticeable that is covered up.