Analysis Of'saturn His Son, At The Museum Of El Prado Alongside The Other Black Paintings '

Like the painting, the sketch exhibits a number of West 's finest imaging and clearly and convincingly depicts all of the feeling of a frightful scene. The larger oil on canvas work isn 't one portrait, but rather, a

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

I will be analyzing the piece Aeneas and His Family Fleeing Troy. This artwork is currently being displayed at the San Diego Museum of Art, in Balboa Park near downtown San Diego. This painting was made in 1635 during the Baroque Period in France by Simon Vouet. Vouet was the most influential painter of his time and did much to make Paris an artistic center of Europe. Vouet was heavily influenced by Caravaggio who also heavily influenced other painters during Vouet’s time. In this paper, I will be exploring issues such as material, subject matter, scale, historical context, light, human figure, and finally museum context.

For example, in the myth, Prometheus steals fire from the gods to give to the struggling humans, which ultimately led to the progression of humanity. The flaming torch in the bottom left is a symbol and attribute for Prometheus, however it also represents his crime. Also, according to the myth, when Zeus, the king of the gods, discovers that the Titan defied his orders and stole the fire from Olympus, he punished Prometheus by expelling him Olympus, chaining him to the top of a mountain, and sentencing him to have his liver eaten by an eagle every day for all eternity. The eagle, however, is not just a part of the story. The predatory bird is a symbol of Zeus in Greek mythology. Another symbol for Zeus is storm clouds, because he is the god of the sky and lightning. In the painting, the sky is full of dark grey and tumultuous storm clouds, which may represent Zeus’ anger at the Titan, while also conveying a serious tone. The painting also reveals green land in the distance and far below the peak of the mountain. Rubens may have included the green scenery in the background, behind the cliffs and Prometheus to emphasize the Titan’s isolation from the rest of the world as part of his punishment. The chains in the painting also convey a sense of isolation,

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.

Francisco Goya’s The Executions of May 3, 1808, is a remarkably interesting piece of art. This piece represents a protest against the Napoleon Occupational Army in Madrid. There are various visual elements and design principles in the art, which will be covered. The beginning of this ILO will contain the visual elements first, followed by the design principles, and what they mean in the artwork.

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

However, Wright (1993, p.51) had written that Rubens’s is more horrific as viewer’s sympathy is straight drop on the innocent baby yet to be eaten. There is also another difference spotted. Rubens’s painted an innocent child whereas Goya painted a cadaver that looked like a younger adult. In Goya’s painting, the cadaver was in long legged, round buttocks and wide hips. The gender of the young adult is remained unknown as there is headless and not facing to us. But some experts suggested that the cadaver was a female young adult due to Goya’s later love life.

Its architecture has Greek form with a high structure of marble that shows off a large frieze portraying an epic battle on the base’s walls. The cracked figures on the frieze fight violently against each other, and even with the test of time, their features are descriptive and their faces show much varied expression. The most impressive part of the Altar of Zeus is the sculptural frieze depicting the struggle of the gods and the giants. It is clear on the altar’s frieze’s that the artist/sculpture of the alter worked towards a natural view of the characters on them, borrowed from the classical period but sculpted them to be in more of realistic portrayal. The construction of a frieze seemed to be a fairly popular architectural enhancement at the time; this outer frieze is one of the most famous. The sculpted figures on it create a new height of Greek realistic representations and architecture in modeling, composition, and expression of emotion. The emotions of the figures are one of the aesthetics that makes the frieze so unique and beautiful. As the battle scene is unified; the winning and losing sides are clearly cut. The artist makes the battle and its characters easily perceivable. The look of suffering in defeat is on all the giants’ twisted faces. Drastically opposite is Zeus and his fellow gods who are seen as completely expressionless. The overall style of the frieze is very intense, to say the

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

<br>At the bottom left side of the painting is a man about to be eaten by a termite who has a game table on his head. This is illustrating that the tables are turned on the man who has committed some terrible crime. In the Inferno this is represented by Lucifer eating the three worst sinners, Judas Iscariot, Brutus, and Cassius, all who betrayed their

In this essay, a comparison and contrast of Hito Steyerl (born 1966) with that of Francisco de Goya (1746-1828) work of art will be made. These artists have been selected to demonstrate that they both can be defined as revolutionary artists but within separate art periods. To demonstrate this, it must first be defined what is revolutionary art and how does it affect us? The history of art has gone through constant changes from movement to movement, with ideas being portrayed differently. Revolutionary art is something that people take notice the many years after being presented. It leaves a lasting impression no matter the genre or means to make it.

This horrifying image carries all the power of the destruction of Troy. These lines foretell not only the presence of the Greek formation (the fact that they arrived from Tenedos), but the assault (the murders), the Trojan defense, the murder of Polites and Priam (the son first and the father last), and the fires which rise above blazing Troy (their flaring necks and the screams that fill the skies). They display the destruction of Troy as the life of the snake.

“Saturn Devouring His Children” is the boldest painting of the group. Goya portrays a grim voracious giant with predatory, lunatic eyes stuffing his son’s torn, headless body into his maw, a visual equivalent of torture and murder, set against the darkness which accentuates the mood of despair to illustrate his honest views of humanity during a turbulent time.

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