Analysis of the Opening Theme of Desperate Housewives

The T.V show " Girlfriends" is very eye catching for young women between the ages of 16-35. It deals with girl related issues, for example: what am i going to wear on my first date, or do i look fat? These are some of the topics friends talk about. The show is based on four African American women who have been friends since early childhood, it takes place now in the present. The girls are in there mid-20's-early 30's. The characters names are Jone, Tony, Mya, and Lin. Some of the topics which they talk about include marrige, finnancial problems, legal issues, children, and fashion. Jone is a highly known attourney, Mya is Jone's secretary, Tony is a real estate agent, and Lin is a free soul.

The heavenly portrayal of the background and foreground shows a flawless use of space. The distance between the foreground and background was well selected for this piece. This is die to the fact that the two children are not close enough to exaggerate the way they look but they are also not too far away. The distance covered in the background communicates a message of clarity and relaxation that is evident in the children's faces. Two dimensional portrayal of the painting appears to fit the calculated purpose. The

A lucent crescent of the moon is seen on the top right hand corner of the painting where dramatic contours and fluidity of the brushworks are seen due to the Japonisme influences. Moreover, the eleven stars and the rolling hills are depicted moving to the momentum of the swirling sky.

subject’s action. Many works of his time period were sculptures that were meant to be

The next art element that is demonstrated in this painting is time and motion. The think strokes of the leaves on the tree make it looks as though a wind is blowing through the streets of France. The pedestrians in the street demonstrate an element of time and motion because they appear to have been caught mid-stride on the way to their destinations. The server in the café, as well as his customers, show motion because they are moving and having conversations amongst themselves.

The foremost reason for this being the abundance of movement both contained in the composition and implied by it. Lucretia’s figure may be, generally speaking, characterized by its classical orientation, standing upright with no peculiar manipulation to her poster—her chest is roughly aligned with the plane of the composition. What’s more, her figure is characterized by its well-balanced composition with respect to both the domains of shape and color, the most obvious observation being that each element depicted to the figure’s left is also depicted to the figure’s right (and vice versa), the dagger falling neatly between what is almost bilateral symmetry in her frame. Nevertheless, by means of only a few understated alterations to this otherwise archetypal stance, the painting is effective in intimating a sense of motion. Note the curved diagonal implied by her outstretched arms through the length of the dagger and leading upward through her bend, slightly corked neck. What’s more, counterpoint this observation with the perpendicular intersections of this line with those implied by the union of her arms, the breath of her shoulders, the spread of her jewelry, and the floating, lilting ends of Lucretia’s bonnet which appear at either upper corner of the composition quite as ghostly apparitions. The shading corresponding to both of these tails gives to the

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

Before entering the exhibition the viewer is introduced to an energetic video montage of all the works with a sound created by Kevin J. Simon. This fast pace hip-hop sounding song at first seems very out of place from the work, but after listening to it for some time you do hear

House is one of the most favorite American TV shows which has seen its twists and turns and has managed to keep its viewers mesmerized for several years. The very theme of the drama originates from the fact that everybody has a tendency to lie in given circumstances and also other humans cannot be trusted. This same theme is reflected in every action of the lead character Dr. Gregory House. House can be seen as a detailed analysis of how humans react to each other's actions when there relations are doubt driven and also, it is the curiosity in human's nature which acts as the basis for many inventions and diagnosis.

Further more, in the painting, “the Gleaners”, the entire screen is filled with contrast elements. First of all, the main figures in the front labor scene are full of rich vigor, contrasting to the background with silent objects such as hay, trees and farmhouse. Secondly, the color brightness of the front contrast to the back, as well as the comparison of relative sizes between figures and scenery, applying the principle of perspective. What’s more, the most classic is the horizontal line, the intersection of the sky and the ground, contrasting with the light source, from the top left. Consequently, 2D and 3D spatial effects are combined precisely. Meanwhile, the sense of space of the image is strengthened as well.

The couple positioned in the front appears very large to make the painting 3-D. The relative size of the dancers drastically shifts to create a window into the painting. The viewer can imagine being a part of the event and watching the poverty-stricken dancers. The angle that the painting is at appears to be almost a bird’s eye view. This adds to the effect of feeling as part of the audience. Spatial features are also added with overlap making figures look even more distant. Almost everything can be seen all the way to the back of the painting as the lighting in Dance Marathon spreads equally throughout the painting. Many lamps hang from the ceiling to give it a sense of many sources of light and to distribute the light evenly.

Capturing moments of them getting ready for the day, being with clients or being with their lovers is what Toulouse did the best. The viewer always feels as if they the paintings are like cracks in a door or looking through key holes, nothing is disturbed. Meaning the models are not painted to seem to know that they are, it is painted just like a moment. Putting this into the appropriate will not be hard as I am not changing major parts of the paintings. Hopefully the theme will still be prevalent in the appropriated piece. The messages Toulouse tried to communicate were that he painted in a true way. He did not cover up ‘imperfections’ and

The author from The Catcher in the Rye J.D. Salinger utilizes motifs loneliness and depression to show how Holden a teenager from the book explains the struggles he had during the great depression. J.D. Salinger uses the motifs of loneliness and depression to illustrate the theme that when people feel lonely they try to connect with people to get rid of it.

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.

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