Anne Truitt Return Analysis

Red, in this book, is a fearful, atrocious color that represents all the chaos and destruction that happens everywhere. Death said, “ That basement was not a washroom and they were not sent there for a shower.” He was talking about how all the Jews in the concentration camps that were getting murdered every day in what was called, “Showers.” Including that where the air raids coming to Himmel Street. The most fatal air raid occurred during the night when no one was aware and all sleeping. On that day, everyone was murdered without a chance of survival. Everyone, but Liesel was dead and lifeless.

The color red symbolics all of the colors and how each can have numerous emotions coming

Some of the colors seem out of place. The variation in color may be a result of the author emphasizing certain areas of the sculpture. Most notably, the artist selects to present the sculpture in three-dimensions, using this technique to accentuate and magnify the combatants and their physical attributes. Certain parts of these dimensions seem to stick right out at you, giving the viewer a good impression of the violence and hatred of war.

There is also a striking luminosity to the painting. The man and the woman’s faces appear to slightly glow, as if you can really see the reflection of the sun beaming off of their skin. This was achieved by a complex method of applying glazes. Wood would apply a layer of oil paint, allow it to dry, and then varnish it. This tedious process would be repeated numerous times. It was a process perfected by the 16th century Venetian painter, Titian. The series of glazes seems to have created an overwhelming sense of depth and radiance within the paint.

In literature, red is often associated with blood and violence. Four researchers, Erella Hovers, Shimon Ilani, Ofer Bar-Yosef, and Bernard Vandermeersch, studied colored symbolism and concluded; “Color symbolism is one of the symbolic frameworks used extensively by contemporary societies to convey information and abstract messages through material objects” (Hovers et al.,2003.) Through the use of colors, May vividly expresses the emotions of the speaker towards society, regarding the topics of warfare and education. He specifically selects certain colors, like black and red, to stir up emotions within Jontae. The colors create a symbolic image, ultimately leading up to represent the violent scenes taking place. May writes his fear; “I know how often red is the only color left to reach” (18-19), to show his apprehension for Jontae a young male in society surrounded by warfare. Red in literature often represents blood, sacrifice, and violence. Using colors throughout the poem, creates a more vehement atmosphere, in which Jontae is left to choose between warfare, and discovering his identity in an alternative

The red is vibrant in the dripping blood, sliver of string, and red lips. The blue background is highly saturated of which brings Focus to the figures in the foreground. The shade of colors brings more emphasis to an object such as the balls on and beneath the figure in the middle. They are a mix of brown and green together. Most figures have a gradient of shade to show the use of light.

The colors in this piece are instrumental in moving the eye across the piece and drawing attention to specific parts of the piece. For instance, for the most part, the colors that are used are dark. However, to emphasize General Wolfe, the focal point in the middle, his outfit is painted in a brighter red and yellow and the ground beneath him is light as well. Also, in order to allow the eye to glide across the painting almost all of the soldier’s uniforms are red, creating rhythm. One solider, who is apparently rushing into see Wolfe, is painted in green, which is the complimentary color to red. The use of complimentary colors brings the eyes attention to the panicked solider, emphasizing the overall sense of urgency in the piece. The piece is also well balanced and uses appropriate scales and proportions.

Death can be thought of as a very violent being and people often associate it with maliciousness. The animated coloring plays to a reader’s familiarity of certain colors and what they represent to create a more vehement image. In the chapter titled “Beside the Railway Line”, Death states that something is blinding white when Liesel’s brother dies. It could possibly be comparing the white snow with the cold of death. There is also repeated mention of the colors of Rudy’s hair and Hans’ eyes. Rudy’s hair is described as being “lemon yellow”. Humanity mostly affiliates the color yellow with happiness, memory, communication, youthfulness and carelessness. But in The Book Thief it is twisted into a grim style. In the novel, Rudy is very happy and he cherishes his youth. When he dies, Liesel remembers the kiss he kept asking for and the mean things she would say to him and it causes great pain for her. Death almost always explains the way a person is when it comes for them. He says that Hans’ silver eyes were open and that Hans’ came peacefully. Silver is often correlated with love and peace. Only because Liesel loved Hans so much, is that why the silver of his eyes are so very important. Death gives a tranquil atmosphere to the violence it concocts. Readers become comfortable with Death the idea of it and frequently miss the gesture of violence.

The colors used in this painting are generally quite dark and dull. The buildings are a sickly yellow-gray, the ground is a darker and cloudy gray, and the sky is dark blue and littered with gray clouds. Dark colors, primarily black, are associated with death, evil and mystery – all three of which would have been experience by the intended audience at the time of its painting. By the end of The Blitz, tens of thousands of British citizens were left dead and hundreds of thousands more were left homeless and this is shown vividly through the dark colors (“The London Blitz, 1940”). The color choice also creates a somber, tense tone – very indicative of British life during this period of time.

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

The artist used several different colors while creating this piece and they are all highly saturated. One thing in particular that can be noticed is the fact that it is obviously daytime. The artist created a very bright scene that lets you know this confrontation is happening in the daytime. Some other notable areas of color include the mountains in the background, and the blood that is spilled in the bottom right corner. The darker colors of the mountains in the background almost give a dreary effect to the painting.

Overall, the painting creates unity. All of the elements that are put into this painting creates a sense of completeness. For example, if we didn’t have the element color, then the painting would be black and white, which wouldn’t give you the entire story. Like the blood that is

The woman painted is sitting in what seems to be a domestic setting. However, unlike many other painted black women in the Enlightenment, she is seated alone. She is not depicted serving a white woman or doing any labour. The white cloths wrapped around her head and body along with the light background creates a dramatic contrast between the light colours and her dark skin. Her breast is exposed, but she is not sexualized like in many paintings of white women of the period. Despite her less-than-modest exposure, the woman does not show any signs of embarrassment. She is not blushing and her gaze is fixed on the viewer in neither a demure nor passionate way. In fact, she seems nonchalant about her exposure.

‘Shadow’, ‘stain’, ‘struck’, ‘scalded’, form a semantic field of darkness representing the sinister figure of war in Lament. These words help build the atmosphere and create a guttural tone conveying feelings of anger and affliction, almost like a cacophony of lines, resembling the harsh and discordant roars of the battlefield. Correspondingly, Duffy also uses vocabulary like ‘explode’, ‘pain’, ‘nightmare’, ‘tears’, to transmit feelings of grief and discomfort to the reader. However, Duffy expresses her feelings through the persona of a photographer in the third person, where his reactions to the photos are described. Contrastingly, Clarke is more direct, as she laments in the first person for a list of animals and people hurt in the