Antoine Watteau's La Perspective

The two small rivers that make up the larger Moldau meets at bar 28 where the clarinets stop for a bar and the violas begin their melody. This short bar acts as a bridge, the connection where the bodies of water finally merge to create a great river. The bigger river in bar 29 is conveyed by the three different layers, flutes, clarinets, and violas. Continuous semi-quavers that rise and fall in pitch still represent the fluidity and continuity of the water but now the extra layer means that the river is wilder with bigger waves and other movements.

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

Jacques Cousteau was a man of all trades. He was a photographer, inventor of diving devices, undersea explorer, soldier, writer, oceanographer, and documentary host (“Jacques Cousteau biography,” n.d.). He developed the first ever trademarked SCUBA device titled the Aqua-Lung (“Invention; the Aqua lung,” n.d.). SCUBA is an acronym for self-contained underwater breathing apparatus. Cousteau made his grand entrance June 11, 1910, in Saint-André-de-Cubzac, France. Cousteau was a sickly child, who the doctors told not to participate in any strenuous activity. He learned to swim at age 4 and soon developed a love for the sea as well as developing a mechanical aptitude (“Jacques Cousteau biography - life,” n.d.).

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

My initial focus was the master of ceremony who was a Black-American. I saw that whenever he was welcoming guest, his interaction was socially stratified. First, whenever he greeted White people, he showed more interest and provided a strong grip. Some who appeared to have expensive apparel were treated with modesty and even led to their reserved seats while those who appeared to be casually dressed were casually greeted and asked to find a place to seat. In this scenario, I found two ethnographic characteristics in play. First, the event manager used social stratification as a mode to segregate guests. Those who were perceived to be wealthy had their seats reserved in front of the rest. These reserved seats had their names on them and marked as reserved. This showed that people who had amassed wealth received prestigious welcome and treatment. It was not clear to me whether the wealth status accorded to these individuals was based on achieved status or scribed status. However, to demystify this confusion, I engaged visitors participants present at the event to identify the social status of those classified as under high caliber guests. From the intonation of those I interviewed, I could tell that the concept of social stratification was

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

I am analyzing the form and content of a stylized painting entitled The Palisades by John William Hill. This was found in the collection section of themetmusuem.org which was painted during the pre Raphaelite movement; when artist emphasized meticulous detail in what was observed rather than imagined nature. This artwork shows the aesthetics of nature, depicting a peaceful scenery with spacious green acres during the year of the 1870s. During the late 18th centuries, natural resources weren’t highly industrialized and that in itself shows how nature was essential for all human species. I argue that this painting shows how everything in nature connects and communicates with one another.

One thing you may notice in the painting is that the musician may not look rich or he may look homeless. One way of making him look homeless is that the clothes that he could be wearing. He wears sweat pants and even an old shirt. He also wears an old style hat. You could also tell by the way he looks, he is laid back and chilled. He uses music to express all his feelings and even more. The performer does this not for a job or for money, but he uses it as a passion. I was once told that, “if you love what you do, you’ll never work a day in your life.” That quotation is powerful in a way because this guy plays because it’s his dream and passion. So this picture can tell you to follow your dream too.

Michael Miller’s book, The Bon Marché: Bourgeois Culture and the Department Store, 1869-1920, is an expansive and interesting look back on a era of Parisian history that is best represented by its then-current trend and social innovation, the department store. The book gives a fascinating account of the store from its beginning to eventual common place status in 1914. The book gives an insight on the factors in which the store saw success, such as the management, the labor, and new marketing. It also gives light to the social factors that made the store possible (i.e education and economy).

when it was in the middle of a stride with its hooves in the air and

• The focal point of the painting is the sun-drenched valley and river. The emphasis comes from the diagonal of the tree to the left that directs the view of the scene down the valley toward the farmland.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

This painting shows how close and codependent humans and nature were. How well humans worked together with one another and their world. How peaceful those that are close to nature are, which is why it (nature) must be celebrated and appreciated.

But even the men in the white tank tops with more flesh exposed, their hats are fine, and their body language is relaxed and do not portray that of a servant. I noticed the sail and row boats in the distance, the women surrounding the table; laughter, wine and company, and obvious friendship, but maybe also boredom. Was this a pre or post boating trip as the title hints? Was this painting staged, or maybe even a band and live music playing to the side? After closely looking over the portrait, what is most interesting to me is that contrary to the large number of people in the painting, no one’s gazes meet, showing no connections between the people, although most are smiling.