Argonauts

There square measure many variations between the wash and also the oil on canvas works. West created vital changes, all thought of enhancements, to his pen and ink wash study. within the study, a figure kneels with extended arms within the lower left corner. But, within the oil on canvas painting, this little figure has been replaced by a person holding a spear. Also, there 's a family fleeing the scene within the study, however within the painting the fleeing family was replaced by a youth United Nations agency is being smitten by lightning. There square measure varied additions within the painting. One figure currently holds Associate in Nursing empty cup. The sky currently bears figures that represent the Demons of Discord and Envy (Carey, 17), and 2 eagles that attacked a heron within the study ne 'er created it into the oil painting. all the same, the sketch continues to be thought of one in all West 's masterpieces, and this reality was even recognized throughout his period of time (Von Erffa, 145).

The work of art Hercules Slaying Laomedon, King of Troy, by Tournai, is a Flemish tapestry made out of wool and silk. (Museum of Fine Arts, Houston) It is work of art made during 1480 – 1500 (Museum of Fine Arts, Houston), and it depicts a battle between Hercules and the King of Troy. The King of Troy, Laomedon, seems to be in the very front, laying on the ground sprawled out, frozen with a face of anguish. Under the King and slightly above the King, are two people who are dressed nicer than most of the other people. In this paper, the work of art, Hercules Slaying Laomedon, King of Troy (Museum of Fine Arts, Houston), will be explained and shown to demonstrate stylistic features and artistic culture.

Physically, the figures in the painting are quite exceptional. The bodies look very realistic, such as the bulging muscles of Aeneas and the life like expression of his weary father. This works kind of shows a wide spectrum of human figures, from the strong and beautiful Aeneas to his soft, gentle wife, and the sharp contrast of the old and defeated father of Aeneas, to Aeneas’s young, curious son on his grandfather’s back. The painting is evenly lit and has flawless brushstrokes throughout the painting which secures the life-like realness of the work. The shading of the muscles in the body are exceptionally life-like. The contrast between the skin colors between Aeneas and his father really give the viewer a sense of what is actually happening in the scene.

Peter Paul Rubens’ painting, Prometheus Bound, is a large oil painting on canvas currently on display at the Philadelphia Museum of Art. The painting is approximately sized at eight by seven feet and portrays the Greek Titan Prometheus chained to a cliff as his liver is eaten by an eagle. Rubens captures and allows the viewer to experience the most dramatic and gruesome moment of the myth, when the majestic bird attacks the Titan, by implementing the tenebrism technique, a unique composition and perspective, and symbolism.

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

The illustrations should help readers anticipate the unfolding of a story’s action and its climax.

Similar to most Egyptian art, the figures in the stele are drawn with a twisted perspective – the frontal view of their faces and the profile view of their bodies. This is also seen in the relief of “King Assurnasirpal II Killing Lions.” This twisted perspective was common in most Ancient Egyptian art.

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.

the Acadians because they could not have full control over them. The British Officials wanted the Acadians to be loyal subjects to the King and be under their control.

Color is the most prominent art element utilized in the work. A series of bright warm colors such as whites, greens, reds, blues, gold, and purple have been used throughout the art. Gold is seen on the robes of the priest and Justinian, but is most noticeable in the background. White is used for the priest’s robes and distinguishes them from the group. A lighter green fills the lower background by their feet while darker greens are used for the shield and bordering designs. A deep purple is seen on Justinian’s robe to show his royalty and power. Blue and red are the least prominent as they are mainly used in the boarder and small details. Lines are used to create a sense of depth and sharply outline the figures. Overlapping is seen with the figures to show their importance in the art. The composition of the art shows the status and roles of the men with the most important near the middle (Justinian) and the least important off to the

At the extreme right, a woman is falling and has not yet hit the ground. Further left, a woman is picking herself up after falling. The horse in the center is fatally wounded and will soon die. To the far left, the child in his mother’s arms has already died, and so has the warrior whose head rests at the bottom of the mural. But again, the strong right to left movement arises from the direction in which the subjects are looking.

These three works of art I have chosen is a painted vase called “Aeneas carries Anchises”, a coin called “Aeneas carrying Anchises on left shoulder”, and lastly an etching called “Aeneas carrying Anchises.” All three of these works are very similar when it comes to the theme. The theme is obviously the Greek and Roman myth of Aeneas carrying his father, Anchises, on his back. Although the theme is the same on all works of art, there are some minor details that set these figures apart. The first work of art pictured (figure 1), is the vase of “Aeneas carries Anchises” that was made in the 5th century of BCE.

The painting is assumed to illustrate the scene when Leda has bore 2 eggs. According to the myth, Pollux and Hellen emerged from one and Castor and Clytemnestra emerged from another.

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