Art Work Comparison the Oxbow & Ejira

A sense of balance is achieved between the stormy sky and the rugged mountain tops. The texture of the sky also contrasts with the texture of the landscape. The eye is directed by the caped figure’s wide

The distressed ship is the biggest in the painting, making it the center of the piece. The artist drew the two other ships small to make them seem distant and another small boat close to the damaged ship. The scale of the painting itself is pretty big; it’s 36 inches long and 53 inches wide.

I have chosen Romanticism/ Post Impressionism, Olive Trees with yellow sky and sun, by Vincent Van Gogh; The Oxbow, by Thomas Cole, comparing it to the “Spirit Rising, by Christophe Vacher”.

The appreciation of nature is illustrated through imagery ‘and now the country bursts open on the sea-across a calico beach unfurling’. The use of personification in the phrase ‘and the water sways’ is symbolic for life and nature, giving that water has human qualities. In contrast, ‘silver basin’ is a representation of a material creation and blends in with natural world. The poem is dominated by light and pure images of ‘sunlight rotating’ which emphasizes the emotional concept of this journey. The use of first person ‘I see from where I’m bent one of those bright crockery days that belong to so much I remember’ shapes the diverse range of imagery and mood within the poem. The poet appears to be emotional about his past considering his thoughts are stimulated by different landscapes through physical journey.

Frederic Edwin Church captured the natural wonder and power of Niagara Falls in his painting by using grand scale.

He uses this technique when he describes things people enjoy seeing while looking out of the window. He specifically says, “the variety of architecture, here and there; the woods and fields and water beyond the seamy edges” (louv 52-53). He uses this imagery and this diction in order to remind the reader the beauty of looking out of the windom. It influences the reader, and makes he/she want to choose nature, making this a very effective technique.

Endo’s descriptions of Indian customs from the Japanese viewpoint are evident, through the Japanese travelers and also through the way he uses imagery to suggest a merging of the ancient Japanese beliefs (Koshinto) with the Indian beliefs about the Ganges and his own Christian beliefs. Koshinto lies at the core of Japanese sensibility and forms Japanese traditional lifestyle (Mase-Hasegawa 28). Each traveler or character is searching for a greater understanding, not merely of the motivating force behind their behavior, but of a deeper nature. In doing so, they all find themselves in direct confrontation with their own personal desires for spiritual rejuvenation. They embark upon journeys toward greater self-understanding where each is caught up in his own process of individuation. The river is a recurrent site motif with ritual significance, providing an idyllic destination.

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 use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

The authors have two clearly different environments and describes them in diverse ways. Abbey writes about his surroundings as a bright, clear, calm April morning. He changed his description in the afternoon as “the wind begins to blow, raising dust and sand in funnel-shaped twisters that spin across that desert briefly, like dancers, and then collapse-elements under stress” (52). While Leopold writes about his experience with on a mountain as a “deep chesty ball echoes from rimrock to rimrock, rolls down the mountain, and fades into the far blackness of the night” (49).

In this essay, I will compare and contrast two sacred spaces; Ise Jingu of Japan and the Great Stupa in India. First I will describe the sacred spaces and their artistic features, values and importance. Afterwards, will come the analysis comparing the two in architectural design and decisions, rather than the difference of religious belief or purpose.

The influence of Katsushika Hokusai’s artworks is tremendous and extensive in western art history. For instance, Katsushika Hokusai’s Thirty-six Views of Mount Fuji inspired Claude Monet’s Haystack, Snow Effect in the year 1891. More specifically, as National Museum of Australia demonstrates that The technique of depiction of the forms about escarpment and lines of trees emerging in icy morning mists of Monet was came from In Shichirigahama in Sagami Province by Hokusai.

“Under”). One could mistake that the focal point is the little figure under the birch tree who is a priest. However, the main point in this landscape is all about the birches. The reason why one could say so is because of all the visual elements such as: the birches are in the middle of the painting; they are also the most lighted objects in the painting (light is shining in the form of an oval) (National Gallery). Due to the levels of lightning one can see that the picture is divided into three horizontal parts: the top (dark, but not as dark as the bottom of the painting); the middle is the lightest; and the bottom is the darkest. This means that he used what he learned about the Dutch style and mixed it with his personal style thus we have a whole new way of seeing his point of view.

Claude-Joseph Vernet made a painting that brings your attention to the foreground. In the front, there is a boat being boarded. Some of the people that are not boarding the boat are standing by the sea. In the sea, some boats are sailing off in the distance. One of the boats in the distance is a large boat that gives the illusion of being three-dimensional. The form gives this illusion because of the reflection in the sea. If you look in the lower-right, you can see the light from the sun illuminating the sky. This light is hidden behind a large mountain that also has a three-dimensional form. There is also lots of texture in the painting. Some texture is seen in the mountains and ground giving a rough look, and some is seen in the sea in the form of ripples. On top of the mountain in the lower-right, there is greenery that has an illusion of being light and feathery. In that mountain, there is an arch that makes the other side visible. In the far distance, you can see a faint

The first thing I notice in The Starry Night is the sky in the background because it stands out the most. There are many shining stars, the big bright crescent moon and wind swirls painted throughout the blue sky using contrasting colours like orange, yellow and white. Through the swirling wind, thick curve lines are flowing across the sky to form this spiral-like formation. Eleven yellow stars which look like huge fireballs lighten the whole art piece by contrasting with the cool blue, dark night sky that contains a variety of shades of blue and grey. There is also the crescent moon at the top right-hand corner that is bigger and emits an even brighter light compared to the rest of the stars. Next, I notice the giant cypress tree on the left side because of how its proportion is a lot bigger than everything else in the rest of the painting. It blocks out part of the sky and the village located at the bottom. The village houses are tiny and painted in the shade. It is compact and is close to the hills and its surrounding objects which makes the houses blend in and become unnoticeable.