Beauty A Warbler On A Plum Tree Settei Analysis

Nevertheless, in the poem ‘Nesting time’, Stewart interprets a personal experience in first person of the appearance of a bird that lands upon his daughter and forgets the thought of the harsh world. Stewart’s descriptive language repeatedly explains the poem as if seen in his viewpoint, beginning with an interjection, ‘oh’ communicating of his incredulity of an ‘absurd’ bird. Symbolizing the bird with strong coloured imagery its ‘mossy green, sunlit’, described to be bright and joyful, with sweetness shown with the type of bird, ‘honey-eater’, Douglas Stewart takes the time to describe its admiration juxtaposed to the dangerous world surrounding it. While visualizing the birds actions, ‘pick-pick-pick’ of alliteration and repetition of its

The six trees are very evident when you first look at the painting more often than not it will be the first thing that catches your eye. There are multiple rivers around the painting nevertheless they are all connected in some way. One of the other main focal points that grabs the eye is the white

The seasons in the poem also can be seen as symbols of time passing in her life. Saying that in the height of her life she was much in love and knew what love was she says this all with four words “summer sang in me.” And as her life is in decline her lovers left her, this can be told by using “winter” as a symbol because it is the season of death and decline from life and the birds left the tree in winter. The “birds” can be seen as a literal symbol of the lovers that have left her or flown away or it can have the deeper meaning that in the last stages of our life all of our memories leave us tittering to our selves.

The effect that forms are that of biometric feel beside the people they have more of geometric feel. The colors do impact this artwork greatly because each color is harsh and sot of clash with one another. The colors are black, gold, red, brown, white and light blue. The colors are mixed. The color on the mother's dress is a harsh black versus that of her children which are every light and airy. The hue of the piece of art is very light in some spaces but in other places it can be very dark. The saturation is very different in many places if you look at the woman's dress and in the dog, you can see that it is very saturated but if you look at the two girl's dresses you can tell that its less saturated. When

The artist paints a work of art “Chiapas Paz Mexico” which is influenced by the way of life of the people living in a river valley in Mexico. For the composition, he paints the mural by dividing two main parts by using flat form style to tell the story. He doesn’t show perspective or overlap objects on the mural. However, the right side of the mural, he paints an unrealistic shape and forms little village with buildings, trees, hills and people into the background of the mural, making them appear far away. At the top of mural, there is an army standing above the mountains of the village. The other interesting part is the old woman at the left side of the mural. She has the biggest portrait on black the background and is separated from a part of the village by the 3 soldiers. However, there is a rainbow ribbon connecting two parts together and the woman is a starting point of the rainbow. The rainbow ribbon shows the movement from the old woman to the river at the bottom right and continues moves

From her auburn curls cascading from beneath her tilted hat, to her arm positioning, the trees, clouds, down to the tiniest blades of grass, they all slant one way or the other. The artist has utilized the diagonal line is multiple ways; the slight angles that Reynolds incorporated into each area provides a sense of movement in what could have been a dry and stagnant scene. Along with movement, there lies an illusion of depth: paired with shading, the use of line gives the perception of more area being included than there actually is. These lines also direct the viewer’s eye toward the sitter. Objects located around the edges of the composition lean towards the center, pulling the viewer’s glance directly to the

The flowers face many angles and are all different, most have contrasting shades of green leaves surrounding the petals and varying stem widths and lengths. This creates interest throughout the painting. To complement the bright yellow flower petals, Van Gogh has detailed a baby blue background with small, vertical and horizontal brush strokes. This contrasts well with the yellow flowers and helps to separate them from the yellow foreground. Also, to break all the yellow sections, he has cleverly used a lighted yellow tint on the bottom half of the vase, rather than shades, which he has used to outline the petals of the flowers. In doing this and by also adding light to the front petals and vase, Van Gogh has added a third dimension to his painting. Like Olley, Van Gogh has painted this artwork in warm colours to create a joyful and uplifting artwork to look at.

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.

To fit the theme of a summer setting, along with the annunciation being very holy and happy, the scene is very bright with light and uses some bold bright colors. Both Mary’s bed and God’s outfit are a strong solid red. Bright greens and blues are used on the land and sky outside. The archangel is dressed in a white robe with a red and gold cloak. A strong contrast in colors is used to bring more attention to Mary, as her face is a very light white, while her gown is a very dark green. Overall, while used to grab your attention, the colors do seem very natural to what the scene would like, as perceived in the artist’s time period. The lighting, whoever, seems to be from an unnatural source. It

Because of her variety of hues in the work, she uses muted colors to avoid a highly saturated painting. Her use of blue throughout brings the whole work together. The splash of red orange in the background helps create balance and unity in the work. Because red is complimentary to green, it makes the flowers stand out against the green bushes. This helps to balance the work without calling much attention to the background. The background in the work also seems to be slightly blurred which calls focus on the subject, thus creating less distractions for the viewer.

The poem begins with the poet noticing the beauty around her, the fall colors as the sun sets “Their leaves and fruits seemed painted, but was true, / Of green, of red, of yellow, mixed hue;” (5-6). The poet immediately relates the effects of nature’s beauty to her own spiritual beliefs. She wonders that if nature here on Earth is so magnificent, then Heaven must be more wonderful than ever imagined. She then views a stately oak tree and

The black lines that seem to frame the woman into a sort of foreground are also present in the implied background, thus melding them into a singular seemingly flat space. The blending of large areas of color leave the space open, and the intent lines of color are the only implication of space or form. “Space is made ambiguously expansive by means of the slight blurs and partial erasures in and around the figures,” (Ashton). This juxtaposition of open and defined spaces easily mirrors the wily nature of women to contain some sort of depth, while at the same time being of shallow character. Lewison makes note of this contrast saying of the woman that, “she is self-consciously seductive, challenging the male to approach while at the same time remaining aloof,” (146). Although there is an understood figure and a somewhat implied background, the work still has the ability to be flat at one glance and especially deep upon another.

A girl sits upon a pure white marble bench wearing a pure white robe, robe as white as the bench she sits upon. Her skin is pure white, like untouched snow, with the only imperfection to it being the soft pink blushes which serves only (). She sits surrounded by a lash garden in the background, it's dark green leaves woking to create a contrast to the piece that provides clear view of the girl and the marble. The contrast also forces us to view the girl bringing the viewer's attention to the subtle beauty and immaculate innocence and serenity.

Color and technique is another major aspect of The Kiss. In creating this painting, Klimt gained inspiration from his travels to the Byzantine, the mosaics in Ravenna in particular. This inspiration is reflected in his use of gold and the arrangement of shapes. While the majority of the painting was done using golden hues (he uses actual gold leaf to achieve this affect), Klimt manages to apply all of the colors necessary to achieve intrigue and convey his message clearly. He uses vibrant colors such as; blue, purple, and green in the flowerbed. He strategically uses the gold by integrating it into the robes and vines that swathe over the figures and over the woman’s feet. He continues his theme of contrast and juxtaposition in his use of complimentary colors. The green in the flowerbed contrasts with the red in the woman’s dress, making her dominate and stand out. This contrast is even shown in the skin tones of the figures. The man has an olive complexion and the woman has a peach complexion, making her stand out

Unlike the era before this, regionalism, this poem does not focus on a restricted area or culture. It is simply giving a description of a bird, which also could be looked at metaphorically, but nothing more. The modernism era did not particularly focus on a main subject. It mostly just focused on the interior dialogue and its unique characteristics.