Charles Allan Gilbert All Is Vanity Analysis

I think about how the world had betrayed this women. They made this woman plump and empty, she does not even have a face. This statue is nude showing everything to the naked eye, she does not have a desirable body. This sculpture shows how much a woman was respected back in the day, which was very little.

The mirror on the bedroom wall examines the public perception of her private life. Looking only at its reflection, the audience cannot tell the room is in a mess; the rosebush and the dirt trail are not apparent to the audience. In the mirror, only the back of woman’s head is evident. Her face and her emotions are hidden from the mirror. It appears as if she is doing an ordinary task; she could very well be sitting on the bed, reading a book. She turns her back to the mirror and denies it a true reflection.

As the name suggests the skull instantly draws the eye, the hollow face of the skull is in the center of the oil on wood painting. The skull extends to the right where one sees an empty glass on its side resting at an angle to the skull. The glass is reflecting light along its curve but does not give one an actual reflection. Beneath both the skull and glass is a book and a sheaf of papers in a portfolio. The book’s binding is brown and the pages are yellowing, whereas the papers in the moss green portfolio are a contrasting white. The presence of paper fits with the other object in the title the writing quill, whose feather rests on the book and sheaf. The head of the quill points to the right of the painting where it rests on an overturned ink well. In the background of this painting smoke is rising off a recently extinguished oil lamp, partially in

The way the artist developed the texture from the magazine clippings made this artwork exceptionally notable. Therefore, the artwork is a strong piece because it gives a variety of elements to draw in the eye and the artist develops the texture is very unique and charming. However, I would not display this piece of art in my own home because I personally do not like portraits to look at, a I would much rather have an abstract shape or form. Nonetheless, this artwork would speak to many individuals because it portrays the sense of self charmingly. One critique I would give this artwork is within the subject. I feel the eyes are slightly too big and makes the girl look almost cartoonist. Even so, this artwork is appealing and I think the artist did an excellent

There is also a mirror placed on the table allowing the viewers to link with space beyond the frame. Also in the far back right of the painting you can see a young man talking to an elderly. The artist created an very old or old-fashioned look by using opposing colors, red and green. “The second half of the fifteenth century in northern Europe saw an expansion of genre

John William Gilbert was born at Hamilton, Ontario, Canada in 1842. His parents were William James Gilbert and Eleanor Gilbert; both parents were born in England and they were married on 23rd April 1826. Mr. and Mrs. Gilbert and their one-year-old daughter, Eleanor immigrated to Canada in 1830. His father’s occupation was described as 'labourer', as declared on his immigration application. John's only sister, Eleanor was born in England in 1829 and his four older brothers, William, Francis, James and Charles were born in Canada. On settling into Canadian life, John Gilbert's father commenced working on Public Projects as a contractor. Between 1837-1838, Canada experienced major unrest in many areas of the country which soon descended into

Sara Gilbert is a well-known American actress and a very humble human being. She is best-known for her role as Darlene Conner on the ABC sitcom Roseanne since 1988 up to 1997. Gilbert is also a creator and the co-host of a daytime talk show called The Talk while.

A closed door with its decorated frame stands next to it. Quinn uses photo manipulation to project a slide of one of the pictures left in the home. It is a vacation photo taken by a family who once lived in the house. In it, we see a lake with a reflection traveling towards brownish-black mountains topped with snow. Much of the wedding dress and the door are transparent, allowing the whole vacation photo to be visible. An antique light fixture accompanies a wide-open doorway on the right wall. The picture plane is confined to a relatively small space. It is mostly made up of straight lines, the majority of them being vertical or horizontal. The lines of the stair railing and the right and left walls create a directional force traveling from the foreground to the background. While observing the print, viewers will be able to notice a pattern of rectangles repeating throughout the image. There appears to be a monochromatic color scheme, based on the distribution of varying shades of white, along with the brown railing, ceiling wood, and stain in the lower corner of the right wall. This could also be considered a neutral color scheme.

The art piece that I chose to critique is the sculpture of a figure kneeling down and getting shocked. It is located on campus near the Morris University Center(muc). When I first saw this sculpture it caught my attention immediately, because of how gruesome the piece was. I feel like I don’t have a good understanding of what the sculpture represents, but it seems like it would raise plenty of controversy, due to its erotic features. It seems like the artist was venting his emotions when he created his idea. The sculpture is fairly large in size, which makes it noticeable, among the other art pieces on campus. The sculpture media consist of wood and concrete, and metal mostly. The individual is keeling down toward the west and is supported

More than anything on this painting, it is focused on the woman state of mind and heart rather than the skull or anything else. The simple arrangement of how the artist used vertical and horizontal shapes draws the viewer really close into the Magdalen's thoughts. The skull and the books purpose is to set the mood in what the woman might be feeling. The focal point of the entire painting seems to be the candle because not only is it bright, but the woman is gazing profoundly into it.

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

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 portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

Abraham de Vries’ Double Portrait depicts a man and a woman sitting at a table. The woman looks up from her reading while the man turns in his chair. Both of them look out of the frame into the viewer’s space. There is a calm, unified axis of the head and the body for both

To begin, the proportion of the woman’s gaze accentuates perfection. The eyes introduces a sense of nobility to the piece acquiring a softness at the gaze. Painted with a spherical shape, it allows the appearance to emerge mysteriously throughout the portrait and I quote “Through their roundness, therefore, the mind, knowing itself, is sometimes forced to reveal the secrets thoughts of their