Color as Metaphor in Film What Dreams May Come

Art is an incredible medium when used to its fullest potential. What I mean by that is; it has the capabilities to surround the viewer with its imagery and play with the emotions. Paintings are particulary effective in doing this through the use of color tones and ‘temperature’. For example; El Greco used a lot of blue and green throughout his body of work. The outcome is that the subject matter comes off as ghostly and perhaps a little alien. This is in high contrast to Georgia O’Keeffe’s desert paintings, which utilise reds, yellows, and browns to create a ‘warm’ and appealing landscape.

As we all know, color is the voice for the artist 's sentiment. It makes up the appearance of a picture. Color is the decisive factor in depths of the two-dimensional plane of the artwork, making the viewer feel physically and mentally attracted, or the context of things - the phenomenon the author wants to present. Colors have been around for a long time, but there is not a common definition for colors. And perhaps humans are one of the luckiest creatures that can identify colors. Often, the recipient 's eye knows a myriad of colors and colors that always change based on the relationship between light and perspective. In art, color creates a sense of

Bernard Lassus was born in 1929 in Chamalieres (Puy de Dome), France and is regarded as an extremely creative and unique landscape architect due to his vast use of dramatic shapes and colours in his designs. As a child he was encouraged to practice his independence of mind and enrolled as a student at the National School of Beaux Arts where he studied painting and art. This education and introduction into art encouraged Lassus to begin his career as a painter before entering into landscape architecture. In the 1950’s, Lassus took part in artistic research on visual effects of ‘lights in motion’ where he developed his talent for representing moods and emotions in his work. In 1955 he took part in in the Salon de la Jeune Peinture (Salon of Young Painting) and presented his first works in

Daniel Ridgway Knight was an odd American artist who loved to paint relaxed French peasants in luscious landscapes. Ironically, he lived during a stressful time when the Industrial Revolution displaced numerous farmers and polluted the environment. He seemed to ignore the harsh truth and shut himself in his imaginary serene world. For instance, In the Premier Chagrin, translated as The First Grief, Knight paints two healthy girls conversing on a stone wall in front of gorgeous fields. At first, it appears as merely a pretty painting that is nicely contrasted to show depth and realism. Yet, with a closer look, this contrast in the colors and lines of the landscape and the figures creates tension to suggest the painter’s conflict between longing for serene freedom and feeling trapped within the stiff society.

In this painting we see an infant that is in a boat. Behind the infant there is an angel that is guiding the child out of a cave into a beautiful landscape. Thomas Cole paints the landscape very rich; you get o a sense of warmth and calmness. There is beautiful green land, big mountains, and different types of flowers.

The primary focus of this section is to explain the “act of painting.” Flack begins her book with notes on the creative process and what it means to be an artist. Everything from the perception of color to confronting a blank canvas is addressed in this section. Audrey Flack briefly touches on the spiritual

For Williams' character, Chris, his paradise was living in one of his wife Annie's paintings. But the same theory holds true for Annie in hell. Annie is not in her place in hell because she has been deemed by Minos to be a suicide and assigned her level; she exists there because she has made a hell of her own. Her hell is living in a world without her husband and children, which she tried to escape through committing suicide but lives on in due to her own self-loathing and guilt.

In “The Yellow Wallpaper” when the author used visual imagery it was used to paint the picture of the environment to suck you into the story. The visual imagery in the story really allows you to imagine many scenes and there are also different ways of it. Out of one window I can see the garden, those mysterious deep-shaded arbors, the riotous old-fashioned flowers, and bushes and gnarly trees. Just this one statement just lets you visualize the garden. Statements like this don't only just

Art represents the divine through delivering what could be captured in our eyes, and the nature is the best media for human’s spiritual transcendence. During the period between 1880 and 1930, because of the rapid urban development in Europe and North America, the nature had become the path for artists to explore spiritual mediation. Natural landscape was widely used by artists as a metaphor for life of spirits, while the urban landscapes is regarded as the death of spirits. From the ongoing exhibition “Mystic Landscapes: Masterpieces from Monet, Van Gogh and more” in the Art Gallery of Ontario, it is interesting to find that the two masterpieces by Vincent van Gogh and Edvard Munch are sharing some similarities even though they were working on the different subject matters. In terms of chronologies of art history, there is commonplace to consider the subtle relations between the works of Van Gogh and Munch. These two artists who had gained outstanding achievement on their artistic career, both went to Paris for further professional training yet never met each other. Since the 1900s, Van Gogh’s and Munch’s works were exposed to the public on various art exhibitions, and were often displayed side by side since they are both experts using brushstrokes to create modern visual effects. Though Munch and Van Gogh’s painting are differing from each other on their practice of using paint (color), brushwork and lines, they were focusing on studying nature to observe inner human

Within his paintings, Church creates highly romanticized pastorals by utilizing emphasized natural lighting and vivid color. In his paintings, he depicted scenes of idyllic, flawless image of natural purity, which often include an ever extending view into the horizon. What Church paints is not real, but an idealized version of what nature has created. The style of the Hudson Valley School exemplifies American exceptionalism within a visual form. Hudson River School artists, like Church, intentionally depict a partially realistic, somewhat dreamlike perfection that exhibits the American landscape. The quintessential expansive horizon also represents the limitless possibilities for the future of America. The “artificialness”, seen in Church’s paintings, of crafting a scene more perfect than nature had created it parallels Church’s manipulation of Olana’s landscape. Church harnesses his control over nature in real life in his attempt to create an idealized “three dimensional painting” of nature in Olana the same way he does in his two dimensional

The oil on canvas landscape painting does not reveal the name of the painter, but instead it leaves the observer with several explicit and implicit clues which may lead the viewer a step closer to its creator and its reason for existing. Additionally knowing that the painting was created in France sometime around the mid 17th century narrows it down to a few possible influencing eras. Moreover, having the freedom as a spectator to make assumptions based on legitimate evidence lead me to think critically and got me to figure out the painter’s background information, intended audience, intentions, and etc.

However, the very idea of painting a real-life landscape can be the timelessness. At a time when photography was uncommon, it is quite evident that Francis Guy wanted to treasure the memories he had in his neighborhood. Due to this painting today, modern viewers have the liberty to get a sneak peak at the infrastructure and lifestyle that people had in the early

Rebecca Solnit posits that “the world is blue at its edges and in its depths”, and that these are the elsewhere places that humans are inextricably drawn to explore both literally and figuratively. Artists, musicians, and authors alike share a fascination with the colour blue whether it is used as a feeling, a metaphor, an abstraction, or something else altogether. However, the innate human desire specifically for blue places and for elsewhere is a factor found throughout history: from the paintings of the Renaissance to the cyanotypes of early photography. We appear beguiled by the far away and the unreachable, the “blue of distance” that exists only because we are not where it is - creating for ourselves an unsolvable tension of wanting to be in the, by definition, unreachable far away.

Artists use colour as a form of expression, this has become a common aspect of contemporary art. Colour today in art is not usually regarded as an embellishment for form but rather as the essential material from which form is created. This changing role of colour has keynoted a general revolution in human thinking, leading to greater visual perceptions. (Sloane, n.d.) Early as 1966, Gerhard Ritcher has created paintings purely based on colour charts, to some this was a complete “indifferent composition” to produce, however it was seen to perform like a “great classical masterpiece” (Lubbock, 2011)

One of Vincent Van Gogh’s most world renowned paintings is his landscape oil painting Starry Night. The painting displays a small town underneath an unusual yet still extremely beautiful night sky. In this night sky, Van Gogh utilizes an array of colors that blend well together in order to enhance the sky as a whole. The town is clearly a small one due to the amount of buildings that are present in the painting itself. In this small town most of the buildings have lights on which symbolize life in a community. Another visual in Starry Night is the mountain like figures that appear in the background of the illustrious painting. Several things contribute to the beauty of Van Gogh’s painting which are the painting’s function, context, style, and design. Van Gogh’s utilization of these elements help bring further emphasis to his work in Starry Night.