Compare And Contrast Christina's World By Andrew Wyeth

In one's life, for many, the place means everything. In the novel Blank by Trina St Jean, a young teen looses her memory after an upsetting accident and spends the novel trying to figure out what happened. Jessica's life is set in her family farm and surrounding forest. Setting is crucial to her story because of her love for nature, her accident, and her runaway plan. To begin, Jessica’s family farm is the perfect place for a nature lover like Jessica, it could be that living on the farm made her develop her love, or that is grew over time. Nonetheless, the farm is a crucial setting to the story: “After taking the first photo it starts to come back to me. Not a memory, but a feeling. Like I’ve done this before” (St. Jean 189). Here it is seen

Though the viewers focus first on the centered figures, it is easier to first analyze the surrounding settings to understand them. The stone wall foreground and the open fields of the background each embodies one of the girl’s thoughts. The back landscape is filled with warm, airy colors of blue and orange, as if it were under a bright sun. On the other hand, the foreground’s stone walls and concrete floor has dark, cold, shadowy, earthy colors that seem to appear as if under a stormy cloud. The sunny land suggests free, pure, spacious land previous to the industrialization. Yet, the darkened foreground due to the overcasting shadows resemble the currently dirty,

I selected this painting because the colour contrast of the pink dress against the dark background caught my eye. I also found the expression of the young woman to be interesting.

In the image, it looks like a stereotypical suburban family’s house. The property includes a driveway, a car, a house, a wall covering the house, and lots of flowers and bushes. In just the quick glance, it does not look like anything spectacular. However, after reading Harris’s interpretation of the 1950’s stylistic ways of living, it makes more sense as to the layout of the property. In the beginning of the reading, Harris has a main theme of privacy. She describes the

As a formal analysis, this artwork has a figure in the center of the page, which can be assumed to be the focal point due to its positioning in the center of the picture plane. Also, this artwork is monochromatic, and the only color used is the hue green. Towards the top left-hand corner, there are darker shades of green, which make this part seem to be in front of the rest of the picture by using overlapping to convey depth. Also, towards the right side of the picture, the people seem lighter and appear farther away than the dark shaded buildings Additionally, since the figure in the center of the work is larger and more detailed than the other figures, it appears that the center figure is closer to the viewer.

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 scene is comprised of mountains, trees, clouds, and a sun that sets over a lake. The oil-based painting gave off a serene-like, peaceful, and calming

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

Already in the beginning, miles of farmland wedge between John and Ann as he ventures off to “help [his father] with his chores, while “mak[ing] sure he’s all right in case [they] do have a storm.” Without her husband for company, she spends the day alone at home, painting, “brooding” and witnessing the intensity of the storm grow vicious. As “the double wheel around the moon” foreshadowed, the storm tested the “elements of human meaning and survival,” forcing the wise to stay indoors away from its “sharp, savage blows.” Also, the desolate prairies, themselves, add to the tense, stultifying aura of solidarity. While the landscape lay bleak and uninviting, how even “the distant farmsteads [Ann] could see served only to intensify a sense of isolation” appears clear. Not only “miles deep between her now and John,” Ann faces a natural barrier between the neighbouring homesteads as the “long white miles of prairie landscape” conceived a “region strangely alien to life.” In essence, the physical barriers, from the “sudden, maniac raging of the storm” to the vast stretches of farmland, allows loneliness and the “ever-lurking silence” to creep into the characters’ hearts until suffering takes control of their

This painting is so realistic and painted with such precision and detail that he must’ve wanted us to see this place exactly how he did, with great beauty and light. The local colors are vibrant and cool yet still make you smile because it reminds you of a warm summer day. The use of two contrasting colors, the blue of the water and sky and the tan of the cliffs and couds, make the tan color stand out creating such a visually pleasing and dynamic effect. The organic fluffy clouds and the ripples in the water convey a peaceful sense to the scene. The pompous cliffs stand solidly contributing to the historical importance of this location. The artist captures the illusion of depth through atmospheric perspective; as the object gets farther it encompasses less detailed contributing to the descriptive nature of it. Since the left side of the painting is much heavier than the right this painting is asymmetrical. Your eye tends to gravitate towards the cliffs on the left because of their size and bright color which emphasize the cliffs. This emphasis creates a focal point that the viewer is immediately compelled to look at.

The text is very descriptive and loaded with symbols. The author takes the opportunity to relate elements of setting with symbols with meanings beyond the first reading’s impressions. The house that the characters rent for the summer as well as the surrounding scenery are introduced right from the beginning. It is an isolated house, situated "quite three miles from the village"(947); this location suggests an isolated environment. Because of its "colonial mansion"(946) look, and its age and state of degradation, of the house, a supernatural hypothesis is implied: the place is haunted by ghosts. This description also suggests stability, strength, power and control. It symbolizes the patriarchal oriented society of the author’s time. The image of a haunted house is curiously superimposed with light color elements of setting: a "delicious garden"(947), "velvet meadows"(950), "old-fashioned flowers, and bushes and gnarly trees"(948) suggest bright green. The room has "air and sunshine galore"(947), the garden is "large and shady"(947) and has "deep-shaded arbors"(948). The unclean yellow of the wallpaper is

In this picture, Victorian style house stands alone in the field. A railroad track cuts through the foreground. There is a bare sky behind the house with no secondary objects in the immediate surroundings of the building. this enables us to keenly focus on the articulation of the building and its relationship with its environment.

The images and lighting are similar to images that record the suffering of people during the depression of the 1930s. However, inside the park the weather starts to brighten making everything look lush and vibrant. It seems absurd to see such a strong contrast after passing through the imperial gates. This brings to mind the saying “The grass is always greener on the other side” This helps to show how the members of the public see this part of London as a desired thing and that everything is better, but this saying usually ends up being false; these people still live in the same world, it is all an illusion, Further on in the scene Theo says to his cousin Nigel, “A hundred years from now, there won’t be one single sad f**k to look at any of this (meaning his apartment). What keeps you going?” To which Nigel replies “You know what it is, Theo? I just don’t think about it”. He is just ignoring the inevitable.

The little girl’s dress gives the texture of lightness and seems like airy fabric that would be thin and translucent. The time in this piece is very accurate of the late 1700’s and when viewing it, the time seems classic. The emphasis of this piece is mainly the mother and the daughter, however when looking at them you are drawn into looking at their realistic eyes. The eyes seem like the focal point which draws the viewer in to the picture.

There were many bright interior images. The generous sized carpeted living room had paneled walls, a brick fireplace, and benched seating with storage below the windows. The spacious eat-in kitchen that opened to the dining area and family room had plenty of white cabinetry, neutral flooring, and a slider that gave access to the deck, showing a slight view of the in-ground pool. In addition, a lot of the cabinets were left open and with the angel of the image, it was hard to tell what other features were being highlighted. There was a long-paneled hallway that gave access to corner views of two bedrooms, and an incomplete view of the bathroom. One of the bedroom images appeared to be somewhat out-of-focus and the bathroom cabinets were left opened. Another image showed a long room/closet that was out-of-focus. In general, the home appeared to be in fair condition.