Conflict in Daniel Ridgway Knight´s Paintings

The friendship between the two young girls before the realization of their differences represents rich soil. Given these images, the reader can create a connection of what the authors is trying to convey.

Objects like the electric heater are almost symbolic of her current existence, devoid of any interaction with Nature, as opposed to a time when her ancestors would sit “at the camp fire in the bush” … “at one with old Nature’s lives”.  Her tone seems to imply that the past where her ancestors lived in peaceful harmony with nature, where the trees composed “their own music” is preferable to a present consisting of artificial comfort, “easy chair before electric heater”, a man-made luxury in replacement of camp fires. The reference to “No walls about me”, also possibly functions as a metaphor for the freedom the narrator and her ancestors once

What do I notice from the paintings is a figure sitting all alone amidst a rainy storm as if he or she awaits change at a turning point in their life. The starkness of the painting shows the figures emotions and feelings are strong and yet there is always sunshine after the rain.

The mood of the painting is somber and dark as if the memories of the deceased still linger even though the look on the young woman’s face might suggest that the idea of placing flowers and lighting of the lantern on the grave stone was not her idea. That only one of the children are from the deceased and that the other is from some new forbidden lover. Even the form of the woman suggest that she is reluctant to even be in the grave yard.

Her illustration of her suburbia is juxtaposed with a discussion of the writer’s dream which exposes the surroundings and

The narrator describes the sense of being isolated and locked up in the ancestral home by saying, “It is quite alone, standing well back from the road, quite three miles from the village. It makes me think of English places that you read about, for there are hedges and walls and gates that lock, and lots of separate houses for the gardeners and people.” (233). The “hedges and walls and gates that lock” represent the feeling of her being isolated and trapped inside this house. And because of the barricades surrounding the house, she has nothing to do but to stare at the wallpaper, which again leads to her mental deterioration because she becomes so obsessed with it that it takes over her life.

.Throughout the story, The narrator presents the surrounding sphere as a prison for her. Like the woman behind the wallpaper is trapped behind a symbol of the feminine surrounding sphere, the narrator is trapped within the prison-like nursery. The nursery is itself a symbol of the narrator’s suffering as a continual reminder of her role as a woman to clean the house and take care of the children. The many blocked windows and unmovable bed also suggest a fatal use for the nursery in the past, perhaps as a room used to house a mad/sick person. The narrator's feeling of being watched by the wallpaper underlines the idea of the room as a supervised friendly prison cell.

After viewing the five different works of art offered to write this essay, the piece that spoke to me personally and emotionally was The Oxbow, painted by the artist Thomas Cole in 1836. I truly love the outdoors aspect of pure and unadulterated nature isolated from societies approach to technology, over population, and lack of true freedom. I go camping and hiking with my daughter whenever possible, so I truly appreciate the recognition of natures’ beauty and vitality. The artist used canvas with oil and the medium and its dimensions are 51 ½ x 76 in. Upon further inspection I realized that the painting shows juxtaposing with the tamed and cultured land on the right and the untainted and untouched nature, with brooding darkened clouds on the left. The contrast of light and dark colors also indicate this and whispers to my subconscious. The Oxbow will subliminally remind anyone that the subject is the controversial

“Painting is silent poetry, and poetry is painting that speaks.” - Plutarch. As Plutarch once said, painting is poetry because it sends a deeper message of what is represented. Every place has its artists some known some not that known, this essay has the purpose of noting Jessica Monroe, a local artist from the Valley who’s work, on my point of view, should be more recognize by other people.

For example, the image entitled The Baby’s Playground (Chen, 4), resonates with Von Hoffman’s description of the urban slum, “a residential environment that degraded and harmed the poor” (Von Hoffman, 2). In the image an infant is seen isolated in a dark and ominous hallway. Nearest to her vicinity there is the inhabitants

In the Duc du Berry’s Tres Riches Heures, the The Limbourg Brothers depict an agricultural scene in an extremely uniform manner. Three men and two women work on a field against a background of medieval architecture, separated by a river. Elements such as the spacing, detail, and choice of color are what primarily form the composition of the image, but lesser characteristics such as the lack of liveliness and the flatness of the people also play an important role in the overall structure.

This scenery is very pleasant and happy. A child is under his mother, he is touching her feet. This shows how his childhood must have been, and the readers can see the reason why he wants to go back to his childhood.

The illustration associated with this paragraph depicts a pink house, a two lane road and a sign reading “Welcome to Tiburon, S.C. The main focus of the drawing, the bright pink house represents two different things: in the literal sense, it represents June, May and August Boatwright’s house and how the sisters have integrated Lily and Rosaleen into their household. Figuratively, the house represents how humankind judges people and objects based on their external appearances; the outside of this house may seem sickeningly sweet or gaudy and one could form opinions on the people who live inside based on one’s personal opinion on the colour of the paneling. This is a common mistake and is similar to the mistakes made when one is prejudiced towards those of a specific skin colour, facial structure or weight. This is an important issue discussed throughout the book and it was necessary to show the symbolisation created by the pink house.

Clark begins by stating how art produced during the mid-nineteenth century was seen as deeply political, explaining how the ideas of the avant garde were intrinsically linked to the wider social and historical conditions. Looking to the work of Courbet, Clark states that the artist was influenced by the Realism of the French avant garde, yet asserts that Realism itself was influenced by Positivism, which in turn is the result of ‘Capitalist Materialism’ (10). In order to uncover the relationship between art and its social context, Clark argues that one must deal only with ‘overt’ analogies between form and context, as these can be criticised directly (11). Such analogies, Clark asserts, must be considered alongside two key ideas. First is the artist’s relationship with the public, which Clark compares to the idea of the unconscious, implying that the artist possesses an innate awareness of society’s ingrained values and beliefs. Second is the notion of art’s independence from history, by which Clark refers to the aesthetic traditions which remain, unlike aesthetic ideologies, unaffected by the conditions in which they are

As well as Matisse’s Bonheur de Vivre, Pablo Picasso’s Les Demoiselles d’Avignon was inspired by and deviated from Cezanne’s great achievement. Cezanne’s landscape is a broad open field with the abstract females surround a pond as they bath with abstract surroundings, very much different from Picasso’s