Daniel In The Lions Den Essay

Daniel’s character changes loads throughout the book, Daniel Half-Human, and his change makes him into a more wise person. He starts out at the beginning being very loyal to pretty much anyone and anything, and then towards the end of the book, is only loyal to those who truly earned it. His loyalty is first shown on pg. 21, when he doesn’t leave Armin in his time of need, shown when Armin says, “You could have run away,” Armin said. “I know a lot of ‘friends’ who would have.”. He stayed for Armin when he had gotten himself hurt, and when Armin was surely getting Daniel into heaps of trouble. His shallow loyalty continues on pg. 51 as it say, “I’ve decided to join the HJ. My parents can’t forbid it anymore.”. He pledges loyalty in his friend and a rebellion group leader, as they only offered him chance and chance again to get into

“David Slaying Goliath” by Peter Paul Rubens is an example of Renaissance art. This painting depicts a well-known Bible story of a young Israelite boy named David who kills the giant, Goliath, with a slingshot, and chops off his head with a sword. Rubens has chosen to illustrate this Bible story at the moment when David is about to hack off Goliath’s head with the giant’s sword. In addition, we see armor-clad soldiers rushing into battle in the background. In “David Slaying Goliath,” Peter Paul Rubens uses color, value, and line to illustrate the dynamism and energy within the painting that makes it look realistic. In addition, these elements contribute to the sense of excitement and anticipation of the event depicted.

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

In the book Daniel's story it is the story of death, and survival, of desperation, hope, evil and also lots of love. The story is told from Daniel’s perspective as he is experiencing the atrocities of the holocaust for jews in central Europe. When the story starts, he is a fourteen year old boy, riding on a train while looking at his pictures in the photo album. Daniel uses a photograph album to spark back his memory of the events from when he was six years old until the day he and his family are forced on to a train bound for the lode of ghetto. But after spending two and a half years in ghetto, Daniel is riding on a train again, but this time to Auschwitz labor/death camp and he has a few pictures with him that tells the times when he was in ghetto. He took pictures of

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

The color tone is mostly analogous in the mural; however, there are complementary colors in detail elements such as the artist uses blue and green for large areas to represent river and mountains, uses red and orange to paint houses, huts, horses, small roads and clothes in the village to create emphasis point. For the color tone that artist uses, the harmony of blue and green of the most of the areas can represent the abundance of water or farms in the village and a rainbow ribbon shows what the leader gives to people in the village as

The painting appears to be three-dimensional but is painted flat or two-dimensional. The painting looks three-dimensional through the use of different techniques by the artist to give off the illusion of depth. Bierstadt overlaps and changes the sizes of the mountain peaks to emit a since of depth to the painting. He uses atmospheric perspective to give the impression of depth through hazy conditions. The wildlife below the mountain is less distinct to make the mountains the vocal point of the painting. The highest mountain peaks are painted lighter and are less distinct to highlight the dense fog and cloud coverage throughout the mountain range. Along with depth, the artist also uses color to express the beauty found in

Recently, in my high school class the teens and I went through a study of the first six chapters of Daniel. As often happens when studying a Biblical character we began to feel as though we knew Daniel personally. Through the text we were able to sympathize with his struggles, admiring his character, and marvel at his ability to serve God no matter the political environment. Whether the king said, “Truly, your God is God of gods,” or the king considered himself to be the god Daniel’s work did not change. Of course, he lived in a sinful world and worked for pagan kings. However, Daniel never bent when it came to serving our God.

The Book of Daniel took place in between 605 BC and 530 BC however the message is still relevant in today’s society, 2544 years later. Different themes are found in the book. These themes teach a lesson which can be used into today’s society. Even though the times, tradition and circumstances are different now than it was back then the messages are greatly relevant. The main themes of the book were about faithfulness toward what you believe in no matter what society says or the dangers. God is trustworthy and does everything for a reason no matter if the person is in the worst spot ever in life they have to believe there is something better in the future. Also Gods ability to save his children in the face of danger and

The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.

In the center panel of The Raising of the Cross, there are many men struggling to lift Christ on the cross. I think the implied significance of this is the biblical reference to the weight of the sins of the world being on Christ and his death being the ultimate sacrifice. Ruben seems to portray this by showing how heavy a weight that is by the men struggling to lift Christ. The angling of the cross and the styling of the painting is very similar to Ruben’s artistic inspirations, such as Caravaggio (Getlein 425). Besides the cross, there seems to be a clearly implied line pointing to the sign above Jesus’ head where it states that he is “Jesus the Nazarene, King of the Jews” in multiple languages (Bible, Gospel of John 19:19-20). There appears to be, what looks like, a skull in the wall behind the cross, this would likely be the skull of Goliath, since the hill is Golgotha (the Place of the Skull) (Bible, Mark 15:22). Jesus is clearly more brightly lit than the rest of the painting giving him emphasis in the image and the rocks behind the group being subordinate to them. The man in red that is lifting the cross seems to stand out among the men, he isn’t dressed the same and he’s darker skinned than the rest, I suspect this could be Simon of Cyrene, the man that was ordered to carry Jesus’ cross after he collapsed (Bible, Luke 23:26)and Cyrene is in modern-day Libya and Simon

The story behind this painting is a Biblical tale about a strong heroine named Judith, who was known for her bravery and resistance against the Assyrian troops that come to assume control over her people. In this story, Judith uses her wit and seduction to ease her way into the Assyrian troops' camp and continue with a genius plan to execute the Assyrian General, Holofernes. She seduces him, and once he is drunk, beheads him in his own tent, with his own soldiers all around him oblivious (Branch). Judith was able to defeat the enemy and resist what could have been the end of many Israelites' lives. Cranach's choice suggested a political resistance that required a bravery similar to that of Judith's. Small details in the painting such as the bodice of the dress and Judith's jewelry show Cranach's love for a decorative surface, as well as the

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 shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the