Daniell

I believe this painting is intentionally asymmetrical. Again, Cole wanted to show the non-peaceful transition between the two landscapes.

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

The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.

“Paris Street; Rainy Day” is an oil on canvas painting by Gustave Caillebotte in 1877. The painting is illustrated in Place de Dublin, Paris as it depicts the everyday people of modern day 19th century Paris. In the foreground to the right a middle class man and woman are seen juxtaposed together under an umbrella, possibly husband and wife, holding arm in arm. The man is seen with a mustache, holding the umbrella, while wearing a black top hat, frock coat, black bow tie, and a white button down shirt. The woman is seen with diamond earrings, wearing a hat with a veil, a brown dress, and fur lined coat.

The manipulation of perspective was not only significant for symbolic meaning. It was used as a visual tool in order to create the “magic” that the painting is known for. Because the vanishing point is approximately 5 feet from the bottom of the picture, which is practically floor level, this allows for both the top and bottom of the picture to come together and establishes an illusion of an actual structure. While this “created space” within the picture appears to be real, it is actually just one of the

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

However, the desert scene and mountains suggest that this was painted in Southern California. In the background, one can see a man leading a pack animal, a woman, and an infant along a road towards the church, identified by the cross on the rooftop. There are no shadows to define form in the background. This is, again, a contrast to the shadows made by the Madonna in the foreground. The lack of shadows, however, does not make the background look flat. The Impressionist styled painting and the lack of detail in the background creates a distant look that gives depth to the painting. The numerous contrasts between the background and the foreground allows the artist to subtly draw the viewer?fs attention towards the foreground. These contrasts help grab the viewer?fs gaze and direct it to the most important part of the painting: the woman and baby.

The contour lines of the painting are drawn strong and hard, isolating each figure. The lines in the painting are mainly vertical. The majority of the people are all standing up, the soldiers weapons are pointed upward, and the pillars are painted tall. The vertical lines communicates a sense of heighten spirituality. Also, if you look closely behind John Brown, the artist manipulates the lines of the building to put a cross-shaped figure right above his head. The combination of these two factors gives us the feeling that Thomas Hovenden was trying to portray John Brown as a Christ-like Martyr heading to his crucifixion.

A seven-year-old boy followed his dog into Mr. Howe’s backyard. The boy fell into a large hole dug by Mr. Howe in preparation for a tree that had been ordered. The boy broke his arm in the fall. At the hospital a doctor employed there for four years treated the boy. The doctor did not set the boy’s arm because he failed to see on the x-ray and indication that the arm was broken. The arm healed improperly. When the boy kept complaining, his parents took him to the family doctor that discovered the break. The boy had his arm re-broken so that it could be set properly. On these facts, discuss the following:

This painting appears to take place either at either dusk or dawn, when the sun is at the horizon. Likely it is dusk, as the setting appears to be in the Northern Hemisphere and the snow in the picture residing on the left hand side of fence would suggest it has yet to melt, so the sun would be setting in the west, or on the right. So the viewer, as well as the subject, is facing south. This affects the painting in several ways. The lighting is very dramatic, the middle ground being very much more lighted than the foreground and background, therefore the colors are more saturated than the foreground and background. Greens, browns and greys are used a lot in this piece and makes it very muddy. The house really does stand out against the painting because of the contrast of lighting.

The painting illustrates the artist’s rendering of what happened to Chief Wi-jún-jon when integrated into the white culture following a trip to Washington, DC in 1832. On this returning side you see no Indian heritage, it has been destroyed by civilization. The painting is a great view through the artist’s eyes and mind as to how he felt about the change which occurred with the Chief during his time. George Catlin truly honored and respected the Indians that he captured so elegantly in his paintings and I believe he felt saddened when Chief Wi-jún-jon returned to his native people looking and acting liking a white person.

This painting shows how close and codependent humans and nature were. How well humans worked together with one another and their world. How peaceful those that are close to nature are, which is why it (nature) must be celebrated and appreciated.

The first thing that stands out in this painting is the color scheme. From far away, the warm colors of orange, tan, and mahogany seem inviting. The home seems friendly under a slice of turquoise sky. Shadows heighten the look of the fading sunlight upon the

As one of the most heavily documented areas of Indian painting, Mughal illustrations have left a prominent mark in the history of illustrated and illuminated manuscripts. Combining various characteristics from Persian, Indian and European influences, Mughal artists in conjunction with the royal biographer, Abu’l Fazl, created extraordinary bodies of work. Amongst the thousands of illustrated manuscripts of the Mughal Empire, the Akbarnama, also known as ‘the Book of Akbar’, is one of the most significant collections of its time (Stronge, 15). The piece documents the history of Akbar’s reign through various illustrations, such as The Court of Humayun in Exile, a folio from the first manuscript, made in India, c. 1586-87. Without a doubt, the legacy left by the Mughal Empire has fueled the acceptance and greater understanding of illustration to this day. Akbar’s extraordinary influence as a ruler, the style’s cultural awareness of those who have come before, and Emperor Babur’s experience as a philosopher and love of nature have greatly impacted the artistic and cultural life of India. From Emperor Babur to Akbar the Great, the Mughal Empire’s constant encouragement of Mughal drawing and painting, solidifies and validates illustration as a worthy form of visual language.

As one of the most heavily documented areas of Indian painting, Mughal illustrations have left a prominent mark in the history of illustrated and illuminated manuscripts. Combining various characteristics from Persian, Indian and European influences, Mughal artists in conjunction with the royal biographer, Abu’l Fazl, created extraordinary bodies of work. Amongst the thousands of illustrated manuscripts of the Mughal Empire, the Akbarnama, also known as ‘the Book of Akbar’, is one of the most significant collections of its time. The piece documents the history of Akbar’s reign through various illustrations, such as The Court of Humayun in Exile, a folio from the first manuscript, made in India, c. 1586-87. Without a doubt, the legacy left by the Mughal Empire has fueled the acceptance and greater understanding of illustration to this day. From Emperor Babur to Akbar the Great, the Mughal Empire’s constant encouragement of Mughal drawing and painting, solidifies and validates illustration as a worthy form of visual language. Emperor Babur’s experience as a philosopher and lover of nature, the style’s cultural awareness of those who have come before, and Akbar’s extraordinary influence as a ruler, has greatly impacted the artistic and cultural life of India.