Death On The Pale Horse

A phoenix obtains new life by arising from the ashes of its predecessor. To a phoenix, death is merely the birth of something new. Similarly, in All the Pretty Horses by Cormac McCarthy, death represents the beginning of something new. It is what causes change in the characters, and can explain why they act as they do. The novel begins with the death of John Grady Cole’s (the main character) grandfather. This death leads to John Grady leaving for Mexico. So in a way, this death really does mark the beginning of this novel- literally and figuratively. Furthermore, halfway through All the Pretty Horses, John Grady’s ill fated companion Blevins is killed. This death represents a change in the characters,

The artist paints many onlookers around the central group. Another noticeable difference in the two pictures is that Wolf includes women in his picture which relates back to his cultural understanding of Indians. Taylor’s picture is definitely representational while Wolf’s is abstract. John Taylor’s work is more realistic when compared to the art of Howling Wolf. Visualizing reality in the two pieces, is simple. Taylor has a much more realistic piece while Wolf’s abstract art, the viewer has a more difficult time visualizing the actual event. Wolf’s work, at first glance, appears to be childlike and he uses the bright primary colors while Taylor uses the black and white. The composition of the art work describes the arrangement of the visual elements of people, landscapes, space in the pictures and the organization of the elements. In Taylor’s work one finds the use balance and contrast to emphasize his black and white picture. However, Wolf uses color and form to generate a purposefully abstract picture. Thus, composition is the placement of the visual elements in each work of art.

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

“Pale Horse, Pale Rider” aptly symbolizes the era in which it was written because it represents Modernism so well. The theme of death not only connects to the heroine of the story, but also the “death” of the old. Miranda’s personal struggle with illness and her struggle with love reveal the tensions of the era in which the story is written. These themes of death and love, which are intrinsically more connected than one may realize could, connect to most of what we have read in this class. Though, of course, the styles differ, these themes remind me of “The Love Song of J. Alfred Prufrock,” especially because there is an individual narrator dealing with the issues of love and death. Despite the gender and lifestyle differences of Miranda and

The 277 page novel, Blood Red Horse, was written by K.M. Grant. It is a historical fiction that takes place during the Third Crusade, the story beginning at Hartslove Castle in England with a quarrel between two of the main characters, William and Gavin, sons of Sir Thomas de Granville, the head of the castle, and a young orphaned girl, Ellie. Ellie and Will have a strong bond tying them together, but because Gavin is the eldest son, Ellie is promised to become his wife when they are old enough. While reading and evaluating the syntax, rhetoric, and literary elements within the novel, as well as annotating it, I have noticed that it is stronger in some areas than it is others.

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

Examining the formal qualities of Homer Watson’s painting Horse and Rider In A Landscape was quite interesting. I chose to analyze this piece as apposed to the others because it was the piece I liked the least, therefore making me analyze it more closely and discover other aspects of the work, besides aesthetics.

     Obviously, lots of squares and rectangles are used in this painting. It helps the flow of the painting. When you notice one square or rectangle in the painting, you notice another one close by, which leads your eye around the room back

The oil painting is an attempt to map the motion and energy of the body. It is a sequential depiction of movement split into a series of about twenty different static positions that show a nude figure descending a flight of stairs. The nude, like the notion of the painting, is abstract, composed of conical and cylindrical shapes and elements, assembled in a way that suggests the rhythm of the body when going downstairs. The colours used are those typical of Cubist paintings - ochres and browns. This is because Cubists felt that using a

Horse slaughter is just exactly as it sounds. It is the inhumane murder of innocent horses. I will never understand how someone can sit and actually enjoy a meal consisting of horse meat knowing how that horse came to be served for dinner. It’s a cruel and heartbreaking process that starts from the moment the poor horse is loaded on a transport trailer. These horse suffer in worst fashion from abuse and neglect until they are unfortunately killed and severed for a meal. This is not okay. The practice of horse slaughter must be ended in order to stop the extremely inhumane torture of this precious companions.

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

The short story “Horses of the Night” by Margaret Laurence is told from the point of view of a young girl named Vanessa but mostly focused upon her older cousin Chris. Chris begins as an imaginative, optimistic, and hopeful boy set on his dreams for the world. As the story progresses, Chris is demoralized by life to the point where he no longer seems to be what he once was. The final breaking point appears when he begins to fight in the war and is sent home to a mental hospital after eventually going insane. A skillfully woven horse motif gives insight to Chris’s inner thoughts as well as the theme of the piece.

Plate 1.3.22 is able to illustrate work dated between the years of 1904-06, this is a modern canvas compared to that of plate 1.2.20 which was completed in 1887. The brushwork on plate 1.3.22 is able to gratify two alternative demands, this being both Cezanne’s sense of the relative standards in light and colour, alongside the concentrated impression of the physical landscape he was looking at.

I remember viewing Portrait of Dr. Heinrich Stadelmann by Otto Dix during an eleventh grade field trip to the Art Gallery of Ontario, and being completely entranced by the painting—unable to look away from it. At the time, I was not fully aware of the world of art and did not have the vocabulary and knowledge to articulate my interest in this particular painting. Now, after returning to the painting three years later, the experience is quite different. Being recently exposed to a fairly wide range of art last semester has allowed me to experience the painting under a more knowledgeable light. During this most recent viewing of the painting I paid more notice to the painter’s decisions regarding the paint application, the textures, the colouration, the lines, the composition, etc. The core of this different experience during this viewing is due to a newfound consciousness of artistic choice.

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this