Distinctively Visual Analysis Essay

The artwork being analyzed is called Nameless and Friendless and it was completed in 1857 by Emily Mary Osborn. The artwork was most likely created in England, where she was from. The media is oil paints on canvas, rather than the wood that was usually used. It is currently on display in Tate, Britain.

This painting is a portrait of an old woman who is sitting on a chair while facing to the left. She is wearing a yellow flower dress with a beige jacket while sitting in an empty room. Her beauty is illustrated by her curly, gray hair and also her wrinkled face, neck, and hands. These details is what makes her look real and pure. I like how detailed it is because it reminds me of my grandmothers.

Now, I must conduct a conceptualization in this analysis. The combination of nakedness and white cloth that are worn around her arms could be to symbolize the purity and holiness of female body, or, it could be a symbolism for the persisting sexism in the world. It highlights the fact that women are only seen as a mere sex object from men in the world. This can be seen from the gaze and expression of other man at the table.

His frustration is visible in the expression on his face. He appears tired of her bothering him about it, hence the hand. The child is showing a lot of white which can represent faith, I think the artist did this to say that the baby is giving the family faith because they are trying to provide for their child and in order to do that they need to be able to put food on the table which won’t just only help the baby but them as a whole. The woman may also symbolize strength that’s why the artist made her dress and lipstick red; she’s fiery. She may help the husband maintain his sanity no matter how many problems they are going through as a family.

Why I choose this image to work up and do analysis of. Well as a photographer it touches on a theme that I and other photographers must deal with. The idea that someone can get something for free. Just because we are photographers or even a regular artist that we are all just dying for more exposure and are willing to do whatever you want for some “good exposure”. I don’t think that most folks are all the self-severing, they are just unaware how much time and money goes into producing a good image. And suffer from this misbelief that this is just someone’s hobby and not their lively hood. Form the text of “trust me I am a professional Photographer I don’t work for free” and with the camera, lens, and SD cards in the middle. It

This artwork by Ally Sutton, like most major artworks, raises more question than it answers. The art shows a distorted figure of what is clearly a women. The face of the figure is hidden, perhaps it is an allegory to censorship. The woman is overall nude and the body posture shows that she is unabashed by the fact. The woman is in sitting position and her legs are not visible. Only one of her hand is visible and it seems to be resting on some invisible support. The background uses various dark colors and blends in well with rest of the painting. The woman seems to rise out of the background rather than lying patiently in one. Artist has employed use of various dark colors, which seem to do justice to her subject.

The artwork is a realistic portrait of a women. It is abstracted with asymmetrical balance with exotic and vibrant colors. As if the women is sitting in the corner with two

I feel that this is a narrative or a ritualistic artwork that is about a Native American spirit premonition appearing before the woman in the picture and it is supposed to represent past of the past of this women or Native American culture. I feel that the background landscape contributes to this idea because it is in the

In a letter that was written, but not sent for unknown reasons, to Gauguin, van Gogh stated, “I still have a cypress with a star from down there, a last attempt- a night sky with a moon without radiance, the slender crescent barely emerging from the opaque shadow cast by the earth- one star with an exaggerated brilliance, if you like, a soft brilliance of pink and green in the ultramarine sky, across which some clouds are hurrying” (Whitney 359). The cypress in the middle divides the canvas in half. On the left side of the tree, we have what Whitney describes as the star, Sirius. Sirius’ brightness is over exaggerated with green and the slightest of pink. On the right of the painting is the crescent moon that is does not have any moonlight, the dull orange of the inner curve of the moon draws the eye because of its limited

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.

Her face is blocked the figure in the foreground. One of her arms is draped across her stomach and the other is outstretched and grabbing her ankle. The figure in the foreground only appears as a pair of legs. The off-kilter proportions of all three of the women’s bodies paired with the fragmentation of their bodies makes the image surreal and hard to put meaning behind. The back figures legs trail off into nothing, while her face is blurred

One of the most popular methods for solving the class imbalance problems is sampling. The most used sampling techniques are undersampling and oversampling. In undersampling, instances of the minority and majority classes are selected randomly in order to achieve a balanced stratified sample with equal class distributions, often using all instances of the minority class and only a subset of the majority class, or undersampling both classes for even smaller subsets with equal class sizes. Alternatively, in oversampling, the cases of the under-represented class are replicated a number of times, so that the class distributions are more equal (Crone and Finlay, 2012). Mujalli et al. (2016) indicated that using balanced datasets, especially those created using oversampling techniques, improved classifying a traffic collision according to its severity and reduced the misclassification of the minority class instances.

This line though invisible divides the face into positive and negative exposure, possibly indicating good and evil. She uses the achromatic value scale for the base of the poster. The left side is light with shades of gray highlights the right side is black with white highlights. The size of the poster is 112*112 making it a perfect square shape. There is a bold thick vertical line on the sides in the same color as red used in the blocks. These lines forces the viewer to look the woman in the eyes. There are three rectangular shaped blocks spaced evenly from the top to the bottom, in each block there is a part of an old adage, your body is in the top block, is a, in the smaller middle block and battleground is in the bottom box. The blocks are red with white lettering. The focal point for me is the invisible line that separates the face.

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

Analyse how visual techniques are used to develop deeper ideas in a visual text you have studied.