Empathy In Lesego Segapo

In Neri’s painting, Mujer Pegada Series No. 2, uses different art elements that makes the eye wonder. Beside the sculpture he tries to emphasize the flatness by using contour lines to give illusion to the body beside the sculpture. The shape of the head gives a sense of negative space with the shadow because it gives the sculpture more of an illusion of volume. The temperature of this painting is warm, since it used analogous colors such as orange, little bit of yellow and different types of nudes. The bronze sculpture adds a warm feeling as well. As for actual texture of the sculpture it is smooth on one thigh and rough on the rest of its body. The balance of the art work relies on the actual sculpture to the illusion beside it. It is rather

Then there is a sculpture called ‘Kouros/statue of Standing Youth’ which represents the meant back in the day and age. The sculpture is a very young, athletic, toned man. This man has the body every man wants. This sculpture is desirable to every women. This man represents power, and desire. Unlike the sculpture of the woman this man has a face and a very powerful looking

Standing in front of this sculpture, the viewer can feel the wind whipping around them and the sea spraying you in the face. The energy and motion add to the dramatic effect that immediately draws the viewer in. This dramatic effect is created by the lines of the figure. Nike’s elongated wings catch your eye and create a lengthy transverse line which adds to the drama. The drapery that clothes the figure has the same

Despite the grotesque and shocking appearance of the creature, the boy shows no fear, or malice generally associated with other species, he is only calm and affectionate in the creature’s appearance. Pinccinini has described this work as a visual representation of empathy, “she looks different, but she is still beautiful.” The familial relationship shown in this sculpture emphasises our compassionate for this other-worldly creature, humanising her. Piccinini is endorsing the study of genetics with this work, there has been much debate about how far genetics can go in the future, how we will soon lose how humanity within our enhancement. This work is used to displace this fear, it is shouting through the loving posing, that no matter how far we go, we will always be fundamentally

With the sculpture straight ahead, the audience sees a profile view of the scene; however, the artist created the sculpture with enough space and depth to be able to view the front of the woman’s face from a side angle. The artist created the seated woman with much detail; her nose, chin, slightly opened mouth, pronounced brow line and inset eyes show this. She reaches for the chest with her right arm in a very delicate manner as her left arm lays on the throne for support.

The third piece, “Danza del trigo” and “Danza final” from the ballet Estancia, by Alberto Ginastera created quite a few pictures in imagination. What started as a soft and

A composition must also be well depicted when painting human subjects. Alberti instructs on methods such as sketching the bones and muscles first and proportioning muscles using the head or length of the foot. He also highlights the importance of all members of the body looking consistent and fulfilling the function of what they are doing. The dead should look dead and the living otherwise. Humans and their actions must be consistent with other subjects in the painting as well. For depicting emotion, Alberti insists on the use of seven positional body movements that would apply to both living and inanimate objects, these include up/down, right/left, away/towards and in rotation. The

The marble used to create the sculpture brings out the fine quality of such material. It also adds elegance and sensuous grace to the whole sculpture. The use of marble links the sculpture to the radiance and softness of the female skin. The hips of the

The body of the woman has mane and the hair fall over accentuated breast feature on the body. The mane is o presenting both a feel of nobility and fright on the face of a lioness, which has a skull of bone and stylized whiskers on the face . The head is raised in a form of adoration with the solar disk and cobra emphasizing the cosmic aspects of the divinity of the goddess . The face is modeled with high precision on which the eyes are small and eyelids that have been painted as it were a collar or the robe’s edge. The statue is in a seated position on a block with the fingers that have been shaped significantly with a focus on the distinctive feature of anatomy that the artist sought to add with much delicacy, resting on her legs. The goddess’s legs have inscriptions that are added to the surface of the throne. She stands as a towering figure with soft feline features that invoke power and fear especially with the nature of her eyes in the statue. Her elegance calls attention to her presenting a valid reason why she was both feared and

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

Although the girl seems to lie in peace with her head on the water like a pillow, the submergence of the rest of her body in water appears to communicate her dire need for assistance. Thus, I would say that the piece of art reminds me of the importance of being considerate of the feelings of fellow humans, especially for people in romantic

The era of Mannerism is renown for its increasingly complex works of art, much like the High Renaissance before it, and the discipline of sculpture is no exception. Out of this period comes more intricate poses, forms, and emphasis on the illusion of movement which is perhaps most evident in Giambologna's "The Rape of the Sabine Women". His sculpture depicts a young man attempting to carry a struggling young woman as he stands over the contorted body of an older man, either the woman's husband or father. What is interesting about this work is not only the realistic human forms and perceived chaos of the moment, but also the lack of a dominant side from which this sculpture would be viewed. In order to achieve these features, Giabologna utilizes a combination of various textures and diagonal lines to create the complete illusion of muscle, flesh, energy, and multiple focus points.

Another interesting perspective captured in the painting is facial elevation and position. The meninas’ heads are at different elevations to that of Margarita. Their attention is towards Margarita yet their perspectives are different. María’s eye view is higher than Margarita’s eye view yet the painter makes it appear as if María’s eyes are looking up on Margarita. Moreover, Isabel’s elevation appears to pay homage to Margarita by her angle of inclination, eye direction and facial expression. .

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

The language of contemporary art is analysed through the system called semiotics, which is the study of signs and signifying practices. It is defined as an entity of words, images, objects and more. It was established around the nineteenth-century and is often derived from American philosopher Charles Sanders Peirce and Swiss linguist Ferdinand de Saussure. (Hammerstingl, 2000). I have selected this drawing in particular to analyse as I am a fan of her work and it also appears very complex and elaborate. One of her many artworks “School for Little Witches”, has been drawn with pastel, conte and charcoal on paper. Paula Rego is a Portuguese contemporary artist known for her paintings and prints depicting stories from her imagination created by the fairy tales since her childhood. Her artworks are indeed very symbolic and quite disturbing as she has stated that she is interested in “the beautiful grotesque”. (Brown, 2009).