Francisco Goya May 3 1808

Although examining art requires a huge knowledge, my intention in this essay is to analyze a piece of art, besides lyrics and the context, I’m going to examine it by following the steps presented by Alain de Botton.

In Gehry’s house, he used big openings, unique wall surfaces and light conditions in a large room or visible framework, they all showing the postmodern style and making relationships between architecture and its origin. Gehry tried to “make a very tough sculptural

Many composers use various techniques in which they communicate the distinctly visual. John Misto’s ‘The Shoe-Horn Sonata’ and Alexander Kimel’s ‘The Action in the Ghetto of Rohatyn, March 1942’ represent significant issues in our world by using various literary and dramatic techniques. Through using these techniques it is evident that the composers of these texts allow the audience to ‘see’ with our eyes as well as with our minds. The many literary and dramatic techniques have the ability to create a visual that

The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and

In this essay, I will compare and contrast two different sculptures from two different contexts of art. The first being an Olmec Colossal head (monument 1), from the context of “Art of the Americas,” and the second sculpture being ahead from Rafin Kura. The head from Rafin Kura comes from the context of “Art of Africa.” Both sculptures come from two different time periods and parts of the world. They also are both made with natural materials and have their own symbolic meaning.

The appreciation of art: taking in what is in front of oneself by analyzing the many facets that are intricately placed in a sculpture, painting or anything that is to be considered art; within this paper will be explained the three subjects, analysis, content, and function of Volaire’s work on The Eruption of Mount Vesuvius that allow one to have a true appreciation for the arts. It is through these three subjects that one can see how valuable art truly is. Without these subjects all is lost and the woman without a grasp of them is ignorant of a great chunk of the world around her for it is indeed true that art is all around us. The artists that paint, and sculpt, see this natural beauty and replicate it through the many mediums available to them, giving us eternal beauty that can be held onto forever. Volaire has done that with his piece dealing with Mount Vesuvius.

Emphasis is exemplified by Goya when he painted a horizontal line to represent death. Convergence is when many elements point to one thing, again this is exemplified when he painted the riffles horizontally pointing at one of the prisoners brightly painted in yellow. Moreover it focuses the attention of the viewer to that one prisoner painted brighter than the others and is easily notice when the painting is first viewed.

It is in that way which the non practical human event of a painting may draw attention to the human observer, there truth may be revealed and through truth of the unique feeling of the sublime in accordance to Schopenhauer, wherein the pleasure is gained from beholding the violent object and its immeasurable nature. 61Through this it is argued the art will not be disenfranchised by the structure and it gains the capacity for change.  This is what Merleau-Ponty calls a “brute fabric of meaning” 62wherein the painter takes upon the raw fabric of the world when he renders their experience in a painting. Then the completed painting is quite literally a brute fabric that the viewer draws upon in his interpretation of what is rendered. The revelation

Balance is a way for shapes to be arranged. There are different types of balances in art. First lets start with symmetrical balance. Symmetrical balance is where the elements in a piece of artwork are given equal weight from an imaginary line in the middle, that way if it was cut in half, it would be equal on both sides. It’s near perfect symmetry and symmetrical balance is the most formal. Next is asymmetrical balance. Asymmetrical balance to me doesn’t necessarily mean symmetry. Asymmetrical balance is where different elements are placed scattered throughout the piece of artwork. Asymmetrical balance is the most informal as to how balance occurs. Although,

Moran uses asymmetrical balance in his work, because the left side and right side are not same. He uses different types of shapes, sizes, and elements to maintain the balance throughout his painting.

The rioters’ faces are not fully represented; rather, they appear twisted and animal-like. In a similar vein, the only parts of the beaten figure recognizable as human are the bound feet. This combination of features in the main composition serves to emphasize the brutal savagery brought on by war, a goal similar to that of many other Disasters prints. The central subject matter in Uprising is also rioting peasants, but unlike in The Mob, the protagonists seem to have stern intention and an apparent guiding force. The former of these two qualities is visible thanks to Kollwitz’s realistic representation of the group’s dour facial expressions and the use of thick lines to represent forceful waving of objects in the air, while the latter is synthesized by the inclusion of the Liberty-esque figure and her relationship to the men below. The intention of this work, constructed through these elements, is to provoke feelings of solidarity and to act as a call to action of sorts. This pointed objective clearly shows Kollwitz’s political standing and heavily contrasts Goya’s preferred method of allowing significance and emotion to flow out of more unbiased depictions of events, in

The drawing “The 3rd of May 1808 in Madrid or ‘The Executions’”, painted by Goya Y Lucientes, Francisco DE, shows all the bad and the ugly sides of a war. As you look closely into the painting you can see the soldiers holding guns against the civilians, and dead bodies on the floor, which made me think it’s a war or an execution. The drawing shows execution, and the fact that people really don’t want to see it, because in the picture it shows civilians closing their eyes, and looking away like they were scared of the people holding the guns.

The primary objective of the current paper is to examine the importance of visual arts in the Early Modern Courts, representing the 16th, 17th, and 18th centuries. It will delve deeper into the significance of visual art in supporting the political aspirations of individuals. The reasons for collection of art will also be investigated. Moreover, the research will show why visual art was a vital communication tool during this time.

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 relationship in the painting between the mother and daughter give it a definite asymmetrical balance and maybe a little radial balance. A radial balance because of their eyes being the central focus, then the faces, then the holding of each other, then where they are placed on the canvas, and then the bench and the landscape. The colors used by the painter, also creates balance with in the picture. The wine colored dress of the mother, red sash of the daughter’s dress, ruby lips, and the rosy cheeks give a warm feeling to the central focus of the mother and daughter. The cool color of the sky is the same as the women’s eyes as well as the trees and green on the mother’s dress. These balances give unity or a unifying feeling to the painting, especially between the mother and daughter.