Giorgio De Chirico

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

Two main differences immediately apparent between Raphael’s School of Athens and Leonardo’s Adoration of the Magi are the compositions of the large figure groups within each painting and the state of completion. In the forty foot wide fresco of School of Athens, the figures are organized in a mathematically constructed arrangement. The heads of the figure group in the background create a central horizontal line across the fresco. The two smaller figure groups in the foreground on the left and right are arranged with slightly less linear organization however when compared to the figure group of Leonardo’s Adoration of the Magi

In “The Cask of Amontillado,” Edgar Allen Poe uses many examples of imagery, such as the descriptions of the carnival, characters, the walk through the catacombs, and much more throughout the story to build suspense and intrigue for the readers and add to the mystery of Montresor’s underlining actions of the revenge and deception of the foolish Fortunado.

Trissino became Palladio’s mentor and patron. Seeing Palladio as a man with great spirit and exceptional aptitude for science and mathematics, Trissino also encouraged Palladio to study humanist values, such as the arts, music, and philosophy. In fact, at this time, “music was the principal art” (Tavernor, 1991, p. 20). It was also at this time that Trissino began to introduce Palladio to the works and teachings of Vitruvius, a Roman architect, writer, and civil engineer of the 1st Century B.C.E. Vitruvius had urged that art should reflect nature, “For Nature leads to Beauty, which is fundamental to the practice of architecture, once Utility and Strength have been achieved in a building” (Tavernor, 1991, p. 12)

Perspective plays an important role in understanding Masaccio’s frescos. Masaccio was born in 1401 and died unfortunately young in 1428. His full birth name is Tommasio di Ser Giovanni de Simone. He made a great contribution to Italian and Florentine art during the Quattrocento period of the Italian Renaissance. He worked alongside Filippo Brunelleschi an Italian architect and engineer. Together they created the idea of linear perspective with the influence of earlier artists such as Lorenzetti, Duccio and Giotto brothers. Linear perspective helps to form the impression of a three-dimensional space on a completely flat surface. This essay will compare ‘The Holy Trinity’ (fig. 1) by Masaccio and Raphael’s ‘The School of Athens’ (fig. 2). Both Masaccio and Raphael use linear perspective in their paintings to create a sense of depth and realism.

In the year of 1475 in december 11 was born Giovanni di Lorenzo de' Medici, but was called Pope leo X. Pope was a title very sacred to the community and right after two older Popes died it was Giovanni's turn to rule. Giovanni ruled and his first action as a Pope was to lead the costly war, that succeeded after rescuing his nephew and securing him as duke of Urbino, but which also damage the papal finances. Later on The pope escaped on some cardinal finances of poisoning him Pope Leo was best remembered for granting indulgences of those who donated to reconstruct st. Peters basilica. Pope did not take the reconstruction of the church seriously, so the reformation became a protestant reformation. His papal bull of 1520 simply condemned Luther

Every person has feelings. These feelings are aroused by a catalyst. A touch, a smell, a sight. When a person does art, his or her duty is to titillate the viewer. His or her work must be passionate, captivating and able to be thought about. When an artist renders a piece, be it a painting, water color, sculpture, dance or poem, he or she must inspire the viewer to come back and look at it a second and a third time. The artist must expand his or her mind to engulf others. Octavio Ocampo has accomplished all this and more. Around the world millions of people have become enthralled with his innovative style. People are fascinated by his work. Everyone from the art connoisseur to businessmen and professionals are thrilled by the reactions

Here, Diaz constructs the calm scenery that fades out of the window and into the far woods. The author uses various shades of blue, from an ominous shade to one of light pigment to evoke feelings of gloom and tranquility. The mirror and back wall exhibit a prominently dark and rich purple color. This bleak pigment constructs a bold contrast to the vivid subject posing in her luminous and elaborate dress. Such a contrast redirects the focus of the viewer’s eyes to the most significant

Benito Cereno is a masterpiece of noveling written by Herman Melville in 1855. Babo, the main character, is a black slave on Benito Cereno’s ship, and arguably one of the most complex characters in Benito Cereno. The reader’s perception of Babo changes throughout the reading. In the beginning, Babo is portrayed as Cereno’s loyal companion and supporter; however, Babo attempts to murder Cereno by the end of the book. There is a drastic and dramatic change in Babo from a benevolent and trustworthy friend to a malevolent and powerful leader.

Riquelme uses ethos effectively and establishes his credibility by presenting the readers with evidence to back up his claims. Throughout the article, the author refers to Wilde’s novel The Picture of Dorian Gray, in which Wilde criticizes Pater’s literary works and asserts the notion of beauty in the Gothic. In one instance, Riquelme recounts an event in chapter 1 when Lord Henry Wotton catches a glimpse of “the fantastic shadows of birds in flight” and “laburnum blossoms whose tremulous branches seemed hardly able to bear the burden of a beauty so flame-like as theirs” (140). The contrast in connotation within the phrase “fantastic shadows” explores the effects of light and darkness. In conjunction, “laburnum blossoms” used against “tremulous branches” visually depicts the notion of beauty within destruction. The author convinces the audience of his viewpoint on aestheticism through this juxtaposed imagery. By referring back to this personification early in the novel, Riquelme demonstrates sound knowledge of Wilde’s text, perspective, and purpose. In addition, it is appropriate of the author to reference this particular passage as it foresees the theme of creation and destruction of life as well as aesthetic in Gothic writing, which emerges

“Dynamism Of A Dog On A Leash”, an oil painting created by Giacomo Balla in 1912, which is an Italian Futurist painter. It was one of the famous work in his life. That painting is locating in New York Albright-Knox Art Gallery. Balla’s father was a photographer. It’s a part of reason that affect his art style and pay attention in non-visual performance. When he stayed in Paris, he learnt deeply about impressionism and pointillism. After that, he felt interested in color and light control. Than he began to practice his own style. His work is full of dynamic and speed. He was emphasis the process of movement and all the motions recorded in the same space. Futurism since from the 20th century, which is celebrated advanced technology and urban

In her article entitled “Black Masks: Melville’s Benito Cereno”, Jean Fagan Yellin says that “when Benito Cereno, Herman Melville’s tale of slave revolt, appeared in 1855, it made use of Negro stereotypes already standard in American fiction” (Yellin 678). Captain Amasa Delano is characterized as the typical Yankee man. Yellin elaborates on this by analyzing his self-important, authoritarian persona, observing that he is “investigating the strange ship, self-righteously expounding the doctrine of work, officiously planning to manage affairs on the San Dominick, proudly resentful of any implied social slight, and in no way averse, after helping the distressed Spaniard, to totting up the price he expects to be paired for his trouble. He smugly believes himself the peculiarly favored child of Providence” (Yellin 682). When we view him in contrast with Cereno, an aristocratic European, Delano can now be assessed as representation of the idealistic “New World Man” or the typical American white man, meaning he is seen as “democratic, compassionate, generous, capable of decisive action, although blind to evil and unable to learn from his experience” (Yellin 682). This is best exemplified in his views of the black slaves on the San Dominick. His assumptive thinking is prevalent in the story because throughout his initial exploration of the San Dominick, he buys into the illusion that what is happening upon the ship is not deviating from reality. The presentation of black slaves as

Masaccio or Tommaso di Giovanni di Simone Cassai was born December 21, 1401 in Castel San Giovanni which is now San Giovanni Valdarno, near Florence, Italy. Sadly he died in the autumn of 1428 in Rome. Masaccio’s father was Ser Giovanni di Mone Cassai, a notary, while his mother, Monna Iacopa, was the daughter of an innkeeper. Masaccio’s brother Giovanni was also an artist; called lo Scheggia. Masaccio’s grandfather was a maker of chests (cassoni) which were often painted. It was perhaps through his grandfather’s connection with artists that he became an artist. Masaccio’s knowledge of art and where he studied it is unknown. This is a unanswerable, problem for an understanding of the painter because in the Renaissance, art was learned through

In February 1950, Fujita left Japan and travelled to Paris. After acquiring the French citizenship, he discarded his Japanese citizenship 5 years later. In 1959, he was baptized after converting to Catholicism and changed his name to Léonard-Foujita in respect to Leonardo da Vinci. Years later, Foujita began to passionately draw paintings of children, women and paintings related to religion. However, he was not drawing nude portraits, which were known to be his trademark paintings. While Hayashi argues that Foujita did not draw nude

Introduction: Donatello, the famous Italian sculptor’s real name was Donato di Niccolo di Betto Bardi. As an expert of sculpting bronze and marble, he quickly became one of the greatest Italian Renaissance artists of his time. There is a lot to be known about his life and career but there is little to be found about his personality. It is said that Donatello never married, and he was a man who lived a simple lifestyle compared to his peers. His friends often found him hard to deal with, and he also demanded a lot of artistic attention and freedom when working.