Images And Images Of Photographs

The first thing to note is the overall composition of the painting. First and foremost it is a landscape painting. The colors are very monochrome; the space is stretched to reveal a depth to the painting that the eye cannot capture; and there is stillness to the art that embraces nature and serenity of life. In the right-hand corner of the painting there is calligraphy. The calligraphy lacks the precision, but is very clear in its form, much like the depiction within the painting

Another main focal point in this canvas was subject matter. This is where the objects or events are described. The artist gives us different objects such as the old couple seems displayed as depressing. Or you can observe it as normal couple, walking across the river, enjoying the night. He also gives us a boat which could possibly be giving us a correlation because the boat looks like it’s broken or about to sink. There is also another interpretation with the object that Van Gogh displays which is, the stars. Depending upon which way you want to take it, they look like flowers or fireworks. Also, there is a sense of false appearance with the houses. If you stare at just the bank you will notice that it is just a bunch of bright lights but if you pay attention to the water close to the bank, you will acknowledge the darkness or shadow of the houses.

Photographical equipment at this pictorial was still primitive and many photographers felt that their lens’ recorded too much detail. Photographers started to employ different techniques to soften their images, their main goal was to create images that looked more abstract and with similar characteristics to paintings. This movement then transformed into naturalism where it was encouraged to treat photography as an independent art form. There was a belief that photography should be used to communicate something personal, and that the environment would be used as an inspiration.

A photograph is often known as a window to the past. Through photographs, global progression in areas such as technology, culture and politics can be analyzed. The impacts of photos can be tremendous and define future issues, events and politics. One photo that has significantly defined the twentieth century is the "Bloody Saturday" photo (see Appendix A). The photo was captured by a Chinese-American photojournalist named H.S. Wong (also referred to as Newsreel Wong) on August 28th 1937, moments after the Shanghai Bombing in the midst of the Battle of Shanghai. The bomb was dropped by Japanese pilots as a result of growing tensions between China and Japan. The animosity was so high that only a few years later the two nations entered World War Two in the Pacific. Amidst the fall of rubble and chaos, Wong was able to capture an iconic image of a young, burned child all alone crying in the debris moments after the bombs were dropped. Reactions of public outrage became apparent as well as a dramatic increase in animosity towards the Japanese after the photo 's release. Ultimately, the release of H.S Wong 's "Bloody Saturday" photo, dramatically defined twentieth century politics through its display of Japanese aggression, the alleged scandal behind the photo and its endured global impact.

Although photography is made to represent reality, the feelings of reality might not be fully presented in every photograph. Susan Sontag noted that a “photograph is not only an interpretation of the real” but also a trace or the footprint of reality. By de-contextualizing the human figure from its “real” environment, Siskind creates a trace of reality. This manipulation allows Siskind to forge the sense of mysteriousness through the high contrast between the background and the figure in the foreground. Additionally, this mysteriousness created by the plain and the unrecognizable background increases the value of the photograph because curiosity is generated.

The highlights and shadows in the painting also plays a part in suggesting that the woman is the main subject of the painting. Strong contrast between the middle area of the painting and the sides can be seen. This creates further emphasis on the woman as the light enable us to see most of the features on her face highlighted as compared to the rest. This creates an effect as if the light is directly on her.

Pleasures and Terrors of Levitation is a series of photographs by Aaron Siskind that was featured in the San Francisco museum of art. The abstract expressionist movement started in New York in the 1940s and 1950s. This movement began to distinguish painters who used colors and abstract work on their canvas; from the painters who attacked their vigorous gestural expression on their canvas. Art was expanding. Aaron Siskind was an american photographer best known for his art work of, the abstract expressionist movement.

There are many different ways an artist uses visual elements/principles in describing their art. The oil painting shows exaggerated colors on the landscape to show the effect and appearance of its brightness. Both vertical and horizontal lines describe the movement away

The person’s arm is bigger than the rest of his body. The guy laying on the ground is the focal point. He is the focal point because he is the brightest color in the picture. There is shape to all of the people. The people are mass because they are taking up space. There is texture in the sky it looks soft and mellow. There is a texture to the people's hats they look like they are soft and warm to ware. There are different textures to the peoples face no one person looks like another. This painting is figurative-ground because he used the negative and positive space equally. There is light coming from behind the guy in the sky implying that he is a special piece to the picture. There are a lot of different colors in this picture. This picture is an open palette because he used multiply colors not just a selective few. He uses a mixture between primary and secondary color in this

In this case, he depicts the moment just before the two men lower Jesus into the tomb. In a few seconds, Jesus will be gone and the mourners will be on their own. Compositionally, the painting is based around a diagonal pattern of form and movement, from the hysterical hands of Mary Clopas, down through Mary Magdalene's sagging shoulder, Nicodemus's elbow and Christ's torso, to the end of the white shroud. The fan-shaped pattern upright Mary Clopas, forward-leaning Mary Magdalene, arched Nicodemus and horizontal Christ presents us with a cascade of limbs and heads that adds tension and movement to an essentially 'frozen' snapshot in time. Interestingly, the picture becomes quieter as our eye moves from top to

Overall this is an amazing piece of art, the artist’s attention to detail helped further emphasize their ideas. At first the meaning behind might be hard to find but reading the title and taking the time to examine the piece you should have no problem find the meaning behind the

When deeper investigation is taken place, you are able to bring light to the surface, that there is a deeper connect between the young lady and gentleman laying in front of her. Discrete symbolic figures and actions are tangled up in the oil painting.

The piece of art I chose was the Emperor depicted as a Taoist Magician on Lesson 05. First element of art I see is the ratio of size between the depiction of the Emperor and the dragon he is summoning. The second one that I realize is the color scheme between the Emperor and the dragon. The area by the dragon is dull brown but the area by the Emperor is bright green. This adds the third element which is space, the Emperor is the positive space, the dragons area is negative space.

This is through consideration of the object photographed; the method of lighting, technical parameters and the representation that the photographer wishes to portray. The connotation is how something is photographed, while the denotation is what is photographed. What is important in this scenario is that the essence of the picture is manipulated by one or more of these external factors. It may be argued that the art of photography itself is not organic, but merely the careful manipulation of external elements, constructed by the artist.