Inka Essenhigh Analysis

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

Color is highly evident in this painting, and helps to draw the viewer’s eye to certain places in the painting. The café is yellow, and adds a boisterous feeling to that section of the piece. The yellow light spills onto the street and walls of the town, creating bright colors and drawing the eye. The sky and town use dark colors to illustrate nighttime, although the bright spots of the stars cause the viewer to look to the sky.

context such as race and gender, and the history of the painting. In addition, I will be

When Apollo nears Daphne she becomes afraid and attempts to flee him to preserve her chaste values. Apollo follows her beginning a chase. As Daphne flees the narrator compares the event to a hunt “Thus lamb flees wolf, thus dove from eagle flies / on trembling wings, thus deer from lioness” (Ovid lines 798-799). Apollo is compared to predatory animals because he has become a sexual predator. Daphne runs because of her desire to preserve her virginity. Even though Apollo is aware of this his fervent desire overpowers his self-control. He is also compared to that of a lowly animal because he has taken on animal like tendencies. By especially comparing Apollo to a lioness instead of a lion Ovid mocks the god by feminizing him. Apollo does not deserve

<br>At the bottom left side of the painting is a man about to be eaten by a termite who has a game table on his head. This is illustrating that the tables are turned on the man who has committed some terrible crime. In the Inferno this is represented by Lucifer eating the three worst sinners, Judas Iscariot, Brutus, and Cassius, all who betrayed their

The sculpture Apollo and Daphne, created by Gian Lorenzo Bernini, is based off a story from Book 1 of Ovid's Metamorphoses. It is a portrayal of when Daphne is turned into a tree when trying to escape Apollo after they were both shot with an arrow by Eros. The sculpture is a powerful visual of Daphne and Apollo’s emotions as Daphne was captured by him. To evaluate the photo further I will discuss the feeling of empathy the sculpture made me feel and two connections the sculpture has to Ovid’s story.

While Gian Lorenzo Bernini’s sculpture “Apollo and Daphne” depicts a Romanian story of forbidden love, Ron Mueck’s “Two Women” portray two elderly women hyper-realistically. By analysing the meaning behind the two sculptures, evidence is given that the two artists had different intentions for their work. The story “Apollo and Daphne” is from a roman poem named “Metamorphoses” by a man named Ovid. In the story, Apollo is hit by a magical arrow from a god of

Red appears to dominate the painting and serves as an eye-catching color. The use of intensely saturated colors draws the attention to the front couple. Additionally, the red color plays with the mind of the onlooker without them thinking about it. It suggests deep passion, anger, and struggle. The artist intends to relay his feelings about the event to the viewer. His outlook consists of disgust towards the great depression that leaves many taken advantage of due to desperation.

When I see the painting the shape is symmetric in the sense that there are the same amount of people on both sides of Jesus. The genre of this painting is Christian art.There are also four panels on both sides of the walls. In my opinion, the target audience that this painting was intended for are those who are believers of Christ. I feel this way because I think that this painting portrays the event that is talked about in the bible in the scripture Matthew 26, verse 21 where Jesus says “…"Truly I tell you, one of you will betray me.". He then continues in verse 23 saying, “The one who has dipped his hand into the bowl with me will betray me”. In the painting, you can clearly see the man two seats away from his right reaching for the bowl at the same time as Christ. This event lead to the Holy Eucharist, also known as communion or the Lord’s Supper where Christ takes the bread which was to symbolize his body and wine which was to symbolize his

When dealing with both the Romanesque clothed body art style and the Chinese clothed body art style, one could point out the individuals’ status symbol. From each group, the people in all of these paints are either royalty, dukes, kings, or upper-class society figures from their time period. From the reading about Romanesque clothed art style, was an Age of Enlightenment, and always had a religious undertone. Even debating back then in Rome, what would the Pope have done if anyone painted Mary, mother of Jesus nude? The city would be in an uproar. In Romanesque art style, such as The Last Supper, one can easier point out who was the important one. The middle character who is sitting, yet in the rich elite’s society, the duke would sit at the

There are few people inside yet there are many crowding the streets outside of the bar. Figini made the decision of using vivid colors for the lighting to give off feeling of a ‘party atmosphere’. By having no one in the casino bar, it opens up the idea that maybe there is something bigger going on outside. By having only a few people at the casino, and all this motion going on outside, there’s a sense of chaos or maybe the ‘calm before the storm’. By using the bright colors as lights, it’s very active and hard to rest your eyes between the contrast of the dark floor and ceiling against the vibrant lights. The colors help the idea of a chaotic busy city when your eyes are drawn to look at all the colors on the canvas. The work appears to relate to the bustling city of New York because of the large overhead TV’s outside of the bar displaying either advertisements or news. All the lines in the work lead just off center, helping to draw the eye through all the colors, and even though it is a still image, there’s the feel of motion because of the repetition of the curved lights in the buildings and the bustle of people

As reported by the biography website of Van Gogh, a scholar interprets the painting by saying “the café was an all-night haunt of local down-and-outs and prostitutes, who are depicted slouched at tables and drinking together at the far end of the room”. After reading his interpretation I reanalyzed the picture and was able to understand the scholars point of view. Not only did I find someone else’s interpretation but also found what Van Gogh himself was trying to say with his painting. Van Gogh wrote letters to his brother, Theo, describing The Night Café. In one letter Van Gogh writes, “I have tried to express the terrible passions of humanity by means of red and green”. He describes the room blood red and dark yellow with a green billiard table in the middle; there are four lemon-yellow lamps with a glow of orange and green. In conclusion, this painting of the “night

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

Upon encountering Daphne, Apollo falls madly in love with her. Overcome by Cupid's arrow, Apollo sets aside reason and becomes engulfed by his hope of attaining his love. Before being transformed, Apollo would most likely have paid little or no attention to Daphne, but now, Apollo is overcome by his lust for beauty. Ovid compares Apollo's love for Daphne to a flame in a brush. This metaphor used by Ovid is very effective. The change that goes through Apollo is very sudden and fast. The imagery of a flame rapidly spreading through brush conveys the idea of an almost violent change. The god is consumed with a desire for the girl. His chase is fueled by a hope to overcome the ultimate futility of his actions. He sees every part of her as beautiful, her eyes, hair, face and even speculates as to the beauty of her hidden regions. Unsatisfied by the sight of Daphne and wanting more than just a glimpse of her beauty, Apollo follows Daphne as a hound chases a rabbit. The hope for his fruitless love keeps Apollo close on Daphne's trail, and fear motivates Daphne to stay just out of reach. When Ovid tries to convey the intensity of the flight, he says, 'He gave the fleeing maiden no respite, but followed close on her heels, and his breath touched the locks that lay scattered on her neck,';(p. 43) Finally, burdened by mortal exhaustion, Daphne prays to her father to deliver her from her torment. As the words leave her mouth, Daphne is transformed for the second

In the other hand a cleaning duster. If the viewer is standing right in front of the sculpture, her gaze seems to be straightforward. Staring right at the observer. There’s also a sense of motion, as if she is going to step right to you. She might have something to say, her voice might want to be heard. She has a hopeless and overworked look on he face. It’s evident that she has been working hard because of the sweat on her body. Her mouth isn’t open while she works she is silent. The sculpture embodies the working class, the people who endure manual labor to serve the wealthy. It’s a social commentary of how the working class is not heard. These people are the 1%. They are what we call “the other”. These people are usually the victims of marginalization. The sculpture represents the American dream. How you can achieve your goals if you work hard enough. But that isn’t always true. Its part of the system. Generally you are born into the