Klimt The Kiss Summary

The flowers face many angles and are all different, most have contrasting shades of green leaves surrounding the petals and varying stem widths and lengths. This creates interest throughout the painting. To complement the bright yellow flower petals, Van Gogh has detailed a baby blue background with small, vertical and horizontal brush strokes. This contrasts well with the yellow flowers and helps to separate them from the yellow foreground. Also, to break all the yellow sections, he has cleverly used a lighted yellow tint on the bottom half of the vase, rather than shades, which he has used to outline the petals of the flowers. In doing this and by also adding light to the front petals and vase, Van Gogh has added a third dimension to his painting. Like Olley, Van Gogh has painted this artwork in warm colours to create a joyful and uplifting artwork to look at.

The background of the painting is very dark and a reflective of the dark times some women were in during this time. The dark background and the subject’s serious persona give the painting a mysterious sensation. Mrs. Richard Skinner’s clothing pieces are very light colors which give a light-hearted ambiance to the painting but the dark background, dim lighting, and the dark table that lay before her completely alter the mood of the painting. The lighting of the painting, therefore, emphasizes Mrs. Richard Skinner even more due to her dark surroundings, which is another example of Copley’s attempt at accentuating her womanhood. Some of the props in this painting elaborate and stress her sexuality even further. The subject is holding a flower in the painting; flowers are symbolic of purity and femininity. The way the subject is holding the flowers is to be noted as well. She is holding

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

Next is the use of color, or lack thereof. The colors in the background are very quiet and muted, mostly subdued blues and grays with hints of a deep red and brownish yellow peeking though. The colors used for the figure are browns and tans, almost as if the was painted with mud, like she is all-natural and from the earth. The range of colors would seem to have a cool tone if you were looking at them on a painter’s palette but the arrangement of color on the canvas gives the piece a warm feeling.

As we all know, color is the voice for the artist 's sentiment. It makes up the appearance of a picture. Color is the decisive factor in depths of the two-dimensional plane of the artwork, making the viewer feel physically and mentally attracted, or the context of things - the phenomenon the author wants to present. Colors have been around for a long time, but there is not a common definition for colors. And perhaps humans are one of the luckiest creatures that can identify colors. Often, the recipient 's eye knows a myriad of colors and colors that always change based on the relationship between light and perspective. In art, color creates a sense of

The woman portrayed in the painting is the famous movie star Marilyn Monroe. The photograph that Warhol used for this piece is a publicity still from the 1953 movie Niagra.(Museum of Modern Art) Marilyn Monroe has always been known, and always will be known as our nations most famous sex symbol. Her personal life was even more interesting and exciting to the public than her films. She was married several times, and the mysterious events surrounding her death were rumored to be the result of an affair with President John F. Kennedy. Warhol chose the year of Monroe's death, declared a suicide, to create this piece. Her troubled personal life and untimely death only made Warhol's painting more powerful. He displays Monroe at her best. She is young and beautiful with styled hair and a made up face-yet inside she was empty. By glorifying her, Warhol shows her vulnerability. She was an icon to millions, yet the constant demands from fans and the media drove her into the downward spiral which ultimately ended her life.

Thirdly, the texture of the painting I see when viewing the painting is velvety and silky. I feel that the velvety texture is caused by the smoothness of Marilyn’s face. In addition, the silkiness I see is due to the gold paint that surrounds Marilyn’s face. Fourthly, the use of value is present on the painting by the lightness and minimal darkness. For example, the darkest value is seen on Marilyn below her chin on her neck, eyes, her lips, on the right side of her face, and on minimal parts of her hair. I feel that the dark value creates the illusion of shadows. In addition, the golden brown paint that surrounds Marilyn is dominant because it shimmers when light reflects it. Moreover, the lightness is present by the yellow, turquoise, and pink colors. In addition, the lightest value of color is white which is on Marilyn’s teeth. Lastly, the colors viewed on the painting consist of golden brown, black, yellow, pink, turquoise, dark red, and

Additionally, Tanning uses value in this painting to take each component and make it more lifelike and visually appealing. This is especially notable when looking at the sunflower and the girls. When focusing on the flower, the petals which stand the highest have a much brighter yellow to them when compared to the lower petals. This is because the lower petals do not stand in the light, which causes them to appear darker in

The effect that forms are that of biometric feel beside the people they have more of geometric feel. The colors do impact this artwork greatly because each color is harsh and sot of clash with one another. The colors are black, gold, red, brown, white and light blue. The colors are mixed. The color on the mother's dress is a harsh black versus that of her children which are every light and airy. The hue of the piece of art is very light in some spaces but in other places it can be very dark. The saturation is very different in many places if you look at the woman's dress and in the dog, you can see that it is very saturated but if you look at the two girl's dresses you can tell that its less saturated. When

The artwork being analyzed is called Nameless and Friendless and it was completed in 1857 by Emily Mary Osborn. The artwork was most likely created in England, where she was from. The media is oil paints on canvas, rather than the wood that was usually used. It is currently on display in Tate, Britain.

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

This piece is also an abstract form of art and more modern the color is red and has a feeling of happiness and joy and you have the urge to feel love just by seeing it so large and up front. “LOVE” has always been placed out in the open demanding attention from a lot of people to see. “The Kiss” is more of a classic form of art and has been placed in more private areas. Although it has a distressing grey color “The Kiss” has more depth; the feeling of intimacy is strong and makes a statement.

Her chirography contains elongated movements that are slow and flowy. When she moves it has a conclusion point but is not in no particular rush to get there. When she interacts with her partner, the man is the driving force. For example, if there was a combination he would make the bigger, perciser movements while she would make daintier movements. The white is also part of her description. The dress is flowy and pure white which accents her character of peacefulness. The white also coordinates with her choreography of wispy movement and contrasts the earthy tones of the other dancers who are big and precise. The conclusion of her elements and movements lead to her embodying a more traditional love. To illiterate, she represents a calm, slow burning love that lasts longer than a passionate love. This is also shown through the stark differences and conflicting dance style of the red

This variation and symbolism of colors are used extensively throughout the movie, and allows for a more effective and accurate method in delivering the messages and themes intended. In a way, Anderson is not just telling a story, but he is also painting a picture for the viewers to enjoy on the screen. For instance, extensive use of soft pastels and muted undertones create a dreamlike look to the hotel and objects (the cake box, funicular, Mendl’s uniform & vehicle, etc), clearly distinguished from the other parts in the film. The poetic and impeccable pastel-toned look of the hotel, mostly pink and purple, resembles of a doll’s house: peaceful, and fairytale-like. Not only that, it is comparable in appearance with the graceful pink packages of Mendl’s Patisserie. On that note, the scene that stands out in terms of a strong color contrast is when Gustav is in prison and shares the cake with the other inmates. When he cuts the cake with the “throat slitter”, the soft rosy box of Mendl’s stand out from the gloomy color schemes of the prison. Not only that, the box is placed in the very middle, thereby emphasizing the objet using the “rule of thirds”; composition aspect of mise-en-scene. Also, the director strikes the audience with vivid colors, when in need of reinforcement of the theme or highlighting an essential scene. When Agatha and Dmitri board on the elevator when holding painting, there exists a powerful contrast: between Agatha wearing beige-toned outfit with hairs impeccably braided reminiscent of an angel, Dmitri with all black long coat and messy mustache signifying the dark and the evil (also, wearing the armband similar to that of Hitler), and the elevator guy wearing a vibrant purple uniform. The costumes, which are also a significant part of décor, therefore convey the audience in

Dark colors picture anguish, loneliness and to a certain extent the feeling of insignificance of the man. On the other hand, bright colors denote what he thinks of his lover. Munch use lines to draw the viewer’s attention to the main area of interest. In this case, that is the connectedness of the man with his lover despite their separation. One example of a line is the woman’s golden hair floating towards him as a symbol of their love. Lines are also used to etch the man’s facial expressions and the woman’s lack thereof. But other than the two lovers, the nature in the background has a symbolic meaning. The crimson bush, the tree, the land, the sky and the water all help represent the man’s inner turmoil. All of the elements of the painting collectively help to convey the permanence of