La Bella Mano

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

For my research paper, I decided to focus entirely around one piece of artwork conceived by Agnolo di Cosimo, or better known as Il Bronzino (1503–1572). Specifically, the aim of my paper sought to thoroughly analyze and interpret Bronzino’s Allegory of Happiness (ca. 1564), a work he produced during his advanced years. In Chapter 22, we received a mere glimpse at Bronzino’s magnificent work in that of Venus, Cupid, Folly, and Time (14th Ed., p. 634). This earlier piece (ca. 1546) was admittedly disconcerting, though, the scene certainly demonstrated Bronzino’s sheer aptitude as an allegorical mastermind. Kate also recommended to us in Lecture 22.6 that a mannerist artwork would be well suited for our research paper, considering

The painting “ La Primavera” is a beautiful painting. When i first laid my eyes on it I was blown away by the detail, and the colors and I found myself wanting to know the story behind it. The “ La Primavera” was painted by Sandro Botticelli in the year 1482. The name of the painting translates in english to “ The Allegory of spring” which gives a hint to what the painting is all about although the true interpretation is difficult and still uncertain.

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

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

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

Our dreams are commonly known as the subconscious manifestations of our inner desires. Creative writing, like dreams, can represent an outlet, a method of pseudo-fulfillment for those unrealized wishes or fears. In the case of much fiction, especially poetry, these hidden triumphs are often so subtle that the reader may not recognize the achievement or the repressed emotion to which it relates.

In this painting, two visual elements stand out over all the rest. These elements are that of color and texture. Color in art is an element that has to be phenomenal in order to get recognition and true appreciation from the viewers. In this painting, the colors are rich, vivacious and standout as dark, but bold representations of the uniqueness of it all. The use of brown and yellow and green and grey and white all come together in a harmony of color and unity. As for the texture in the painting, it is that of brisk and roughness that is nature. The sharp edges of the bucks rack and the cold, rough edges of the dead tree show

The sculptures and paint show details how society viewed and interpreted women body, sexuality, and maternity. In addition, revealed that these women were protected from threats around them with ornaments. Civilizations since early times, believed that we were in permanent threat from forces we do not see or cannot explain and because of it, we protected ourselves with artificial elements in a form of jewelry, crowns or caps. This idea has been continue from one generation to the next to the point that in modern societies some of us still use this type of protection in our bodies (e.g., small cross, divine images, tattoos, etc.).These pieces of art also indicate that humans believed in gods with superpowers and they are looking over us constantly. Humanity also believes in dark forces or demons trying to makes us do things that would upset the good gods. Some of the differences between these sculptures and paint are the material in which each one of them were created. The first figure, the Woman of Willendorf was carved in limestone, the second piece, the portrait of Queen Tiye was carved in wood and the last piece, the Virgin and Child Icon was created of tempera on a wood. You can also notice how the details on their faces and bodies changes throughout the time and years. The woman of Willendorf figurine offers details of a voluptuous nude women’s body but there is not face, or feet. Queen Tiye statue shows the face of a woman in detail closed to the gods but without any body parts and lastly The Virgin and Child Icon, is an expression of divinity of the views, reflections and beliefs from the gospel. Because communities started to innovate on the art of carving and painting, populations began to discover and/or create art with the objective of expressing different purposes of our daily lives, such as the beauty of a woman’s body, or to commemorate an ancient

The painting is oil on a canvas about 5 feet tall and 7 feet wide. It was painted on canvas because during the 17th century, wooden panels were expensive, hard to transport, and more likely to warp. With canvas, it simply became an act of obtaining a frame and stretching fabric evenly across, making it weigh less and unlikely to warp from humidity. Similarly, oil was used because of its flexible nature. The paints could be made of and used with numerous media with small additions causing great changes to color, viscosity, and texture. Since they dry slower than other paints, it is easier to change the color or texture to suit the needs of the artist and makes it easier to hide brushstrokes. When looking at the painting in person, since oil was used as the medium, the texture was smooth, but also had a rough texture from the fabric of the canvas. Honthorst must have added more paint for every layer to prevent cracks from forming, a technique created before his

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

Matias Castro 12/15/14 Professor Stone UWRT 150 Exploring the idea that Dante Alighieri’s work Il Inferno is an allegorical work as much as it is one of art and beauty. Dante Alighieri, a central pillar of Italian classical literature. Born in the 13th century, to a Florentine family of moderate wealth. Dante is thought to be Italy’s greatest contribution to the literary world.

La Primavera is set in a grove, with fruit trees and many types of flowers blooming on the ground. The figure in the center is that of an elongated woman, her head tilted to the viewer’s left and her right hand held up as if she is indicating something on that side. Her gaze comes out of the painting, as if to entreat the viewer to step into the scene. Her form divides the space into two sides. The greenery around her creates a circular shape. Given the subject matter of Botticelli’s other paintings in this collection and the other figures represented, the woman is interpreted to be Venus. At the top of this circle, the figure of a blindfolded male toddler with wings has notched an arrow from the quiver on his back and points it to the left of the painting. His position over Venus and possession of the bow designates him to be Eros, the son of Venus. Following the point of the arrow and the right arm of Venus, there are three dancing women, draped in wispy white with their fingers interlaced. These figures are the Three Graces, identifiable by the way they connect with each other and their dance – in mythology, the Graces

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink