Lost Wings In The Book Of Enoch

Although no parent-child relationship occurred in this text, scholars often posit it as source material for 1 Enoch; perhaps, a relationship exists through the lens of divinely ordained journeys:

The color used in this painting is not too obvious, it seems like a pretty dark colored painting when first looking at it. After further examination, I started to notice more colors that are throughout the piece. There is blue, which is part of the angel’s garment. In religious paintings, blue often symbolizes a sort of heavenly grace. This blue is also seen in the sky surrounding the figures, perhaps another symbol suggesting that Adam and Eve still have their innocence, for they are surrounded by a heavenly grace. White is also seen in the painting, both as a part of the angel’s wings and the clouds in the sky. White often symbolizes purity and innocence, yet another symbol that shows Adam and Eve have not yet been shamed from the garden. Another major color that stands out more than anything else is red, which is seen in the animals right next to Adam and Eve. This could possibly represent the presence

First of all, Rubens uses dark and light colors throughout the painting to emphasize movement and fluidity. The most obvious use of movement through color appears on David. David’s bright red drapery is what draws our eyes in first because David is the most important object in the painting. The different shades of red emphasize movement because it accentuates the folds of the drapery, making it flow. The warmth of the red in his drapery contrasting with the darkness of the ground gives off intensity and seriousness of the scene. Furthermore, there is bright red blood on Goliath’s forehead, where David struck him with a rock. The red blood sticks out, making the scene a bit more realistic and exciting. The dark and light colors used in the sky also shows

From the title of this art piece, it tells us that this woman is posing as Jesus Christ; she is spreading her arm out like Jesus depicted in the iconic painting by Leonardo Da Vinci. Instead of Jesus being a man, Cox used herself, a woman, to represent Jesus. The fact that the Bible is based upon Jesus and his twelve disciples, which all are male, tells us that there is a patriarchal and sexist sense embedded within the

The painting has certain elements that make it unique; the colors of the painting are derived from five main colors that are displayed throughout the painting, red, white, green, yellow and gray. The colors used in this painting are both realistic and symbolic. Luis Jimenez shows a lot of pride in his works that depict his Mexican culture. These colors come together to make a cartoon like image where the characters and features of the painting look as though they are nonrealistic. The car is somewhat distorted into a rounded moving shape and the characters have real accented features. The car seems to be the center of attention and the man inside the car who is driving stands out the most with his bright yellow shirt and his heart tattooed on his forearm the girl is then leaning on him as though it looks as they are driving through some kind of dream. Where the exhaust that comes from the car being red,

In the novel Song of Solomon, a central motif of flight was dominant throughout the entire book. Song of Solomon starts off the first scene of the book with a man surrounded by an audience who are watching him decide whether or not he is going to jump off the roof of a building. The man that was on top of the building was Robert Smith. It is never said in the book, but it can be assumed that Robert Smith was one of the Seven Days men. The Seven Days is a group of black men who respond to a person of color getting killed by a white person by taking seven days to kill one white person for every person of color that is killed. Smith’s attempt to jump off of the building seemed like he actually believed that he could physically fly, even though he ended up just falling to his death. The theme of flight was mentioned countless times throughout the rest of the novel, and even in the last scene of the novel, when Milkman “takes flight” for the first and last time, multiple physical references to flight are mentioned. The central idea of flight is what the book centers around and flight helps create a journey that is full of personal growth and reflection for the main character Milkman. The countless references about flight, and a link between self acceptance and naming in the book create the build up that leads to Milkman’s “flight” at the end of the book.

Baciccio wanted the story he represented to be easily recognized, so he made the angel wear white robes, and display a large set of wings. Abraham appears to be the eldest looking of the group with his beard, wrinkles and is the one who wears the only true red shown on the canvas. In contrast, Isaac’s boyish appearance is presented in the nude. Along with these distinguishing characteristics, Baciccio uses color, and linear perspective to tell this story. He separates the canvas with a background of mountains and trees, a midground of people watching the sky in an open field, and a foreground of his main subject. The focal point becomes the hand Abraham is using to hold the knife. The orthogonals of the altarpiece, mountains in the background, and decent of the angel all point to this location. The excellent details around the hand when contrasted by the natural blurring of the cloudy background draw the eye. Baciccio also uses trees to circle the important trio, and tell the audience that they are the ones who need the attention. Little glances of the landscape can be seen behind them, but for the most part these three figures take up the majority of the canvas. Baciccio wanted to make it easy for the viewer to recognize the story immediately, but those who constantly stare at every leaf, pebble, hair, and brushstroke get the real pleasure of knowing the true story, he story of how the

The halo looks to have been carved into the wood and then painted with a little bit of sun gold to heighten its appearance. The lesser portion of the painting has a dark brown color which might have being painted or made from a different type of wood. The base on which the painting stands is painted in dark brown and looks very firm. On the left and right of the arch there are blue colors meant to depict the skies filled with yellow stars. This depiction of the skies is said to be where God the Father resides. In the painting, there are three life like images that are clearly visible. The first one as illustrated in order of importance is God the Father who sits on his thrown that of a chair made from gold. His hair is long down to his shoulders; and he his fully garbed in a mixture of red, white and black being the dominant color. His garments are lined with gold colors and matches his long beard. God the Father hands are partially extended in front of him holding up a wooden cross which displays God the Son.

The color scheme of the piece could be called monochromatic. A large majority of the piece is simply the different shades of brown and orange that are used for the lions and the rocks. However, Sir Peter Rubens decides to add a bright red colored cloth behind Daniel in order to add variety and interest to the viewer.

The outline of the painting is contrast of dark dull depressing colors. These colors will help make the white pop out to show some symbols. The colors on the background and the people's clothing have a mixture of blue, light blue, orange, red, and brown. This helps enhances the pale skin, the background sky, and the flying soul.

From all of the color used in the work of art the main focus is the point where the hand is

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.

Not only does the repetition of the word “lost” call the audience’s attention to the versatility of the word’s meaning, but its placement at the end of three verses impresses a feeling of urgency or finality in Enoch’s current state. The implementation epistrophe is spurred on by Miriam Lane’s closing lines, reading, “Enoch, poor man,

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