The Disruption Of Mt Vesuvius

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

Although examining art requires a huge knowledge, my intention in this essay is to analyze a piece of art, besides lyrics and the context, I’m going to examine it by following the steps presented by Alain de Botton.

In this essay, I will compare and contrast two different sculptures from two different contexts of art. The first being an Olmec Colossal head (monument 1), from the context of “Art of the Americas,” and the second sculpture being ahead from Rafin Kura. The head from Rafin Kura comes from the context of “Art of Africa.” Both sculptures come from two different time periods and parts of the world. They also are both made with natural materials and have their own symbolic meaning.

For centuries, people’s aesthetic value has been influenced by Rome's perfectionism, so do I. I used to think that artworks that make people feel appreciated are just equivalent to visual appreciation and satisfaction. However, after observing the painting and researching sources of this pieces of art I realized that an excellent artwork needs to cover all aspect requirements. For instance, an excellent artwork needs to contain a high operation of art skills as well as art knowledge in order to persuade audience. In addition, to qualify as a great artwork it has to create a substantial amount of activity in the audience’s mind or heart. When I look at an artwork I always try to figure out what is the artwork's message or what the artist is trying to communicate, to convey. Overall, I think a good artwork needs include some of the elements and principles of the language of art as well as the structure they give to be able to successfully communicate an idea.

Italy can be looked at as the home of the renaissance and consequently the immergence of great art. Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are looked at for standards. But what about the artists whose lives are mysteries, and their works that were influenced by the greats? These artists hold just as much importance in the history of art as do the artist’s whose names can be recalled off the top of an average person’s head. During the sixteenth century things began to change in the art world, and that change was the Baroque. This new style of art brought a revolution to how subject matter was painted, it brought upon “… a radical reconsideration of art and its purposes…” (249) and how artists of all ranks could learn to paint the up and coming style of Baroque.

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

To better assist the reader, Mungello includes pictures and works of art from the period that is being examined. The use of pictures makes the book much more readable as it adds a layer of visual context to the thesis on top of the printed text. These pictures are important to those who are visual learners to make this book much more desirable to read.

One of the most visually intriguing pieces in the exhibit is the Portrait of Père Bouju by Maurice de Vlaminck. It was painted around the year 1900 by the French artist. It is not particularly beautiful by normal standards. At first glance, the texture of the paint stands out more than any other feature. It has very strongly defined brush strokes and thick paint in portions, especially the face of the man and the background. The lines in the paint are mostly straight, short, and wide with some that are thinner and wavy, like the smoke. The man is in the center of the canvas, he is the only discernable image, and he is almost devoid of detail aside from the face and the hat. The colors are almost entirely neutral aside from the red scarf. In this oil on canvas portrait the man is wearing a

In decadence, important is not necessarily what is seen, but the hermeneutics: what man feels when he sees the creative result of this feeling. It is the current that requires a co-operation from the public to the artistic work for the purposes of re-creation.

The eruption of Mount Vesuvius in 79 AD was a pyroclastic event discussed in greater detail over the course of this essay.

Last week I had the opportunity to have one of the the most exciting opportunity that I could have so far, I went to visit “The Museum of Art, Houston”. For the first, I could better understand why I am taking Huma class, and while there I could apply all the knowledge that I have been acquiring throughout this semester. While I was seeing the pieces of art, the analyst part of me started coming out of my mind. All the methods on how to analyse made sense. I saw different paintings and sculptures, from egyptians art to greek. However, There was a painting that stood out of all arts that i had seen that day, which is the painting made by Sebastiano Rucci, a beautiful illustration how Hercules killing the centaur Nessus. Although from the story I used to watch as child, I had the image of Hercules as a hero and never questioned about how Hercules is perceived from the people, up to now.

In 79 AD the towns of Pompeii and Herculaneum were destroyed by the eruption of Mount Vesuvius.

Furthermore, Mount Vesuvius is rich in history and detail to be and learned from the age of the volcano to the types of rocks that can be found around and inside the walls of the volcano. Mount Vesuvius is a volcano located in near one of Italy’s largest Naples overlooking the bay. It is the only active volcano in Europe at this time that has produced a series of eruptions before the infamous eruption in 79A.D. to its last eruption in 1944.

The selection from Leon Battista Alberti’s On painting is mainly divided into 5 paragraphs numbered 25 through 29. Just as the title suggests, the text deals with the art of painting and its virtues. It talks about the benefits painting offers to the artist and why they are valuable, as well as showing the importance a work of art gives to the object being painted. While referring to many examples in history, Alberti also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory.

Volcanic eruptions are a constant issue. There are around 50 -70 eruptions every year with some volcanoes erupting more than once. Around 35 people die every year from volcanic eruptions along with an average cost of damage of 98,992,000. I believe that with a little math that these numbers can go down. Issues with volcano causing so much death is more of the debris that comes out of it if we could estimate the distant that this debris could travel then we would simply need to change the areas that we build cities and how far we would need to evacuate in a sudden emergency. This will include the ideas of projectile motion, angular projectile motion, Geometrical estimations. For this example, I will be using the volcano Mount Vesuvius. This volcano is known best for the destruction of Pompeii and villages that surrounded it. This eruption works the best due to the easily known eruption and the easily measurable distances from Pompeii to the center of Mount Vesuvius.