Possum With Five Birds Analysis

Many artists explore their personal journeys within their artworks, as a way of understanding their emotions and the world around them, as well as discovering their identity. Sarah Fordham’s art is inspired by her experiences including her travels around the world, and also as a way to make sense of her thoughts, ideas and emotions. These elements are displayed in bright colours, incorporating symbols and patterns in her work. Her two artworks being analysed are called “The Big Call” and “Pokeepskie”.

Olivia Parker is an American Photographer whose work is influenced by still-life paintings. Her subjects

John Marsden’s and Shaun Tan’s epic picture book, “The Rabbits”, is an allegorical fable about colonisation, told from the perspective of the natives. An unseen narrator describes the coming of ‘rabbits’ in the most minimal detail, an encounter that is at first friendly and curious, but later darkens as it becomes apparent that the visitors are actually invaders. My chosen image (above), embodies the overall style of the book which is deliberately sparse and strange. Both text and image conveys an overall sense of bewilderment and anxiety as native numbat-like creatures witness the environmental devastation under the wheels of a strange new culture, represented by the rabbits.

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

This book is based on Christianity and how the religion was viewed through images. The text has an ere of concepts that ties in the concepts of Christians to the beginning of the start of Christianity. The purpose of this book is to show the readers the difference between how Christian art was represented and how other art was portrayed. I will be giving an overview of what Christianity represents and the art work that it includes.

The two still lives, Bowl of Cherries by Giovanna Garzoni, and Vanitas Self-Portrait by Clara Peeters are both artwork from the fiftieth century. They speak volumes about what life was like for each artist, and depict a seemingly average day through their artistic recreations. However, Peeters and Garzoni lived very different lives, and followed different paths through their journey as female artists. A still-life with a convenient subject matter meant something unique to each artist, allowing them to create these seemly different, yet surprisingly similar pieces.

I am analyzing the form and content of a stylized painting entitled The Palisades by John William Hill. This was found in the collection section of themetmusuem.org which was painted during the pre Raphaelite movement; when artist emphasized meticulous detail in what was observed rather than imagined nature. This artwork shows the aesthetics of nature, depicting a peaceful scenery with spacious green acres during the year of the 1870s. During the late 18th centuries, natural resources weren’t highly industrialized and that in itself shows how nature was essential for all human species. I argue that this painting shows how everything in nature connects and communicates with one another.

Adams’s best known for his book “Summer Nights, Walking” uses the medium of photography in a much more documentary style capturing what he sees and how he sees it. This traditional approach could be what triggered the response to Fuss’s image. In response to the criticism Adam Fuss questions the difference between eating animals for nourishment and survival as a necessary part of our society and art being just as a valuable and fundamental in to our culture. The argument of offence is one not aimed directly at the use of visceral rabbits but rather the method in which the artist creates the imagery. Instead of a traditional use of cameras he turns to alternative forms but still considers the imagery “photographs.” The images go far beyond those of previous photograms adding texture, colour and movement to a technique and method which had been almost forgotten. The moral implications which come as a result of using rabbits as materials shows a slow desensitisation towards death and decay, this could be what the artist Adams was referring to in his criticism aimed at the

Margaret Rose Preston (her full name) was born In Adelaide, Australia on the 19th of April 1875. Her parents were David McPherson (her father) and Prudence Cleverdon (her mother). Margaret went to The National Gallery of Victoria Art School. The media that she used in her work was printing and her main style and characteristics was impressionism. Which means that she liked to capture her images without detail but with bold colours. Margaret’s drawings were influenced by Australian

This extraordinary work by Carpaccio is a landmark in the history of devotional images. It is, in effect, a meditation on the them of Death and Resurrection. To the right, the Old Testament figure Job sits on a block inscribed in pseudo-Hebrew, while on the left, portrayed as a hermit, is Saint Jerome (ca. 347 -420), who wrote a commentary on the book of Job. Christ’s dead body is displayed on a broken throne, also inscribed in pseudo-Hebrew. A bird—symbol of the soul —flies upwards. The landscape, barren on the

The hazy landscape in the image depicting the martyrdom of St. Ursula (Fol. 17v), for example, displays an attention to detail and accuracy through its aerial perspective, enforced by colours, particularly blue, all of which are of a lush hue, significantly improving the images’ believability through its distribution, accommodating the perspective by increasing the perception of depth. The landscape in the background adds layers of dimension to the profundity of the field of view in which the scene takes place, and this is due to the use of lighter colours towards the front, particularly on the martyrs and their persecutors, and darker hues that only become darker in the background, striking a contrast between the main figures and their surroundings. The miniature of St. Nicholas (Fol. 14v.) is just one example of the use of linear perspective in this prayer book. The tiles upon which St. Nicholas stands provide lines with which the direction of the vanishing point is indicated. The interior of the building contains what looks like a column, and this, coupled with the strong vertical of the building itself, further emphasises the rectilinearity of the whole composition.

These artistic, aesthetic and supposedly free creatures represent this critique of Victorian decadence as they decay. The descriptive language of the landscape further alludes to this theme as the oxymoron of “magnificent ruins” describes the pastoral decay. Furthermore, “blots upon the landscape” represent the decay that the landscape has undergone and another beauty that has been

Kress and Van Leeuwen argue that the ladybird’s more realistic depictions of the world ensures a more precise perspective on how to read the image. The addition of text next to the image provides a direct, less ambiguous association which eventually helps to create appropriate meaning and understanding. (Kress &Van Leeuwen : 2006 : 28) In the

In comparison to the Modern Artist Barnett Newman, Mark Grotjahn’s paintings have similar formal decisions to His predecessor. In Mark Grotjahn’s works, the outward appearance of his butterfly pieces might resemble similar formal concepts from Barnet Newman’s paintings. A likeness, present within Grotjahn and Newman’s paintings, is the vertical line bisecting the canvas. Which Barnett Newman coins this aesthetic a “zip”, or the use of a single vertical band .

Vincent Van Gogh is a well-known artist to people because of one of his paintings, The Starry Night. Van Gogh has painted many other pieces during his lifetime including one that is currently on display at the Minnesota Institute of Art, Olive Trees. This painting is part of a series of olive tree paintings consisting of a total 18 pieces of art. The one at the Minnesota Institute of Art was painted November of 1889 and is known as “Olive Trees with Yellow Sky and Sun”. Through a contextual analysis of this piece a lot can be discovered about its meaning. When this piece is compared to other artwork by Van Gogh even more fascinating details emerge about this piece of art.