Rembrandt's Samson Tells a Riddle at His Feast

His brutal behaviour could be caused also by envy and jealousy. One can say that he was envious because of her wife being able to become a sophisticated poetess, while he would be always the same simple farmer, jealous because of his wife talking to someone on a much higher level than he would never be able to reach. The burning of the picture could then be understood as a moment where the husband is trying to regain his authority, showing the wife that no matter what, he will be always superior.

The slave is compositionally arranged in front of the Mistress in a predominant position, however as noted in our text this week, most of the slaves placed in the foreground of a painting in this era were done so in humor, to tease or to make them look immature (Pohl 278). As the title suggests, this slave has been dressed up by her Mistress in her Mistress’s clothing as a way for the Mistress to make fun of the slave, teasing her with a taste of wealth and upper class. Cany Peale’s previous career in fancy-goods gave her the understanding of what was in fashion

Joseph Hirsch’s painting Daniel was painted in 1976-1977. In 1978 during the153rd Annual Exhibition of the National Academy of Design, it won the First Benjamin Altman (Figure) prize. It measures 38 inches by 45 inches with a five-inch gold wood frame surrounding it. The medium is oil on stretch canvas. Everything within the painting centers on the king 's turned head and Daniel 's pointing finger. According to the placard next to the painting, the artwork depicts a modern day version of the biblical story of Belshazzar’s Feast following the sacking of Jesualism from the Book of Daniel. The painting portrays a seated king, a dozing courtesan and Daniel. The three figures exist as the focal point of the composition. Hirsch applies a strong

What is odd about the painting is that usually the face is masked during surgery, but in the painting it is not. I feel that Rembrandt did is because I feel that even though

The centerpiece of the piece is obviously Mary, though she is on the right side of the painting. In one hand she holds an open bible, and she holds her other hand up in prayer while she is looking down with her eyes almost completely shut. She has a halo surrounding her head as gold rays shine down on her

The helplessness felt by Susanna could represent the feelings felt by many of the women at the time, as they had nowhere near the amount of power that men had. They could only achieve power through marriage. Even though they had power in marriage, women were still subservient to the husband. They were seen as child-bearers and bread makers. Apart from the love for their husband, little else granted them power of the likes of their husband, legally or otherwise. Ruben's interpretation could represent how men were feeling at the time period, like predators of the night. How they prey on the unsuspecting widows and unwed women throughout the night brings to mind Jack the Ripper, based on the sinister tone of Ruben's painting. Susanna could represent the sheer terror that is felt by women at the time of how they could be the next target for a sexually frustrated male. She is also alone, which would echo the same point brought about by Genteleschi's rendition of “Susanna and the

The painting depicts Penelope seated in a open wall chamber focusing on weaving a shroud for her father-in-law. She was surrounded by suitors because of her husband's 20 year absence. She said that she would choose one of them when she finished weaving the shroud, but each night she would deconstruct the work apart again. The painting features bright tones and clear drawings. There is a contrast from the darkened interior of her room and the bright weather seen outside of her chamber. She is clearly ignoring the unwanted suitors lingering outside, and especially a drunken one who is extending to her a bouquet of flowers which she ignores. Penelope is clearly the focal point of the painting as she sits attired in a simple yet elegant red robe doing her weaving. Although two other women are in the room with her they seem to fade in the background as if Penelope is clearly the focus of attention. The manner in which she is portrayed shows her commitment to be faithful and dutiful to Odysseus.(Trippi,Peter

Every soul will be judged and the good will go to heaven and the damned will go to hell. The sculpture vividly expresses the emotional intensity of what the afterlife will look like. On the left-side the sculpture shows “heaven” the figures show that they are at peace because they know their souls have been saved. The children are laughing and the angels are blowing their trumpets with joy in anticipation of Christs’ return. As for the right-side it tells of what “Hell” maybe like, demons are weighing the souls and claiming them. It shows people suffering, crying and realizing that they’re going to hell for

Perhaps the most technically impressive aspect of the painting is its remarkable three-dimensionality. Rembrandt is well known for his strikingly accurate portrayal of human shape and form, and this painting lives up to such reputation. With the use of oil paint, he was able to carefully and selectively layer color to create an astonishing representation of the human figure. The most alluring aspect of the piece, in terms of modeling technique, is the face. It contains so much detail; it is hard to believe this painting was done by hand. From the light, wispy texture of the facial hair to the subtle wrinkles surrounding the eyes, attention to detail is what sets this portrait far above many others. Rembrandt’s playful chiaroscuro on the nose and right hand truly give the piece a sense of depth, and the painterly quality of the piece produces a soft and elegant look. Also present within the face is the famous Rembrandt triangle. The result of a specific lighting technique frequently used by Rembrandt, a small triangle is formed underneath the eyes. It is present under the left eye in Marten’s portrait, which gives his face a more natural look. Another technique that intensifies the three-dimensionality of the visible body parts is the use of

The very first detail that stands out to me is the expression on the face of Jeremiah. This face is a very distinct one of sadness and almost distaste for his current life and he appears to be bored, which is why he is resting his head on his hand. Also his eyes seem to be preoccupied looking at something off of the view of the painting which could be inferred as him longing for something that he is not able to have, hence why it is not in the frame of the painting.

Sometimes words cannot exactly explain what we want to convey, so we need a visual to support it. A similar thing was observed in the article of Alan M. Dershowitz, he cleverly makes use of Ben Shah’s painting in the article to grab the attention of folks. The author writes about a murder case of a paymaster and a guard of the South Braintree by Sacco and Vanzetti, both were Italian immigrant anarchists. Surprisingly, the truth was not revealed that whether Sacco and Vanzetti were the killers and this case is still unsolved. I agree with the author that the trials could not get to the fair results. I believe that the painting is an ironic symbol of the justice. It silently expresses a lot what the text can’t. I think the painting adds words

All the figures in the painting were real individuals in Manet’s life. The man towards the left is Ferdinand Leenhof who is his soon to be brother in law, the man on the right is his younger brother Eugene Manet and most importantly the nude woman who left everyone stunned was a female model, Victorine Meurent, who makes another appearance in Manet’s other painting “Olympia” where once again she is the topic of debate. As all the figures were recognizable and were portrayed in an explicit narrative made it even more difficult to be displayed alongside traditional paintings.

The title refers to the final stage of a chess match, and the name of a Samuel Bucket play where four characters are forced with the inevitability of death. The sculpture also addresses the idea of vanity, art pieces that usually address this topic are paintings with hourglasses, rotting fruit and most noticeably, skulls. This is the purpose of the human skeletons in the glass case of the sculpture.

The artist depicts an initial confusing and weirded-out thought for the viewer at first glance, but as one deeply examines the art, the subject matter begins to become more clear. The vision being shared in this non-objective painting has a context of placing one in the standing of Mr. Man by gaining height and freedom from the (white) bars that are rising on each level that represent conflict which traps one in a “cage” of misery. The unbalanced symmetry of having the left side take up more space with little action, and the right side being smaller with the action unraveling, makes the viewer break down each composite perspective. For the left side, the mysterious female muse, Moon-Face, has an unproportional face that is almost blushing with shades of light pasty orange, with the mouth wide open. The energetic mood is amplified by the tone of yellow that is splashed in the mouth, representing a loss of words or at a state of disbelief. The female’s lower half is created with tints of red that enhances the curves on her body, as if chiaroscuro connects the light and dark contrast to show outline of the breasts, stomach, and hips in

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.