Satanic Image

Like the painting, the sketch exhibits a number of West 's finest imaging and clearly and convincingly depicts all of the feeling of a frightful scene. The larger oil on canvas work isn 't one portrait, but rather, a

The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.

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.

This artwork looks to be at the peak of a pillar or column. On the left side, it looks to be a demon like figure due to its prominent, dramatic, and unnatural face features; its unruly hair almost resembles flame. Its body positioning is quite strange as it looks normal up until the hips, where the rest of the body sits at a sharp angle. But from the angle the image shows, I believe that the demon is actually facing towards the left side and its head is just turned to face inwards towards the right side because of the way the legs are positioned, the leg on the most inner side is bent backwards, the same way a knee would bend if just bending it normally. Also there seems to be something protruding out of the demon’s lower area region, much

“The image suggests a ruin in a classical landscape painting, a symbol of a broken-down system of belief” (Bloom 61). The “hollow men” do not have the faith to be judged and move on to “death’s other Kingdom.”

Almost every human being is afraid of the idea of death and is shown clearly in the painting. The hooded mask man or creature could possibly be a representation of death because of the colors in the painting and the reaction of the group of men. Not only is there a portrayal of death, but there is possibly a portray of man. It is shown in the leader of the group of men, who is dressed different than the rest of the others. He is the first one to scatter since he is afraid of death. Contrary to popular belief, the leader is suppose to be the one who fights off all evil but is doing the exact opposite in the painting. He has trampled over his men in order to save himself. I find myself thinking of death and what a terrifying idea it is to think that no matter how fast or far we try to run away from the incident, death is inevitable. The artists uses dark colors to represent a dark time in life. The scratched up lines can possibly represent that nothing is perfect, not even drawing straight lines or coloring in the lines. I appreciate the artists honestly but dislike how the painting leads me to think about death and responding to the actions of the

By looking at some works through these double lenses you may find that artists may intentionally and unintentionally inhibit the true nature of their intentions. Why do this? Why purposely be so ambiguous? Great art makes you think, and even greater art does that while with standing the tests of time. In Albrecht Durer's "Knight, Death and the Devil" we see at first glance, a composition of black and white with a knight atop of his horse, riding through a canyon. With him appear to be two figures, one somewhat hidden behind his horse and another to the direct left of the knight. These humanoid figures are confusing, ambiguous, and visually hexing. Given a closer look, there is an abundant amount of symbolism hidden throughout this work. What does he intend for us to see? How did his experiences influence this piece? What does Albrecht Durer's "Knight, Death and the Devil" convey to us with and without context? What does it really

The image of the devil, created by the Medieval church in order to personify evil, traditionally exhibits attributes to everything that contradicts Christian dogmas. The devil creates an image of Satan, referred to as the fallen angel, in the Bible. They rebelled against God and casted down. However, the Church admits that the devil differs from Satan and might represent another creature, evidently with the essence preserved. Among all the European countries, the most vivid image of the devil roots in the consciousness of Germans, British, and Italians due to their appearance, location, and occupation with specific versions.

<br>At the bottom left side of the painting is a man about to be eaten by a termite who has a game table on his head. This is illustrating that the tables are turned on the man who has committed some terrible crime. In the Inferno this is represented by Lucifer eating the three worst sinners, Judas Iscariot, Brutus, and Cassius, all who betrayed their

This artwork most closely resembles a line from Ralph Emerson’s “Self-Reliance,” and his transcendentalist philosophy. Emerson states that “[a] man should learn to detect … that gleam of light which flashes across his mind from within … [y]et he dismisses [it] without notice … because it is his” The gleam of light, as described by Emerson, resembles the colors that protrude from the heads of the figures within Johanson’s artwork. None of the figures in the painting seem to notice this light that sprouts from within them, and is dismissed, as Emerson states it, in the form of ominous darkness. Furthermore, the transcendentalist philosophy that promotes individuality is well applied within Johanson’s artwork within the unique figures that stand out of the crowd; their thoughts however, alongside the

The most important symbol of the story is the first black cat. The first black cat is symbolic of the narrator's evil heart and there are many ways one can prove this. Black cat one started out in the story as the narrator's favorite pet and playmate named Pluto, which is the name of the God of the Underworld. And one night, after returning home much intoxicated the narrator's love for the pet seem to fade away. That night in which the narrator is intoxicated, black cat one avoided him. This bothered the narrator to the point where he would pick up the cat and frighten it. Afraid of his master, the cat slightly wounded the narrator on the hand with his teeth. Because of the cats reaction to his picking him up, the narrator pokes out one of the cat's eye. The eye of the cat which is poked out by the narrator is symbolic of the narrator not wanting the cat to get a clear perception of his evil heart. Then suddenly on one morning the narrator hung black cat one by a noose from a tree. The hanging of the first black cat is symbolic of the narrator's not being able to except love. The cat being black is symbolic of evil and darkness. The first black cat was the victim of the narrator's evil and violent heart.

Spectacle and threacality are the use of light and shados to create a spot light effect, a term knows as tenebrism. This effect mainly focuses on the on the human drama and main characters of the story. When looking at the painting you will see that the background and the surrounding corners are very dark and shadowy in color, however the chief priest sodiers dressed in balck donot seems to dispear. The artist used bright and vabrime colors to reflect not only on the faces of the figures, but alos on their skin and clothing. The skin of the men in the artpiece glose in the spot light effect, allowing bright colors to contrat from dark once. Another attribute of the stylistic period is human drama. The man standing behind Christ has his hands up with his mouth wide open as if he was screaming for help. His rope fies over the figures heads suggesting motion and desperation. Jesus is the second figure on the left with a red and blue gown on. It's amazing how the light different parts of his face. The details of the wrinkles on his ford head and the position of his eyes suggests street, fear, and disbelieve. He crush his hands together showing that his user pressure and tension. The third man on the left of the painting appears to be Peter, because he seems to be protecting Christ from being arrested. Peter's facial and body expression display anger and the

These paintings are not focused on the setting itself, but rather the color and light within the works of art. In the foreground of Bischoff’s painting, the floor and lower walls are very similar in color to the woman’s clothing and hair. Similarly, in the background, the dark blues and blacks of all the buildings make it hard to distinguish one from another. The contrasting of light inside and darkness outside plays into the theme of good and evil. This lighting portrays a feeling of safety and comfort within, while the dark blues and sharp reds of outside create an uneasy feeling; one that borders on fear.

The album cover also seems to be satanic to some people because of the creepy looking person in the background.

The Church of Satan was founded in 1966 by Anton Szandor LaVey. The religion began in San Francisco and, over time, spread throughout the entire