Semiramsi White Analysis

This painting is a portrait of an old woman who is sitting on a chair while facing to the left. She is wearing a yellow flower dress with a beige jacket while sitting in an empty room. Her beauty is illustrated by her curly, gray hair and also her wrinkled face, neck, and hands. These details is what makes her look real and pure. I like how detailed it is because it reminds me of my grandmothers.

With the sculpture straight ahead, the audience sees a profile view of the scene; however, the artist created the sculpture with enough space and depth to be able to view the front of the woman’s face from a side angle. The artist created the seated woman with much detail; her nose, chin, slightly opened mouth, pronounced brow line and inset eyes show this. She reaches for the chest with her right arm in a very delicate manner as her left arm lays on the throne for support.

The title of this piece is “Torso of Aphrodite/Venus”. This piece was discovered outside of Rome in 1771. Afterwards, it was purchased by a wealthy English collector, who displayed it in his home. Today, the piece resides at the

This sculpture falls in the modern art category and the style is abstract expressionism. This sculpture is very large it is actually 110cm. The artist that created this sculpture was one of the many fine French Sculptors, he was one of the younger generation who started out as a Symbolist painter as well as a tapestry designer but he got an eye disease around the age of 40 and he had to give these things up but then found love for sculpting . This artist had a love for Greek sculpture but he rejected some of what it stood for. This piece of

In this production by Gerald Laing, a young and fit woman can be seen. She appears to come from a model background as she has a toned figure that is slender and curvy. She is standing in a confident posed position with a hand on her hip. It appears the artist attempts to position her short lengthened, dark hair in a way that portrays the wind is blowing it. She is wearing a swimming suit that covers minimal. She is placed on the right half of the portrait. The artwork does not contain any other people or objects in the piece. Laing completes the print using only three shades of color: gold, grey, and dark grey/black. The gold background quickly catches the eye. Also, the gold is the color of the swimming suit that covers the model’s bottom half and chest suggesting that the artist wanted to draw attention to these specific body parts. Overall, the print is organized and has a neat appearance.

The marble used to create the sculpture brings out the fine quality of such material. It also adds elegance and sensuous grace to the whole sculpture. The use of marble links the sculpture to the radiance and softness of the female skin. The hips of the

This shows a feminine quality that men should not have. On the clothing, there is an implied overlapping with the pieces of cloth in the front shown by the layering effect. Also, on the clothing there are implied lines that seem to curve around the statue. They all seem to be drawn to an unseen focal point near the top of the sash, creating movement. This implies that the clothing is wrinkled giving it a different texture then the rest of the statue which is smooth.

Description: A.the art i have chosen was the Wedding at Cana by Paolo Veronese. B.The artist used color to show many things like the season and what people would wear at a wedding back then. The artist also used texture to show the silkiness of the dresses. Next the use of space is used great to show how crowded the wedding was and all the things that were going on. Finally the artist used shape to show.

As an extremely stylized sculpture, due to it’s hairstyle and protruding eyes, the figure personifies elegance. In mid-step

The selected statue depicts a pair of people attached to what looks like a carved piece of stone, dubbed with several markings and symbols on the bottom (Fig. 1). At first glance, the person on the right appears to be a young boy seeing as the figure is significantly shorter and therefore younger, but if you study the body shape more carefully you can recognize the difference between the proportions and overall structure of the torso and chest regions. While the male 's chest is flat with a slight arch near the center to define his pectorals, the shorter figure 's chest is much more protruded, with more weight distributed to opposite sides of the torso to represent breasts, in addition to a noticeable curve of the midsection that references a woman 's frame. Another observation is the lower half of the body where her naval is exposed, her waist is narrowed, more weight is distributed to the upper thighs to better render fuller hips, and a pubic triangle is purposefully carved into the stone. A second exception includes their choice in clothing. Although the woman 's upper body doesn 't indicate a top or brassiere, she is clearly wearing a long skirt or dress that lacks any further detail, but certainly reveals parts of her body underneath the fabric. The male is wearing a garment fitted around his waist, complete with a creased pattern draped over his right thigh, with perhaps a belt to fasten them together. This observation concludes that the carving is indeed of an adult

Diagonal lines formed by the legs and arms of Mary and cherubim show the motion. There are horizontal lines on the ribbon tied around her waist. Moreover, both horizontal and vertical lines are used to create the frame of the painting. Also, rhythm lies in this work. There are repeated organic shapes such as flowers and cherubim scattered all over the painting. Some of the cherubim are overlapped with each other. This is a symmetrically balanced painting as a vertical line can be drawn at the center of the painting, which shows the balance of visual

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.

The piece is a collection of place settings made up of a plate, utensils, a goblet, and a unique runner for each setting located on three long dining tables that are places on a tiled floor, yet there is much more to the piece than meets the eye. First off the three long dining tables have purposely been set up in a perfect triangle which is “a primordial symbol of women hood as well as equality” (Arnason 576). This is a simple yet effective nod to two of the principles that the feminist art movement were striving for. Going even further, each table respectively represent a period in history, one presenting early history to the Roman Empire, another Christianity to Reformation, and finally American Revolution to the feminist movement. The piece also uses media that for the most part had been relegated to the realm of craftwork which was needlework and china painting. Each place setting has the name of an important female figure embroidered on the runner “in a style appropriate to its figure’s historical era” (Arnason 576). Along with the embroidered names are perfectly embroidered triangles at each of the three corners that have a repeating triangle shape on the inside, again contributing to the women hood and equality ideal. Complementing the embroidered names are thirty-nine hand painted plates each with a relatively unique design on them. These designs

Expanding up and out of the bottom of the sculpture is two tall, straight lines. The lines are thick and smooth, and at the top of both lines they curl into an O-shape, causing them both to resemble the number nine. Significantly, Ken Price uses these lines to create a feeling of movement in the sculpture. Also, Ken Price uses differing scales and proportions for each of the two lines, as one is thicker and taller than the other.

Next is the use of color, or lack thereof. The colors in the background are very quiet and muted, mostly subdued blues and grays with hints of a deep red and brownish yellow peeking though. The colors used for the figure are browns and tans, almost as if the was painted with mud, like she is all-natural and from the earth. The range of colors would seem to have a cool tone if you were looking at them on a painter’s palette but the arrangement of color on the canvas gives the piece a warm feeling.