Silent Words in Art

The artwork being analyzed is called Nameless and Friendless and it was completed in 1857 by Emily Mary Osborn. The artwork was most likely created in England, where she was from. The media is oil paints on canvas, rather than the wood that was usually used. It is currently on display in Tate, Britain.

As the name suggests the skull instantly draws the eye, the hollow face of the skull is in the center of the oil on wood painting. The skull extends to the right where one sees an empty glass on its side resting at an angle to the skull. The glass is reflecting light along its curve but does not give one an actual reflection. Beneath both the skull and glass is a book and a sheaf of papers in a portfolio. The book’s binding is brown and the pages are yellowing, whereas the papers in the moss green portfolio are a contrasting white. The presence of paper fits with the other object in the title the writing quill, whose feather rests on the book and sheaf. The head of the quill points to the right of the painting where it rests on an overturned ink well. In the background of this painting smoke is rising off a recently extinguished oil lamp, partially in

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.

The two figures of the Archangel and Virgin Mary are close together and it shows a scene of almost touching fingers while they try to reach for one another but seems like they would never join hands. The male figure of the archangel would carry a long feather like pen and it would bow down to the Virgin marry and tries to respectable speak to her. On the other hand, the Virgin Mary seems to be in authority because she is standing up and looking down at the Archangel. This creates tension in the painting while we question the social distinction between the two. Looking closely at the Virgin Mary, her eyes would be close. It is almost like she is resisting the contact from the Archangel and tried to stay away from him. Looking on the left, the Archangel have white wings and there is green-yellowish light that surrounds him and the red clothing on him show that he is there for good news. But the resistance from the Virgin Mary seem like she is unaware of what is happening and is unable to accept the annunciation from the angel.

In the foreground of the painting, a crowd of people gather around the recently resurrected Lazarus. There are roughly fifteen individuals in the crowd in a variety of postures, many of which are contorted and turned away. Furthermore, their forms are painted with considerable emphasis on the way that their respective limbs are bent and twisted which consequently creates a peculiar confined space in which much of the content and action is contained. The outstretched arms and warped bodies of the figures create two diagonal lines which cross over each other in the center of the painting, leading the eye to the primary subject and the focal point, Lazarus. To the left of him is a younger woman looking outwards, contrasting with the focused inward gaze of the crowd. Additionally, the same women mentioned previously also dons a striking white garment similar to that of

The ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

The medium used for this work of art is oil. In this technique the oil acts as a binder and causes a quick drying layer that can built upon. The formal elements of a painting include line, color, space, light, texture and pattern. The line appears to be an implied line in which the work creates directional movements from top to bottom. But also forces the viewer to see how the figures stand out and there importance in the painting. The color shows a subtle spectrum with a detailed background from the skies to the mountains to the artist table canvas. The light is somewhat even throughout the painting showing emphasis on every figure holding something in their hands; and more so the final product of the artist that are being captured on the canvas. The visual texture of the painting appears to be smooth and the pattern is decorative and somewhat vibrant. The principle of unity and variety are evident in this painting, the design itself shows a sense of community of important figures throughout African American history. I was drawn to this piece because it embodied the heritage of African American art through history. This painting by Hale Woodruff displays many of the significant contributions that African Americans made to the world of Art. Not necessarily “picture art” but all realms of life art: cooking, liberal arts, politics, labor, law and many more through his vibrant

24 7/8” and each side panel measuring approximately 25 3/8 x 10 3/4”. This work of art currently resides at the Metropolitan Museum of Art in New York, where it is displayed for all to see. This triptych painting exudes a biblical reference whereas the main subjects are Mary

The value of color in every object is presented with different shades of light and darkness to present both texture and how light is played in the piece. For example Hede uses different shades of a color on the table cloth to show both texture and chiaroscuro. The texture painted on the bronze tableware show that its patterned using metal art such as filigree, and cloisonné.

The two main characters in the painting display elegant mannered poses and all the figures appear arranged in rather unnatural poses. There is a small scene at the foot of the Saint Catherine and Christ figures. This is thought to be the Christ child with the Virgin Mary and grandmother, Saint Anne. Below these two scenes are three smaller bordered scenes. The central one depicts two enemies reconciled by an archangel and the outer ones show Saints Michael and Margaret fighting demons. All these images show the triumph of good over evil, with the middle characters shedding their weapons and embracing. All these small pictures support that the painting was commissioned by Arigoi di Nero Arighetti to celebrate the end of a feud.

The Magdalen with the Smoking Flame is a work of art done by Georges De La Tour. It was completed in the year 1640 using oil paint on canvas in France, and it is now located at the Los Angeles County Museum of Art. This painting is of a woman, possibly pregnant, sitting leaning on a table her head rested on one hand. She also has a skull on her lap and the other hand placed on it. In the back ground there is a small stack of books and candlelight.

Overall, the dimensions of this painting, with frame, 11 x 8 1/4 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm). This work is done with Tempera and gold on wood, with original engaged frame. The damage caused at the bottom of the original frame is from candles lit before the picture, which was used for private devotion. The painting has a powerful presence despite its size. It captures the eye from a long way, and commands, from a closer view,

This major innovation that Georges adds to his Caravaggio inspired paintings would be showing the light source of the painting to the viewer, and putting the light source directly in the center of the piece. In his painting, Mary Magdalen with the Smoking Flame, Georges’ goal was to create a calm, reflective state of a follower of Christ. This painting shows Mary Magdalen, a repentive prostitute, putting aside her jewels and rich clothing to meditate on mortality while looking into a flickering flame. Georges creates subtle hints of religious meaning through items throughout the painting. The skull sitting in her lap refers to morality and the vanity of human life, the books of scripture refer to her following of Christ, and the scourge refers to the pain and suffering that Mary may have been experiencing in the past or during her

the painting is a synthesis of numerous sketches made by the painter a year earlier in Collioure,

This is a Religious painting and was meant as to teach the people during the Baroque era since in the Baroque period, the church’s aim was as to show the illiterate a narratie story which looks realistic as to learn the Bible with no difficulty.