The Ambassadors : The Ambassadors By Jean De Dinteville

What first catches the viewer 's eyes are the vivid colors used in the painting. Ultimately what jumps out the most is the man on the right 's red robe. The artist intended this for a reason, discussed later. The room where the men are standing is front lit. Also the atmosphere is

No doubt, Money is an essential, It is the money through which we can purchase all the necessary comforts and amenities of life, If you have money, you can obtain what seems impossible to others. It is the money which gives a man confidence, creditworthiness, credentials, capacity, capabilities and courage. Based on your monetary status you get the prestige, respect and social status, except at some point money can't purchase a true love. Sometimes wealth can be a curse of its owner, and can throw people in arrogance, bankruptcy and dissatisfaction .

Harnett uses a variety of techniques to create this trompe l’oeil painting of a smoke backstage. The lines and implied lines from the tobacco pipe, tobacco package, newspaper, and matches overlap at perpendicular angles, creating an illusion of depth and space. These lines also create mass for the geometric, inorganic shapes presented in the foreground of this painting, especially the tobacco package. This establishes harmony and a central balance by placing

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.

Secondly, the light and colors help to enhance the piece. Due to the oil painting,

Hirsch uses bright and subdued colors to represent the rank and status of the paintings occupants. The color of the chairs in contrast to the blue-black background gives the illusion of space. He utilizes highlights and shadows throughout which gives the viewer the impression of light cast onto the scene from outside. The light bounces off the reflective surface of the king’s head as well as the silverware and gold goblets. The shades of green and yellow give the fruit on the table a real feel to it. The smoke raising becomes transparent as it swirls upward and finally vanishes. The use of color shows the importance of every element from the

Our identities are key to our understanding of the world. Mental models through which information is processed are built off of life experience, taught ethics and morals, and upbringing. Identity is discussed in the following texts - The Politics of Exile by Elizabeth Dauphinee, “Unlearning the Myth of American Innocence” by Suzy Hansen, and “Letter to America” by Aida Hozic - through various themes of American culture. Dauphinee, in particular, examines the depth of personal identity and its ability to change. All three works consider the many components of personal identity and its formation as well as its undoing.

There is also a mirror placed on the table allowing the viewers to link with space beyond the frame. Also in the far back right of the painting you can see a young man talking to an elderly. The artist created an very old or old-fashioned look by using opposing colors, red and green. “The second half of the fifteenth century in northern Europe saw an expansion of genre

The elements of art that Lawrence used in The Library focused on strong lines, shape, and bold colors. The tables, chairs and bookshelves all have straight lines that show off the lines of the books placed sporadically around. The shapes of the people are in strong contrast to the straight lines of the library and emphasize movement of everyone. The colors are muted, maybe to represent the quietness of a library. The principles of design that Lawrence used were contrast, unity and balance. He played up the contrast of objects and people and of people versus people. Even with the contrast of people versus people, he could bring unity by showing a common interest. By creating this unity, he gave balance to the painting by placing objects and people evenly throughout the painting.

The spatial orientation of the piece relative to the room gives the piece a sense of gravity. When viewers move onto the next piece , they would walk around it's space. However, the consequence of the shape being that of a table pulls viewers to sit around it. This creates interaction between both viewer and art piece and at the same time, a relationship between the two. "Difficulty, then, arises

The ingenuity of the composition is that it used a lot of tricks in the layout of the elements, meanwhile being rendered very simply and concisely. The artist realized that the eye does not settle naturally on the center of a painting and that

“The Ambassadors” also uses each object and subject of the painting like a puzzle to form one cohesive thought. This helps to make “The Ambassadors” one of the most famous and revolutionary paintings from Hans Holbein. Hans Holbein was born in Augsburg and is considered one of the greatest German painters of his time. He painted The Ambassadors in England in the year 1533. It is a full-length double portrait of Jean de Dinteville, the ambassador to England on the left (who commissioned the painting) and on the right Gorges de Selve, the Bishop of Lavaur and ambassador to the Papal court.

All the parts of the painting are perceived to belong together. The painting is balanced; every part of the composition feels equal on all parts. Because the painting is balanced, a sense of calmness and security is demonstrated. Through the painting, there appears to be little

The Ambassadors is one of the most complex and arguably portrait which Holbein had painted. The purpose of this report is to analyze Han Holbein?fs painting, ?gThe Ambassadors?h. The main task of this report is to uncover the meaning of this painting, as it still remains unclear. Firstly, I will give a short introduction about the painter. Then, I will examine the characteristics of the people and the objects in the painting. Lastly, I will attempt to identify the meaning of the painting.

This variation and symbolism of colors are used extensively throughout the movie, and allows for a more effective and accurate method in delivering the messages and themes intended. In a way, Anderson is not just telling a story, but he is also painting a picture for the viewers to enjoy on the screen. For instance, extensive use of soft pastels and muted undertones create a dreamlike look to the hotel and objects (the cake box, funicular, Mendl’s uniform & vehicle, etc), clearly distinguished from the other parts in the film. The poetic and impeccable pastel-toned look of the hotel, mostly pink and purple, resembles of a doll’s house: peaceful, and fairytale-like. Not only that, it is comparable in appearance with the graceful pink packages of Mendl’s Patisserie. On that note, the scene that stands out in terms of a strong color contrast is when Gustav is in prison and shares the cake with the other inmates. When he cuts the cake with the “throat slitter”, the soft rosy box of Mendl’s stand out from the gloomy color schemes of the prison. Not only that, the box is placed in the very middle, thereby emphasizing the objet using the “rule of thirds”; composition aspect of mise-en-scene. Also, the director strikes the audience with vivid colors, when in need of reinforcement of the theme or highlighting an essential scene. When Agatha and Dmitri board on the elevator when holding painting, there exists a powerful contrast: between Agatha wearing beige-toned outfit with hairs impeccably braided reminiscent of an angel, Dmitri with all black long coat and messy mustache signifying the dark and the evil (also, wearing the armband similar to that of Hitler), and the elevator guy wearing a vibrant purple uniform. The costumes, which are also a significant part of décor, therefore convey the audience in