The Birth Of Venus By Robert Poussin

The flying putti are shown in a ring around the woman, some holding hands. Some have feathered wings; others have either insect or fairy-like wings. They all seem to have individual faces and expressions and all express happiness. The putti are contorted in different positions as they fly in the air, and Rubens uses foreshortening with the limbs to achieve this and show movement and action in the piece, especially with the two putti directly above the woman’s head and the back of their feet showing to the viewer. He also uses chiaroscuro to give the putti volume shown by the lighting

Balance in Raphael, The School of Athens is all in the front of the painting. From the left and right everyone is looking or in the direction of the two men in the middle of the painting. The two men in the middle are Plato and Aristotle. Plato on the left is carrying his Timaios, and Aristotle is holding the Ethics. The emphasis of the allusion form the long hallway behind everyone, makes the building seem very large. It makes it look as it goes on forever.

Since they’re all standing at the same level, realistically, some girls faces are half visible amongst the halo of their fellow angels. The angels in the front immediately grasp the viewer’s attention, as they’re depicted kneeling and the artist’s use of light really becomes prominent against their white gowns. The prophets are also conveyed differently in this piece, as they’re mixed throughout the angels and made highly less visible, like they’re peaking. That portrayal of the prophets is vastly different than in Cimabue’s portrayal, where he depicted them seated at the bottom of the throne.

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 artwork is a complex mixture if colors, shapes, and tints. In the painting, there are eight figures. Seven that is to the center and left of the painting and one on the right. The seven persons on the left are all either touching each other or interlocked with someone. Of that seven, six are men and one is a female. There is a man in

In the painting there is a fair balance, as every character except Mary is on the left side of the scene, but they are all pointing and looking towards Mary. So, while the focal point of the scene is obviously Mary, there are important figures and symbols on all levels of the picture. Also almost everything in the scene has at least some significance, and none of the figures are independent and, rather, are in union with each other.

Whether it is over the death of a loved one or a very emotional situation, grief is inevitable. Most individuals experience a form of grief at some point in their lifetime. Coping with a distressing situation can be a very difficult task and there are many arguments as to whether there is a set and correct method on how to deal with grief or not. Many people have created a grieving process that includes going through certain stages in order. However, this proposed grieving method is no more than a false theory. Due to the fact that every single person grieves differently, there is no way to possibly set a specific way to grieve. “A Raisin in The Sun,” by Lorraine Hansberry and “Hamlet, Prince of Denmark,” by William Shakespeare both

The symmetrical appearance of the work was also common in Southern pieces that rooted back to the Greek’s advances in mathematics, while the realistic human anatomy roots to the newly acquired humanistic values in art. There is a clear focal point of Mary, with the addition of a subtle triangular composition created by the Mary, Jesus, and St. John. This composition creates order, which is more appealing than a painting with chaos and no clear focus. The trees and pathways in the background also seem to be proportional to the sizes of the three characters, diminishing in size as the picture recedes. This creates a visually appealing tone to the work of art, as for the brain does not have to atone for the abstract and surreal. The bodies are realistically portrayed, which again, adds to the curiosity of Southern artists had of true human anatomy. Mary has a figure, a popping bosom and stomach are not typically seen in a depiction of her. Jesus and St. John both have noticeable baby fat around their arms, legs, and stomach, which is unappealing for a piece of art, but is still

The initial focus of the painting is Mary as a whole, or perhaps specifically her face and outstretched arms. El Greco, however, uses a Cartesian grid to relocate the focus to the geometric center of the canvas, a clearly intentional move necessary to create the basis of Mary’s upward motion. “Assumption” is strongly divided into four quadrants. The heavens, occupying the upper-half of the canvas, are divided in half vertically by Mary’s body, while the Earth is split by a clear part in the crowd that extends directly downward from that same line. The divine and mortal realms are separated fittingly by a line of clouds vertically centered on the canvas. The result is a crosshairs locked in on the area just below the Virgin’s feet—the area that will become the most important part of the canvas. The

Titian painted Venus and Adonis because of the tale called Ovid’s Metamorphoses. Basically, the tale was about the goddess Venus getting struck by cupid and her falling desperately in love with Adonis. Adonis, a hunter was leaving with his hunting dogs but the goddess Venus does not want him leaving. She foresees the hunt will be dangerous for him and tries very hard for Adonis not to leave. Titian grabbed the moment of the goddess Venus, giving of her warning, and Adonis’s death and basically painting the emotionally charged moment of Adonis’s departure for the hunt (Venice). The goddess Venus in this painting is portrayed as more of a frantic women rather than a dignified feminine ideal. Also the role is sort of reversed and the goddess Venus is portrayed more as masculine than feminine. Since she was struck by love so hard, she is depicted as sort of an aggressive women in

Stories teach a lot of things in life and build our habits. Some stories are Arachne by olivia coolidge, Daedalus and Icarus by Geraldine McCaughrean, and Phaethon by Bernard Evslin. Some of the important things to remember are don't be self-righteous, always listen to your parents, and never ever lie.

In the myth of Phaethon as retold by Edith Hamilton, a boy learns that he's the sun of a god he abuses abuses the power and pays with his life. This story takes place in the sky at the sun gods palace. The story begins when a young boy ventures off to the palace of the sun. There he meets the sun god,Phaethon asks the sun god if he's his father. The sun god says yes I am. As a rule the sun god swears on the Styx a river that runs through the underworld. Phaethon says to the sun god give me your car to drive. However The sun warns Phaethon of the dangers "only the sun god can drive the chariot". So then Phaethon ignores his caution and sets off in his fathers chariot. Soon Phaethon loses control and eventually the world gets set on fire. Phaethon

The compositional lines drawn by the right woman’s arm and the gust of wind coming from the mouth of the figure on the right help to draw the viewer’s attention to the center. The figures are also spread out across the very front of the painting where they fill the flat space that is there. The compositional arrangement of the figures flow from the outside of the painting inward to the center which is the focus of the painting. The compositional arrangement of the figures with clear compositional lines create clear center focused work of art. Botticelli and Titian use the same ideas of color and light but in different ways with Botticelli using it to create a single soft and light tonality as

The Birth of Venus is a beautiful Renaissance canvas masterpiece created by Sandro Botticello. The picture illustrates the birth of Venus in a very mystical way. Venus has emerged from sea on a shell which is being driven to shore by flying wind-gods. She is surrounded by beautiful roses which are painted in a truly remarkable color. As she is about to step to land, one of the Hours hands her a purple cloak. The back drop includes the sea and a forest. The overall effect of this painting are almost overwhelming, color and beauty meet the eye in every angle.

The fixation is set on her in the center of the painting due to the triangle of light used to create a focal point for the viewer. Surrounding her on both sides are the linear equivelants of past and future. From the left we see her creators helping her along with strength and the force of the wind. To the right we see her handmaiden ready to usher her into the world, where she will be clothed and no longer represent innocence. Both exhibit two very different forms of love and caring to Venus.