The Heart Of The Andes By Robert Seldon Duncanson

In the book Revolution in the Andes: The Age of Túpac Amaru, Sergio Serulnikov highlights the rebellions that broke out in the region between Cusco and Potosí in Perú during the early 1780s. From 1780-1782, the indigenous people in the Andes rebelled against imperial Spain. This was one of the largest rebellions to ever happen in the Americas. This fairly short book consists of seventeen chapters with titles that allude to the central theme in each. Serulnikov’s main argument hinges on the idea that the Andean peoples who rebelled against the Spanish powers were political actors driven by a need to achieve financial reform, and return the Andes to its rightful owners, the native peoples of the Andean region. He explains that there is very little evidence of how these native rebels looked at the events that transpired during the rebellions, so he sets out to explain a new way to interpret their beliefs they associate with the events. He mainly focuses the books attention on the political aspects of these insurgencies.

The texture of the canvas works very well with the subject matter portrayed in the painting. The grassy hill side and the leaves of the trees are especially complimented by the canvas. It makes the leaves feel like they are slightly moving, this combined with the lack of detail itself the leaves. This is contrasted nicely with the very detailed renderings of the trunks and branches of the trees, the

de Botton uses a variety of language choices to convey a plethora of perspectives, allowing his audience to have a more nuanced and holistic understanding of the interconnectedness between landscapes and people. In contrast to the tag-team of de Botton and Flaubert’s majestic descriptions of their respective “countries”, de Botton uses severely depressive language with “a combination of listlessness and self-disgust” when describing his time in Madrid. For the responder, such a contrast is incredibly striking, given the immaculate cathedral used to preface the chapter and the previous overwhelmingly positive description, giving weight to the effectiveness of de Botton’s conflicting representation of the relationship between landscapes and people. Within ‘On Curiosity’ de Botton alludes to a guidebook which presents facts such as a “Castilian town with a population of barely 20,000” to depict the dreary and user-orientated one-way relationship of a landscape in a guidebook. de Botton contrasts this unexciting description to Humboldt’s South American travels as de Botton uses listing, gains momentum and excitement as he does so, of Humboldt’s measurements of “the sea water every two hours”, “the different marine species” and the “vegetation around Cumaná” as his calculated and precise interaction with the land was purposeful as it was refreshingly new. de Botton’s own experience with Madrid is hyperbolised with “in Madrid everything was already known, everything had already been measured” to express the importance of curiosity, and being able to use this curiosity constructively, has in shaping meaningful travel experiences. As a result of the pivotal usage of language, the audience is positioned to appreciate the complexity of the connection between people

“I had a dream last night, a tremendous premonition. I saw green fields and flowers. I could smell the grass.” (Read 225) is a quote taken from the book Alive: The Story of the Andes Survivors by Piers Paul Read. This quote is just one example of the hope generated in the story. Alive is about a Uruguayan Rugby team whose plane crashed in the Andes Mountains while on their way to Chile. This story tells of the struggle that the 45 on board attempt to overcome by doing whatever they can to survive for over two months in the freezing mountains. To do this, it takes great determination and cooperation from everyone involved in the crash. Some struggle more than others, mostly with the idea of getting out of the Andes alive, however, it all pays off in the end.

The viewer’s eye observes two orders within the painting, that of both the figures and the décor, Due to the groupings of three. This all contributes to the appeal of the elder Horiatis in the center upheld loudly with a show of strength. The distance between the figures gives more depth to the contrast of the overall painting. While the painting is painted in great detail, one can notice that the décor has been reduced to a more abstract order. “The contemplative atmosphere is softened by shades of green, brown, pink, and red, all very

For example, the dark and translucent shades that make up Zephyrus convey that he is a dark character with a lack of warm colours and flowers which drive through the point that at that point in time, Zephyrus was a very negative and perhaps evil character. And, Flora is depicted as a beautiful and elegant woman conveying the importance of beauty and elegance for the bride. The shape of this artwork is asymmetrical but balanced. The focal point is Venus as the shape of the trees form an archway behind her. The space is shallow but still holds dimension as Zephyrus, Chloris and Flora overlap one another to create the illusion of a third dimension and tell the story of what happened to Chloris. The artwork holds a one point perspective, though it is hidden by the trees. The hierarchy goes from centre out to the edges, starting with Venus, then the three graces, then Flora, Mercury, Chloris, Zephyrus and finally Cupid. The use of contrast from the background to the foreground creates an obvious contour from the dark and gloomy trees go the subject matter, the people who are depicted with bright

• The focal point of the painting is the sun-drenched valley and river. The emphasis comes from the diagonal of the tree to the left that directs the view of the scene down the valley toward the farmland.

Each of us observed similar aspects in the painting. The central features that were pointed out were the objects of the blue, velvet bag, the ivory horn, and the various birds. The blue bag was where I concentrated on when I observed the painting as a whole. I feel that its color really stood out compared to the rest of the painting. The bag formed a contrast with the background as well as the prominent, white, bird in the center of the

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

This is a beautiful painting that gives me a feeling of happiness of summer hydrangeas. The artist used overlap when creating this wonderful arrangement.

The designations and forms of his paintings and sculptures have frequently evoked primordial phenomena such as air, moons, the sun, and the cosmos. Referring concurrently to the natural world, romanticism, and existentialism, Seven Magic Mountains encapsulates a marginally noetic trinity that has underpinned the artist’s work for more than two decades. In an incipient iteration of themes and materials, Seven Magic Mountains engenders a sense of romantic minimalism.

Las Meninas was Velázquez’s largest oeuvre measuring 3.21 m by 2.81 m (Umberger 96). Velázquez’s masterpiece is one that draws sharp criticism ranging from those who find this work as a complete piece with its pictorial features prominent in the artwork, to those who find it hard to interpret its content conclusively (Ancell 159-160; Snyder 542+; Steinberg 48; Bongiorni 88). Despite such disparities, Velázquez’s masterpiece was able to project a day in the life of the royal family while at the same time achieving his artistic ideal. This work explores this artwork in light of the royal family and personal gratification by Velázquez as a celebrated artist.

Implied line is used to draw the viewer’s eyes to the cattle which are crossing in the sun’s reflection upon the river, then up toward the sun where it guides one’s eyes around the outsides of the painting. Bierstadt uses both a restricted palette and analogous color scheme of reds oranges and yellows, which differ in their levels of intensity, thus giving a sense of time to the artwork. By use of these colors the viewer can determine the time of the year in the painting is fall, and the time of the day could be perceived to be early morning or late afternoon. While one is unable to touch this painting to determine its physical texture, what one cannot help but be impressed with is the painting’s visual texture. Bierstadt use of texture helps to aid in the illusion of the painting’s three dimensional quality. He achieves texture with the illusion of light, through color choice, and in suggested motion of the water and leaves through repetition and patterns. The most dominant element in this painting would be the sense of space it exhibits. Bierstadt achieves this again through the use of implied line in the trees which move upward toward the sky and down into the water.

One of the most interesting things about this piece is the complexity. At first glance the painting looks monotone and very dull and the uniform use of cool colors are very calming. However, upon further and closer inspection, the vibrant, unmixed hues of the colors become apparent. The grassy land not only incorporates dull and dark greens hues, but also, bright greens, blues, and burnt oranges. Also, the pale sky consists of yellows pinks and blues, all very pastel and softly blended. In contrast to the sky and land, the ocean is composed of very lineare brushstrokes consisting of blue and green. Throughout the composition, Monet layered the colors creating a sense of depth and space. The trees are in the front of the landscape and they force the eye to move back in space. The church and the water are much smaller than the tree and show and accurate understanding of scale.

In this painting, the figure is placed in a three-dimensional, believable space, and is shown with his backside visible at a three-quarter angle which leads the eye to the tree stub then to the dog. This creates an illusionistic depth because of the foreshortening of the figures, the soft light source, and the carefully rendered chiaroscuro all in a inimitable way.