The Lady And The Tapes Entries Analysis

Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but

2. How does Angelou use sensory details and imagery in paragraphs 24 to introduce Mrs. Flower’s character?

By comparing The Thirteen Emperors (seventh century A.D) (Figure 1) by Yan Liben (600-673), ink and color on silk, is currently at the Museum of Fine Arts in Boston and Xie Huan (1377-1452)’s Elegant Gathering in the Apricot Garden (ca. 1437) (Figure 2), ink and color on silk, is currently at the Metropolitan Museum of Art in New York. Both artists used the same subject matter (hand roll), and employed a different repetitive process they convey two distinct ideas; the differences between thirteen emperors in Yan and the idea of confucianism in Huan.

Museums add new context for artworks, since historical items were not made to be in modern museums. A Pair of Sensing Angels by Circle of Bernaert Orley are two ‘one by three foot’ oil painting on wood from 1535-1540 that depicts two angels. When looking at “A Pair of Censing Angels” we can infer the subject, the value the painting held, and how the meaning alters in its present setting. This visual analysis will describe the artwork, analyze the formal elements used, and how the formal elements of the work and display affects the viewer.

Since the first brush stroke was taken in Europe, the paintings that have been produced have played a vital role in revealing our world 's past, history, religion and daily lives of its citizens. Each time period and movement have influenced artists from its first existence to even this very day, creating an extraordinary timeline of art and history as one. Frans Hals ' Merrymakers at Shrovetide of 1615 and Francois Boucher 's Interrupted Sleep of 1750 are no exception. Despite their different time periods and movements, the two paintings each have many parallels and at the same time very distinct styles which play on how influential artists ' styles are upon each other. Even with all of the differences and similarities, both paintings are

This paper gives a comparative visual analysis of two artworks from the same period; “David Slaying Goliath”, by Peter Paul Rubens, c. 1616 and “The Sense of Touch”, by Jusepe de Ribera, c. 1615-1616. Despite the fact that the artworks are from the same period, they are both unique in terms of details and the themes they represent. This visual analysis compares and contrasts the way in which the artists employed the different characteristics of the baroque movement to come up with their unique compositions.

Le Guin uses imagery to appeal to the five senses; for example, in the first line she introduces the story as follows: “with a clamor of bells that set the swallows soaring, […] bright-towered by the sea” (16). She appeals to the auditory sense and the sense of vision by using “a clamor of bells” and “bright-towered by the sea,” respectively, painting vivid images in the reader’s mind. Additionally, she describes “a cheerful faint sweetness of the air” (16). Here, she appeals to the olfactory sense as if the reader can smell the air’s “cheerful faint sweetness”. These pulchritudinous scenes convey that Omelas appears perfect on the outermost layer.

Once the crowd had finally dispersed, the Tapestrys let themselves into their shop. It was a homey place that told comforting stories through its exposed beams, and crackling fireplace. Immediately they began to pull out different fabrics, and patterns trying to decide what would best suit King Leonardo, and his wife Queen Alisha. Ideas were shared and compromises made, so that in the end it was decided that Timothy would make the king 's coat, while Adeline would make the queen’s. While sewing, they would use different satin fabrics that had pastel colors to subtly speak of wealth, and embroider

There are also similes, metaphors, and repetition in the poem “Dreamland”. “Through sleep, as through a veil/ She sees the sky look pale” (13-14). In this stanza there is a simile word” sleep”, which represented a veil that covers the eyes but still can see

The meaning and original purpose of the tapestries has been in debate for many years. Research has yielded different results in the past and the present. One researcher, James J. Rorimer,

The Limbourg Brothers are renowned as the artists behind Les Belles Heures du Duc de Berry, as well as for their work on a Bible Moralisée; however, Les Très Riches Heures du Duc de Berry is the work that has proven instrumental in keeping their legacy alive. It is their most critically acclaimed work, and understandably so, for its contents are visually stunning. Though their earlier artistic endeavors should not be disregarded, Les Très Riches Heures provides the most compelling example of their abilities as its compositions reveal unparalleled skill and inventive departures from the established artistic standards, not only of Books of Hours, but of standards in general, of the time.

Shakespeare’s work is among the hardest to read because of its supposed complexity and sophistication. The language used in the Early Modern Era is different than that of the Post Modern Era. Audiences that saw the performances were aural learners and were able to pinpoint certain tones and facial expressions that readers may not detect through words. Watching the plays performed provided better feedback than readings do (Palfrey 10-11). Metaphors, implicit or explicit, are figures of speech that help compare two unlike things and are not designed for literal intake. Yet, with Shakespeare’s work, metaphors should be taken literally. According to George Lakoff and Mark Johnson, however, this technique of comparison allows metaphors to simultaneously highlight and hide certain attributes and/or qualities about the thing(s) being compared to (12-13). The highlighting and hiding of metaphors gives readers more insight into what Shakespeare may have meant at the time or even more so in what context did the people of the Elizabethan Age use language (Palfrey 11). Two important components of metaphors that do the highlighting and hiding are the vehicle and the tenor; each can be implicit or explicit as well. The metaphor in question emphasizes both the importance and unimportance of Lavinia’s character.

This logic of symmetry and deformity is located in the depiction of Nature-a landscaped variety-and the characters' relationships to their natural environment. The environs of La Vallée are characterized by the qualities of the picturesque landscape, and every angle of the house looks out on some prospect (2-4). In this landscape there is natural symmetry-the improvements that St. Aubert makes to the ground around the chateau are few and conform to a taste "for the beautiful" (6) that is formed by nature rather than learned (see how St. Aubert conceives of Valancourt [35]). During the tour through the Pyrenees, many "prospects" are remarked upon, but so too is the absence of a prospect (28-29). Prospects are what make a landscape-it is from a view large enough to incorporate diverse elements of a scene and a variety of distances that a landscape (comprised of foreground, middle ground, and a background) emerges. The idea of prospect is involved with the concept of perspective, and perspective (as it relates to the way one interacts with anything) brings us back to the ideas of taste and precept. But taste, precept, and prospect are in turn all linked to a consciousness of past, present, and future. Thus St. Aubert, when making "improvements" in his estate or in his daughter is always referencing them to his past experiences at La Vallee (2, 4), or to his hopes and fears for

Next let’s have a look at imagery which is words that appeal to our five senses to create a vivid

In 1790, Immanuel Kant created a piece of work known as the Critique of Judgement. In his work, the Critique of Judgement, Immanuel Kant moves his attention to focusing on aesthetics and what truly makes a piece of art beautiful and pleasing to the eye. Up until around the 1780s Immanuel Kant did not particularly worry or concern himself with aesthetics and how that judges an object or piece of art. It was only in the 1780s that Kant started to take an interest in the aesthetic value of objects and pieces of art. According to Kant, for an object to truly be called beautiful there are four “Moments” in which that particular object must go through. In the book, The Routledge Companion to Aesthetics, Crawford tells us, “It is divided into four “Moments,” corresponding to the headings of the table of judgements in the Critique of Pure Reason: quantity, quality, relation and modality” (Crawford 52). Kant’s theory of these four moments that an object must go through in order for it to be called beautiful are a very elaborate but quite easy concept to understand. Crawford does his very best throughout this particular reading to try and make the theory as easily understandable as possible due to the somewhat hard to read language Kant uses in his original work. Immanuel Kant’s four “Moments” of quantity, quality, relation and modality, do an exceptional job of explaining what makes an object beautiful.