The Lovers 2 By Rene Magritte

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

In Gustave Caillebotte’s painting, he uses a wide range of colors too, but these are more vibrant. The viewer is enticed to see themselves in the in the painting as there is an empty waiting to be occupied. The method of his

Shakespeare’s sonnet 130, “My mistress’ eyes are nothing like the sun” and Pablo Neruda’s “My ugly love” are popularly known to describe beauty in a way hardly anyone would write: through the truth. It’s a common fact that modern lovers and poets speak or write of their beloved with what they and the audience would like to hear, with kind and breathtaking words and verses. Yet, Shakespeare and Neruda, honest men as they both were, chose to write about what love truly is, it matters most what’s on the inside rather than the outside. The theme of true beauty and love are found through Shakespeare and Neruda’s uses of imagery, structure, and tone.

René Magritte Belgian Surrealist artist René Magritte was a master not only of the obvious, but of the obscure as well. In his artwork, Magritte toyed with everyday objects, human habits and emotions, placing them in foreign contexts and questioning their familiar meanings. He suggested new interpretations of old things in his deceivingly simple paintings, making the commonplace profound and the rational irrational. He painted his canvasses in the same manner as he lived his life -- in strange modesty and under constant analysis. Magritte was born in 1898 in the small town of Lessines, a cosmopolitan area of Belgium that was greatly influenced by the French.

Marie de France wrote a story about the theme of a “Great love” even though the “love” displayed in the story cannot co-exist in the real world. Lanval is an outcast in his life, despite his loyalty to King Arthur, his generosity to the people he is not accepted in his world.

The Mona Lisa has been one of the most debated paintings of all time. The look on the face of the women in this painting leaves a person’s mind wondering. No one really seems to know what this mysterious woman is thinking or feeling. The questions that cannot seem to be answered are what make this painting so famous. The reason for that is because it is raveled in mystery and secrets. All of the small details make the painting stand out by being different from others and the details also make it far more remarkable as well. And surely, the smirk on the face of the Mona Lisa is the major key factor to the painting being so interesting. “Leonardo da Vinci was one of the

“For me, love is the most important force. It moves the universe.” With diligent care and effective techniques, Laura Esquivel expresses this belief about love in her novel Like Water For Chocolate. Rather than bluntly giving her audience a direct assertion on the topic of romance, Esquivel spends a great deal of time using the strategy of symbolism. The reader can distinguish thematic developments and vital representations hidden in various images throughout the plot. Symbolism allows an audience to each have a distinctive experience reading a novel. Understanding this concept, Esquivel successfully uses thermal sensations and the color white to indicate the subject of intimacy in her writing. She utilizes the images of heat and white hues

Nakia was in a relationship with a psychopath. A person with a psychopathic personality lacks the ability to love or establish meaningful relationships. A psychopath is a predator who pretends to love you in order to lure you into his deadly game of power, control, and manipulation. The man who Nakia thought was her knight in shining armor turned out to be a nightmare. Throughout their relationship, he emotionally abused her, held a gun to her head, criticized her weight, made false accusations, cheated, called her names, and physically assaulted her during pregnancy.

This painting give us a clue that he was beginning to fall in a state of depression. The very obscure colors combined with glimpses of light are very common of his style during the early phase of his depressive moments. On the right corner of this painting we find a man and a woman many understand this as his conflicting relationship with his brother and sister in law.

Tag line: Louis L’Amour sucks the reader into a story of adventure, intrigue, and the survival of a lone man facing Russia, and Winter.

Once past the engulfing foreground the piece allows the viewers eye to travel to the back of the room. Hiding in the background of the piece towards the very left seems to be a ‘back room’, perhaps where the higher stakes games took place in this casino. There is detailed design on the back wall and draping curtains, which alludes to the viewer that wherever this room is that it’s a place of stature and even great affluence. The background colors are all very neutral and gradient, flowing from one neutral shade into the next with the detail on top of the neutrals. This shading effect is result of the use of chiaroscuro technique when applying paint. By using this technique, the use of black paint allows for soft transitions of color that allows for the figures in the foreground to take over the narrative. The colors and clothes of the people are key in interpreting what Frith was trying to tell the viewer. All of the clothes are extremely

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

René Magritte once said “Everything we see hides another thing, we always want to see what is hidden by what we see.” Nearly his whole life’s work was devoted to uncovering what was seen by the eye. His work gave a new perspective to many daily things, and helped to popularize a new style of art, surrealism.

The painting was a commissioned work for the Medici Family of Florence, a powerful political and financial family which would later go on to become an influential royal house for centuries. Throughout the painting, there is evidence of movement and a prevailing sense you

Rene Magritte was an enigmatic and strange man who painted surrealism paintings. Little is known about his childhood except that his mother, Regine Magritte took her own life by drowning herself in the Sambre river. Young Magritte is thought to have discovered her body floating with her night garment covering her face. There is speculation that this trauma was an influence on many of Magritte’s works. When Rene Magritte took up his brushes, he created beautiful visual riddles that delight and bewilder the viewer. His clean lines and highly detailed finishes made his brush strokes nearly invisible; his paintings look as if they came from a printing press. Magritte referred to his paintings as “his labors.” He did labor over the paintings