The Oval Portrait Analysis

Like the painting, the sketch exhibits a number of West 's finest imaging and clearly and convincingly depicts all of the feeling of a frightful scene. The larger oil on canvas work isn 't one portrait, but rather, a

I remember viewing Portrait of Dr. Heinrich Stadelmann by Otto Dix during an eleventh grade field trip to the Art Gallery of Ontario, and being completely entranced by the painting—unable to look away from it. At the time, I was not fully aware of the world of art and did not have the vocabulary and knowledge to articulate my interest in this particular painting. Now, after returning to the painting three years later, the experience is quite different. Being recently exposed to a fairly wide range of art last semester has allowed me to experience the painting under a more knowledgeable light. During this most recent viewing of the painting I paid more notice to the painter’s decisions regarding the paint application, the textures, the colouration, the lines, the composition, etc. The core of this different experience during this viewing is due to a newfound consciousness of artistic choice.

The painting takes what the eye can see and extends it further, to a realm that cannot be captured by someone unless they have the patience and diligence to see beyond the obvious and capture more than the eye permits.

“The story is told through the photographs, and so what may appear to be autobiographical is not always so. On the other hand, many of the events are completely fictional, although they may be true in a historical context. For some of these events, there are photographs; for others, the image is a collage; and in all cases, the result is entirely of my doing. So although it may appear that these stories are my family’s, they are not precisely, and yet they are. (xi)”

On the other hand, the second portrait is meant to represent Charlie protecting Alice. This painting explores Charlie's want to have a relationship with a woman. While expressing his feelings towards Alice but realizing it's too early to further his intentions, Charlie states, "I'm a person. I was somebody before I went under the surgeon's knife. And I have to love someone" (85). This statement shows that Charlie feels the need to build an intimate relationship with a woman, but is currently unable to do so. Furthermore, when in Alice's apartment, Charlie states, "There in her arms I cried myself to sleep, and I dreamed of the courtier and the pink-cheeked maiden. But in my dream it was the maiden who held the sword" (113). The aforementioned quote shows that although Charlie wants to be with Alice, he views her as dangerous due to the fear his mother instilled in him as a child. Even so, Charlie still deeply wants a relationship with Alice and shows this through stating, "The only bad thing about

All the figures in the painting have different expressions on their faces. For example Mr. Columbus starrs dirrectly at the group of coucil men sitting infront of him to convince them of the new world he had discovered. He stands infront of the crowd, looking like a honorable man, with his chesting bulsging out and his right footing pointing forward. His left hand is holding a map, while the right firmly points at it. There is a concil man sitted next to where Christopher stands, looks down at the map to validate Mr. Columbus agruement. There are three figures standing on the left excluding the king and his guides. These men seem so suppresed by what Columbus is telling them, that one of them grab the other firmly on the shoulder to perheps ask him how all of it is possible. The king on the other hand opens his month wide in disbelieve and his hands lift up at about a 30 degree angle, as if he was attempting to stop Columbus from fabricating more lies. On the far right of the painting, there is a boy with what appears to be a map that he is showing two men on his right.; they both starr at it while the other lean forward with his hand placed under his chin. Human drama remains me of Giotto style in Italy 1400-1500. He was the first artists to incoporate human drama into his work by including little details of gustures and emotions. This very artist was great at expressing different types of emotions on the faces

It looks like the main focus of this painting is literally in the center of the piece. Anyone that were to ever view this painting could tell from the beginning that the overall view of this content is pathos. In the main section of the painting, there is an image of a person who is getting poured some type of liquid over their head. In this image, we can see the person in the center with no shirt on, and they have a small blue robe type of clothing tied below their waist. Around this person there are two figures with wings, they are wearing mini white gowns and their wings are white also. There is a person next to the wing like figures, that is pouring some type of liquid above the other person, this other human like

These short stories are linked through the character of George Willard, who is essentially the main character. Because of this, Winesburg is considered a Bildungsroman, the character development of George “the artist” to George “the man”. His development occurs through his contact and dealing with the characters in the stories. Each character offers something new in his development, as in advice or wisdom. These “grotesques” rely on George to take notice of their isolation and falsehood, in hopes of George publishing their “truths”: Each in turn comes forward to offer his secret (the material of art)

This portrait is related to the manuscript because the manuscript is a love story about a man who loves a woman named Rose but is walled off from seeing her and guards are sent to protect her from him, and in the portrait, Rose is seen lying down on a bed with a guard watching over her. And on the outside of the wall is the man who loves her standing on top of a building with a love arrow through his hand. Rose is not only portrayed by the women of whom the man loves but it is also portrayed by the flowers the curl on the vines in the background. This is one of many illuminations located in this text; however, this is the one with the most detail. This painting unlike the others in the manuscript is large and very detailed, where the others are all small and

The artist depicts an initial confusing and weirded-out thought for the viewer at first glance, but as one deeply examines the art, the subject matter begins to become more clear. The vision being shared in this non-objective painting has a context of placing one in the standing of Mr. Man by gaining height and freedom from the (white) bars that are rising on each level that represent conflict which traps one in a “cage” of misery. The unbalanced symmetry of having the left side take up more space with little action, and the right side being smaller with the action unraveling, makes the viewer break down each composite perspective. For the left side, the mysterious female muse, Moon-Face, has an unproportional face that is almost blushing with shades of light pasty orange, with the mouth wide open. The energetic mood is amplified by the tone of yellow that is splashed in the mouth, representing a loss of words or at a state of disbelief. The female’s lower half is created with tints of red that enhances the curves on her body, as if chiaroscuro connects the light and dark contrast to show outline of the breasts, stomach, and hips in

The thing is that he painted this in 1939 which is about four thousand years later, but it is extremely accurate and shows that she was not a victim but a leader in a way.

After looking at the painting, it is possible to conclude that the artist is trying to portray a

Their identity was taken from them, a painting is someone’s personality and soul that was stolen once it was taken by another artist. “Judith Leyster, the daughter of a small ware-weaver, she was the only female member of the painter's guild known to have had a workshop” (22). Judith Leyster was not one’s average seventeenth-century woman, most female artists didn’t have a workshop of their own, and in a way she was a

The level to which a portrait is truly a likeness of its subject is also worth studying as each artist displays the sitter with varying degrees of resemblance. The artist might perfect any unattractive qualities of the subject. Often, an artist will use other methods to depict reality in a somewhat distorted manner, such as overemphasizing features of a subject’s face, or showing only part of a subject in the portrait. Regardless of such variations in reliability as far as accuracy is concerned, portraits provide an important record of the appearance of people. Not only are those who are important in history represented, however, but also individuals who are, often, nameless. There is no replacement for such records, and, thus, portraits are invaluable in this way,

“The Girl With The Pearl Earring” can be mystifying to her audience, for there are so many different people that view the painting on a daily basis that not everyone may be able to see what the painter was trying to express. From just a glance of the painting, a viewer may see just a girl. If someone admiring the painting doesn't know anything about her background, that may be all the viewer will take the piece for, just as a simple painting of a woman with no particularly