The Rape Of The Daughters Of Leucipus Analysis

Physically, the figures in the painting are quite exceptional. The bodies look very realistic, such as the bulging muscles of Aeneas and the life like expression of his weary father. This works kind of shows a wide spectrum of human figures, from the strong and beautiful Aeneas to his soft, gentle wife, and the sharp contrast of the old and defeated father of Aeneas, to Aeneas’s young, curious son on his grandfather’s back. The painting is evenly lit and has flawless brushstrokes throughout the painting which secures the life-like realness of the work. The shading of the muscles in the body are exceptionally life-like. The contrast between the skin colors between Aeneas and his father really give the viewer a sense of what is actually happening in the scene.

The artwork being analyzed is called Nameless and Friendless and it was completed in 1857 by Emily Mary Osborn. The artwork was most likely created in England, where she was from. The media is oil paints on canvas, rather than the wood that was usually used. It is currently on display in Tate, Britain.

This piece of artwork is called ‘Judith Beheading Holofernes’, which was created by Caravaggio in the late 16th century in Rome. It was a type of oil painting on canvas, also, a piece of artwork in the period of Baroque. Briefly, Hood stated that in this artwork, it told the story in Biblical story of Judith, dressed as a well-born Renaissance young lady, standing at a safe distance, and who was saved her people by beheading and seducing the Assyrian general Holofernes, which was a theme very common in the 16th century. As the biblical text reported, ‘’Holofernes was so enchanted with her that he drank far more wine than he had drunk on any other day in his life’’ (Judith 12:20). Judith got Holofernes drunk, then took his sword and killed him. (p.24)

I really enjoy the bold lines and bright colors in this piece. It appears very balanced while taking up the entire canvas. The figures in the painting are bulky and well defined. If you look at the painting, at every aspect of it, you can imagine the story Diego was trying to tell. In my mind, the priest is carrying the white calla lilies representing the Savior’s light. The bundles of red flowers laying all around may be representative of bloodshed or simply the hardships of the people. The light is coming to save them all. The three kneeling girls in the front are imploring aid from the Savior. The bright colors are used to counter the times where everything was bleak for them.

This painting consists of two small panels in which one panel depicts the crucifixion of Jesus and the other portrays scenes that associate themselves with the Last Judgement. In the first panel you can see a crowd surround Jesus during his crucifixion. In the background, you can see a clear picture of Jerusalem. On the bottom you can you see five people that appear to be

It was painted and completed by Joseph Mallord William Turner in England around 1820 and is an oil on canvas painting created during the romanticism era. The story behind this piece is, when a slave ship set out on a voyage they would pack the ships full of slaves, and along the way the slaves would get sick and die so the crew would throw them over board to avoid paying cargo tax. In the painting viewers see a satanic sky and dark murky water with limbs sticking out of it (Museum of Fine Arts, Boston). The brush strokes are all sort of slanted down to the right and some are even curled to depict waves that look to be swallowing up the slaves as well as the ship. This painting is very sublime because it has beautiful colors and form yet the meaning behind it all is

Despite being written in a period of time in which women were considered “Third class” citizens, and being considered expendable, the portrayal of women in ancient Greek literature is consistently rebutting societal norms through the roles of intelligent mortal women such Penelope from the Odyssey, or Antigone from the aptly named “Antigone”. These women, whose intelligence and blatant bull-headed stubbornness is displayed rather early in these stories, both rebuke the societal norms explained by the stories, and consistently proves that women are not just ancillary characters literature, and are capable of besting their male cohorts in challenges of wit and loyalty.

Greenstadt, Amy. "'Read It In Me': the Authors Will in 'Lucrece.'" Shakespeare Quarterly. 57.1 (Spring 2006): 45-70. JStore. Web. 18 February 2014.

This is a rather large (est. 6’ by 4’) oil painting on canvas, framed in wood, of a young woman dressed in a common French black and red dress, holding a baby while placing a flowering wreath on the top of a cross marking a grave. She is accompanied by a young girl, who is knelt near the same cross lighting a lantern that is hanging from it. It is painted in such a way as to depicted this happening either near dusk or dawn.

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

This author’s portrait is from a manuscript called Roman de la rose that was written by Jeanne de Montbaston, however, Roman de la rose was originally composed by Guillaume de Lorris and Jean de Meun. The manuscript was written somewhere between 1351 and 1375 in France. This version of the Roman de la rose is located in the National Library of France in Paris. The manuscript can be identified by the number btv1b6000307m. The author's art is located on folio 1 recto and it takes up the whole page with the painting being mostly on the top half of the page with text and two small pictures on the lower half. The artist chose to use red and blue paints as well as gold tin for the medium.

It was attributed to Dirck Van Santvoort around 1660. In this painting, the young boy carries a powder horn slung over his right shoulder, dons a brow cloak, and blows delicately into a flute. The boy has a feather of some birds around his head like a hat. The expression of the painting is so pleasures, the boy lips in the flute and playing a flute. The boys face tells the joy of playing flute and listening to it. This art is Art for delight because when people see the painting they can tell the joy in the boy face. The boy finger in the flute looks so smooth and the lips are blowing into flute. It seem like boy is having joy of flute sound and enjoying playing flute. Whenever, we hear some melodious instrument, our hearts feeling delight. The sound of flute is very soft and peaceful. When we hear flute, it feels so pleasures and it gives joys in the heart. The Boy in the painting is delight by the sound of flute. He is enjoying the sound and the melody of flute. This painting was made using Oil on Canvas. In olden days, Oil On Canvas was very famous among artist. Most of the paint we see these days are also done using Oil On

This piece of art is an ink drawing by Johannes Stradanus. It is a visual depiction of our hero, Odysseus, standing before a line of shades who are waiting to speak with him. Odysseus had dug a pit with his sword and filled it with the blood of the sacrificed sheep. The shades are to drink from the blood before their meeting with Odysseus, being the main activity occurring in the drawing. The line is lead by Tiresias, and next to him kneels Anticlea, Odysseus’s mother, who is next in line to drink. The most significant figure in the drawing is Odysseus. He is portrayed as honourable due to his pose of pride, and noble clothing. He is the brightest and most detailed of all the figures. The artist wants the observer to focus on the main activity

The feminist approach is based on finding and exposing negative attitudes toward women in literature. Feminists are interested in exposing the undervaluing of women in literature that has long been accepted as the norm by both men and women. Women characters in both Metamorphosis and Oedipus the King have different and similar characteristics based on the general norms so that they can be exposed by the feminist approach. In Metamorphosis and Oedipus the King, feminist approach is through the description of women about the traditional gender values of women, women’s inequality of power and importance, and women’s effect to the whole society.

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink