Who Is Pierron Charles Street In A Turkish City With A Smoking Place

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

The oil painting is set in a desert area with a lake or pond casting off into the background. The rocks in the background are very sharp but the rest of the background is smooth. The sky is a gentle blue with yellow tones that blend together. On the left side of the painting, is a rectangular board or platform with a reflective surface. The foreground includes three clocks that are all melted. One is on a branch

The piece displays a cavernous interior with a series of dark arches that recede towards some flickering flames. These huge bricks and arches make the hall resemble a sort of dungeon or a sort of oven. The palette he used is limited to solely to shades of black, and brown. White paint is used to outline the crevices and edges of the bricks. The windows are dark black, and the ceiling is pitched black. The dimly lit piece seems to be an interior space solely lit by the series of small flames, and these flames are placed at a

Though strong as a transition between other works in a gallery, Building More Stately Mansions individually possesses an appropriately glum physical atmosphere. Visually, the painting has a highly representational element,

The pathway is dark grey. The lady’s clothes are purple; she’s also wearing pink shoes. In image B ( ‘Nighthawks’) there are Three customers sitting in a restaurant named Phillie’s with one server unlike image A , the figures are the subject matters , these figures are three males and one female siting on the beach in the cafe , the one of them the opposite directions to other two customers while the cafe worker serves them drinks. The cafe is an organic shaped, buildings are at the opposite side of the cafe. The name of the cafe is on top of the cafe’s building the letters are bold and delicate. There are chairs around the bench in the cafe. Image A & B have windows, doors in their paintings. Both of them also have secondary colours. Image B’s use of colours is different to image A’s , image B has neutral colours , because the painting is night time the artist used darker colours , on the left side of the painting , where a building is the colour dark red runs across the building , which pops out and

Visual opulence, creativity, inimitable vision, and a style that is highly influential are the many characteristics of an admired movement in art history, that being of the Post-Impressionism movement (1875-1892). This movement, which was a by-product of the Impressionism movement, is the bridging gap between the two movements known as Realism and Expressionism. Post-Impressionism takes on some of the stylistic characteristics of these movements; however, it does not contain the all too glossy visuals of Realism or the heavily fantastic visuals of Expressionism, rather it is the intermediary of these two poles. My paper will discuss why this link was absolutely essential to the history of art movements, and I will be specifically using the

When I was walking around looking at the different artworks, and determining which work of art I was going to write about, I stumbled upon The Watermill with the Great Red Roof. At first glance, it really pulled me in and made me think about what this painting meant. My thoughts about this painting were that it made me feel calm and relaxed like a Sunday afternoon. The colors were muted greens, browns, oranges, and yellows, and this painting looked like it was rural landscape, which had very full and dramatic trees. It rather reminded me of the Disney movie, The Sleeping Beauty, this painting reminded me of the house Aurora lived in, they both look similar to me. This art piece pulled me in and made me want to visit the place Meindert Hobbema painted. The first word that popped in my head looking at this was, beautiful. It was so simple, yet complex. Moreover, it was like nothing I have ever seen before.

The lines within the painting appear to be horizontal strokes resulting in a calm, quiet, and lonely theme. The texture of this work of art appears to be somewhat rough yet at the same time has a sense of smoothness to it. The painting consists of a thick application of paint or Impasto. The medium of this work is oil on canvas. As for linear perspective, the Horizontal line could be considered to be the drug store itself as that is the middle ground between the street pavement and the apartment building above the store. This too can be considered the focal point of the oil canvas painting. Furthermore, the vanishing point in the painting is not as clearly depicted but it could possibly be either the drapes within the window or the store window label “Ex-Lax”.

The depiction of Barcelona given in Temma Kaplan’s Red City, Blue Period: Social Movements in Picasso’s Barcelona is similar to today’s Barcelona, but Barcelona does look physically different than it did because of all the new architecture and culture that has emerged. Kaplan described the scene of the Rambla as an “oasis of plane trees within the tumult of the industrial city [that] was often crowded with people strolling” (Kaplan 2). This could not be more similar to what it is today. I witnessed people strolling down the Rambla, and I thought the Rambla served as an organic contrast to the bustling, concrete city. However, it is no longer so much of a place where people go to be “shielded from the pollution…of the factories” (Kaplan 2), but it has become more a tourist zone, from what I have experienced. Tourists are everywhere, and local ‘salesmen’ and ‘saleswomen’ try to capture your attention by wielding cheap souvenirs.

The painting includes a woman and a man with a house in the background. The woman is clothed in appears to be an apron and she has a look on her face that resembles a look someone has when they are mad. The man is clothed in overalls and holding a pitchfork as if telling the viewer to go to work. The house is of Gothic architecture with flowers on the porch that is meant to represent the idea if you want something you have to work for it.

The visualization continues throughout as there is a heavy use of metaphors and similes. In one instance metaphors are used to describe the tops of the mosques by comparing them to topless women in the sun. Another example is of how the city itself has decayed over time by comparing it to a beaten dog. The occasional style in which the author furthers the imagery is to try to engage the reader in using all senses as there is an extensive use of detailed descriptions of the smells and sounds of the streets.

The “Street of Cairo” or “Cairo Street” exhibit was one of the fair’s most memorable, profitable, and controversial (fig. 7). For a small admission fee, visitors could see foreigners dressed in their native garb and “living” in artificial villages intended to replicate their home environments. Cairo Street offered viewers an immerse and direct experience into images of the Middle East. Within the exhibit, spectators could see actors, acrobats, scorpion swallowers, camel rides and provocative belly dancing done by “Little Egypt”.* The dancers on the Street of Cairo, were known to be promiscuous and the most untrustworthy of the exhibit. Several women were dressed in loose-fitting costumes, their skirts hanging low on their hips and midriff exposed with gaudy gold jewelry, dancing to the sumptuous tones of the “hootchie-coochie”.

Demonstrating that the artwork is was naturalistic, with traditional imagery from that era. Even though most cities never sleep because they are super busy, this city image suggests that it might be set in the earlier morning hours right before dawn breaks, considering that there is coffee mugs sitting beside the patrons. The dinner and the buildings look like they were planned and well laid out almost architectural looking in nature bring it right back to the natural, realistic, imagery, and the building colors suggest the

The three archways were loosely corresponding to the three groups. The atmosphere softened by the shades of green, brown, pink and red which are all very inconspicuous. Instead of opening up the painting out onto a landscape or an expanse of sky, it is closed off to the outside. It is bathed in a shadow. The result is that the light in this scenery has a brick-toned reflection, one which encircles the figures with a mysterious halo.

This painted was created by William and Thomas Daniell, an uncle newphew duo. The Daniells were a British landscape pair, who traveled India 1780s, producing paintings for a colonial British audience. Together they sketched and then painted scenery in India. Their items This image is looking northwest at the Gate of the Tomb of Akbar. This view was also produced by the William Hodge’s painting A View of the Gate of the Tomb of the Emperor Akbar at Secundrii that was made six years earlier. Much like Hodge’s painting, this watercolor is made to look picturesque. There is a dark foreground, shown by the shadowy shrubbery, and a light background, shown by the mostly clear sky. The convergence of the dark foreground and light sky, leads the