A Woman's Face

Girl" is additionally a painting with a similar theme across Lichtenstein's entire body of work the idea of the sleeping female muse. The subject of the painting is a blond Caucasian woman. It is a close up of her face. The frame contains her face and most of her lush hair. The woman's face is facing the bottom of the frame and her eyes are angled down as well. Her

In Robin Lakoff's Language and Woman's Place the author Robin tells us her side of the inequity that women face. She wants to see what she can conclude from her experiences. In this article she tells us about her first hand accounts of this through introspection (Lakoff 46). Robin tells us about what language use can tell us about the nature of inequality (Lakoff 45). The author also talks about the subservient functions of women and the roles that sexes play in society (Lakoff 45). Robin wants to

that tender light.” This quote uses imagery when describing the woman’s eyes and complexion as “tender light” where you can feel the softness of the bright light which represents the woman’s physically soft, but happy facial features. Personification is used at the very end of the first stanza in the quote, “Thus mellow’d Which heaven to gaudy day denies.” From this quote I understand that the sun on bright days doesn’t allow the woman’s tender light to shine whereas the nighttime is perfect to witness

expression and the colors used on the face between the girl and her reflection. Picasso

“She walks in beauty, like the night” by Lord Byron was written in 1875. The title gives away that throughout this poem, a woman is compared to the night. A question that immediately comes to mind is “How does she walk in beauty?” At first, the poem comes across as negative, because of the comparison between the woman and the night. The impression is that this woman is dark, or scary because that is usually how night is described. The poem implies many different metaphors, imagery, personification

a lot of browns and ambers. A few cool colors were used to define the shadows of the shapes with blue. The attention getter is the candle light. It’s almost hard to ignore because it is so bright. The second brightest thing in the painting is the woman’s shirt, but even that is not as bright because of all the shadows and creases in it. Another reason why

expressed texture. In the photograph with color, there is a natural texture visible in the way her body is displayed, conveying that women should be strong. Her raised arm expresses power as she defiantly flexes her arm upward. The appearance of the woman’s hair looks rough and dry as if it is damaged. It is dull and coarse and does not look shiny nor glossy, which makes it look like it cannot be physically touched. Her eyes are squinted as if they are looking deep into the viewer’s soul. Likewise,

crashing head first into the woman’s chest. Juvia quickly looked upwards, her concern growing as she took in the brunette’s bloodshot eyes. The woman laughed hysterically. “Yes, hi, help me. It won’t shut off.” Juvia winced slightly as the brunette’s phone neared her ear, the music somehow growing louder each second. The woman tugged on Juvia’s vest, her knuckles growing white as she clenched her fist. “Please,” she begged, half leaning on Juvia. Juvia pried the woman’s hand off her vest, quickly

in his throat at the sight of Mikasa’s tousled, obsidian hair and the dopey expression on the woman’s face. He almost chokes on it when Mikasa lets out a particularly loud snore, managing to startle him. He notices a strand of hair between the crevice of her lips and chews on his bottom lip when he realises the woman’s drooling. Such a beauty. “Wakey, wakey,” he sing-songs, softly, tapping the woman’s nose with each

is that, both paintings are full-body length portraits of women, who are focused directly at the viewer. The scale of both women figures, are fairly similar to human size and their position allows the viewer to get a feel of the uniqueness of each woman’s personality, fashion and style. The portrait of Elizabeth Farren, The Late Countess of Derby, depicts an older woman of age standing in the middle of a natural outdoor background. Her pose is rather modest, and natural while, her right hand is holding