Figure-four

artist’s story behind the artwork. A close examination of this piece concluded that this artwork is a form of propaganda; which serves the purpose of showing the power, prestige and authority of a figure. The artist purposefully made the middle figure the most captivating and attention drawing figure for this reason. As such this papers focal point of analysis will be studying the different artistic tools the artist used to bring out this particular form of propaganda. Looking at the artwork

(Holy Bible) while Morimura takes it a step further a focuses specifically on consumerism in today’s society. Although the background is the same, though perhaps a bit darker, Morimura has altered the costumes and colors to suit his audience. The six figures, representing consumerism in each major country, who were originally dressed in plain clothes have been grossly overdressed in the appropriation. Their clothes are bright and create a stark contrast against the darkened background. The differences

Tomb of Dracula. Colan was inducted into the Will Eisner Comic Book Hall of Fame in 2005. He passed away in 2011. Gene Colan’s mark making is exceptional. The strokes of the pencil and hatching are used to communicate form and structure to the figures and elements in his drawings. Solid black would immensely flatten the images, but the quick hatch work brings energy and life to the characters. This portrait of a vampire character is a good example of the hatching to create form. The vampire’s

weeks spent coming to class, I finally figured out what the course meant to me. This was a course that was devoted to me, to figure out who I am and what my beliefs are. I believe that this course was set in place to not only figure out what I truly believe, but it was to help me grow and learn more about my religion and others. Throughout this course, I was able to figure out my

her figure are quite realistic. She seems to have a calm, but troubled expression on her face, as though she is deep in thought. Overall she is painted in a very detailed manner.      A less visible, yet still present and important aspect of the painting are the three figures positioned behind Joan, and in front of the house. The figures are somewhat transparent, and ghostly. Their presence adds a spiritual and or religious feeling to the scene. These three figures presence

Figure 12 shows the conference’s county ethnic breakdown. These figures contain only the counties that are in the Rocky Mountain Annual Conference area. By excluding state-level data in favor of county-level data, Figure 12 creates a closer relationship to the actual conference totals. However, the area population does not reflect the demographics of its conference membership. The conference contains 2% of each Black or African American, Two or more races, and Asian groups.   Figure 13 – Conference’s

Lawrence Sullivan “Sul” Ross (1918) is a life-size bronze sculpture created by Pompeo Coppini and is currently on display at Texas A&M University. This sculpture features the life-size figure of a very distinguished gentleman, standing diligently on top of a stair-like pedestal. The man is facing outwards with a composed expression as though readying himself for action against a great undertaking, evoking a sense of respect from the viewer who is unable to see this challenge just yet. Charles Keck

battlefield unburied. A culture unknown to a child screams for discovery. Two girls with two different fates will go through difficult trials to accomplish contrasting goals. Antigone and Pai were two young girls who disobeyed respected and authoritative figures. Antigone challenged the King of Thebes’ edict and Pai ignored the chief of her local townspeople’s order. Antigone was sentenced to death while Pai was punished with expulsion of chief in-training activities and scorn from her grandfather. The differences

important art-historical developments. Ideological forces, such as familiar cartoon imagery, “Steamboat Willie”, and formally represented figures, are clearly influences in his work as his interest of hidden subject matter is visually bursted on an oil canvas. He created a blended cartoon-like scene of abstraction and figuration by incorporating a mysterious feminine figure “Moon face” and a recurring character “Mr. Man” to embody a message of escaping from the spiral cage that represents the constraints

captain who had placed Joseph in charge of the household. In this 12.4 cm x 16.2 cm print, Lucas articulates the tension and division at this moment of reckoning through the careful arrangement of the figures, the contrasting depth of space and of light and darkness as well as the articulation of the figures’ facial and body expressions. Lucas