There is very little space in this painting, as the background is mostly dark leaving the work with only a depth of two dimensions. In the background, the value of brown gets lighter only at the bottom of the painting, and shows the trace of a shadow indicating there is a faint light on the man. Repetition is only used to create an interesting pattern of clothing for the man. This work is a form of representational art since it presents a subject and objects from reality, which include the man, the gun (or arquebus), and the clothes as well. The presence of a gun (modern weaponry) suggests that this painting was from colonial South America and represents people from a higher status, based on the quality of clothing.
Reflections, shadows, and earthly objects can be portrayed in this painting as well. Although they are both telling stories about
The portrait was painted on wood panel and in gothic like form. Nonetheless, this masterpiece is representation of time, the complexity of the painting and the
Viewing the painting, brightens the light in the artwork. There is a sense of reality as the light seems to move through the clouds. The faces of the characters are shown by light and there is an effect of light moving by walking in front of the scene. Emotions are evoked when one looks at this scene. There is a state of protection and safety.
“But even with his death, this was a tale that wouldn't have no ending . . . not now, not ever . . . no ending . . .” (pg.355). This quote represents the fact that once evil has been risen, it is extremely difficult to put an end to it.
The appealing factor of this paintings comes from its message and juxtaposition of colours and stroke
“The Calling of Saint Matthew” by Caravaggio was the Counter-Reformation movement. Light pours in above Christ’s head on the right and reveals stunning detail in the painting. Light glints of the coins on the table and the tax collector’s glasses. The expressions on the faces of the collectors are varied and convey recognizable emotion. In “The Art of Painting” by Vermeer, light shines in from the left and glints off the tiles, chairs, and the chandelier.
The mood of this painting is nurturing and humble. The painting is more life like the any other portrait of Mary and Jesus because Jesus does not have a halo on his head and his
She wears a very exquisite and extravagant ball gown, decorated with laces, bows and feathers. In her right hand is a pink colored rose. She is the center of the portrait, her face turned away from the painter. From outside the world of the painting, there is a ray of sunlight that comes shining down on her. The contrast of light and dark show space and depth, the foreground where Marie Antoinette stands is lighter and where the background is left with a gloomy and dark texture.
In both pictures we are able to identify Humanism, Individualism, and Secularism whether or not if it is a famous painting or
The lines upon which the fresco is ordered show this remarkable symmetry and can be easily observed by noting the tracings displaying symmetry and the connection between the two figures—a feature which is fundamental to the work
Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light.
Leonardo believed that, the integration of the musical harmonies would bring symbiosis to the optical space of the painting and to the one viewing the painting. Leonardo clearly understood how single point perspective could control how the viewer perceived his painting. He employed this technique to draw our attention to Christ’s face which is at the center of the composition. Likewise Christ’s gaze is directed to his left hand whereby he is reaching for the ‘bread’.
A varied balance between the symbolic and realism has been struck world over by the painting. In the fifteenth century Western painting began to turn from its age- old concern with spiritual realities towards an effort to combine this spiritual expression with as complete an imitation as possible of the outside
Alfred uses a close-up shot in this scene to make sure the painting is clearly shown to the viewers similar to all his other scenes with
