The Deer at Providencia Interpretive Response In Annie Dillard’s story, The Deer at Providencia, the author recounts a shocking event during her trip to Ecuador along with a small moment back in her home. What do these two seemingly unconnected moments have in common? They both share the idea of suffering and pity, which are greatly reflected in the story’s message. That message being to not be surprised by the suffering that surrounds this world.
Introduction- Description of artwork (medium used) and themes presented in the artwork As you may know Native American invented the game, lacrosse and one of the most famous players of his time was known as Tul-lock-chish-ko. The artist, George Catlin depicts Tul-lock-chísh-ko, Drinks the Juice of the Stone on oil on a canvas Looking at the 29 x 24 inch portrait, you may be asking “ what are those things in his hands? , Could they be lacrosse sticks?” The Choctaw would play with no armor, no shirts, and no shoes. Tul-lock-chish-ko is adorned with red headdress representing his culture and his strength as a warrior.
Whenever I see skulls I automatically think of death. In Harnett’s painting, the skull, candle that has been burnt completely down, and hour glass that has expired reinforce the symbolism towards death. He used a quote from Hamlet in his painting which can also strengthen theme of death in
This painting is a powerful image that represents the reality of many Afro-American families of the time. Contrary to “Good Night Irene”, this painting shows a more two-dimensional perspective in which the shapes and lines are sharper. The members of the body, such as arms and neck, look longer than they should be, but that rather than look artificial creates a continuity in the picture. As well as in the last painting, this one is very realistic and natural, the shapes are not ambiguous or dubious so for the admirer is easy to identify what the artist wanted to express. In terms of technique, the strokes and lines in “Good Night Irene” are very defined, and in “Lynch family” are too.
Alfred Stieglitz believed that there was much more to a portrait than the face. He explored this type of work by photographing various body parts of his wife Georgia O’Keefe. In this photo titled, Neck, the sharp lines of the jaw and the positon of the neck draw you into this photo. The glimpse of the fingers balances the photo to draw emphasis to the elements of the lines. It is a modern approach to the style that Stieglitz was well-known for in his work.
The painting is a caricature of Harris and Klebold’s heads resting on two fingers of a giant hand. It was given the name, “Crop Failure.” Their faces were both painted with an evil and cruel expression. They are both grinning, but their eyes look lifeless and degenerate. The canvas is white with a lot of red in the background.
The dust across the mid ground of the painting contrasts against the blue and green hues of the top third of the painting. The detail of the drover on his horse in the foreground of the painting shows how Roberts can have intricate details whilst maintaining a soft and smooth stroke line. This interprets the theme of ‘The Bush’ by comparing it to Australia’s inner core landscape. The green from the trees is perched above and away from the earthy tones below. The perfectly blue sky shows a hope in the distance indicating the help the drover needs in this story.
Darker hues to the left and lighter hues reserved to show the sunlight reflecting off the snow to the right. By arranging the composition around the central figure of the fox, Courbet actually draws all of the attention of the viewer to the animal first, to the action taking place on the canvas. The small areas of blood around the carcass provide extra tension between the works light and dark areas with saturated and muted colors. The horizon lines all bring you to the focal point of the fox in the middle of the painting, your eyes then travel around the scene, taking in the rocky ledges and the frozen lake in the background.
However, this specific skull and the way it was painted represents a totally different thing. The skull is an interesting feature because it is different than the rest of the painting. The painting seems very realistic and life like but the skull adds a strange feature. The skull was not even noticeable until I read the description of the painting.
William Eggleston’s, “Baby Doll Cadillac”, is a photograph from the Los Alamos Portfolio (1965-74) that was taken in 1973. In this photograph, you can see a summer blue sky and a few number of dolls that are visible in the photo, laying on top of the hood of a car. Eggleston’s photo is a close-up of the Cadillac’s front side that has an oceanic turquoise color, including the logo emblem of the Cadillac on the front side of the car and the top part of the hood. On top of the hood, lays about 12 dolls that are from either the 1960s or 70s sitting or lying almost in a V-shape. The V-shape arrangement of the dolls give a triangular composition of the blue sky, as well as how the doll is facing also raising either the left or right arm.
1. The potential cultural purpose of these drawing meant to leave behind a powerful message of their culture. While thinking about what's the purpose of their message and the understanding of their culture. It also could be some sort of a worship or ritual in animals and their purpose of being there. Each animal has a story behind in the painting.
Created with horse hair drenched with blood, these sculptures reference Medusa in Greek mythology. Not only is there a slightly horrifying quality in viewing these works, but also an almost paralyzing experience. “These sculptures, doomed to decay and decompose, reveal themselves to the curious eye as an enticing inducement to pass through the forbidden, the ominous, that leads our petulant psyche into temptation.” The abject brings out a type of intensified emotion, in which the viewers are exposed to a horror that is guided with protection. It is why we watch horror movies and visit haunted houses.
The Use of Deer-hunting As Way of Speaking About Women The uses of deer-hunting in Wyatt’s «Whoso list to hunt», Spenser’s Amoretti 67, and Dickinson’s «My Life had stood – a Loaded Gun» have different meanings and interpretations due to authors’ different perception of the world and the environment that all three of them lived in and developed their written art. All three narrators allude to the idea where the use of deer-hunting symbolizes a chase for women’s love, women’s power or powerlessness. Particularly, Wyatt’s and Spenser’s poems symbolize women’s power and control over men, while Dickinson’s poem has a meaning to express women’s powerlessness in front of the men.
This is another one of Kruger’s classic red, white and black pieces. It is the outline of a woman’s body, pinned down and immobile. It is a representation of women’s place in society, more specifically, a patriarchal society (“Barbara Kruger Biography, Art and Analysis of Works”). This brings me back to our first reading, Two Or Three Things I Know For Sure, where Dorothy Allison gives a vivid description of the women in her life. She considers them an after thought, even background noise, she writes, “The women of my family were measured, manlike, sexless, bearers of babies, burdens and contempt” (Allison 33).
This substantial scale painting illuminates the significance of motherhood on the course of history. In this photo, Cornelia is chatting with another society lady who is flaunting her gems. Cornelia, be that as it may, demonstrates gems of very another sort: her two children, the Gracchi. These are her most noteworthy fortunes; in fact, Cornelia was a critical in the background player in their eventual political acendency. Luckily, Kauffman had the imaginative virtuosity to acknowledge such an inconspicuous passionate moment.
