The painting is oil on canvas and contains an extensive amount of contrast. For example, the bright vermillion blanket against the dull eggshell colored door. The disparity between the colors used is prominent. Additionally, the fusion of ornate patterns and simplistic solids is evident. The tablecloth is a geometric mixture of cream and periwinkle.
Visual Analysis Renaissance Portraiture della Francesca,P. (c.1472-74) Diptych of Federico da Montefeltro and Battista Sforza. This portrait is supposedly a commemorative portrait in commemoration of Battista Sforza the Duke’s second wife ,it was a very privileged thing to have an image of yourself and this portrays the Montefeltro wealth as the ‘Montefeltro family in Urbino was Piero's most generous patron towards the mid 15th century’ . Further the Duke was not an average Duke but also a professional military leader therefore it is likely he was extremely wealthy enabling this portrait to be created.
The use of the fresco technique when painting, usually produces a matte-like finish once it has dried, a trait that can be noted when analyzing Bondone’s painting, The Meeting of Joachim and Anna. On the other hand, Simone Martini’s painting, The Annunciation, shows the opposite finish of Bondone’s painting, because The Annunciation is considered to be very elegant, and includes a gold background, which enhances its brilliance. This is mainly because The Annunciation was painted in tempera and gold leaf on wooden panels, the opposite of a fresco painting. The use of tempera and gold leaf added immense sophistication and brilliance to Martini’s painting, something that Bondone’s painting was lacking. While Bondone’s painting has a matte finish which can be associated with the Florentine style of art, and Martini’s painting has more of an elegant finish,
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
In Ken Kesey’s One Flew Over the Cuckoo’s Nest, female characters are utilized in a way that reflect how appearances set expectations in the form of gender roles. Just as the slender, curvy, dainty form of a woman is seen, so is her delicate, conforming, and docile manner expected. Kesey’s most forefront female, Nurse Ratched, is an unexpected mix of awe-inspiring and fear-inducing. Her appearance, however, is repeatedly described as ruined due to her having huge breasts. Since breasts are obviously characteristic of females, they take away from the role she aims to keep as the head of her ward.
Throughout the course of time women have evolved to better themselves instead of pleasing others. In the novel The Maltese Falcon By Dashiell Hammett has two characters that are important women. These 2 women are key characters to the story to aid in solving the murder mystery. Each woman has completely different personality that clearly displays the change from the stereotypical persona of a woman always being dependent on a man to evolving to this new self sustained woman.
Ken Kesey’s One Flew Over the Cuckoo’s Nest, published in 1962, tells the story of men in a psychiatric ward and focuses on two characters called McMurphy and Bromden, and their defiance towards the institution’s system. A critical factor in this novel are the women. The 1960’s played a significant role in changing the norms of social issues, and the perfect idea of women was changing too. Women were no longer just stay at home wives, but had their own voice in society, and many people did not agree with these untraditional views. Kesey’s representation of women in this novel illustrate them in a poor light that makes it obvious that they don’t fit the ideal womanly persona.
The painting has a light and smooth finish to finish to it, and at the same time the bold outlines of the male figures appear like a sketching. Little detail compared to the woman in the center of the canvas. The clouds are dark and made with
Analysis of “Migrant Mother” The famous photo of the Dorothea Lange known as “Migrant Mother” has become an icon of the great depression. It is an image of mother and her three children. The photo was captured in 1936 in Nipomo, California. To analyze any piece of art is totally depending upon the reader’s perception, what the readers sees in that piece of art they can present their own views about it.
The film Vertigo by Alfred Hitchcock employs various clever camera movements and sequences which seem to portray the main character’s state of mind. Right from the opening sequence the cinematography in this film had me intrigued. The viewer is show the red filtered eyes of a mysterious woman which zooms into a black void where animated colored rings spin and zoom to a menacing and mysterious sounding score, all of this provides the foundation for a film about illusions. The film also does a good job at using an unreliable main character who is oblivious to the trickery going on around him. The character of Scottie is flawed through his naivety and his investment in romance.
Madeleine turns out to be like an artistic creation herself as is the portrait of Carlotta Valdes. This technique makes it look like the painting is leaking on her, transforming her into Carlotta. Scottie can be associated with the painter of the portrait as he transforms Judy into a kind of Madeleine who answers his fantasy: the image of Carlotta because Scottie is more mesmerised by the painting than he is by Madeleine.
The Migrant Mother photograph represented what people were going through day by day and the emotions he or she was forced to overcome. Just the basic picture itself has many meanings and interpretations. Dorothy Lange captured a heart wrenching image of a mother and her children. The contrast and shadows of the photograph give it a dark and grieving tone. The mother is positioned in the center as the focus, however, the children are surrounding her in the background.
They are the only person who recognized Marilyn Monroe, because she was looking completely different from the movie, because she did not wearing her makeup, clothes in ''man's navy coat to her angles and with sleeves past her wrists, a man's beige fedora hat on head" (93), which makes them very surprise to see her like that. They expecting a man to fetch her up but she is all-alone. It makes them feel comfortable in their lesbian relationship that was unrelated to the men kind. They hide their self and following Marilyn Monroe, observing her characters and the books which shocked them, because they never thought she would be a person like that an absolutely unmatched from the movie.
She exists in a time when women are classified as objects of beauty and property, and her heart trouble suggests that she is fragile. Louise’s initial reaction to the news of her husband’s death suggests that she is deeply saddened and grief stricken when she escapes to her bedroom. However, the reader is caught off-guard with Louise’s secret reaction to the news of her husband’s death because she contradicts the gender norm of the 19th century woman. Her contradiction to the stereotype / gender norm is displayed when she slowly reveals her inward
4) is another outstanding example of Raphael’s Roman portraits. At the centre of this harmonious composition Raphael adds a curious psychological note in the melancholy eyes that illuminate the cardinal’s pallid and exhausted countenance. The portrait has been drawn in accordance with Leonardo’s opinion that portraits can be drawn best with a dark background. A reference to dark backgrounds may remind the reader of Raphael’s Florentine period under the influence of Leonardo when he produced “Granduca Madonna” (fig. 5), the masterpiece where he was able to draw exquisite rhythmical modulations out of the motionless simplicity of the design. Giorgio Vasari noted that Raphael excelled in creating effects of drapery folds disappearing into shadows and coming forward into light, and that he knew how to relate the colours of drapery to the flesh tones so that semi-nude figures did not seem cut into two.
