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Metal X Glass Wallpaper Analysis Essay

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Metal X Glass Wallpaper by Arte
With ultra-fine glass beads added to the wallcovering on non-woven backing, the Metal X Glass Wallpaper is nothing but shiny and shimmery. The baroque flavour that goes with it, keeps it distinct and exclusive, while the underlying layer of lightly oxidised metal creates colour variations that dazzles the eye and adds character to any interior. Available in patterns of Plain Metallic, Damask Glassbeads, Damask Metallic, Damask Gold, Stripes Glassbeads, Stripes Gold, Leaves Glassbeads, and Tree Glassbeads.
Metallics Wallpaper by Arte
One of the classics in mural decoration, Metallics Wallpaper on non-woven backing easily turns empty walls into opulent and tasteful backdrops for when you want to relax in style …show more content…

The Radiant pattern embraces how easily linen wrinkles and creates something wonderful out of it. Damaslin, on the other hand, highlights the beauty of linen when ironed out – smooth and crisp, while Lino provides a clear insight as to just how classy linen can be. The Linen Collection undoubtedly belongs to superior residential and project interiors.
Wild Wallpaper by Arte
Bringing in the beauty of the wild into your home, the Wild Wallpaper is a hand-woven wallcovering made from natural plant fibres, but produced with a velvet feel, rather than a fibrous experience. It is one of the few Arte wallcoverings with fairly big prints, most appropriate for spacious rooms, but would look just as fitting and interesting in a small room. Go bold. Go wild.
Xanadu Wallpaper by Arte
Named after Kublia Khan’s summer residence, which is described as ‘full of luxury and magnificence’, the Xanadu Wallpaper is oozing with the same level of opulence and style. It can easily transform any interior, giving it the royal look and feel, without compromising design and refinement. This hand-woven wallcovering is made from the natural fibres of Abacá and Sisal, with under-prints integrated into it. Available in ten

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Specifically, mural art decorations cover most of the compound walls in Siriguyi, Ghana and communicate information that identifies the artists’ society. In this society art is functional and serves a purpose of not only being decorative but depicting the culture of the Nankani in its symbolism. Motifs and reliefs that are recognizable are highly regarded by the community. According to Kofi, "the Ghanaian artist, as a distinct member of his society he always wishes to create something that is recognizable in his symbolism... and he is disinclined to exceed the semi- abstract in order to express it." Generally, the designers (women artists) conform to the traditional decorations that demonstrate a preference for art that can be recognized.

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During her time in the room she felt the room “at night in any kind of light, in twilight, candlelight, lamplight, and worst of all by moonlight, it becomes bars!” (Gilman 304). The narrator of the yellow wallpaper descends into madness to escape the cruel dominance of her society. As the story progresses the yellow wallpaper becomes a constant companion. She first dislikes the color and despises the pattern, but after closely studying the pattern “a strange, provoking, formless sort of figure that seems to skulk about behind that silly and conspicuous front design” and after obsessing over the painting she finds bars hidden.

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Charlotte Perkins Gilman and Kate Chopin are two of the many famous short story writers. Charlotte Perkins is the author of “The Yellow Wallpaper”, which was written in 1899. “The Yellow Wallpaper” is a short story about a woman inclination into madness for postpartum depression while being treated by her husband, John while living in their summer mansion. The woman is locked into a nursery by her husband, which is covered in yellow wallpaper. “So we took the nursery at the top of the house.”

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The vast majority of people wouldn’t give the wallpaper much thought, however the narrator becomes obsessed with it. To the narrator, the wallpaper is alive and becomes the focus of all her time. Her overwhelming lure to the wallpaper becomes obvious when she first provides a very vivid description stating “It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide – plunge off at outrageous angles, destroy themselves in unheard of contradictions” (217-218). As she begins to lose her grip on reality, the narrator beings to see faces and eventually a woman within the wallpaper. At first, her description of seeing faces in the wallpaper seems like it could be her mind making since of the varying patterns or just part of her imagination.

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