The two pieces in which this paper will discuss will be The Doge’s Palace and Grand Canal (c.1710) created by Luca Carlevarijs as well as Spring on West 78th Street (c.1905) by Childe Hassam. Although these two works are separated by just shy of three hundred years they share a great number of similarities in trying to portray a busy section of their respected urban centers. Carlevarjis portrays the avenue separating the Doge Palace and the Grand Canal of Venice, an area that had plenty of foot traffic from both locals and visitors alike. While in comparison, Hassam represents a busy street in urban American during a time of transition when cities were beginning to become dominated by high rises and growing populations in smaller spaces. However, …show more content…
Both pieces use a lighter hue along with rich saturation in order to create a calm landscape in the eyes of the viewer. Their use of mass places buildings and other objects on both sides of their respected avenues leaving them to be the only open space other than the sky above it. This causes the viewers attention to be immediately drawn to the avenues, which are full of people. While the artists use a similar method in order to frame their avenues, it is their skies, which represent another contrast between the two pieces. Carlevarjis’ uses dark and stormy clouds moving in over the Doge palace on the right side of the piece in order to create a drastic contrast to what is taking place along the ground. In contrast uses mixture of vibrant yellow and reds to lighten up the rest of the scene acting as a light source for the images, particularly in the trees who’s leaves take a mellow tint of orange as a result of the sky above them shining down. Both artists use the overwhelming size of the buildings in their pieces in order to diminish the size of the pedestrians on the street. Creating an atmospheric perspective, as if the viewer was standing above the scenes looking down upon the street. The viewer feels as if they are looking a similar image of two very different historical eras in the similarities in which both artists portray the environment surrounding the pedestrians on the ground
The house is surrounded by green grass which makes the image more realistic and the trees in the background and the tree in the foreground create a sense of depth. The image is quite well spaced out, due to a vast amount of area situated between objects. There is a visual equality in the symmetrical image. There is a contrast between the colours of the image to draw attention to the house. The image looks to be taken in the dusk of the afternoon, where there is not much natural light, which creates a darker tone. The main emphasis of the image is the house, which seems to be quite different when the image is first seen by a viewer. The texture helps emphasize the main focal point seeing though it is quite smooth, the colour also creates a mood towards the image and atmosphere in the image. The line helps develop structure due to the tone being a medium darkness. In some places (the area surrounding the house) is a degree lighter and shadows are present to help form the line throughout this part of the
Gilbert’s use of imagery emphasizes the wild, vibrant, energetic nature of the city of Naples. It becomes clear that, In Gilbert’s eyes, Naples is a city unlike any other. The author writes, “An anthill inside a rabbit warren, with all the exoctism of a Middle Eastern bazaar and a tough of New Orleans voodoo” (Gilbert 175). This shows
Canal is heavy on the use of values. The piece of art work has heavy contrasts and deep shadows. This can be seen with the building on the right’s corridor. In the middle left he uses high light to show the sun light in the horizon. On the right bottom in the building’s outer corridor Canal uses cast shadow and core shadow. The shadows of the individuals walking are consistent in not only in direction, but in length. Canal used planes to divide the surroundings with the building and lines to divide the building to the sky. He also uses lines to create movement and direction as you can see the citizens heading toward the middle of the art work. The “View of the Molo” also gives the building a sense of texture on the surface. The building does not look flat. The windows protrude a bit. One can see depth on the window sills and the bottom corridors. Canal uses one-line perspective and the vanishing point is the building in the bottom middle. Canal’s use of color is minimal. The colors are not vibrant at the same time not dull. The art work uses colors minimally. The temperature of Canal’s art work is
The island of Manhattan was consolidated into the greater New York City in 1898. Because of this the city was transformed from a nineteenth century seaport with cobblestone streets into a twentieth century metropolis of skyscrapers and subways. The artists of the Ashcan movement saw this changing society in human terms. They saw this in a light which depicted the interaction of so many different cultures which were being thrust together. They documented these changes on a level which the ordinary person could understand. Because of the Ashcan School we have a picture of society which one really cannot understand amidst the overpowering spectacle of overpowering buildings and increasing technology.4
...’s book accomplishes a lot in its timid three hundred pages, it lacks more examples of modern architecture and historical landmarks such as the ones discussed above. Also, the lack of chronological order is a new approach, but it might not appeal to all readers.
Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.
From the piece of artwork “Rain at the Auvers”. I can see roofs of houses that are tucked into a valley, trees hiding the town, black birds, clouds upon the horizon, hills, vegetation, a dark stormy sky and rain.
Contrasting is used multiple times in ‘2BRO2B’ to show different point of views or ideas of the people in this utopia. For example, how the painter views the world vs. how the doctor views the world. The painter views the world as this wretched place were no person should ever have to live. While, the doctor sees the world as this great place where everything is in order and you don’t have to worry about anything. Another example would be how for someone to live, someone else has to die. This is a crazy contrast because you are basically giving a life to get a life. It makes no sense to me, I would not want to have to realize that when I was born, my parents would have had to find a person to kill. What child would want that guilty feeling weighing them down all the time. Both of these things are contrasting elements in the story for they both contrast different opinions in their
They might not be very prominent, but they exist the painting and serve as the base for creation. For starters, the window pane contains lines that highlight its simple design. Simplicity remains as the core of this work. Moreover, sill is roughly represented by a thick brown line underneath the window as a boundary in a quietly brilliant fashion. The work has a wonderful color allocation to express the mood. The color is limited within the muted palette color range. Grey—the intermediate color of black and white, is the dominate color for both exterior view and the interior part, as a matter of fact, the observer notices that nearly all colors are mixed instead of natural this work. The cloudy sky corresponds to the grey color of the wall, yet the brightness is not influenced. However, this consistency has successfully created a cold, grave and silent environment for a crowded place such as New York. The whole environment of this painting seems to be surrounded by the negative and depressive
Brown, Patricia Fortini. Art and Life In Renaissance Venice. New York, NY: Harry N. Abrams, Inc., 1997.
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
Florence, Italy was a city just like any other during the Renaissance. It was city of 50,000 people, less than there were in Paris and Venice but more than most other European cities. The busiest parts of the city were the Ponte Vecchio, a place lined with markets and houses, the neighborhood of the Orsanmichele and Mercato Vecchio, or the Old Market. Florence was a place of beauty and leisure. A Venetian visitor once said, “There is in my opinion no region more sweeter than that wherein Florence is a placed for Florence is situated in a plain surrounded on all sides by hills and mountains…And the hills are fertile cultivated, pleasant…” (Unger, pg. 1). Florence was a very prosperous city; it made fortunes off of wool and banking trades. A certain Florentine family contributed to the vast wealth as well. The Medici family was no doubt the foundation of prosperity for Florence.
The first and most obvious instance of aestheticism and decadence as correlating themes in this story is the title, Death in Venice. By fore-grounding the name of the city in the title, Mann is highlighting the city's key role in the unfolding narrative. Mann aligns the word 'Venice' with the word 'death' in the title. This creates a relationship between these two words - the word 'death' strongly infuses the word 'Venice' with all its connotations. Death and decay are important ideas within the context of decadence. By shear nature the title relates the concepts of death and dying to the city of Venice, which implies that the location is where a death will occur. However, this is paralleled by the opening of the story when Mann drearily tells of Aschenbach’s stroll through Munich. In the reading of this passage it ...
In 1516 Thomas More published Utopia, thereby kindling for the Renaissance as well as four our own times a literary ritual designating an idyllic future society and by outcome evaluating the society already in existence. Throughout history, humans have obsessed with projected Utopias of the world that revealed their perception of it. These multidimensional projections can be viewed as naiveties that leaked to the peripheral world nothing more than subjective thoughts. Half a century after More, Leon Battista Alberti promoted a parallel Utopian tradition of designing the Utopian city, one dedicated to Francesco Sforza. This utopian urban planning initiated a multitude of efforts to install a desirable geometrical pattern for future living without narrating how to achieve it. Another few centuries into the future and we view how this obsession with planning for a Utopia still lives through Le Corbusier’s Villa Radieuse master plan. A master plan proposed as the resolution to the enigma of human existence in an industrialized world. Nonetheless with the acknowledgment of the concept of Utopia and the designing for this we come to ponder even more on whether a Utopia can truly exist aside from within ones mind and whether it turns to dystopia when physically established. Can one collective Utopian vision exist or does a Utopic city stem from the coexistence of a variety of utopian thoughts and ideas.
It is also interesting how the first image of the wandering cloud contrasts sharply with the second image of the dancing daffodils.