A lot of Poe’s stories deal with the psychology of the human mind, Poe believed that every word included in a story should produce a different reaction from the audience. Commentary for “THE PATH OF FALSE RADIANCE” I chose imitate the depraved storylines and short story style that Edgar Allen Poe used with such harsh confidence. By using his style I felt that it helped narrow down my topic selection to the horror and gothic genre. My Main objective was to write a story in the style of Poe, using his techniques and conventions from his own stories, and I have felt that I have done this quite lucratively. A lot of Poe’s stories deal with the psychology of and behind the human mind, Poe believed that every word included in a story should produce a different reaction from the audience, and in believing this Poe became a “critic” of short stories and was known as the “farther of short stories”. I feel I have successfully consummated in my story. From this when you look at one of his pieces work, you can see the broad vocabulary which I being used, and this is something I successfully in my opinion used in my work. A dexterity which I believe Poe has mastered, is the use of foreshadowing, in which the author drops subtle hints about plot developments to come later in the story, each of these hints widens the possible consequences and maintains tension throughout the narrative. For example in “The Tell Tale Heart”, “I soon found a dislike to it arising within me. This was just the reverse of what I had anticipated”. In this story, the beginning talks about how and why he loves his cat, but with this sentence, it gives us a hint of what is about to come, by using the word “reverse” he does not have to explain himself, because it suggests it is the direct opposite of what he had said before. In my story, “me a sense of pleasant enjoyment, and the other was to be a distraught fear, knowing that the devil was to return”. I tried to use foreshadowing, but I feel that I was not subtle enough, and that I gave away too much information and the reader from then on could expect the tormentor was to return. By referring to the tormentor as being the “devil”, makes the tormenting voices seems as they are coming from hell – making his sin seem worse then it already is, and also helps give depth to this supernatural power. A common element in Poe’s stories is that there are many words which are in italics; this
Edgar Allan Poe, an often misinterpreted literary mastermind, known predominantly by his extraordinary tales of horror, forbidden love, madness, and mystery, is more than meets the eye. Though his genres of expertise may indicate otherwise, Poe was a very social person, a gentleman by trade, and he possessed more hands-on military experience than any other major American author in history. As a writer, Poe gained a great deal of his inspiration from his surroundings. His enlistment in the army contributed significantly to his repertoire, and inspired some of his greatest works, including “’The Gold Bug;’ ’The Man Who Was Used Up,’ a satire of southern frontier politics; ‘The Balloon Hoax,’ set along the mid-Atlantic Carolinas coast; ‘The Oblong Box,’ involving a voyage out of Charleston harbor; [and] ‘The Cask of Amontillado,’ possibly based on a Fort Independence/Castle Island Legend”(Beidler, Soldier 342). The death of his mother and his unfortunate love life played another major role in his authoring, giving him the ability to write about “. . . the intense symbiosis between love and hatred . . . [illustrating that] love is seldom as simple or as happy as popularly hoped” (Hoffman 81). Poe’s chilling tales remain popular today, and have a long history of providing inspiration for major books and other cultural staples of entertainment.
What the author is doing is letting the reader foreshadow. A technique which creates suspense, a vital element in any action story. The author then explained what was being hinted at;
Starting with visual elements I saw lines, implied depth, and texture. I see lines by him using lines created by an edge. Each line is curved not straight but it works with the piece. By using this he creates the piece to make it whole. He uses many curved lines within the painting I don’t know if there is a straight line in the whole thing. The next element I saw was implied depth. Using linear perspective you can see the mountains but they look smaller than the rest of the piece. They are the vanishing point in the back making it look as if you can walk down and they will get closer and closer to you. The last element that I saw was texture. They talk about Van Gogh’s painting, The Starry Night having texture through a two- dimensional surface, in which this painting has that similar feel. Van Gogh uses thick brush stokes on his paintings to show his feelings. There is actually a name for this called, Impasto,
This gives the readers a clue that what is to happen in the upcoming text is a
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Edgar Allan Poe was born in Boston, Massachusetts, the son of actress Elizabeth Arnold Hopkins Poe and actor David Poe, Jr. His father abandoned the family in 1810, and his mother died of tuberculosis when he was only two, so Poe was taken into the home of John Allan, a successful tobacco merchant in Richmond, Virginia. Although his middle name is often misspelled as "Allen," it is actually "Allan" after this family. After attending the Misses Duborg boarding school in London and Manor School in Stoke Newington, London, England, Poe moved back to Richmond, Virginia, with the Allans in 1820. Poe registered at the University of Virginia in 1826, but only stayed there for one year. He was estranged from his foster father at some point in this period over gambling debts Poe had acquired while trying to get more spending money, and so Poe enlisted in the United States Army as a private using the name Edgar A. Perry on May 26, 1827. That same year, he released his first book, Tamarlane and Other Poems. After serving for two years and attaining the rank of Sergeant-major, Poe was discharged. In 1829, Poe's foster mother Frances Allan died and he published his second book, Al Aaraf. As per his foster mother's deathwish, Poe reconciled with his foster father, who coordinated an appointment for him to the United States Military Academy at West Point. His time at West Point was ill-fated, however, as Poe supposedly deliberately disobeyed orders and was dismissed. After that, his foster father repudiated him until his death in March 27, 1834.
The chronicler reveals his insanity by admitting he stalks his martyr every night, “And every night, about midnight, I turned the latch of his door and opened it --oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head.” His obsession indicates he has a mental illness that goes beyond physical wellness. The character seems to struggle with his own passing thoughts and his difficulty in deciphering reality and paranoia of his tale of the past. Storyteller denies his madness, “Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded --with what caution --with what
Throughout the life of Edgar Allan Poe, he suffered many unfortunate events and endured several difficult situations. Some speculate that it was these experiences that helped to formulate the famous writing style of Edgar Allan Poe. His dark tales such as "The Masque of the Red Death" and "The Tell-Tale Heart" are horrific, and his poems such as "Alone" and "The Raven" show evidence that his life experiences influenced their dreariness. Poe's story plots and his own life are undeniably related and this relationship is intricately defined in many of his works.
that draws the strongest contrast. When I see his painting, I see someone that is trying to express
An eerie feeling comes to mind when you hear the name Poe. The detail that he puts in his works are so realistic that you think he would be serving multiple life sentences in a maximum security prison. Some of his works include, the Raven and the Tell Tale Heart. The football team named the Baltimore Ravens adopted the name to instill a sense of fear into their opponents as he instilled in his readers. Edgar Allan Poe’s writing style has been attempted by many, but no one has ever paralleled him due to the fact that he had serious issues like being a major drug addict and his family was very nonexistent and abusive.
The life of Edgar Allan Poe, was stuffed with tragedies that all affected his art. From the very start of his writing career, he adored writing poems for the ladies in his life. When he reached adulthood and came to the realization of how harsh life could be, his writing grew to be darker and more disturbing, possibly as a result of his intense experimenting with opium and alcohol. His stories continue to be some of the most frightening stories ever composed, because of this, some have considered this to be the reason behind these themes. Many historians and literature enthusiasts have presumed his volatile love life as the source while others have credited it to his substance abuse. The influence of his one-of-a-kind writing is more than likely a combination of both theories; but the main factor is the death of many of his loved ones and the abuse which he endured. This, not surprisingly, darkened his perspective considerably.
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
In this piece Benny has depicted himself in the artwork creating another piece of artwork. He is standing at a 45° angle as if he has been interrupted by us, the viewer. This is how Benny engages us, the viewer into his painting. As if we are just as much a part of it as he is. When looking at his painting from a distance it seems as if it is just another oil painting but upon closer observation you can clearly see the different fabrics that he uses to create the collage and which gives the painting its textures. He shows space in the painting by leaving the wall on which the canvas hangs, bare, as is the floor with the exception of the box of rags that he uses in his collage.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
Clearly, the piece is not in its original form, nor was it even twenty years after completion. However, due to the concern, care, diligence, and expertise of many art lovers, there remains at least a remnant of da Vinci’s masterpiece to be studied and enjoyed by future scholars and visitor.