The size of the painting is 34 3/8 x 45 3/4 in. (86.5 x 115 cm). The height in proportion to the width shows that the painting is not proportional but it is not far off from forming a perfect square. The frame does not cut-off any of the people in the painting. The composition is centered and zoomed in to show what is going on. The composition is not simple but it is not complex either. The composition is not geometrically ordered. The people seem to be free and in motion. There is asymmetry throughout the painting. In the organization of the painting the objects appear to be crowded. There is not a lot of space between the people who appear to be fighting. The shapes of the people show that the mermaids are fighting a big guy and the placement of them shows unbalance. There are a couple objects presents. A total of three mermaids are presents including a triton and some objects are in the background represented by shadows. The sizes of the objects in the center of the composition are big compared to the ones in the background. A lot of emphasis is present in the center of the painting. The forms of the mermaids and triton are volumetric and a nice scenery is present in the background. The mermaids and trition are formed by contoured lines. Some of the lines are sharp and defined to show the natural curves on the human body and there is blurred out lines in the water to show waves and movements. The lines help give the painting a realistic feel to it. The lines are active in the reflection of the water. The color pallet present in the painting is soft with neutral warm colors. Only a couple different colors were used and the red color on the mermaid stands out the most. The neutral skin color is dominant because it is the color mo...
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...g down into the ocean from the triton and mermaids. Adding texture The softness in the skin of the mermaids is texture applied by the artist. Böcklin adds texture to his painting by applying small strokes to help contour the bodies. The strokes vary thoroughout the painting to imply different texture. Actual texture is texture that can be felt and is tactile. The smoothness in the skin that is applied by the contoured lines that get blurred out in the background make the mermaids skin look smooth. Visual texture is shown in the background by the people behind the mermaids. Submersive texture to me looks like the blood in the water. At first I thought it was a piece of clothing but I then took a second look to try to figure out exactly what it was. The dark colors mixed with the blak on the mermaid that is on the tritons shoulder is what made me realize it was blood.
Large and medium sizes of the forms dominate over small in the painting. The arrangement of the objects in this art piece is mostly centric. However, even though it is central, it is not symmetrical. The painter also touched the left edge of the burlap and the right bottom corner of it; this helps viewer’s eye to enter the painting smoothly, move around and escape from it. The asymmetry of the arrangement creates the sense of imbalance. Lam uses basic lines and shapes in the composition. Nevertheless, the painter creates wonderful light movement inside the figure with wavy shapes, which directs viewer’s eye from the top to the
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
...elationship between the people in the composition and their feelings in each other’s company. The viewer is forced to think critically about the people in the painting and their feelings and body language.
It is where people can enjoy the water splashing on the shore while they stand on the warm sand. Looking out upon the ocean helps create a sense of wonder because it appears to go on forever and blends into the natural sky. While soothing sensation occurs as the waves approach and splash on the beach. Through the use a focal point, which appears to be the small children in the red shirts, the artist evokes feelings from many viewers who have visited the beach before. This brings back fond memories for those who have spent countless hours as children swimming in the ocean and enjoying the beach. It also brings back times of being relaxed by the soothing sounds of the ocean waves as the come onto the beach. The artist uses the element of color to help bring out more positive emotion. The white tips of the ocean waves help make the painting appear more realistic, the red shirt brings out the warmth and enjoyment of being on the beach, and the blue background brings out the cool soothing emotions with the natural beauty of the water and sky. These color help connect the audience into being reminded of all the fun going to the beach
Under the sea, in an idyllic and beautiful garden, stands a statue of a young man cut out of cold stone – for the Little Mermaid who knows nothing but the sea, the statue stands as an emblem of the mysterious over-world, a stimulus for imagination and sexual desire, an incentive for expansion of experience, and most predominately, an indication that something great and all-encompassing is missing from her existence. Traces of curiosity and a vague indication of the complexities of adult desires mark the child mermaid; in such a stage of development, the statue will suffice. However, as the Little Mermaid reaches puberty, the statue must allegorically come alive in order to parallel the manifestation of her new-found adult desires – the statue must become a prince in his world of adulthood above the sea. Thus, powered by an insistent and ambiguous longing for self-completion, the Little Mermaid embarks on a journey of self-discovery, and, to her ultimate misfortune, prematurely abandons her child-like self as sexual lust and the lust for an adult life takes hold of her.
The artist also used shadowing in order to create depth within the rocks, the shadow in front of her and the edges of the fish swimming up. Gannis also used highlights and shadowing within the clouds using white and contrasting colors such as the purples and blues against the pinks and yellows to make them appear three dimensional and extra fluffy, very much like cotton candy. The main way she used the illusion of dimensional space is by blurring out the background and only keeping a focus on herself, the fish, and where she is standing. She also uses a lot of texture to imply depth as well as implying texture. It can be detailed as the extra strokes within the hair to make it look fluffier and with more bounce, the rocks are layered and broken down to show it has been there for a while and maybe a mountain side. The artist even uses highlights and shading to exaggerate the scales on the fish to imply the fish was in fact real. Gannis uses whites and pinks on her back to not only sheer out the nighty, but mixes it with other coloring in order to show the dress is flowing off of her and into the direction that the wind is
The main focal point of the painting is the dark-colored man with no shirt, laying on the right side of the boat, which is in the center of the middle ground. The dark-colored man is a focal point because he is the only person in the boat and it is surprising how he is not looking at the sharks, but is instead looking towards the right. He symbolizes mortality and survival in the middle of danger because in his hand he holds a sharp wooden object that he used to stab the sharks, which resulted in the red hue on the water. Also, the man’s posture of looking away from the sharks and having a fixed gazed connotes his audacity, perseverance, and braveness against anything that passes through his way like the sharks. His posture is saying to ignore
So, this painting creates a visual depiction of what people think and feel. The next two pieces create a different kind of impression, they are not showing us how it look directly, it is not something we can see with our eyes.
His boat floats on the horizon and the sky above him is created with green and grey paint. Beneath him the ocean follows a similar color palette except with yellow lines for the ripples created in the water. Nothing is drawn with much detail, in fact both the man, mermaid, and island are drawn as nothing more than just a black silhouette. These silhouettes are painted much differently than the remainder of the painting, instead of being composed of multiple colors, they are a simple solid black mass. Within the silhouettes the artist has placed little white designs in a way that equals out the dark muddy colors. It certainly grabs the attention of the viewer, cueing them in on the subjects and story depicted. The painting seems to tell the story of exile, considering Bedia’s past it certainly is fitting, but that will be discussed in more detail later. Due to the dark setting, the viewer is left to assume that the the man is escaping in secrecy. The design he carries on his chest is a shooting star, while the one represented on the mermaid is the symbol for
The bodies of the three figures in the painting are in correct proportion and are very naturalistic, a hierarchy of scale is not present. A sense of weight is seen in each figure; the girl getting kissed has a sense of weight in relation to the boy holding her, the boy has a sense of weight in how he leans in and on the girl for a kiss and lastly the other girl has a sense of weight in how she leans on the table.
Walt Disney Pictures films have created dozens of both classic and contemporary films that have stood the test of time. Disney has taught with generations of people valuable life lessons by illustrating good and evil. Films are good ways to share both fictional and real stories that have antagonist, which causes conflict. In Disney films, the antagonist often represents societies view of what a monster is. Disney uses commonly known ‘monsters’ as characters to create stories while maintaining the fact that there are a variety of villains that differ from culture to culture. Commonly understood as being evil or wicked or ugly and deformed, but there is also another side to this common belief that monsters fall under that belief.
She soon stopped hanging out with her friends and changed her entire personality, losing her voice, in order for Eric to fall in love with her. A thorough research has been carried out by linguists Carmen Fought and Karen Eisenhauer in which they researched how often each gender role spoke in each film. Their objective for doing this was to shine light on the way in which male roles used to dominate speech time, in comparison to recent Disney films that show women giving more vocal characters to play. Snow White (1937), Cinderella (1950) and Sleepy Beauty (1959) all show that women characters get over 50% of dialogue, whereas all of the Disney princess films released in the late 80s and 90s show that females only had around 20% of the overall dialogue time. Considering these films all have a female lead, these statistics show that male characters withhold supremacy even when they aren’t the main character, overpowering the female lead in her own film.Throughout the majority of Disney’s films, there’s an underlying statement that normalises male dominance and in which holds a negative impact over the youth of today, if children’s films continue to portray this outdated message over and over again, then children will grow up with a huge misconception of how they should be, which leaves a worryingly foundation set for the upcoming generation of this time. Many children idolise the characters in Disney films that’s why it’s very important to analyse the representations these characters are portraying for the children of our society to see. When a child has been engraved with these stereotypes since they can remember, it will be difficult for a child to separate these
Mermaids, Fairies, and Witches are some of the most prominent mythical characters in today’s entertainment. These creatures are common characters in Folklore from various countries around the world. Folklore from other countries and cultures often affects how authors portray these creatures in the movies, books, and TV shows that are familiar to the citizens of America. One such country is Scotland, which is filled with multitudes of different folk stories. Scottish Folklore in particular has many tales about these three well known creatures. The most commonly known folklore from Scotland has had a huge impact on some of the most well known entertainment in the United States today.
Of all the Impressionist artists, it is Pierre Auguste Renoir who is most interested in painting humans and studying the portrayal of human emotions. Renoir’s technique of broken brush strokes was combined with brash colours to portray the light and movement of the subject. He was greatly inspired to paint figures, particularly of women. Renoir succeeded in assembling several figures in one frame and his compositions were complex and demanded several revisions. In the 1880s Pierre-Auguste Renoir sought to move his art beyond Impressionism and to forge a link between modern art and the classical tradition of French painting from the Renaissance period. The result was this large-scale composition of nude bathers, which occupied much of his attention for three years. This work is unique in the history of modern painting for their representation of feminine grace, and they show Renoir’s ability to capture the soft and pearly texture of skin. Even though his figures in “The large Bathers” do not follow the impressionist style of broken brush strokes, the landscape in this painting seems looks like an impressionist landscape.
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...