In Gateways To Art, by Debra J. Dewitte there are easily over a hundred photos to choose from for an analysis paper. I chose Gentileschi, Judith Decapitating Holofernes. This painting was created in 1620 by Artemisia Gentileschi. I will describe the subject matter in the artwork, the composition in the artwork, and why I believe that the artwork is conceptual and perceptual.
I believe this image is very intense because it is displaying a murder. According to the book it states “The light values of the five bare arms create strong directional lines that lead to the focal point” (DeWitte:139). The focal point in this painting is the sword cutting Holofernes’ neck. This image implies that Judith needed assistance in the murder of Holofernes because he was a strong man to take down. While one person was holding him down the other one was cutting his head off. When looking at the surroundings, you can tell that Holofernes is in bed. This causes you to assume that his assassination was
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My eyes first land on the focal point, Holofernes’ neck. Then they move into the darkness on his face; the shade of black on his face symbolizes death. The book states “Judith’s arms those of her maidservant as they stretch toward the dark values of their victim’s head” (DeWitte:139). This means the artist made the surroundings lighter to emphasise the darkness of the actual conflict. The lines used in this painting put emphasis on the way the sword lines up to Holofernes’ neck to represent the way he died. Judith’s right hand is on on the sword in line with it to signify that she killed him. Then the maid servant's hand is lined up with the sword to represent that she was just as involved as Judith in the death of Holofernes.The last thing I see when I look at this is the black background. It’s the darkest shade of black because it symbolizes that something tragic is
Looking across the entire triptych certain visual elements can be seen. Lighting is carefully used to highlight many important details in the painting; the dramatic facial expressions of many of the people in this scene are clearly lighted and defined to illustrate the emotions felt by the witnesses. In the left panel of The Raising of the Cross, among the mourners appear to be St. John, another man that seems to be consoling St. John, Elizabeth (the mother of John the Baptist), St. Mary (the mother of Jesus) and Mary Magdalene (hoocher.com). One of the mourners is actually looking directly at the viewer with a very distraught expression on her face. The mourner that I suspect is St. John in the back appears to be almost nauseous and his face is surrounded by darkness and is subordinate and his face is being emphasized. Also, the rocky background is subordin...
Even so, Gentileschi’s “Judith” has avoided the superficial comparisons and visual devaluation associated with mass reproduction as has happened to images of Leonardo’s Mona Lisa, Van Gogh’s Starry Night or Klimt’s The Kiss. The painting remains unexpected, visually provocative, and historically
The painting is a large painting it is almost five feet tall and four feet wide. It is an oil painting on traditional canvass. The color choice is very dark and gloomy. It serves the purpose of putting the viewer in a somber mood. From the first glance you can tell that this is a sad setting. To some viewers Ida might bring a feeling of disgust, however, after closer inspection of the painting, the inner beauty seeps out. The black backdrop works to bring Ida out to the viewer. The fact that Albright was able to take a young and pretty model, transform her into an almost “Walking Dead” type creation from his own mind, shows that Albright had a very creative mind. The patterns of the carpet, along with a tear in the fabric beneath the chair she sits on give the carpet a life of its own, distinct, yet worn from time and abuse, much like Ida herself. The texture of the vanity behind her is duller. He gives no real definition to the outline of the lower drawers, there was nothing in there of any significance, but it works as a great background for Ida's leg.
The colors that the artist uses can be quite different as each color conveys a separate impression. The light brown that he used on the face can convey sadness. The painting is created with mainly curves and lines which can mean that the man had strong physical features or that his different emotions were felt passionately as lines are usually seen as strong technical elements. The only curves that are being used are for his features. The eyes look quite down or depressive. This is because the man is sad, which goes back to the main mood which is maybe suffering.
...ve their sinful lives. It is the ground for strange and wicked displays of man, and even stranger displays of torture by demons, or ones own vices. In essence, this is the main theme of the painting; the dualistic battle between mans virtue and vice.
The artist’s use of line to create movement in the painting is very obvious. Lucretia’s body creates an implied diagonal line which shows action and movement. Additionally, the cloak is also very curvy, appearing “fanned out”, as if she is in the midst of backing away. As well, the curtains are implied curves, and the furniture is an implied diagonal. These lines leave the viewer wondering what will happen next. With these repeated curves and diagonals, the artist creates a sense of unity and rhythm, helping the viewer “read” the composition, or move their eyes through it. The dominant shape repeated in the composition is organic, which also adds unity to the piece. Evidently, there are no horizontal lines in the painting, but the subordinate columns bring variety to the painting in that they are both vertical and geometric, in addition to symbolizing power. Furthermore, the primary color red dominates, creating unity; it appears in Lucretia’s outfit, the furniture, and the curtains. Interestingly, red is the color of danger, since it is the color of blood, and therefore, death; it is also the first color noticed by the human eye. Her gown is also has some white, a neutral, which represents purity and surrender. The artist did not use a warm, nor a cool color scheme in the
She contrasts light and shadow unevenly across her painting in a technique known as chiaroscuro. The technique is a trademark of her predecessor Caravaggio. With this technique, she illuminates the parts of the painting that form the emotions of brutality, strength, and animosity. The light that falls upon Judith shows the terrible strength with which she which she slays her abuser. On the face of Holofernes, the arms of Judith, and the gaze of the servant, the viewer discerns the level of animosity toward the antagonist radiating from both women. Blood shoots from the throat of Holofernes illustrating the brutal force Judith is putting forth. In lighting, the light is what speaks to one of the deliberate and remorseless attitudes with which Judith beheaded
Gentileschi uses dark and light colors in her Judith Slaying Holofernes painting. In the background the artist used dark brown and black colors by incorporating them by using some brush strokes. The colors in the clothing and sheets seems bright and it catches the viewer’s attention because of the background that she used. Gentileschi also used a lot of lines in the sheets, dress, and in the blood. The line makes the dresses and sheets look
The story shows a Jewish woman killing Holofernes, the general of an invading army, to save her people (Branch). This story would have been well known by the people of the time, as many biblical stories were (Nygren lecture). The event is clearly depicted in a dramatic, and violent manner. When first viewed, the eye is drawn to the knife which Judith has put into the throat of Holofernes. The blood of Holofernes can be seen pouring down the sheets of the bed. There is a sense of movement that can be seen. Judith is killing Holofernes; the second woman is holding him down. Holofernes is struggling as implied by his hand pushing back the second woman. Judith is holding his head in a manner that as she thrusts the knife in his throat. These things imply movement in the work, and invoke a sense of drama. Since this is a baroque work the diagonals also help to show the movement within it (Nygren lecture). Both of Judith’s hands create a diagonal that leads us to the center of the painting. The center is where one can see the action that Judith is committing. The arms of the second woman; who is holding Holofernes down, also lead the viewer’s eye towards the
The artwork known as The Luncheon or Le Déjeuner is a painting done by François Boucher-a French Rococo painter-in 1739. The painting depicts a breakfast scenario involving an 18th century European family (possibly French). There are five people in the painting, a man, two women and two children. One would describe the moment as depicting a mother, her two beautiful children, their farther and their governess at breakfast. They all seem to be well dressed with attires portraying the family to be of middle class status.
The painting I chose to write about is the Tree of Life. This painting was made in 1895 by Juana Beatriz de la Fuente. The painting is featured with a priest sitting on a chair under a tree. Behind him is an angel with the devil pulling up bell on a rope. On the priest's right side is a skeleton with a scythe, Jesus Christ holding a hammer striking the bell, and the Virgin Mary.
Judith with the Head of Holofernes is an oil painting on canvas and measures a staggering 78.5 by 57.5 inches. The painting depicts a heroine, Judith, on a mission to decapitate the general of an enemy army planning to kill the Jews. In this Old Testament book, Judith is given the gory yet pivotal job of saving her people from slaughter. This story is commonly depicted in art. Well-known artists such as Artemisia Gentileschi, blank, and blank have adopted the tale of Judith and created many pictures based on it. The image of a strong woman has made her especially important to women and feminist artists. The two main scenes chosen are the act of Judith decapitating Holofernes and Judith with the head of Holofernes, after she has killed him. In Stanzione’s
There is symbolism surrounding The Arnolfini Portrait all around like the oranges, colors, dog, chandelier, mirror, and even the shoes. It is believed that this portrait represents a marriage. My first reaction to seeing the women was that she was pregnant but soon found out that her "pregnant" belly was just a padding to look more attractive to give the idea she can produce children and if you look closer you'll see shes holding a bunch of her fabric. This portrays wealth, youth, and fertility. The color of her dress is green which can represent fertility as well. The dog symbolizes obedience and loyalty to the marriage. In the mirror its been said that the artist, Jan van Eyck is in the reflection with someone else as witnesses to the marriage
Edgar Alan Poe wrote, “But the simple fact is that would we but permit ourselves to look into our own souls, we should immediately there discover that under the sun there neither exists nor can exist any work more thoroughly dignified, more supremely noble….this the poem written for poem’s sake” (thepoeticprinciple). This can also be said of art. Art should not be judged by its fulfillment of a purpose, but should simply be the ability to express or exhibit feelings of emotion. Art has been considered the basic beginning of the senses that creatively project inner feelings and are executed onto external images. The expression of “Art for Art’s Sake” was a notion that art should be independent of politics or religion and should stand alone and appeal to the eyes or ears.
The Creative Arts play a significant role in early childhood education as it provides children with a diverse range of skills to enhance their learning and development to meet the needs of succeeding in the 21st century. Educators can promote The Arts by adopting the Reggio Emilia approach to education, encouraging children to co-construct the curriculum to develop their skills in partnership with teachers, families and their cohorts. The focus of this essay is to emphasise the value of Creative Arts in early childhood education by providing a summary of the concepts and skills of the Creative Arts and the four strands; Dance, Drama, Music and Visual Arts. Then, ascertain how Creative Arts benefit children’s social development, language and