This essay was written to explain the differences between Wood’s painting and N.C. Wyeth’s 1922 illustration. The painting/illustration was inspired from a poem called Paul Revere’s Ride written by Henry Wadsworth Longfellow. The image shows a written scene from the poem that describes Paul Revere’s ride through town as he alarmed the town’s folk. It’s an event that happened during the American Revolution. The comparison between the two images will include discussions about its viewpoints, shadows, scale, and other details that describe the picture. In the Wood’s painting, it shows a wider scale of the town while in the N.C. Wyeth’s illustration it shows a close up of Paul Revere galloping by on a horse alarming the people in the
This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
These two paintings represent typical examples from 14th century Italian artist, Barna da Siena, and 15th century Flemish artist, Rogier van der Weyden. Both images depict two main characters in a rather symmetrical composition and are of large size. However, it is clear that over a century and different region the stylized differences are very clear. Realism, the style of Flemish artists at the time, with all of its detail, is quite different from the large, flat shapes of color in Barna da Siena’s painting. Just by looking at the two, it is evident that the second painting is more advanced and developed. Art continues developing along different tracks today and who knows what art will develop into in the future.
Paul Revere's Ride also does an outstanding job of giving the reader a more in-depth perspective about these events by providing a number of first hand accounts from various sources. This technique personalizes the events to the reader and allows him or her to feel more connected to the people in the novel. One such account takes place when Hackett Fischer describes the "Ipswich Fright". "All the horses and vehicles in the town were put in requisition: men, women, and children hurried as for life toward the north. Large numbers crossed the Merrimack, and spent the night in deserted houses of Salisbury, whose inhabitants, stricken by the strange terror, had fled into New Hampshire “(171). Instead of merely saying that people were in a panic, this accounts adds strength to his assertions. With this detail, the reader can actually make a visual picture the type of panic that took place.
What I see when I look at this large piece of work is the different painted scenes telling the accounts of Missouri’s history and along with a few images depicting popular folklore of the state above each door leading into the lounge. Benton brilliantly divided the mural into three different intervals along each wall, each representing a distinct time period between the years of 1730 to 1930s. Each wall’s composition was made up with another five separate paintings, giving the mural a grand total of fifteen different stories being told. I have chosen to speak mainly on the North wall, because I feel its story is the strongest, especially since it highlights some of the lowest and highest points in the state’s history.
The stress of this caused their once coveted friendship to wither and morph into an ill hatred. The English began a campaign of the demonization of Native Americans. The image of Native Americans was described in Red, White, & Black as friendly traders who shared a mutually beneficial relationship with one another. Evidently, a very different image started to appear when land disputes arose. The new illustration the English painted was that Native American people were “comparable to beasts” and “wild and savage people, that live like heards of deare in a forrest”. It was sudden change of heart between the two societies that supports Waterhouse’s claims of the changing relationship of the English and Native
At the capital, we are introduced to senators Kinney and Mullens, who only care about getting what they want from each other and getting re-elected. They see Lonny’s painting as a means to both ends. In the beginning, Kinney sees nothing of value in Lonny’s picture. In fact, he implies that it is awful, saying that he "…wouldn’t give six bits for the picture without the frame." Mullens agrees with Kinney’s assessment of the painting. He says that the painting is secondary to the artist—the grandson of Lucien Briscoe, a legendary local hero who is said to have "…carved the state out of the wilderness." The painting quickly fades to the background as both the senators see that pushing the state to give this hero’s grandson money is a quick way to gain public favor.
Do you know the interesting story of Paul Revere? Such a brave and fearless person, Paul Revere had the infamous Midnight Ride. Paul set out on horseback from the city to warn Samuel Adams and John Hancock and to alert the Minutemen.
Examining the formal qualities of Homer Watson’s painting Horse and Rider In A Landscape was quite interesting. I chose to analyze this piece as apposed to the others because it was the piece I liked the least, therefore making me analyze it more closely and discover other aspects of the work, besides aesthetics.
This painting of the industrial revolution is very thought provoking, and causes a person to think about of what was happening during the industrial revolution. He shows the horrors of the factories and the serenity of the nature. He makes someone want to go back in time where things were peaceful, and there was just nature. Everything was in it’s own natural state and peaceful.
Thomas Moran’s painting captures the essence of the true spirit of the Yellowstone Canyon and overwhelms any viewers who go up to it. With a size of 7’ by 12’ and a mastery display of vivid colors with hues of orange and yellow contrasted with the dark cold colors of the shadows, anyone would be overwhelmed. Under the cool shade, the path extending in front invites the viewer to join the tiny figures in the distance who seem to overlook the grand valley of the canyon below. The view from where those people are in the distance could be quite breathtaking, and this adds to the painting’s value. Moran captured the public and the government’s fascinations with the beauties of America’s Wild West. Moran’s mastery of composition within landscape
One day Cole set out to observe nature and it’s wilderness. He began painting pictures by first making oil sketches of American rocks, trees, sunsets, plants, animals, as well as distant Indians. From these sketches he formed several paintings. Most famous for his allegorical collection called the “The Course of Empire” and is well-known for his Landscape paintings, “The Oxbow,” “The Woodchopper,” and “The Clove, Catskills.”
Twain's detailed images of the "gold," (1) "tinted... opal," (1) and "silver" (1) river, paint the beauty he finds in the surroundings. The "graceful curves, reflected images, woody heights, soft distances; and... marvels of coloring" (1) depict the opinion Twain has of the river. This beauty has been learned and appreciated through the years of living along the river and is revealed through his images.
The artwork of William Hogarth is influenced greatly by social factors and the culture of eighteenth century England. In many of his works, Hogarth satirizes English society, rich and poor alike. His paintings and engravings depict the society of which he lived, with the costumes and ways of life of the times all shown in his work. Much of the time he is being satirical, exaggerating some of the faults of the people, other times he is being bitingly realistic in his views. It seems no-one is safe from his caricatures, from the lords and ladies, to slaves, servants, prostitutes, criminals and the poor.
“Let Us Now Praise Famous Men,” was written by James Agee and Walker Evans. The story is about three white families of tenant farmers in rural Alabama. The photographs in the beginning have no captions or quotations. They are just images of three tenant farming families, their houses, and possessions. “The photographs are not illustrative. They, and the text, are coequal, mutually independent, and fully collaborative.” (87) The story and the photographs contain relationships between them; in the essay I am going to inform you about the interpretations of the relationships between the readings of James Agee and some of the pictures by Walker Evans.
These peculiarly dressed people somberly play a type of bowling while liquor is served nearby, to which Rip drinks and drinks till he falls into a deep sleep. The drink which lulls him to sleep can be seen as the injustices Britain had done upon America, while the sleep itself is the revolution. Things like taxation without representation, the Quartering Act, and the Proclamation of 1763 were all seen as terribly ridiculous notions forced upon the colonists by Britain, and when they had had enough of the “drink” that was being fed to them, they chose to rebel. It is also to be duly noted that the Kaatskill Mountains that Van Winkle ventured upon were a part of the Appalachian Mountains, which King George prohibited settlers from moving past in the Proclamation of 1763. Irving possibly used these mountain ranges as a symbol to show the truths that really laid behind these landscapes and of