Initial reaction: The first thing I gaze my eyes upon is the black eagle which immediately strikes an eerie and scary feeling as I realize it is grabbing and/or attacking this human. It is clear that this is some kind of kidnap and the human has a look of distress. My initial instinct is that this human was taking a walk in the woods with his dog when the eagle appeared.
There is a skillful use of light and shadow which combined with the colors makes the painting seem realistic. There is a nice use of complementary colors that are luminous within the painting, which ranges from the ochre yellows, mauve reds, blush pinks, and burnt oranges to the ocean blues, and emerald greens. Even though they are luminous colors there is also a cool, silvery, pearly tone to it, yet there is a softness and tenderness to these colors that completes and unites the painting. These forms are so soft, the light and shadow are so melting that the cloth on the human looks like it flows as if it were silk in the wind. The expression of the subject is emphasized through sinuous line, atmospheric color, and the form of the figure.
You cannot see the sun in this painting but you can definitely tell where the light is coming from. The highlights on the human and eagle indicates to me that the sun is setting or rising from the right side. The chiaroscuro of the darkness in the eagle helps to contrast with the highlight and glowing pink flesh tones of the figure. The forms are soft and clear, and allow the most delicate graduations of light. The sun, wind, and eagle helps the human to look smooth and radiant in the light.
There is an ample use of perspective which appears to share the physical space with the viewer so they feel a realism within the subject...
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... was the most beautiful of mortals, was carried to Olympus by Jupiter masked as an eagle or the eagle was Jupiter’s messenger, to become the cupbearer to the gods. Ganymede represents the human soul being lifted up to God, it is the flight of the soul to heaven (Hartt, 568).
Works Cited
Notes
1. Hartt, Frederick. History of Italian Renaissance Art: Painting, Sculpture, Architecture. NewYork: H.N. Abrams, 1969. 568. Print.
2. Russell, Margarita. "The Iconography of Rembrandt's "Rape of Ganymede"" Simiolus Netherlands Quarterly for the History of Art 9.1 (1977): 5-18. JSTOR. Stichting Voor Nederlandse Kunsthistorische Publicaties.
3. Graves, Robert. Greek Myths / by Robert Graves. New York, NY: Penguin, 1955. 29. Print.
4. Bremmer, Jan N., and Andrew Erskine. The Gods of Ancient Greece: Identities and Transformations. Edinburgh: Edinburgh UP, 2010. 51. Print.
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
Morford, Mark P.O., Robert J. Lenardon and Michael Sham. Classical Mythology 9th Edition. New York: Oxford University Press, 2011.
Burckhardt, Jacob, The Greeks and Greek Civilization, St. Martin’s Press, 175 Fifth Ave, New York, NY 10010, 1998.
Guerber, H. A. Myths of Greece and Rome. New York: American Book Company. 1921. Print.
The sun itself is brilliant, dense and opaque, heavy with brush-worked impasto. Van Gogh gives us heat and light as force to express true nature of natural way of production goods. Once again, his paintings consisted of complex brush strokes that would vary in the amounts of paint used. He used colors in order to push emotion onto the audience through contrasting colors and his works often reflected his own mood and surroundings. The Principal of Design is balance; the sun is presented in the center of the painting. Which makes the viewer pay attention to the center of the painting first and then observe other sides of
One of the most misunderstood characters in Jean Rhys’s Wide Sargasso Sea is Christophine. Christophine was a wedding present to Antoinette’s mother, and she was a slave in their family since then. The reason that she comes off as so misunderstood is because it is never revealed explicitly in the text whether she is “good” or “bad”. Her involvement in the practice of obeah adds to the mysterious air about her in the novel. Obeah is a practice that is not an official religion, but there is a community who are involved in the practice that has “a wide variety and range of beliefs and practices related to the control or channeling of supernatural/spiritual forces” (Bilby 153). The practices are done “by particular individuals or groups for their own needs, or on behalf of clients who come for help” (Bilby 154). The practice has gone from having an acceptable reputation to a negative one. As the years went on in times of slavery, and especially during post-emancipation times, obeah gained more of a reputation as witchcraft or sorcery and it was said that it was used to bring harm to people (Bilby 153). The positive aspects of obeah were soon paid minimal attention, and the negative aspects and disapproving stereotypes were on the rise. The negativity was so prevalent and contagious that some West Indians who were involved in the practice began to have a pessimistic view as well (Bilby 153). This negative view followed obeah into the novel Wide Sargasso Sea. The practice was shown in a very negative light in the novel, especially through Christophine. Christophine is a representation of obeah in the novel. Throughout many points in the story, the fact that Christophine is involved with obeah practices is portrayed as the m...
Johnson, Geraldine A. Renaissance Art, A Very Short Introduction. New York: Oxford University Press, 2005.
Strategic and Structural therapy is two forms of therapy that offer similarity as well as difference treatment to assist the family with communicating more effective with each other. The therapist goal is to find creative interventions to help stabilize the family to maintain an appropriate relationship in their environment. Within this paper, a brief description of the similarity and difference of structural and strategic therapy will demonstrate how two forms of behavior therapy can assist families by changing the behavior.
Archibald, Zofia. Discovering the World of the Ancient Greeks. New York: Facts On File, 1991. Print.
Brettell, Cachin, Freches-Thory, Stuckey, eds. The Art of Paul Gauguin. Washington: National Gallery of Art, 1988.
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...
Morford, Mark P.O., Robert J. Lenardon and Michael Sham. Classical Mythology 9th Edition. New York: Oxford University Press, 2011.
Kravitz, David. Who's Who in Greek and Roman Mythology. New York: Clarkson N. Potter, Inc., 1975.
Clarke, Fiona, and Mark Bergin. Greece in the time of Pericles. Hemel Hempstead: Simon & Schuster, 1909.
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.