Robert Campin. Merode Altarpiece. 1425-28. Northern Late Gothic The Merode Altarpiece is a triptych painting that represents the Annunciation of the Virgin Mary. This work displays the main characteristics of the Northern Late Gothic period. There is so much detail in this work of art. Campin utilizes many symbols in this altarpiec. The setting of the painting is in a Flemish middle class house. The Annunciation theme is being depicted in the central panel. A scene of Saint Joseph at work as a carpenter occupies the right-hand panel. The portraits of the donors are depicted in the left hand panel. Campin failed to understand the scientific perspective. To illustrate, there is no focal point in the painting and the table looks tilted. Campin used no aerial perspective. To illustrate, the background is still very crisp when seen from a distance. The most important aspect of the painting is the symbolism. For example, the lilies represent Mary's purity, the candle represents the Holy Spirit, even the mouse traps represent trapping evil. Campin also made use of bright, rich colors. In the central panel, the drapery of the figures are filled with colors of red and white. Campin has also made a good use of illusion of the space by making the town seem to be far away by distance by making them appear blurry. Furthermore, Campin has created figures that are not in proper proportion. To illustrate, the figure’s head is small and the bodies are big and it seems that if they get will hit their head if they get up. They look very unrealistic. Although they are not in proportion, the figures seem to have very sharp edges. The figures also look very stiff and rigid. In Merode Altarpiece, the light is arbitrary and the figures do not cast any... ... middle of paper ... ...is the focal point with the orthogonal of the gestures of the apostles lining up towards it. Masaccio makes good use of chiaroscuro, since his figures have soft, round edges and their bodies are apparent under their drapery. The drapery shows creases and edges which allow for that to happen. Masaccio also employs directed lighting in which the sun comes from the right and all the figures’ shadows are to the left, which is what would happen in real life. Furthermore, Masaccio uses soft, subdued colors, such as green, blue, and pink. The mood of Massacio’s painting is static with all the figures standing in contrapposto with their one knee sticking out and the individuals in Classical and naturalistic proportions. Masaccio placed his scene in the recognizable Arno Valley. Also, Masaccio’s story has no disguised symbolism and rather depicts a straightforward story.
The sunrise in this painting is considered the vanishing point; there is no reference to clouds, sky or land. Even though there isn't any man made objects the giant rocks or mountains have parallel lines that exceed to the sunrise. There is also two focal points in this work of art. To emphasize the focal points Bartolo uses elements of design. One of the focal points is the horse which is located in the center of the picture plane. The horse does not gasp all the attention it also permits the viewers to focus on the second focal point, which is the man in red kneeling down in front of St. Dominic. The color red attracts our attention to this man. There are also line of sight directed to him by St.
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
As I walked into the first gallery, I saw a wood sculpture that stood in the center of the room. This carving depicted “the crucified Christ, flanked by the Virgin Mary and St. John the Evangelist with Angels holding instruments of the Passion”. It was painted oak and very appealing to the eye. It stood approximately 15 feet in the air. The origin of this sculpture is unknown, but it was found in a Belgium church. This kind of sculpture usually stood at the entrance or at the center of the alter in the church facing the congregation. This image of the suffering Christ relates to the Christian ideas of suffering and Christ’s salvation of all mankind.
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...
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.
Moderata Fonte’s Venetian ladies debated the worth of women while cavorting in their fictional garden in 1605; Tempel Anneke met her unhappy fate in the 1660s. The seemingly enlightened and forward-looking feminist attitudes articulated in Fonte's text were absent from the Brunswick courtroom where the allegations against Tempel Anneke eventually brought about her death. The two accounts illustrate the differences in the attitudes towards women between European states during the 17th century. The differences are technically religiously based, however, they deal with the differences of the specific regional factors of the areas discussed. The differences explain why the attitudes of Fonte’s ladies and the persecutors of Tempel coexisted in roughly the same era. Fonte's ladies are Italian Catholics, and Anna's neighbors are German Protestants, therefore, the ideals of women are varied based on religious experience. Additionally, the theory of reason of state that came about with the consolidation of authority consisted of centralization and secularism that subordinated the social role ...
It is very rare that a book can be so compelling that it changes the way you think. Daniel Kahneman achieved this in his groundbreaking book Thinking, Fast and Slow. In his work, Kahneman challenges common notions of human psychology by offering a unique perspective of why we make certain decisions. Based off his contributions throughout his career, Kahneman compiles his experimental findings on human behavior into a complete manual to the human mind. The book delves into human nature and cognition, how we process our decisions and in what frame of mind do we create our perception of the world. More specifically, Kahneman deals with the irrationality of the way we think that leads to biases, mental shortcuts and defense mechanisms. His findings not only acts as an informative self-help but questions the very nature of everyday life.
Main policing procedures in Germany are divided into three different categories. The Federal Police which is called Bundespolizei, the State Police called Laenderpolizei and the Federal Criminal Police Office called Bundeskriminalamt. The Federal Police is secondary to the Ministry of the Interior. The Federal Police join forces within the existing security systems on the foundation of security, the police joins partnerships with the police services of the federal states, other security system of the federation and the federal states, as well as with foreign border authorities. The German court process is made up of both federal constitutional court (Bundesverfassunggericht), which interprets the constitution, and a federal supreme court (Bundesgerichtshof), which is an appeals court.
... the way that the artwork is resembled in the religious background of the gospel but reconstructed in to a celebrating impression. Throughout the fresco painting it depicts the myth of the Christ’s three fold temptations relating back to the article that “distinction between fresco and panel painting is sharp, and that painters are seen as competitors amongst themselves discriminating also, between the difference in genuine attempts in being better then the other.” Baxandall, “Conditions of Trade,” 26. in relation, the painting concerns the painter’s conscious response to picture trade, and the non-isolation in pictorial interests.
In the two different depictions of the scene Betrayal of Christ, Duccio and Giotto show their different styles on how they compose their paintings. The first decision into the composure of the painting would be the comparison of the size of surface they chose to paint on. Duccio in comparison to Giotto chooses to work on a wooden panel no wider than a foot, and Giotto went with a plaster surface with a width of ten feet. This detail alone lets the viewer know that Giotto’s artwork is embedded in detail and visual consumption. The size difference is the factor between who see’s it and what they see; the fine details and symbolism of the narrative will be better understood if the viewer can see every detail.
This painting has deviated from the standard Renaissance model in that it goes beyond depicting subjects and scene, and employs exaggerated form, color emphasis, abnormal planar depiction, and visual directionality. The aspects of this painting have become the embodiment of the story told and the characters there held. The artist has used various techniques of color, line, and juxtaposition in order to portray an idea which supersedes the sum of its parts, and thereby leads the viewer through a thought.
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
The immediate background consists of natural mounds of dirt and a brick wall that enclose the Virgin, Child, and St. John, amplifying the protective effect that Mary’s figure has. The dirt mounds roll inward with a brick wall bordering them on the right, drawing the viewer’s attention towards the three figures. The background is painted in broad terms, with a simple, uniform depiction of tree leaves and smooth rock faces on the horizon. This contrasts with the fine-lined detail and texture of Mary’s hair, facial features, and veil, which further contribute to her elegance and highlight her
Kareem is a talented undergraduate student who I have had the privilege of working with in nuclear science research over the past year. We have worked on two separate neutron activation analysis projects together. He has also taken my upper level course in Nuclear and Particle Physics (UTPA course # PHYS 4309) with honors during the fall semester of 2013 and has expressed interest in my participation as his honors thesis advisor. It is a pleasure to offer this letter of recommendation for the DOE SULI program.