As I stood staring at the beautifully detailed oil-on-canvas painting, my mind began racing, conjuring up random stories behind all the people, the place, and the weather in this painting. This painting, titled Port of Ostia During a Tempest by Leonardo Carlo Coccorante, is nothing more than just a story portrayed on a canvas and its words, the oils, are scattered all over it, depicting a story about a populous port going through some horrible weather and the people experiencing it first-hand. The interactions between the people are perfectly portrayed and from each one a different story can be contrived—each sharing the subject of the brutal weather. The amount of detail in this scenic painting is overwhelming; thus, countless thoughts rush the mind when carefully studying every little section of this painting.
One basic point that I dwelled on while studying the painting was the lighting and the way Coccorante seemed to separate the painting in half with the contrasting dark and light. The dark half shows two suffering boats out at sea being caught up in the tempest, while the lighter side shows the caravans of people that have made it out alive onto the shore and rocks. As for the people caught in the middle of the light and dark, they are seen trying to make their way off the boat and it appears as if they’re trying to step into the light and away from the dark. One can deduce that the ship in the middle has recently harbored next to the rock site since the majority of the people in the painting can be found atop the rocks; the impressions of relief on their faces point to the idea that they have just finished unloading themselves from the docked ship and have found safety among these rocks.
On the other hand, the paintin...
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...ifferent times of observation. It just goes to show you that according to Hume and psychological topics (mostly relating to the cerebral cortex) the old saying, “we begin by being foolish and we become wise by experience", can be directly related to life and to our pursuit of knowledge.
Works Cited
Gladwell, Malcolm. Blink: the Power of Thinking Without Thinking. New York: Little,
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Hume, David. A Treatise of Human Nature. 2003. Project Gutenberg. 27 Sept. 2006
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Instituto De Fisiologia Celular. "A Close Look to the Cerebral Cortex." About.Com. 28
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Wikipedia. "Malcolm Gladwell." Wikipedia.Org. 19 Sept. 2006. 28 Sept. 2006
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
With the semester coming to an end, many students are excited. This especially includes those who will be graduating soon. However, graduation can be seen as a bittersweet moment. On one hand, the graduates enter into a new chapter in their lives. On the other hand, they may lose communication with some of their friends. Unfortunately, this is a natural aspect of each person’s life. Everyone will experience some kind of loss in their life, whether it is person or an object. In The Tempest, Shakespeare discusses the topic of loss. While this theme is not talked about much compared to other themes in the play, it is very important since it is a theme that is included in the 1956 movie adaptation Forbidden Planet. While both works illustrate the ways people deals a loss, the later work demonstrates how the advancement in the world have affected the way modern society
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In the essay “Naturalism and the Venetian ‘Poesia’: Grafting, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poesia, in Venetian artwork during the 1500s. Titian personally used the term poesia when he “[referred] to paintings he was making for [King Philip II] with subject matter derived from the ancient poets.” Poesia now refers to a type of sixteenth century Venetian painting, which Giorgione and Titian initiated and used within their works. Campbell’s main argument is that poesia is not simply aesthetic or reflective of poetry, but rather “grounded in the process of making – and in making meaning – rather than in an aesthetics of self-sufficiency or self-referentiality.” Like poetry, it is not self-contained; meaning lies outside of the work, within the interpretations of the viewers. He discusses the idea of grafting in poetry and how the same grafting model is utilized in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and give an intrinsic meaning to the viewer. Campbell then uses many examples of writing, poetry, engravings, and paintings to explore his argument and the connections between artists during the 1500s.
Somehow I related to this painting at the moment. Looking back in the distance in the sky you see that there was a turbulent time. Saturday was such an awful morning. When backing up you see the bottom of the picture. The lush lively flowers show the bright side happy ending. This was my reminder that there is a calm after the storm just like in the picture.
To inspire the visualization of the idyllic Florida’s fields, this canvas is sized to produce that impression of your presence in the coast. With a sense of solitude that is accompany by the magic of the discovery of a beautiful romantic peace, this canvas transmits you the desire to be there. The scene makes you feel that you have found that special site where you want to be for the rest of your life in concordance with nature. It is easy to spot in this paint how diverse and unreceptive subtropical locality in early Florida define the subjective state of being. In this art he totally complies with one of the most delightful characterizations of Romanticism, he puts together the heart and the mind to idealize the authenticity of the wilderness in the scene according to what the artist considered relevant to present.
The representation of the new age of exploration, which serves as an allusion to man’s potential, is starkly contrasted with the depiction of Icarus that serves as an allegory for man’s limits, indicating the shift from a euro-centric universe. This painting is an oil canvas landscape of the sun setting on the horizon of the ocean sea, while the ships were sailing through the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman, showing the increasing artistic methods that begin to be utilized.
Gilbert’s use of imagery emphasizes the wild, vibrant, energetic nature of the city of Naples. It becomes clear that, In Gilbert’s eyes, Naples is a city unlike any other. The author writes, “An anthill inside a rabbit warren, with all the exoctism of a Middle Eastern bazaar and a tough of New Orleans voodoo” (Gilbert 175). This shows us how Gilbert sees Naples better than if she had chosen to describe the city detail by painstaking detail. Gilbert combines aspects of places in other countries in a way that gives the reader a clear image of Naples overall atmosphere. Gilbert writes, “The city is all decorated with the laundry that hangs from every window and
There are several elements in this painting which may be difficult to interpret but may have meaning, such as; the headdress on the ground, the horse on the flag, the two men in different style and colored clothing, the smoke that appears much darker, and the two men pointing away from the scene, the wind direction being portrayed differently.
John Wilders' lecture on The Tempest given at Oxford University - Worcester College - August 4th, 1999.
The subject of this artwork is a shipwreck. I see it looks like a storm in the ocean and there’s a ship but the ships mass and sails appear to be damaged. The crew is lowering lifeboats, suggesting that they have to abandon ship. A rescue boat is coming in on the right side of the painting and another boat and ship are coming in on the left side of the painting to help the crew from the distressed ship. There also appears to be a lighthouse at a distance. The action being conveyed is the waves crashing into the ship. The darkness in the waves and the colors he used made them seem like there real ocean waves. The art piece does seem to be telling ...
It makes sense to me to see in this Shakespeare's sense of his own art--both what it can achieve and what it cannot. The theatre--that magical world of poetry, song, illusion, pleasing and threatening apparitions--can, like Prospero's magic, educate us into a better sense of ourselves, into a final acceptance of the world, a state in which we forgive and forget in the interests of the greater human community. The theatre, that is, can reconcile us to the joys of the human community so that we do not destroy our families in a search for righting past evils in a spirit of personal revenge or as crude assertions of our own egos. It can, in a very real sense, help us fully to understand the central Christian commitment to charity, to loving our neighbour as ourselves. The magic here brings about a total reconciliation of all levels of society from sophisticated rulers to semi-human brutes, momentarily holding off Machiavellian deceit, drunken foolishness, and animalistic rebellion--each person, no matter how he has lived, has a place in the magic circle at the end. And no one is asking any awkward questions.
In the painting the skin tones of the people who are dead is drastically lighter than those of the people who are alive. It also uses color to show the darkness of the clouds which means that there was a storm and it uses lighter colors for the sky which means that the storm has passed. The painting uses color to draw your eye to the people waving their colorful clothes around. This in return draws your eye to the spec of color on the horizon which represents a ship. On the other hand, it also draws your eye to the man who is holding a little boy toward the back of the ship with the color of what appears to be a scarf on his head. In all this shows that color is used to help give the feeling of chaos and disaster in the
To me the painting is a way of showing you what everyone else is seeing. That the painter had the men looking right at each other so they can see themselves running away. In turn I got to see myself doing the same thing and was able to change because of it. When other people look at the painting they probably see something else. That is why I choose to do the painting, it gives you the choice too interpret it any way you see fit. Or it can just be a beautiful painting to look at, but the painting was so much more to me. It painted a thousand words for me.