Anne Vallayer-Coster’s painting Still Life with Lobster shows a lobster placed on a plate surrounded by grapes, bread, a pot, and pieces of a dining set. This painting is done in oil painted on canvas. The artist has painted the objects in a manner in which they appear real and lifelike. The lobster has different shades of red and what appears like barnacles on one claw and the body to show the appearance of living in battering, harsh waters. The grapes are all different sizes and shades. The bread is not uniform and has cracks along the sides from baking. The cloth on top of the plate is folded and crumpled in a way that is not even and clean to give a more realistic look to the scene. I enjoy the reality of the painting, because abstract …show more content…
The lobster has warm colors of red and orange, while the rest of the painting has cool greens and blues with some neutral greys. I believe this is an effective use of color because it draws your eye to the focal point of the painting – the lobster. There is little guessing about what the artist intends for people to look at.
The painting is asymmetrical with the lobster leaning slightly more toward the left side, and the food and vine on the right side appearing higher and more concentrated than the dining set on the left. I enjoy the sloping line from the left to the right because it allows a gentle flow to occur. If the objects were placed differently in varying heights, creating a more jagged line, the flow would lack and it would appear more hectic.
The objects in the back have more shade, while the lobster has more tint. The tint and shade results from a light source shining from the left of the image. On the lobster, it appears to be whiter on its claws than on the rest of its body, showing the light source is in closer proximity to the claws than the rest of the painting. The light source also reaches the pot, showing the reflection of what appears to be a window. Since the light from the window is blocked by the lobster, it does not reach the jar or the basket, creating realistic shadows. The light source was an effective tool in my opinion. It again showed the realism of the scene and put more focus
Pieter Claesz’s “Still life with a skull and a writing quill” is a 24.1 x 35.9cm still life oil on wood painting showing a skull with a quill as well as a turned glass roemer with reflections, an expired lamp, pen holder, inkwell, book, and folders of papers, this is one of Pieter Claesz’s earliest still life paintings, the attributes of a writer suggest that worldly efforts are eventually in vain.
The most emphasized part of this image is the man lying on top of the child and leaning against the bed, part of the body being directly in the center and seems to take up the most space, this is where the eye tends to linger. The negative space is made interesting by including a turned over chair, and rumpled sheets on a bed and other homely objects, which indicates that this is set in a home. The contrast that is shown in this artwork is through the use of value since Daumier used implied light, the brighter and darker areas create a contrast against each other. While this piece is not symmetrically balanced, it is balanced asymmetrically. It is asymmetrically balanced through a man and most of a bed being placed in the center, on the right is a small child, the upper torso of an older looking man, a chair next to him, and the rest of the bed; on the left of the man is most of what seems to be a woman, and other less detailed furniture. There is a sense of repetition through the positive shapes of the people lying on the floor, this is also shown through the use of line that creates the entire lithograph. This provides a sense of cohesiveness and unity throughout the
The lobsters are complex creatures, as David Foster Wallace explains in the essay, and the people that are going to the festival are making this complex creature so easy to kill. Wallace is able to validate this argument by using their complexity of life and the simplicity of their death to show the paradox that the festival has created explaining, “Taxonomically speaking, a lobster is a marine crustacean of the family Homaridae, characterized by five pairs of jointed legs, the first pair terminating in large pincerish claws used for subduing prey” (Wallace 55). Then later explaining, “Be apprised, though, that the Main Eating Tent’s suppers come in Styrofoam trays, and the soft drinks are iceless and flat” (Wallace 55). This paradox that Wallace brings to the attention to his audience show that these articulate and graceful creatures are being disgraced by the festival goers by being served on Styrofoam trays and served with unappealing beverages. It is no coincidence that two things that are really explained is the anatomy of the lobster and how complex the makeup of the lifeform is and the simplicity of the death of the lobster. By explaining these two things in depth, he is able to show how ridiculous and unfair he feels that killing and eating the lobster is. Wallace also humanizes the lobster to bring the situation into a perspective that
When do natural products become a delicacy? They become a delicacy when they become harder to find in their natural setting. This is what happened to the lobster and how the demands of the consumers changed. During Colonial times, the status of lobster was much different than today. It was once considered a poor man’s food. Now, it is considered a delicacy and found in many fancy dishes and at most higher priced restaurants. Today, lobster prices are high. If you want to eat a good lobster, you have to pay a decent price for it. The change in status of lobster occurred when the supply of lobster started to become depleted. As the sources of lobster were being depleted the demand increased in wealthier markets. This occurred because wealthier people could afford the higher prices created by a shrinking supply. The supply of the lobster population is what influenced the changing demands of the consumers.
"Consider the Lobster" an issue of Gourmet magazine, this reviews the 2003 Maine Lobster Festival. The essay is concerned with the ethics of boiling a creature alive in order to enhance the consumer's pleasure. The author David Foster Wallace of "Consider the Lobster” was an award-winning American novelist. Wallace wrote "Consider the Lobster” but not for the intended audience of gourmet readers .The purpose of the article to informal reader of the good thing Maine Lobster Festival had to offer. However, he turn it into question moral aspects of boiling lobsters.
Jan de Heem painting, “Still Life with Lobster” is an oil painting with a bright red lobster that catches the viewer gaze into this beautiful dinner from the late 1640s.The color scheme used in this painting is analogous since it uses relatively close hues. In the painting, the lobster is on a silver platter but it has been left untouched. Surrounding the focal point of the painting is luxurious fruits including grapes, cherries, peaches, berries, oranges, and a half peeled lemon. To the left of the lobster is an overturned silver goblet. This particular style of painting is known as a vanitas form of painting. The artist is using a luxurious left over meal to show even the most expensive desires of the world doesn’t last for eternity. The
The state of Maine is a huge tourist spot known for it’s rocky coastline and seafood cuisine, especially lobster. Annually, the state holds the “Maine Lobster Festival” every summer, and is a popular lucrative attraction including carnival rides and food booths. The center of attention for this festival is, unsurprisingly, lobster. The author of the article “Consider the Lobster”, David Foster Wallace, mainly uses logos and pathos, and explores the idea of being put into the lobsters perspective by describing how the cooking process is done and informing us on the animal’s neurological system in a very comprehensible way. He effectively uses these persuasive devices to paint a picture for the audience and pave way for the reader to conjure
The colors in the figure’s face consist of warm colors of red, yellow, green while the rest of the body consist of primary colors of yellow, blue, red along with seafoam green, white, and pink. However, the colors are mixed from one to another to create depth. To illustrate this, a viewer would focus on the figure’s right leg because of the luminous yellow and then to the soft sea green foam, which makes the yellow closer to the viewer, whereas the sea foam green is in the back, creating depth. In addition, the simplified forms such as the red triangle on the bottom right also helps separate the yellow and the sea foam green, which reinforces that they split to show depth. In addition, the two red dots, the triangle, the red on the face, and red on the arm also reinforces the viewer to look at the whole piece. Overall, Brown use specific colors around the drawing to make sure the viewer look at it as a whole rather than just looking at one
Revenge of the Goldfish used the complementary colors of blue and orange with bright orange fish and a blue bedroom. The use of these contrasting colors make the fish ‘pop’ in the photograph while the blue seems to fade into the back and doesn’t stand out as much. Skoglund’s A Breeze at Work uses complementary colors as well. The entire office space is a rusty brown-orange color with blue leaves. These contrasting colors make the blue leaves stand out in this particular photograph. In another piece of art titled Radioactive Cats, Skoglund uses colors in a slightly different way to make the animals in the photograph stand out. In this work of art, there is an elderly couple in their all grey kitchen. The only true color in the photograph aside from the human’s skin, is the bright green cats that are dispersed throughout the room. This image does not use complementary colors, but the colors do repel each other, resulting in the green cats standing out more than the grey
This specific work, unframed, is 28 7/8 x 36 7/8 in. It is a horizontal work. This painting looks as if it were a photograph, so the relation to the shapes on the edges appear to be unaffected and seem to go past the edges, therefor, looks uninterrupted. To me, the colors look harmonious, because they all look like they are “cool” colors, meaning shades relating to the color blue. In contrast, they could also be debated as discordant in some areas, for instance, in the upper right corner, where you would guess the artist tried to make the colors resemble some sort of forest-like background, you cannot specifically distinguish exactly what the colors and brush strokes are trying to express. It is unclear whe...
This painting consists of regular lines as well as implied lines. Some of the regular lines that have been included are flowing, curved lines, such as the Earth that the woman is sitting on top of. Additionally, the background is made of small scenes that have been outlined by a dotted line, which places emphasis on the scenes. Besides regular and visible lines, there are a few implied lines in this painting. For instance, the woman's eyes are looking forward, so there is an implied line to the audience. Additionally, another implied line would be the woman's right arm, which is pointed towards her headpiece, while her left arm is pointed towards the earth. Nonetheless, this painting is not intense; although it does have splashes of color, this painting does not have a bright saturation. Instead, this painting is slightly dull, which makes this painting appear vintage. Additionally, since this background is a dark color, it makes the rest of painting, especially the headpiece, stand out. Besides colors and lines, even though this is a painting and there is no physical texture, there is invented texture. Upon viewing this painting, underneath the earth where the woman is sitting on, there are roots as well as grass, which give texture and feeling to the painting. In the end, this painting consists of several elements of composition, which Heffernan has done a wonderful job
The painting titled, “Still Life with Fruit”, was significantly focused on nature. The painting included four different types of fruits, nuts and three different types of insects that were centralized, in front of a column or a pillar. The fruits are painted to depict a loom of grapes, hanging off a stone corner touching a medium-sized fig and a branch connected by three mangoes. To the left of the fruits were three nuts, that were each sized differently. The insects include a monarch butterfly facing the fig, a white moth facing the crusty leaves underneath the fruits, and a huge fruit fly on one of the mangoes. The column was draped with a blue cloth in front of the daytime
The most prominent color in this painting is blue; it is used in the walls, the doors the articles of clothing hanging on the wall hook and some of the items resting on the nightstand. The other prominent color is green, used on parts of floorboards, the window, a part of one of the doorframes, parts of the hanging paintings and the empty vase on the nightstand. Brown is the only ...
The composition concentrates mainly on the foreground .It has three main points of interest, the small rowing boats, the artificial island and the floating barge .It also has a stretch of trees and foliage in the background painted in a much lighter fashion. Monet?s painting has a very different composition from Renoir?s painting of Grenouillere, which was done at the same time; Renoir?s painting is focussed much more on the artificial island and the people on it. Monet uses a combination of thick bold brushstrokes and small short soft brushstrokes; this creates a nice varied look and helps give a good impression of perspective. The tone is also very varied as it is Very light in some areas, but it is also quite dark in others, such as the shades on the barge. The use of dark shades in the foreground makes the boat look so realistic and quite 3D. Although the middle ground is flatter this helps add to the perspective. The water ho...
By using oil paints, Leonardo was able to successfully create a lifelike painting. Since the paints dried very slowly he had time to mix and change all his colors until everything was the correct hue to achieve perfection. The pallet of colors chosen by Leonardo gives a striking contrast between the light face, dark garments, and medium background. By having such strong contrast the viewer is first directed to the face and hands before moving through the whole painting. It also allows definition between areas of the painting (hair and forehead, sleeves and hands, chin and neck, etc…) without having a direct, harsh line.