Lucas’ vision of this painting defined his interests in the human body. The painting displayed humanism, realism, and complimented the artwork by flattering Venus in a beautiful necklace completed with stones or a heavy velvet hat. Also, accentuating her figure with her almond-shaped eyes. Lucas proposed the lighting in the frame of artwork to draw the eye to the painting instead of keeping away attraction of nudity. He displayed winged Cupid holding a bee hive he stole as a source of pain with the dark, blackened background behind him, along with the tree he took the hive
La Tour used a painting technique called, trompe l’oeil, French terminology for, “fool the eye.” La Tour obviously used this technique before William Harnett came along. This particular technique gives the painting a very unusual appearance where some of the objects look like they are glued onto the canvas. There are a lot of details and depth in this painting. The women’s hats with the feathers, the jewelry, the wine bottle, coins on the table, the cards behind the tricksters back just to name a few. La Tour carefully and artistically arranged the subjects in a way that the texture causes the viewer to develop an impulse to touch the piece.
To Kill a Mockingbird Past Paper A.) How does lee use details in this passage to present Mrs Dubose as an unpleasant character? Harper Lee focuses on Mrs Dubose’ physical appearance to reflect that is is as hideous and revolting as her manners. Lee uses simile’s ‘which inched like a glacier down the deep grooves enclosing her chin.’ to depict detestable visual imagery, which highly reflects our first impressions of the woman under the skin. The description of her ‘ soot stained mantelpiece’ is very different to that of Miss Maudie’s house.
Price is critical when saying “pink” and “ironic” to show how ridiculous she believes the flamingos are. She uses understatements when speaking of how the flamingos were once hunted to extinction, which also can be seen as irony. Jennifer Price carefully uses these rhetorical devices to reveal to her audience that the time period of the pink flamingos was not appropriate in her eyes. Price uses irony and sarcasm when she says “no wonder that the subtropical species stood out so loudly when Americans reproduced it, brightened it, and sent in wading across and inland sea of grass.” She does this to condemn the people of that time. Price uses irony to mock the flamingos, which causes readers to clearly see from her point of view.
Beginning as an abstract painter in the 1970s, then a figurative painter in the 1980s, Howard Arkley reconciled these two tendencies in his distinctive take on the suburban motif. Arkley embraced it, when ‘serious’ designers ignored suburbia. He continued to collect out-of-register colour pages from outdated magazines, or lovingly ponder different ways of rendering woodgrain surfaces or rug designs with his reverberating optical and zinging air-brush. With his spray-gun technique Arkley developed different styles or motifs: iridescent grids of dots that seemed to look like a cross between old computer print-outs and disco lights. Arkley even painted these buzzing dots on a suburban Melbourne tram in 1980.
From afar, the work appears abstract and minimal; upon closer inspection, goodly eyes, reconfigured wigs, tongues, and lips of minstrel caricatures multiply in detail. In her earlier works, Gallagher glued pages of penmanship paper onto stretched canvas and then drew and painted on it. Walton Ford was born in 1960 in Larchmont, New York. Ford graduated from the Rhode Island School of Design with the intention of becoming a filmmaker, but later adapted his talents as a storyteller to his unique style of large-scale watercolor. Blending depictions of natural history with political commentary, Ford’s meticulous paintings satirize the history of colonialism and the continuing impact of slavery and other forms of political oppression on today’s social and environmental landscape.
Priestley had witnessed the horrific events of both wars and realized the people in upper classes were still snobby and pessimistic when it came to changing their views in the class system. In creating Sheila's character, Priestley was hoping the audience would take on board his powerful message. Priestley uses a range of interesting techniques in order to present Sheila's change, the most obvious methods he uses is language techniques to convey certain messages. At the beginning of the play, Sheila is presented as a stereotypical middle class young woman - immature and spoilt. Priestley brings this out through Sheila's character through her childish language such as "I'm sorry Daddy and "go on Mummy".
Moreau was though of by many as the saviour of the grand at a time when realism had taken over the paintings at the Salon. Moreau fought for preservation of the grand part style of painting. He was seen as a painter with the potential of countering both the deteriorating art of the Salon painting and the new deluge of realism. The austere in Moreau’s painting of Oedipus and the Sphinx is resembles the epic austerity of the grand art. The painting can be said to be conceived from the one of the best compositions of Jean-Auguste-Dominique Ingres.
This is evident in Sherman’s ‘Sex Pictures’ and Moffatt’s ‘Scared for Life’ series. Cindy Sherman uses photography and mixed media techniques to challenge contemporary attitudes to the female image and identity. Her works are confrontational as they clearly depict recognizable situations examining society and the way men in particular view women. In her series ‘Sex Pictures’ she questions the notion of beauty and deconstructs the idea of gender. She does this by creating hybrid creatures from mutilated dolls; she combines both young and old, and male and female body parts.
He could easily be defined as an adventurous painter. His painting called “The Family” (1941) is striking. He uses the Cubist style to represent the family in the painting. “The Family” establishes the concept of a family with its many complex relationship and rituals one can share. This masterpiece sat still against the wall right underneath the sign stating, “Romare Bearden Southern Recollections.” It is as if the painting is a target that turns eyes into a magnet that can’t help but follow.