The characteristics of the birds seem to be similar to the couple. They are calm and regal among the grass. The couple appears to be calm and regal in their confidence and age. The writer portrays a variety of emotions in the writing. His creative use of humor and sadness adds a special interest to the story.
Instead of absorbing the sight of the birds as a human who is simply moved by the beauty of nature, Audubon counts the birds and sees them as dots in the sky as opposed to just enjoying them. Dillard, on the other hand, describes the birds from a humanistic point of view, revealing how the birds, “gathered, deep in the distance... transparent and whirling, like smoke,” (4-5). This observation contrasts Audubon’s description by comparing the birds to whirling smoke, Dillard illustrates for the reader, “out of the dimming sky a speck appeared…” (1). Dillard does not count the birds, but takes into account their marvelous being, observing the birds as, “intricate and rushing,
Therefore when we make painting of water, cloud then it is an art, but when a person look at reality of water and clouds is not art. There are different aspects of art such as narrative, expression, and formal. A formal aspect of art is anything that has lines, shapes, values, color, texture, pattern, rhythm, balance, scale, proportion, and motion. Formal quality of art is based on the values of people, their culture and the way of people’s thinking. There are different types of arts and those arts can be compared and contrasted in one way or the other.
In comparing Cimabue’s Madonna Enthroned with Angels and Prophets and Giotto’s Madonna Enthroned, the artists’ main idea of painting Mary enthroned is same, however the form used for the subject matter differs. The most important thing to note is that both artists paint with a Gothic and Byzantine style with their characteristics of a gold background and noticeable halos. When contrasting these two pieces of art, the main difference is the placement of the figures in each painting. In Cimabue’s painting, the angels are depicted around the throne with each row at different levels. This causes the angels to appear as if they are stacked on top of one another, unlike Giotto’s painting.
What relation does each thinker believe art has an ultimate reality and what relation might this have to their view of art’s pleasure giving nature. In the readings Aristotle finds art whether it be Music, Dance, Painting or Sculpture representational. He asserts that art is pleasurable because of its characteristics. “It’s purpose is to bring about a catharsis, a purging of the emotions, through the experience of fear and pity.”-Aristotle (pg.27) I feel that Aristotle’s position of art is true from my point of view. I think that there are a lot of artists, including myself that use a representational standpoint.
Emotion in an Aesthetic Experience Emotion is key to experience art in the way the artist intended his art to be perceived. A work of art, whether a painting, poem, play, etc, that has a dark and ominous tone seemingly inflicts an expression of an emotion upon the audience, hopefully equivalent to the intent the artist was trying to provide through his art. Emotion that is felt however, is subjective to each individual. This emotion perceived by the art allows the audience to therefore have an aesthetic experience, whether or not they understand the emotion that they are expressing. This expression of emotion when observing art leads to better comprehension of the artwork and the artist’s emotions that he experienced and expressed while creating a particular piece of art.
Here more wing angle and surface creates more down force which in turn reduces speed. But here the rear wing is splitted into two set of aerofoil which is connected to each other. The upper aerofoil is one large single element whereas the lower one is responsible for creating down force. The lower wing when tilted to a certain angle which creates a low pressure region to create more down force below the car. The position of two wings should be relative to each other as if they were very close then the resultant force will be in opposite direction and thus cancel each other.
Some private jets, commercial airlines, military planes, and gliders have them at the end of their wings. Certain helicopters have them on their rotating blades. Also, prop planes have them on their propellers. And last, some race cars have one on each side near the front. It has been determined that winglets create less drag for airplanes, allowing the planes to use less fuel.
Instead of attempting to hide these limitations modernist artists glorified them and made these limits one of the focal points of their work. In doing this the artist does not undermine the medium but expands on it instead, encouraging reinvention and subsequently ‘purifying’ (Greenberg, 1960) it rather than presenting yet another idealized version of reality that disregards it. The specific way in which a piece or work addresses its own unique medium that separates one art form from another - or a work’s ‘medium specificity’ - may be examined in modernist painting where the medium of expression is clear, but problems arise when this consideration is applied to literature. This paper will primarily discuss the way in which two great modernist artists, Pablo Picasso and Ezra Pound, approached their respective media through experimentation will also attempt the question of how medium specificity can be explored in fields other than the visual arts. By nature the medium of painting involves the placement of paint on a flat surface.
This then provides the same emotion that the artist felt in the environment in which the painting was created, almost like a transfer of pure emotion from artist to viewers by means of the canvas and the color. Cubism is similar to this in the sense that Cubists believe that it is important to manipulate formal elements when depicting a subject matter in order to provide an accurate presentation of the feelings that a subject evokes, rather than directly reproducing it on a canvas. The Cubists, however, regard the Impressionists negatively. In Gelizes and Metzinger’s article, art created by Impressionist painters are described as being “feeble and worthless”. Impressionists, like the Cubists found importance in depicting nature, but their difference was that Impressionists limited themselves, while the Cubists found that limitation was the only error in art.