Since this artworks depicts something clearly recognizable, it is considered to be a representational artwork. The three visual elements I found to be most present include line, texture, and space. Line is very important in this artwork, especially because this painting uses perspective to create implied space. Implied line is present in the horizon of the painting, it outlines and gives definition to the street, while also defining and separating the buildings from the rest of the painting. Visual texture is very present in this painting.
The painting has perfect balance, its repetitious rhythms belies there submission to the rule of tyrannical social faces. Liu said, “Contrast is very important. If you don’t have contrast, everything just cancels each others thing out.” There are two different kinds of contrasting lines in this painting. One of the lines is controlled which represents power the other one is free she lets the paint drip slowly. The drip gives her sense of liberation and freedom from what was traditional in China In Barber Shop, painting rhythm is established through repetition of shapes and colors.
The visual representation and selection of colours of the cartoon provides a greater understanding and insight into what this cartoon is signifying. Juxtaposing colours draw the eyes towards the most predominant part of the cartoon- the linear path on which the man is walking. This path is white- a colour connoting purity, knowledge and wisdom. It is bright and illuminated, as opposed to the foreground, background and the sky, which are all flushed with black and deep greys. These colours connote the idea of desolate emptiness, a “dark area” of unknown and indefiniteness.
The Mis-en-Scene in Wes Anderson’s The Life Aquatic with Steve Zissou (2004) reinforces the prominent theme of unity amongst the characters. By examining the four elements of mis-en-scene; setting, lighting, costuming, and characters behavior in the space, a sense of unambiguous unity between Steve Zissou (Murray) and his team will be established. The key elements of mis-en-scene each separately contribute to the film and play a fundamental role in the narrative as a whole. The setting in this particular still frame, and the scene as a whole, is significant because it is the physical basis of the scene upon which the frame is built on. Firstly, the fact that the scene is in shot in a studio allows for complete directors control.
|Quotes |Comments/Thoughts | |“It was safer; though, as he well knew, even a back can be |What is revealing about a back? WIth the front of someone, emotion | |revealing.” Pt. 1Ch. 1 pg. 3 |can be revealed through his or her facial expression, their focus on| | |whatever it may be is revealed through the person’s eyes, and body | | |language is easier to read.
For example the tear on Marry’s face, the texture of the fabric or the wound from Christ. All help to present the sadness atmosphere in the painting. The painting is highly realistic. The human skeleton structure is been carefully measured. By looking closely enough, the viewer can even see the detail for each hear.
Apparently, the additions had been painted over at some point in the portrait'shistory, and when this second layer of overpaint was scraped off, the losses had occurred. Apart from these losses and some minor damage at the edges, the portrait was in good condition, testifying to Moroni's very sound technique. Bartolommeo Bonghiis painted on a relatively
The three central figures are presented in what we perceive to be a triangle shape. This use of implied shape helps an artist to unify the composition and contributes to how the work is viewed. As an observer we naturally recognize implied shapes without even realizing it. The recognition makes
The contrapposto technique, emphasizing the subtle rotation of the hips, conveys the impression of movement realistically. Moreover, the motion of stepping down- a more sophisticated manoeuvre than simply striding forward- is executed masterfully, whilst maintaining the symmetry between parts of the body that characterizes High Classical sculpture. The pose is what is known as a rhythmos, a ‘pause-point’ in the process of motion, which conveys the immediacy of Victory’s progress in a balanced manner. Discobolos, frozen between the moment of coiling in and releasing out, is the High Classical paradigm of such a technique, designed to represent motion without sacrificing rational control. Thus, Victory portrays the emotive exhilaration of sudden triumph of ceaseless conflict and random catastrophes that sapped Athens’ confidence and deadened emotions.
Spill the blood!” (174,175) Reasoning: No civil person would repeatedly state this phrase. This definitely represents savagery. It shows how bloodthirsty these boys are and then when they recite this while murdering Simon; it makes it even more gruesome. They’re so consumed in all the blood that they don’t even realize they had killed Simon until it is too late. • “Ralph wept for the end of innocence, the darkness of man’s heart, and the fall through the air of the true, wise friend called Piggy.” (235) Reasoning: This quote that was stated at the end of the book shows the reader and myself that the world of savagery only leads to murder and sorrow.