We see these men facing extreme dangers and through all of this the theme of “war is hell” is portrayed very well. Saving Private Ryan displays how war is hell by the use of lighting techniques, editing, and sound. All of these contribute greatly to how the movie and made and what the movie is attempting to get the audience to understand. As you watch a war movie you typically don’t expect the lighting to be what you see in other genre of movies. As this movie starts, the audience watches a flag blowing; the lighting as we see it is faint, and almost black and white.
After that your attention is pulled towards the man’s head, white hair, face, right hand and neck because of its comparative brightness to the background wall color. Then your focus shifts to the man’s bony legs and left hand. Finally, you see the wall in the background which is almost unimportant yet important in this picture. As it is evident, artist’s never use all the elements of art in painting. They choose only the elements that are sufficient to express their ideas or convey their message.
The horse has a narrow neck line, but the mouth is stretched outward with large block like buckteeth. The mural is large although this didn’t allow for more details in the space. Instead he used the larger canvas to create larger images without the higher details. In the supplied photo the candle appears to be casting down light at an angular direction or is diagonal line there to create the pyramid with the all Seeing Eye at the top? Sepias, browns, whites and blacks were the colors used to paint the entire mural, almost as if Picasso was trying to match the colors of a pencil drawing.
The colors used in the painting make it somewhat dynamic; there is a combination of primaries, secondaries, and even earth tones. Every color is a complex tone or shade; that is to say, no color can be found in a standard 8 crayon Crayola box. The vibrant colors like bright red, blue, and orange are used more sparingly than the earth yellows and greens and greys. This, combined with the parts of the beige canvas that show through make the first impression of the colors of the painting muted. Only after close examination does it become apparent that there is a contribution from several bright colors.
24-25 (Frames 1-10), Scott McCloud uses the painting of a pipe to explain that what you see in a picture is not actually what you see. As a human, when you first examine the picture you see a painting of a pipe, but, in reality, it actually is not a painting of a pipe. It is copies of a drawing that was made from the original painting. On Pg. 31 (Frames 7&8), he tells how a circle, two dots, and a line are perceived as a face and how our mental stigma forces us to always see that combination of strokes as a face.
The artist was aware that his Starry Night composition was somewhat surreal and stylized and in a letter to his brother he even referred to "exaggerations in terms of composition. " The vivid style chosen by van Gogh was unusual - he chose lines to portray this night scene when silhouettes would have been a more obvious choice. In Starry Night contoured forms are a means of expression and they are used to convey emotion. Many feel that van Gogh´s turbulent quest to overcome his illness is reflected in the dimness of the night sky. The village is painted with dark colors but the brightly lit windows create a sense of comfort.
Angelo Doulas Caravaggio: Paintings 1. Calling of Saint Matthew . Caravaggio In this painting, Caravaggio uses a lot of shading with the light that enters the room from the right, very typical of the baroque style. The characters reflection of shading is also very evident against the light on their bodily functions. There is a lot of twist within the characters, hips twisted, and faces also either turning to one another and also turning towards the people standing up.
The amazing thing about Kline’s painting is that details consisting of splashy marks, rough edges and broken lines are all balanced with each other and the greater forms. Though the paint is handled in an apparently rough manner, Kline’s paintings are masterfully tuned, and create an elegantly visceral expression. In fact, Kline chose to paint in this particular manner for the challenge that it posed on such a fundamental level. He wished to work in a way that could address the essence of mark making and gesture, which he saw as the heart of painting. Far from being “something a child could do,” as some museum-goers might say of his work,
A faded image of face appears to the right side of the painting. The face seems to be God, he is watching over them. The only light in the painting is the angel, Adam, and Eve. The angel seems to be just a blur like a ghost in light white creamy color; around it has like a orange color to green blue color where the other face appears. The color of Adam and Eve is white cream, it has good contrast were you can see the shadows.
This contrast of views exemplifies the relationship between realism and impressionism art. “A fine way to paint soul, by painting body” is the representation of spirituality and how Lippo believes fine art includes flaws of the body as opposed to using symbolism. Lippi lists all the ways of painting somebody realistically with constant questions to emphasize the debate about the nature of religion