While The Entombment of Christ is a representation of religious and spiritual views, it also showcases passionate and dramatic portrayals of the greatest sacrifice ever made by Christ. During my trip to the Metropolitan Art Museum I decided to focus on A.D. 1400-1600 Medieval Art and eventually decided upon The Entombment of Christ. Located in MET gallery 306 the large limestone sculpture stands out immediately. The recess measures 96 x 104 x 32 inches while the overall measurements along with the frame measures a massive 183 x 145 x 32 inches. The beautiful stonework although dated still has great detail and texture, exemplified by the azurite lead paint that although clearly faded, still shows signs of red and orange shades.
Also, in the Holbourne piece, the texture is clearly layered so that each part has a clear and regulated range, with very little crossing of parts. This helps to create a well rounded sound as each individual part is easily identified not only by ear but also by notation. This is not however the same for the Sarabande. Debussys’ use of parallel 7th’s causing an almost entirely homophonic texture. This then often causes an extremely deep and rounded sound, as frequently the chords use six or more notes.
One method of defining a character on the pottery was to change the color of the skin. Typically males would have black skin and females would have white. Another normality that all figures had was the shape of their eyes, women would have almond shaped eyes while men tended to have a more rounded eye shape. Hair and body language could be used to identify the age of the person; Young men would have no facial hair while older men would have a thick beard. Elderly men and women would both have white hair, the older men would be shown stooping or slouching and the older women would be painted with a fuller figure.
The colors in this painting are overall darker than those in The Yellow Christ which changes the mood of the painting. Even though The Yellow Christ and Self-Portrait with Yellow Christ have the same central theme, I believe that the two paintings have contrasted meanings. While the colors in the paintings have some similarities, the colors in Self-Portrait are generally darker and more sinister than the colors used in The Yellow Christ. The primary colors in The Yellow Christ are yellow, and orange. Jesus’s skin tone is painted the same color as the ground in the painting.
In addition, the arched and meandering lines ending in husk motifs that flank the top shell in Watteau's design have been placed lower, and some of the smallest ornamental details have been omitted. The artist used reversed copies of the prints by Cr6py and showed remarkable dexterity in cutting out very fine decoration. Allegorical figures derived from another series of French prints were pasted on either side of the door frames and in the central niche (Figures 25-27). Symbolizing seven months, these figures represent various gods and goddesses with their symbols and signs of the zodiac in a fanciful architectural frame. From left to right, starting with the left-hand door, we see Vulcan as September and Minerva as October.
1800 to 1990:- William Morton was credited with fabrication of nasal prosthesis using enameled porcelain to match complexion of patient. In 1880:- Kingsley described combination of nasal palatal prosthesis in which obturator portion was integral part of nasal prosthesis. In 1900 to 1940:- In nineteenth century, vulcanite rubber was widely used by the dental profession and was adapted for use in fascial prosthesis. Upham described the fabrication of nasal and auricular prosthesis made from vulcanite. In 1905, Ottofy, Baird and Baker all reported using black vulcanized rubber.
As a result, naturalistic writers were frequently criticized for focusing too much on human vice and misery. ------------------------------------------------- Defining characteristics There are defining characteristics of literary naturalism. One of these is pessimism. Very often, one or more characters will continue to repeat one line or phrase that tends to have a pessimistic connotation, sometimes emphasizing the inevitability of death. For example Bernard Bonnejean quotes this passage of Huysmans where the symbolism of death
The armor had a triangular line; it was kind of shaped like a pyramid. It seems very relaxed and calm. The lower part of the armor had a softer surface than the top, where the top felt much more rough and hard. The armor had variety of colors, from a dark violet brown color at some areas to mostly dark gold everywhere else. It showed to be a quality of vivid to warm.
Tennessee Williams tragically presents Blanche as complex and disturbed; he explores her delicate and intense fragility with the acutely powerful symbolic use of light in order to subtly represent her damaged nature. Blanche is vulnerable and extremely insecure; she feels the need
The varying textures, shapes and complexity of the objects in the painting find balance with the asymmetry of the placement of the objects, plus the subtle symmetry of certain objects such as the bowls and plates. There is great repetition of lights and reflections, as well as many yellows and reds throughout. The negative space is very simple in comparison to the positive space. With muted colors and no dark lines or shadows, the foreground really stands out. I would not argue that there is any one main object in this piece, but it is set up so that no one object is directly centered on the page.