At the same time the story of his life is fascinating in its own right. Langdon attempts to bring him and his environment to life, while also trying to restrict herself to the ascertainable facts. She chooses to construct a narrative, taking a chronological approach to Caravaggio’s life and works, and relating the context of the times and events in his life to his art. Athanassoglou-Kallmyer chooses to write about Cézanne because she feels that as an extremely influential artist, certain aspects of his art have been neglected, ‘the regionalist dimension, so instrumental in fully understanding Cézanne’s enterprise, has been ignored or inadequately explored so far’.  Athanassoglou-Kallmyer’s Cézanne and Provence: The Painter in His Culture, also takes a biographical approach to Cézanne’s life and works, although the narrative element is far less clear cut.
The Study Diamond (The Open University (2013), Block 1, 2.3, p.75) will be used to explore the effects, techniques, context and meaning of the painting. Exploring techniques used and how they reflect the horror that war creates. The essay will also examine how the painting is seen by the world today, and if it is continuing to fulfil the purpose first asked of it. Guernica is an oil on canvas painting which stands 3.5 metres high by 7.8 metres wide, painted in shades of black, grey and white. Guernica does not directly portray the bombings, instead, it shows the terror and chaos created by war.
Authorship in Pale Fire The reflexive structure of the novel, in which neither Kinbote nor Shade can really have the last word, together with apparent allusions to Kinbote's story in the poem, allow critics to argue various theories of authorship for Pale Fire as a whole, including the theory that Shade invented Kinbote and wrote the commentary himself, and the contrasting theory that Kinbote invented Shade. Brian Boyd's book Pale Fire: The Magic of Artistic Discovery thoroughly explores the authorship and interpretive options, eventually settling on a thesis involving intervention in the text by both Shade and his daughter Hazel after their respective deaths. Mary McCarthy, in her 1962 New Republic essay "A Bolt from the Blue" (in which she classed Pale Fire "one of the great works of art of the century") identified the book's author as Professor V. Botkin.  Nabokov himself endorsed this reading, including in a list of possible interview-answers at the end of his 1962 diary, "I wonder if any reader will notice the following details: 1) that the nasty commentator is not an ex-king and not even Dr. Kinbote, but Prof. Vseslav Botkin, a Russian and a madman..." Novel structure Starting with the table of contents, Pale Fire looks like the publication of a 999-line poem in four cantos ("Pale Fire") by the fictional John Shade with a Foreword, extensive Commentary, and Index by his self-appointed editor, Charles Kinbote.
Critics over the years focused on this search for a hidden significance, and put forward their own interpretation of this "truth." The scarlet letter has thus been assigned almost as many different meanings as there are words beginning with the letter A in the English dictionary. Instead of offering my own A-word as a key to understanding Nathaniel Hawthorne's masterpiece, I would like to focus on the notion of symbol itself, and on the way the author organizes this search for a meaning. The narrator frequently uses this word throughout the romance, and its various occurrences enable us to shape a definition that corresponds to his personal use of symbols. From this starting point, I would like to show how Hawthorne stages the interpretative process within The Scarlet Letter, and how this provides keys for the reader on how to read them.
In this piece, the image seems to be almost completely lost. The lines appear to come together to create familiar objects. Like Picasso’s this painting also has little color and he uses white, blue, red and yellow. The painting is very creative and it’s like Gorky creates his own language, his own mark making and even his own calligraphy. Finally, the most recent of the artworks, Jackson Pollock’s Full Fathom Five, 1947.
Likewise, through her Untitled Film Stills series and her later Sex Pictures, Cindy Sherman has used the nature of confronting images to examine our culture and its clichés, cleverly depicting the impact of representation. Postmodernism is the late 20th century concept of art that represents a departure from modernism. It literally means ‘after modernism’ and is a reaction against the narrowness modernism had developed in to. A distinguishing characteristic of the postmodernist movement is its wit and parody, and in particular the appropriation and pastiche of past artworks. Julie Rrap has used this device to investigate the ways that the female identity has been portrayed in history.
CUBISM ESSAY – Kate Ward Picasso once said “ I paint forms as I think them, not as I see them”. Discuss this statement with reference to his Cubist work “Still Life with a Chair Cane” In this statement “I paint forms as I think them, not as I see them” Picasso is referring to his personal way of thinking when concerning his ideas towards creating his unique artworks. He is saying that he has no desire to copy a snippet of reality onto a canvas like most traditional artists do. He wants to express his ideas about the modern world around him and how it can be interpreted. This presents a deeper, more truthful interpretation of reality through the practice of both synthetic and analytical cubism that reflects an avante garde style.
The author evidence in supporting her ideas is by narrating stories. The entire chapter is full of different stories about how the white pigment was discovered and what ingredients have been used to made it, stories about people’s adventures and their sacrifices in their journey to learn more about the pigments. Similar with chapter “White” is her chapter “The Paintbox”. Victoria Finlay discusses the importance of the color in the art world from the late medieval period to the present, and the people behind the paintings and their most secret techniques. However, the only difference between these two chapters is how she organized the material.
Iconographic Analysis I have chosen Image 6 (Mexico, 1949), which I will use to conduct an iconographic analysis. This type of analysis is done by considering historical significance and the meaning or purpose that the artist had for creating the painting. Usually, there can be more than one interpretation for the painting and it doesn’t have to be accurate. Although the title and the artist’s name are not provided, I was able to conclude that the artist is Frida Kahlo, as she herself is pictured in the painting. Upon observing the painting, one can tell that it is filled with symbolism, nature, and Mexican culture.
Although he briefly trained as a Naval Surgeon, Ferguson soon realised that his ambition was painting and he spent some time travelling in Spain, Morocco and France to develop his artistic knowledge and experience. The first painting I am going to discuss is 'The Pink Parasol' which is a portrait painted in 1908 of a fellow artist and friend Bertha Case, when they were both in Paris. In this painting Ferguson adopted much stronger colours than in his other paintings and like Matisse used green paint to represent shadows in the face. He emphasised pattern by merging the pink parasol with the background of his picture by blending it with the cold colours. The painting is of a woman peering over her shoulder, she is wearing a hat with a pink bow and is also wearing a scarf, in the background there is a pink parasol around strong blocks of cold colours.