The Style of the Dresden Triptych Jan Van Eyck’s distinctive late style is clearly depicted in the Dresden Triptych. Through careful analysis of the figures, treatment of space, and color, this triptych is clearly painted in an elegant, softer, more atmospheric style. The faces and drapery on the figures are also important visual elements to take into account when comparing this work with Van Eyck’s late style. In earlier works, Van Eyck’s figures had more sculptural, bold, weighted associations. This work portrays less bulk, less weight of the body, and has more of an elegant approach to the human figure.
At a first glance, it was the polished sensual beauty of Correggio’s painting that initially struck me. Although Cézanne’s Bathers may not be obviously striking, there is a far more natural beauty in the harmony of his colour choices and the ordinariness of his nude subjects. Correggio’s mythological oil painting is symmetrical, focusing on one nude figure centre, resting against a tree trunk. Other nude figures are situated to each side with foliage behind and the sky can be seen in each top corner. The figure focused on is Leda, purposely posed with a swan between her legs, neck curving between her breasts.
Although not exactly the same height, the two mountains are of similar size and width, with the lowest point between them centered in the frame. The sides facing the viewer are menacingly dark, and add a great contrast to separate land from sky. The mountains are surrounded by partial sunshine and swirling clouds. The clouds themselves are more concentrated in the center of the photograph, dissipating as the eye moves outward in either direction. Having the viewer’s vantage point almost at ground level exaggerates the physical distance between them and the mountains ahead, and also invokes feelings of the grandness of such a scene.
It is important because it is a place where people can go to honor the men and women who gave their lives for freedom and our way of life. Brigadier General V. D. Connor proposed a project for the United States on October 29, 1919. The proposal was denied. On December 21, 1920 Congressman Hamilton Fish, Jr. of New York introduced a resolution for the return to the United States an unknown soldier killed in France. He was to be buried with ceremony in a tomb to be constructed at the Memorial Amphitheater in Arlington National Cemetery.
I can also see the illusion of light on the water and the clouds. The way the painting is arranged you can still see light on the tops of the branches of the trees even through the dark cloud is above it. I think the color is important because the greens and the yellows brings a softness to it. The colors are used in contrast to each other so you see the dark clouds and the dark green of the forest and then you see the brightness of the sky with the yellow of the land it is a good contrast. Art Critique Paper 3 The texture of the painting is implied since it is a painting.
There is also a cap of a tube of paint located towards the bottom right, the cigarette butt is more towards the left side, and the key is towards the bottom. The painting seems to be very dark and gloomy. It consists mainly of sea green, black, white and silver paint. There is a random splotch of bright colors located towards the top right; it consists of orange, yellow and purple. This sporadic bright color seems to look like a flying
The repetition of the word “black” in this quote also dawns on readers. Black represents death and since it is a memorial readers can picture family and friends of the veterans grieving at the memorial for the loss of their loved ones. Furthermore, the poet continues his poem and says “I touch the name Andrew Johnson, i see the booby traps white flash”. In this quote readers can picture Komunyakaa scrolling down the names listed on the granite and touching Andrew Johnson’s name. Out of all the names that were listed, which he stated earlier were 58,022, Andrew Johnson name stood out to him.
There are mostly vertical and horizontal lines, as opposed to diagonal lines. The artist uses closed form in this painting and there are clear outlines and smooth brush strokes. The painting has a central format; the important is in the center. In this painting the artist uses linear perspective; this is a technique where things appear to get smaller as they go back in space. This technique also creates a depth in a flat surface.