The bright contrasting colours which he uses in his pieces always manage to catch the viewer’s eye, and the fine details within the pieces make the viewer look further into the pieces. The first piece below is called ‘Flower Head- Narcissistic Butterfly’ which Brennand-Wood made in 2005. When looking at the piece from afar I only saw the human faces within each flower once I read the title, and many say this piece is a twentieth-century snapshot- comparable to a preserved butterfly in a museum case. It has also been interpreted as describing the leaders of the countries as narcissistic ‘pinheads’, because when looking at the whole piece you can also see the form has many similarities to a pin cushion. The mirrors and shiny objects used within this piece also go along with the theme of narcissism, as these are things associated with the need to become what is the idea of beauty/power.
Lionel Trilling clarifies relationships are ‘hell-on-earth, not easily forgotten:’ the relationship between Ethan and Mattie is projected as if there is a lot of passion there although Mattie never reveals how she feels towards Ethan. Wharton projects this passion through Ethan’s actions towards Mattie; describing the different colours in the scenery and how certain objects symbolise the relationship. The scenery in Starkfield is very plain and bare but when Ethan sees Mattie there are flashes of red and it becomes more beautiful and idyllic although temporary. Mattie stands out from the bleakness of the scenery; the cherry-coloured ‘fascinator’ refers to Mattie as an object of fascination who is wearing a fascinator, showing the impact Mattie has on Ethan’s perspective of life and it shows the passion that Ethan has for Mattie. These flashes of red and the changes to the scenery show how Mattie changes his whole perspective; Ethan’s overall outlook on life is reminiscent of the landscape in which he finds himself, yet the flashes of red contrast to the bleakness of the wintery Starkfield.
The detailing on this skull is very sharp it uses a selection of shapes and shades to create this skull. This skull is illustrated quite childish and girly I know this because of the bow and the large flowers on the skulls. I interpret it as girl because the main colours on this skull are pink. I think because this skull is for a child it would be presented on the 2nd of November because that day is dedicated to the lost lives of children The eyes on this skull have white blank spaces which creates a twinkling effect: this may suggest that the child who this was representing may have had twinkling eyes. The skull kind of sits on top of the 2 roses: it could represent that where she was buried she may of had roses growing under or around the coffin.
It said something to me, made me look twice. Even thought the picture does not have any color, the values of grey and shadows make it interesting. André Kertész photo impacted art world
Elizabeth Angelozi did this painting. This painting has been done using acrylic on linen and measures 17 by 19 inches (Frank and Sacco). In this painting, there are pink carnations, with green stems and are hanging in the air or are baseless. The pink color of the flowers is bright while the foreground color is a subdued brown. The background color ranges from a smudgy yellow to a light green.
What I think is that not all artwork is perfect but the imperfections of some of them are the reasons why a lot of them stick out, they are beautiful in their own unique way. To sum up its not the thought that counts it’s the effort you made to get it done. Lastly Wabi-Sabi plays a great deal in society today because not everyone looks at the bigger picture that lies behind every smaller one. For example paintings for example
John Keats is an example of a man who is trying to understand the language of art, which he questions throughout his entire poem. Art can come in a wide variety of forms, and John Keats is trying to interpret a visualized story painted upon the urn. While it is said that a photograph can be worth a thousand words, Keats is able to prove that a painting upon an old Grecian piece of pottery can say just as much. He describes the urn’s visualization of its stories as a way to tell “a flowery tale more sweetly than our rhyme” (Keats 4). However, he is not fully capable of discerning the meaning behind the story being told, nor can he discern any of the other paintings upon the urn completely.
My aim is to justify ways in which intertextuality can help us to understand contemporary animation from ideas around creativity. Intertextuality is the integration of one or several signs from one text into another. The term was arguably first coined by Julia Kristeva which she defined as two types, self-conscious intertextuality and unconscious intertextuality. Kristeva talks about how a text becomes “a permutation of texts, intertextuality in the space of a given text,” in which “several utterances, taken from other texts, intersect and neutralize one another” [1]. This questions the idea that we can create something unique and original due to the intertextual references we are exposed to.
There are no specific patterns, it doesn’t mean no reference. Leaders still depends on situation, followers, own experience, or different background information. In other words, real contingency theory means “no specific rules”, leads
Also although when an image is directly copied in an appropriation, I do not think it is necessarily unoriginal as in my opinion all art was created for a purpose. Maybe to entertain, show beauty, express feelings and thoughts, also maybe to bring forth a message. And without a doubt, Salvador Dali’s appropriation of the Mona Lisa is not bringing forth the same message that Leonardo Da Vinci wanted it to speak. Therefore as the purpose of the piece is completely different I do not believe it is unoriginal. Also a favorite artist of mine who goes by the name of “Banksy’s:, who happens to do appropriations quite often,