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Is this a simple soldier pulling away the cadavers of his companions or death itself taking away dear individuals into the unknown? Who is connecting the physical bodies with the symbolic meaning of the stripes painted with their blood?
The characters in the background also play an important role in the creation of the painting. With their presence, they create an antithesis to the characters in the foreground. They are dressed in white and, apparently, their expressions are both those of consternation and pity for the victims. Going further with the allegory, this can in fact be seen as the American people looking at the entire people's victims with sadness. Patriotism is a wonderful thing, but the losses and moral impact is also not to be ignored.
The creative means by which the painting is made are relevant in building the right atmosphere and perception for the viewer. First of all, the lighting and shading plays an important role. The painting is essentially dominated by dark shades of color, including dark red for the blood and flag, as well as the dark colors used for the uniforms. The artist uses contrasts occasionally, as is the case with the background figures, dressed in white clothes. At the same...
The lighting and shades used propose a gloomy perspective on the issue at hand and an overarching depressive interpretation of the issue.
The author also managed, through this foreground/background antithesis, to create the impression of a 3D space, rather than a two dimensional one. The painting seems to be build following a line which the characters populate, starting in the lower left corner and going upwards to the upper right corner. The painting also revolves around the series of parallel stripes that the soldiers leave on the ground. The characters are also massed towards the upper right corner of the painting.
Overall, the artistic instruments are subordinated to the underlying perception that the artist is trying to transmit to the viewer. The overall gloomy impression of the painting is in fact a way to show how serious the theme described in the painting is. The viewer is feeling this from the first visual contact he has with the painting and it continues upon further discovering elements included in the picture.
His work can be seen as fitting into a wider context of artists working to represent the France their generally well-off and comfortably middle-class and upper-class purchasers wanted to see and to believe in. The purchasers of Millet's works may never have visited the Normandy countryside for themselves, but they could share in its beauty and its spiritual and moral values through Millet's art and the art of other
Painting as a Leisure Activity History of Painting Humans have been painting pictures since roughly 15,000 to 17,000 years ago. How do we know? The oldest known paintings were found on the walls of a cave near Lascaux, France, by in 1940 (by a dog named "robot" who led four boys into the cave). These extraordinary cave paintings (of very large animals: horses, bulls and stags), were tested through carbon dating and
Pissarro took a special interest in his attempts at painting, emphasizing that he should 'look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon. In the meantime Pissarro had introduced him to Cezanne, for whose works he conceived a great respect-so much so that the older man began to fear that he would steal his
paintings and gives opinions about which ones are neo-classical and romantic, which ones use impressionism and how so. There were six sources used to complete this paper. Throughout history art has been a universal language. The love or emotion that is elicited from a painting can happen regardless of the language the viewer speaks. Paintings do not require interpreters or language commonality. They speak to hearts and do so with
It is surprising in its theme and focus, because it was painted during the Victorian era, when many people were experimenting with seances and other occultism, and yet the general public did generally not accept that. And yet, this painting was, and it was purchased by the gallery shortly after it debuted, showing how much they valued the painting. All of the little details engage the reader, but they
Paintings -- Nude Women The painting Reclining Nude, was done in 1917 by the Italian Amedeo Modigliani who lived from 1884-1920. Reclining Nude is oil painting on canvas, 23 7/7 high x 36 1/2 inches wide or 60.6 x 92.7 centimeters. It is currently owned and displayed by the Metropolitan Museum of Art in New York City having been acquired from the Mr. And Mrs. Klaus G. Perls Collection in