Ishtar Gate Mosaics

The transition from purity to corruption is displayed in the contrast between the left and right halves of the figure, where the positioning of both Adam and Eve are adapted to demonstrate their guilt. The nature of the figural strategies of both Adam and Eve in the left quadrant of the piece are open, with physical action exuding confidence and a greater saturation of color in the skin tone representing vitality. In the right quadrant of the piece the figures displayed towards the edge of the work with body positioning hunched, and shading of the figures becoming darker and more obscure suggesting the emotional transition to shame. The connection between woman and sin is demonstrated in the middle of the painting where the connection Eve shares with the serpent, in both physical touch and gender, indicates her temptation and predisposition to corruption.The focus specifically on Eve within these two narrative scenes is indicative of her fall, through the use of strategic position,open to closed, and shading, saturated and bright to muted and dark, to represent her turn from purity to corruption. Eve within the left side of the painting is unabashedly displayed, maintaining a position of subservience to Adam beside his feet. However Eve’s gaze and extension towards the serpent serves as the focal point. The focus on Eve indicates her importance in the transgression without the acknowledgement of Adam. This interaction supports the argument of women's ability to be seduced if left unassisted by the moral compasses of man. The hand placement additionally parallels the God and Adam portraiture

His frustration is visible in the expression on his face. He appears tired of her bothering him about it, hence the hand. The child is showing a lot of white which can represent faith, I think the artist did this to say that the baby is giving the family faith because they are trying to provide for their child and in order to do that they need to be able to put food on the table which won’t just only help the baby but them as a whole. The woman may also symbolize strength that’s why the artist made her dress and lipstick red; she’s fiery. She may help the husband maintain his sanity no matter how many problems they are going through as a family.

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

     A less visible, yet still present and important aspect of the painting are the three figures positioned behind Joan, and in front of the house. The figures are somewhat transparent, and ghostly. Their presence adds a spiritual and or religious feeling to the scene. These three figures presence blends into the scenery. Al three have halos above their heads, and serene looks on their faces.

Techniques in this painting include many different mediums such as carving into the wood, paint, and varnish to create multiple dimensions and tension in this piece. Specifically tension from the stains of varnish making the depiction look dirty and worn, as well as lettering from the red kanji appearing on this piece of which is illegible to me, after carefully analyzing the piece I moved on. Venturing to the second floor of the art museum I observed a series of pieces named Fearful Symmetry Holly Scoggins a professor of art at Polk State the one I found to be the most interesting Little

The acrylic portrait of Pennywise the clown from the story, IT written by Stephen King. The purpose of the painting was not only to create a spooky image, but show a representation of popular movie characters and monsters for a core audience. That core audience who enjoy horror movies, clowns, or mystical images.

However, this picture was strange and somewhat scary. The painting presents an apocalyptic vision of the childhood game. The canvas is dominated by a large tree and has profiles of children with their mouths open in horror. The painting offers double or multiple readings; the game of hide and seek where children are depicted in the work and by the viewer who can make endless discoveries embedded in the dense thicket of designs. Words that come to mind when looking at this painting have dark connotations. Words such as burning, fire, horror story and hellish have been used to describe feelings that may be experienced when looking at the painting Upon close inspection of the painting, there can be found images that cannot be seen from a distance. An example is the vein in one child’s face that has a faint dandelion that served as a pedestal for another child. This kind of imagery is understandable because of the time period in which it was painted, during World War II. The design in this painting is a consummate statement of figure-ground, which is the situation where an image on one side of its boundary can be reversed to become the background of a different image on the other side of the boundary. Every visible object in the painting, tree, hand, child, leaf, and bird is perceived in a state of change reflecting the transformations that occur in nature. The

In both works of art, the artists use as few figures as possible to convey their ideas. It is likely they both do this for the same purpose, to not draw attention away from the story being told. Figures in this mosaic also wear flat clothes and seem to float, unanchored from the ground. Although, the landscape does contain a few stones and bushes, it is nothing compared to the realistic representations of nature in art of the Roman Empire. And again, the sky is a radiating gold color that represents the everlasting glow of heaven and the spiritual world.

It is representative of this particular stage, because it reminds of a mother holding their grown child in their arms. When talking about the stage of launching children, the child is launched into various situations that when returning home, the child, now a young adult is unrecognizable to its mother. Nevertheless, in the picture we can see the hands holding them both together, as if a new relationship is being built, yet needs extra support. For me, this painting represented my mom and I clashing on our religious beliefs. Because when I left home I was catholic and upon coming back home, I was not anymore. We have been struggling to let go of my old identity, and having her deal with the fact that I am not a child with the religious background that she tried to enforce upon

The art depicts to me the Indian life cycle and religious perspective when she poses in different forms which she depicts with her hands and feet (Shiva). According to MFAH bulletin board, it explains the nonverbal poses that “Shiva Nataraja” makes such the little man underneath her feet is “Apasmara” resembles the human race “ignorance, forgetfulness, and recklessness”, and one of her hands depicts holding a “…drum…beat of this drum signifies the sound of creation” and her large third eye resembles the looks between “truth” and “illusion” (Shiva). Also, it amazes me the vivid image the artist presented from this bronze statue of “Shiva Nataraja” which depicts in a live and dynamic form.

This is a portrayal of the dance of creation and destruction performed by Shiva. Shiva is dancing through the night. The dark of the night represents ignorance and Shiva is driving it out. Shiva is shown with four arms to show his power and each hold an item that holds meaning. One hand holds a drum that brings the world into existence. One holds a flame that destroys the world. One hand is raised to show the faithful to have no fear and the last points to his raised foot where his followers may find shelter. His lifted foot also shows divinity and his freedom from the human world and his planted foot destroys sin and ignorance. Around Shiva is a ring of fire; this represents

The artists starts to emphasize the human experience. The artists start to study the body and the sculptures appear to be more emotional and dramatic. The pieces of the “ and the “Discus Thrower” reveals that features help us learn about the life of the people during that period of time. The discus thrower is shown to be smiling which is important when it comes to emotion. Another example of how the sculptures show emotion is that the “ is seen with his eyes close.

Created in c. 101 BCE the Alexander Mosaic was discovered in the House of Faun, located in the ruins of Pompeii, Italy c. 1831 during an excavation. The ancient mosaic has many large patches of missing composition but the majority that remains contains many detailed portraits of human and animals fully entrenched in the throes

An Artistic Evaluation head worked into the side. According to the Metropolitan Museum of Art, the monster heads that are found on the furniture and on the folds of the young mans clothing, which I was unable to locate, allude to literary references that would have been appreciated by the artist's friends. In the background there is a green colored room, that includes a door frame, a Doric column and a capital.

Despite its expressionistic, distorted shapes and disturbing colors (which will be discussed later) “Scream” is still a realistic painting, performed in an expressionist manner. Its