Rick Amor Greed Analysis

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

The illusionistic brushwork denotes the bulky drapery folds that are wrapped around the body.3 Behind his head is a large golden circle that could either qualify as a large halo or a sunset in the distance. His left foot is slightly lifted and is resting on the base of the writing desk which highlights that this artwork is three

When you first glance at the painting, you see Paul Revere looking straight at you and he is putting is right hand on his chin in a thinking posture. This posture makes Paul Revere look sophisticated and manly at the same time.

He completed a Fine Arts degree at the Queensland College of Art, and was one of the first Aboriginal artists to become successful in a predominantly white profession. He refused to let his race define his success and often denied to be recognised as an exceptional artist simply because of his Aboriginality, even to the point where he rejected offers to display his work in Aboriginal exhibitions. He spoke of his wishes "to avoid banal containment as a professional Aborigine, which both misrepresents me and denies my upbringing and Scottish/English heritage," as well as his hopes that his daughter would be able to grow up in a culture where her race would not define her life or success. It was for these reasons and many more that racial confrontation became a common theme in his works. His work “Self Portrait (but I always wanted to be one of the good guys)” – an appropriated version of Colin McCahon’s “Victory Over Death II” – reflects his statement that he was often confronted by images of Aborigines depicted as being violent and volatile growing up.

The painter uses one point perspective, as shown the by direction of the walls and paintings on the wall. There are seven gentlemen in this painting. Some of them are musicians, playing the violin and watching the music sheets. Some pictures on the wall have the same meaning. The winter landscape, Christ, and trees symbolize the cycle of the life. Much light in this painting can show people the musician face clearly. The musician in orange seems like that he noticed the painter, and rest of them were just doing their own stuff. This detail makes the whole scene very

Next is the use of color, or lack thereof. The colors in the background are very quiet and muted, mostly subdued blues and grays with hints of a deep red and brownish yellow peeking though. The colors used for the figure are browns and tans, almost as if the was painted with mud, like she is all-natural and from the earth. The range of colors would seem to have a cool tone if you were looking at them on a painter’s palette but the arrangement of color on the canvas gives the piece a warm feeling.

His other noticeable work is Shadow man, which is similar to his Image Mass Murder where is splashes paint on the ground but instead of it around a chalked out outline it is brushed in the shape of a silhouetted. These images were created in different areas that would make the pedestrians have the most impact when they saw it, which was around corners and in dark alleys. Most of these pieces were in New York city but later expanded to some parts of Europe, including both sides of The Berlin Wall before it was torn down.

The entire painting is focused around him and nothing else. It is made up bright colors, basic shapes, and lines. The background is made up of a mix of light and dark

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

In this painting it is talked that the man in the left front is suppose to be himself. As viewers can see he paints himself away

There are three main aspects of this painting, each representing a different aspect of society. The first and lower part of the painting shows the working class, gathered in desperate and impoverished lines. This shows the lack of compassion available in the American economy.

The painting includes elements such as a long array of color swatches that recede into the distance and zoom into the foreground. The swatches are painted, but the swatch at the top is “fastened” to the painting with an actual metal bolt. Spread across the canvas are three painted shadows. There is a rip in the canvas, the rip is simulated with paint, but it is “repaired” with actual safety pins. Below the rip is a hand, painted and signed by “A. Klang.” a commercial sign painter. The hand points to a white rectangle like a floating

Hamilton was born in 1922 in London. His early experiences had gained him a diverse set of skills that came handy in creating unique, unconventional artworks. Hamilton left school at the age of fifteen without any qualifications to work as an electrical engineer. During this time, he found a new passion with drawing, which led him to attend the Royal Academy to study art. When World War II struck, Hamilton had to discontinue his study and started working for the record company EMI as engineering draftsman. This chain of events made Hamilton familiar with science and technology, which he incorporated in various future works. When the war ends, Hamilton resumed his study at the Royal Academy but was then expelled for “not profiting by the instruction given in the Painting School.” This failure led him to enrolling at Slade Schools of Fine Art, where he was familiarized with various ideas of modernism.1

Any art medium can be utilized to tell a story or evoke emotion in a viewer. Artistry is unique in that it is purely visual and can be left to interpretation if the artist chooses to stay ambiguous in the message they are trying to convey. As an artist, I am always trying to analyze the meanings behind famous works of art, whether those meanings happen to be incidental or purposeful. So, when contemporary artist, Enrique Chagoya expressed his adoration for the social commentary expressed in Francisco Goya’s Los Caprichos sketches, I was intrigued.

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this