Analysis of Literature and Paintings Essay Example For Students

Analysis of Literature and Paintings Essay Towards the end of the extract Antonym is ashamed of what he has become we can see this from the extract l am ashamed that an Impersonator such as have been should prove in the end to have less courage than a woman (Plutarch, in Assignment Booklet, 2012, p. 0). In another accounts of Antonym and Cleopatra meetings Plutarch again, also portrays Cleopatra as having a hold over Antonym and has manipulated him to get what she wants. (Pear, 2008, p. O) Cassias Did also portrays Cleopatra as having a strong hold over her relationship with Antonym, as in his speech on Augustus on Cleopatra he states she enslaved Antonym and was bewitched by her (Scott Kilter, 1965 in Fear, 2008, p. 27). Both Cassias Did and Plutarch characterizes Cleopatra as having a lethal influence on Antonym and their relationship Plutarch wrote The love for Cleopatra which now entered his life came as the final and crowning mischief which could befall him (Scott Kilter, 1965 in gear, 2008, p. G). Cassias Did in his speech Augustus on Cleopatra writes And so, being enslaved by her, he plunges into war With all its attendant dangers Which he has accepted for her sake (Scott Kilter, 1987 in Fear, 2008, p. 27) When reading Horace Ode 1. 37 Antonym is not mentioned specifically in the poem, but like Plutarch and Cassias Did he also portrays Cleopatra not only having a negative impact but also possessing the more superior role in the relationship. Horace portrays this when he says While the mad queen with her contaminated flock of men diseased by vice (West, 2004 in Pear, 2008, p. 8) In conclusion, looking at this passage by Plutarch and other passages by Plutarch in Chapter 1 and comparing them with Cassias Didos passage and the poem by Horace, the portrayal and characterizations are very similar as they all appear to suggest Cleopatra as having a strong and dominate hold over their relationship. All three sources also seem to suggest the relationship between Antonym and Cleopatra as having a positive impact on Cleopatra character and a negative impact on Antonym character. Word Count 480 Bibliography Fear, T. 2008) Minoan, E. (De) IOWA The Arts Past and Present Book 1 Reputations, Exosphere, The Open Universities)h Scott-Kilter, L (2014) IOWA The Arts Past and Present Assignment Booklet, The Open University. Part 2 Cezanne Compare and contrast CÂ ©Cannes Bathers (Plate I . 3. 4) with Corrections Lead with the Swan (Plate 1. 3. 8). CÂ ©canes Bathers and Corrections Lead with the Swan are both oil paintings on canvas, Although the genre of both paintings are Bathers, there and many differences between the two paintings. The picture space of CÂ ©canes Bathers is in an open, and very bright space, whereas Corrections Lead with the Swan picture space is very dense. Both artists have used an outdoor setting with the use of trees in the back ground. The eye is immediately drawn to the nude woman portrayed as Lead in Corrections painting, this is also the brightest part Of the painting. The light appears to be corning from the bottom right hand side of the painting, whereas the light in CÂ ©canes Bathers appears to be coming from the picture plane, as though the light is coming from the actual oral rather than the picture space. To create an allusion of distance Giorgio has used Aerial perspective. He has used more intense colors in the foreground and paler colors in the background. He has also used two point perspectives as there are two vanishing points in the painting one on the left hand side of the painting and one towards the right hand side between the trees, from both points we can see the mountains fading in the background. CÂ ©Zane has used a single point perspective as there is only one vanishing point, where a tree in the distance can be seen. CÂ ©Zane has also used bright and pale colors throughout. .ud1b0e256a76a0fd59dd6f7c1d24c8f72 , .ud1b0e256a76a0fd59dd6f7c1d24c8f72 .postImageUrl , .ud1b0e256a76a0fd59dd6f7c1d24c8f72 .centered-text-area { min-height: 80px; position: relative; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72 , .ud1b0e256a76a0fd59dd6f7c1d24c8f72:hover , .ud1b0e256a76a0fd59dd6f7c1d24c8f72:visited , .ud1b0e256a76a0fd59dd6f7c1d24c8f72:active { border:0!important; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72 .clearfix:after { content: ""; display: table; clear: both; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72:active , .ud1b0e256a76a0fd59dd6f7c1d24c8f72:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72 .centered-text-area { width: 100%; position: relative ; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72:hover .ctaButton { background-color: #34495E!important; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72 .ud1b0e256a76a0fd59dd6f7c1d24c8f72-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud1b0e256a76a0fd59dd6f7c1d24c8f72:after { content: ""; display: block; clear: both; } READ: Renaissance Literature QuizThere is a clear difference between the narrow tonal range in CÂ ©canes painting and the wide tonal range in Corrections Lead with the Swan. There is an obvious contrast between light and dark colors in Corrections painting giving a quite dramatic effect. The contrasts of light and dark colors in CÂ ©canes Bathers are minimal, causing a less dramatic effect, Both artists have also used tints in their paintings to produce lighter colors although CÂ ©Zane has used this more, Giorgio has used unsaturated colors to produce a more subtle effect and as used shading to distinguish the lit areas from the unlit areas. CÂ ©Zane has used saturated bright colors. The color ranges of both paintings are narrow as both artists have used a limited palette Of colors. Cezanne has used mainly greens, blues and whites suggesting a more calming mood and Giorgio has used mainly browns and black creating a more dramatic mood. When comparing the texture of both paintings there is a vast difference. Corrections painting has a smooth surface, he has applied the paint thinly and used linear brushwork, the brush marks can hardly be seen. CÂ ©canes painting looks rough and the paint has been thickly applied using multi directional brush strokes and using a painterly technique. There is also a vast difference in the actual nudes in the painting. CÂ ©canes nudes are not defined and very roughly painted and unattractive. They look as if they are unsettled and awkward, Corrections nudes are more defined and smoothly painted, compared to CÂ ©canes nudes they look more calm and collected. In conclusion, both artists have used the same genre tort their paintings, although Corrections Lead with the Swan can also be seen as a hydrological genre.