Search results
Results from the WOW.Com Content Network
The videos both show Orellana standing a few feet from the deputies in the house's driveway while holding the paint roller. Family members can be seen and heard in the background crying and ...
The work is made from paper, glass, a metal frame, a metal chain, a magnifying glass, and a painted ladder. The word YES is printed on the piece of paper. [1] The work is interactive, with the viewer (or participant) expected to climb the ladder and use a magnifying glass to look at the word "YES" which is printed on paper beneath a sheet of glass suspended from the ceiling.
The painting presents a sparse, earthy brown landscape set against a black sky. However, Miró uses bright and playful colors to depict the distorted figure of a dog in the right foreground barking at the half moon and bird above it. In the left foreground, a ladder extends from the bottom of the painting before receding into the dark night sky.
Nude Descending a Staircase, No. 2 (French: Nu descendant un escalier n° 2) is a 1912 painting by Marcel Duchamp.The work is widely regarded as a Modernist classic and has become one of the most famous of its time.
The focal point of the painting is in the center panel, which portrays a group of interlocking figures arranged in an elliptical shape around the lifeless body of Jesus. St. John, dressed in a scarlet cloak and with one foot on a ladder for support, is the primary figure supporting the weight of Jesus.
The materials used for the painting were tempera paint and wood panel. The height of the icon is 70 cm (27.6 in) and the width is 48 cm (18.9 in). Moskos added a sunset to the background of the painting. A castle on a mountain is present in the engraving and the painting.
The woman in this particular painting is sitting on the ground, possibly resting from a long walk. She is dressed in French style, according to the time period. She is holding a fan in her right hand, while a little dog is cuddled in her lap. The young man is holding the parasol in order to shade the woman's face.
Unlike Pontormo's bright coloration and unitary collection of billowing figures, the Fiorentino depiction has two arenas: above is an Escher-like geometric struggle of laborers on ladders, removing the crucified Christ, while below, the women and men are subsumed in grief. Mary, pale and downcast, collapses in the arms of two women.