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In contrast, floaters are specks or threads of variable diameter and variable visual sharpness, some of complex shape, darker than the background. If the eye stops moving, the floaters settle down. If the eye moves, the floaters follow sluggishly, because they are contained in the vitreous humor, which, being gelatinous, is subject to inertia.
Here the imaginary floating forms dominate the scene; they dwarf the forms of visible reality, as represented by the fleshy forms lying in sleep. Through the variation in scale between the dream figures and their earthly forms, Kupka clearly made the painting about an experience of invisible reality with the immaterial dominating the material.
Despite the name "floaters", many of these specks have a tendency to sink toward the bottom of the eyeball, in whichever way the eyeball is oriented; the supine position (looking up or lying back) tends to concentrate them near the fovea, which is the center of gaze, while the textureless and evenly lit sky forms an ideal background against ...
Malevich intended the painting to evoke a feeling of floating, with the colour white symbolising infinity, and the slight tilt of the square suggesting movement. A critic from the rival Constructivist movement quipped that it was the only good canvas in an exhibition by Malevich's UNOVIS group: "an absolutely pure, white canvas with a very good ...
Floaters depiction Purkinje tree depiction Floaters or muscae volitantes are slowly drifting blobs of varying size, shape, and transparency, which are particularly noticeable when viewing a bright, featureless background (such as the sky) or a point source of diffuse light very close to the eye.
Created Date: 8/30/2012 4:52:52 PM
Form is a three-dimensional object with volume of height, width and depth. [2] These objects include cubes, spheres and cylinders. [2] Form is often used when referring to physical works of art, like sculptures, as form is connected most closely with those three-dimensional works. [5]
Colorized black and white photo. The artists of De Stijl strove for more and better cooperation between the arts without each art form losing its independence. The reason for this was what they saw as the architect's role being too great. The greatest results were expected from the collaboration between the architect and the painter.