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Wanderer above the Sea of Fog [a] is a painting by German Romanticist artist Caspar David Friedrich made in 1818. [2] It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.
The thousand-yard stare (also referred to as two-thousand-yard stare) is the blank, unfocused gaze of people experiencing dissociation due to acute stress or traumatic events. It was originally used about war combatants and the post-traumatic stress they exhibited but is now also used to refer to an unfocused gaze observed in people under a ...
Saturn Devouring His Son is a painting by Spanish artist Francisco Goya. The work is one of the 14 so-called Black Paintings that Goya painted directly on the walls of his house some time between 1820 and 1823. [1] It was transferred to canvas after Goya's death and is now in the Museo del Prado in Madrid.
For this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, to most successfully engage the subject with the viewer, but portrait can be represented as a profile (from aside) and 3/4.
The Son of Man (French: Le fils de l'homme) is a 1964 painting by the Belgian surrealist painter René Magritte. It is perhaps his best-known artwork. [1] Magritte painted it as a self-portrait. [2] The painting consists of a man in an overcoat and a bowler hat standing in front of a low wall, beyond which are the sea and a cloudy sky. The man ...
In March, a mother was horrified to find a pedophile symbol on a toy she bought for her daughter. Although the symbol was not intentionally placed on the toy by the company who manufactured the ...
It is a painting of a man looking through a peephole. It formerly held the record for highest auction price for a Lichtenstein painting. The work is based on a William Overgard-drawn comics panel from a Steve Roper cartoon. Lichtenstein's derivation augments the presentation of the narrative and expands the use of color in the image.