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The formal elements, those aesthetic effects created by design, upon which figurative art is dependent, include line, shape, color, light and dark, mass, volume, texture, and perspective, [2] although these elements of design could also play a role in creating other types of imagery—for instance abstract, or non-representational or non-objective two-dimensional artwork.
Uses of figurative language, or figures of speech, can take multiple forms, such as simile, metaphor, hyperbole, and many others. [12] Merriam-Webster's Encyclopedia of Literature says that figurative language can be classified in five categories: resemblance or relationship, emphasis or understatement, figures of sound, verbal games, and errors.
Imagery is visual symbolism, or figurative language that evokes a mental image or other kinds of sense impressions, especially in a literary work, but also in other activities such as. Imagery in literature can also be instrumental in conveying tone. [1]
A literary trope is an artistic effect realized with figurative language — word, phrase, image — such as a rhetorical figure. [1] In editorial practice, a trope is "a substitution of a word or phrase by a less literal word or phrase". [2]
Ekphrasis or ecphrasis (from the Greek) is a rhetorical device indicating the written description of a work of art. [1] It is a vivid, often dramatic, verbal description of a visual work of art, either real or imagined.
The works were seen to provide a rejection to humanism, a refusal to play the game of art as utopia, a negation of art as escapism, and a palpable cynicism about humanity. [23] Authors associated with New Objectivity literature included Alfred Döblin , Hans Fallada , Irmgard Keun , Erich Kästner , and, in Afrikaans literature , Abraham Jonker ...
The Boston origins of the American movement date to a "wave of German and European-Jewish immigrants" in the 1930s and their "affinities to the contemporary German strain of figurative painting ... in artists like Otto Dix (1891–1969), Ernst Ludwig Kirchner (1880–1938), Oskar Kokoschka (1886–1980), and Emil Nolde (1867–1956), both in style and in subject matter," art historian Adam ...
Where the main subject of an artistic work - such as a painting - is a specific person, group, or moment in a narrative, that should be referred to as the "subject" of the work, not a motif, though the same thing may be a "motif" when part of another subject, or part of a work of decorative art - such as a painting on a vase.