light and shadow

In painting, light is a special technique, whose appearance in the picture is precisely the one that offers a view of the contour, texture and color of objects and their location in space, with different conventions in each painting styles and pictorial techniques associated.

This is one of the masterpieces of European Romanesque. His genius lies in the combination of elements from different -the biblical visions of Revelation, Isaiah and Ezekiel to present the Christ of the Last Judgment. This appears from the bottom causing a centrifugal movement of the composition, which dominates the ornamental sense profiles and skill in the use of color to give volumes.
The painting shows the three Magi or "kings" presenting their gifts to the infant Jesus, who is held by his mother. Saint Joseph stands beside her, and the manger, ox and ass of the usual depiction of the Nativity are behind this main group. Thus far the composition contains the inevitable components in a very standard arrangement.
It is considered by several authors as the masterpiece of the Venetian period of El Greco. Despite containing some Cretan elements acquired during his formal training, this painting can be fully considered a work of the Italian Renaissance. Perspective emphasizes the handling of the anatomy, the application of color and drama of the scene.
The work shows a naked Cupid, carrying a bow and arrows, while trampling symbols of the arts, sciences and government. The model is undressed, and is difficult to accept that it is one of his servants. The high point that relates this painting to religious is the intense ambiguity with which the painter handles the models of different positions, either sacred or profane.
Old Woman Frying Eggs is a genre painting by Diego Velázquez, produced during his Seville period. The date is not precisely known but is thought to be around the turn of 1618 before his definitive move to Madrid in 1623. It is now in the National Gallery of Scotland in Edinburgh. Velázquez frequently used working-class characters in early works like this one, in many cases using his family as models; the old woman here also appears in his Christ in the House of Martha and Mary (1618).
This is undoubtedly one of the best portraits painted by Goya, for he could take advantage of an unattractive figure, as the Duke of San Carlos was short, ugly and nearsighted, defects dissembled masterfully, bringing he had to leave very happy at that time was the man with the most political power in Spain after king Ferdinand VII.
The canvas reproduces the argument drawn from an article written by the Abbe Frugoni sonnet, which meets Goya pictorially based on different planes that converge in the center of the composition. The artist, through a helical arrangement of the characters, brings narrative movement and builds a loaded and filled with many nuances atmosphere.
Renoir used in this painting light that filters through the foliage and alters its color according to the surface it is incised, reflected in other bodies.
Paul Serusier in this painting uses colors are given arbitrary criteria on large flat surfaces, where saturation and color temperature are more important than other sources of light or shadows.
The Bridge at Le Pecq 1904-1905. Andre Derain was truly the first fauvist. This painting has a flat & tense surface composed of mixed stylistic devices. It's a combination of large Nabi-derived color areas & Neo-impressionist infilling, with Impressionist handling of the backgrould. It is especially striking because the different manners are so successfully combined.
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