In love and death, there is life-frank acosta

Love and death seem world's apart but in reality are closer than we think. They go hand in hand with what life has to offer. What follow are paintings of the fused motifs.

In this painting, we see a mother admiring her new born child in the cradle as the infant sleeps. Her slight expression is a simple yet subtle one of affection. The light delicate brush strokes signify a notion of delicacy attesting to the mother and child. The colors used in creating this image are soft toned, light shades of white giving a representation of of purity, innocence and goodness. Everything associated with an infant. The farthest thing from any mother upon gazing on her infant is death but the reality of the matter is, that it's one aspect of life that cannot be cheated or avoided.
Fall from a Balcony is a painting of tragic yet surprising turn of events. A mother falls through some floorboards from a second story balcony to the stone floor below yet the child in completely unharmed. A drawing of the Virgin Mary is allocated near the top left hand side of the building as was the intercession of her that left the baby unharmed, The love people have for her is undeniably immense even in present times and even so close to death, people's love is strong within her that miracles are performed just as the one depicted. The painting here is very much in order and characterized almost as perfection in the sense there are no out of order brush strokes or lines crossing over one another. It is very much planned and executed perfectly. The colors seem warmer here giving life to the event happening and filling it with rich detail within the stone floor, the belongings being dropped and even the wall itself giving off two separate color shades.
It is a heart wrenching and devastating moment when a loved one passes and this is no exception. The man cradling the woman has a feel of desperation over the loss of aid he can give to the anguished facial expressions he presents. The strokes here are aligned perfectly to the living and the deceased as the woman has lighter tones than that of the counterpart. Her cheeks are almost devoid of color and a dark shade indicates her loss of movement. The man is a darker shade presented with a visible depressed demeanor and even through the painting we are able to connect with his loss of a loved one.
A simple black and white drawing gives off an elegant feel to this depiction of a loved one cradling a dying man after what can be interpreted as a lost battle. The abundance of shock and denial are slathered all over the woman's face as the man expresses his last feature in the form of silent acceptance. The varying shades of white and black throughout the night sky to the mountain tops and the tower, allow the viewer to experience a style of grievance and fear. The wavy profile characterized within the clothing and hair style shows off that death is sometimes a chaotic function. The grainy texture remits an awareness of despondency and heartache.
The love and death of Eros and Thanathos is a perfect blend of the theme at hand. She cradles his skeletal form in a final embrace before the corpses to the right imply death. To the left you see a flow of semen indicating the creation of life. A beautiful yet tragic circle of life is illustrated here as the colors are full of rich vibrant exposure. From the blue night sky to her red hair gracefully dropping across her back, it is a mixture of love, life and death. The composition is smeared within boundaries giving off an aristocratic yet distressing final moment between two lovers.
A solemn bereavement is showcased here with Gustavo Adolfo Becquer lying in his bed. The painter was a close friend by the name of Vicente Palmaroli. The friendship and love between these men is truly shown in the depiction of Becquer. Palmaroli gave tribute to him by giving him a harmonious contemplation instead of showcasing him dead. It is almost as if he is asleep rather than have passed on. The colors are a shade of dark, heavy regard indeed indicating death but not allowing it to overshadow his deceased friend. While most of the painting is stylized with a feel of superiority, the movement around the exterior black wall and pillow are more freely done. Perhaps manifesting itself in the form of sadness
Death has no rules or regulations when it comes knocking to the door and animals are no exception. This is a beautiful painting portraying death across a landscape of animals and the final fight of a brave tiger. In the background many have lost their battle but upon closer inspection you will see no other markings or bites from one another. Herbivores and carnivores setting aside their differences and coming together to fight an equal present enemy to both sides. The paint marks and color are presented in full force here as sheer perfection in a most delicate manner. Nothing seems out of place and yet everything blends in harmoniously. The rising sun is a bright red coolness relaying forth the last warrior to fight before day.t
Rich vigorous colors, a cloudy dreamlike sense and the hard grainy exterior proof that death can be like a battlefield. A man lies dying as a priest hears his last confession to keep his soul pure for the love of God he holds dearly. Other priests pray along for his salvation. And all around, perhaps only visible to the dying man, is a war between angels and demons in a fight for his soul. His look is of admission and atonement in his last dying proceedings. Nothing is out of balance or order within the outlines of the portrait. Carefully planned and executed, it is a masterpiece in the Christianity community for it's message and beliefs but in general as well for the love of art.
Not a single smile or grin is occupying any space in the confines of this room. Simple light toned colors fill the room's majority space but it does not come without darkened shadows. The grainy exposure seems as if it's almost an old photograph and the stylized movement of the brushes give it a real life feel to it. Praying, crying, depression and earnest faces crowd around King Pablo in his last moments of life.
This is perhaps the best representation of love and death. Portrayed. In the First book of Samuel, David and Prince Jonathan were close friends but King Saul believed David would dethrone him, he ordered his murder. Jonathan upon learning this, told his close friend of what was to happen, and requested him to run away. This portrait is of them in their last meeting by the stone of Ezel and it shows the strong love they have as friends. The colors here are presented in a gloomy portraiture with dark colors solidifying the end of their friendship. The waves and linings are smoothed over in an attempt to capture the emotions flowing through the friends. While David is cradled upon Jonathan weeping, the stronger and more older Jonathan is strong, resilient but still shows off sadness and heavyheartedness in his presence.
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