Following his first trip to Italy in 1630‚ Spanish Baroque artist Diego Velazquez completed his epic oil on canvas‚ Apollo in the Forge of Vulcan. Requested without commission by Flemish Baroque painter Peter Paul Rubens‚ Apollo in the Forge of Vulcan depicts the moment when the god Apollo tells Vulcan that Venus‚ his wife‚ is having an affair with another god‚ Mars. Apollo has presumably entered Vulcan’s blacksmith workshop to bear the bad news amongst the other blacksmiths in the forge. The moment
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The Artist’s Wife‚ an oil-on-canvas portrait painted in 1954. By placing the subject of the painting in the center and using various brush strokes and a muted color palette‚ Porter created the The Artist’s Wife to have an overall somber mood‚ which can help give viewers insight to the mental and emotional state of the subject of the painting. The painting is extremely simplistic in terms of the composition and elements that constitute it. The main subject of the canvas is an older woman who is sitting
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asset pricing. The main topics covered are: portfolio theory‚ pricing models‚ market efficiency‚ fixed income investment‚ forwards and futures‚ and options. Canvas: Course materials such as lecture notes‚ required homework assignments‚ worked solutions to problems‚ and other useful information will be available on the course web page at Canvas: https://myelms.umd.edu/ Course Materials The following textbook is required and will be used throughout the course: Investments‚ by Zvi Bodie‚ Alex Kane
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Francisco Goya Artists frequently respond to the world around them and this is highly evident with the Romanists artist Francisco Goya in his painting Colossus (panic) c. 1808‚ through his unique visual language; The language of his unique painting style‚ through his use of personal symbols for example the Colossus figure and the gesture of the face of the Colossus and its fist. Goya’s painting technique is using long brush strokes especially in the sky with exaggeration of the sky on the dawn
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Motherwell’s “Open in Ochre” painting commands attention with its humbled authority. Its scale cannot be ignored as it stands on the line of the human experience and a higher power. The work resolves an inner tension that it shares with the viewer; it extends itself beyond the individual without compromising its specificity. The work serves both as a triumphant beacon of assuredness all while maintaining a soft approachability. In this sense it is a dichotomy that exists harmoniously. “Open in Ochre”
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The painting Martyrdom of the Ten Thousand by Albrecht Durer was made in 1508. It was commissioned for the All Saints’ Church in Wittenberg‚ Germany. It is Oil on panel transferred to a canvas. What I found interesting is the amount of detail and how everywhere you look there’s something happening. The painting uses a pyramid layout to get a sense of balance. A color in the painting that only appears in one location is black which can be interpreted as death. It also shows men being led to their
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The medium was oil paint on a canvas which had a good affects on the tree. In grade 6 my class was shown a picture of the jack pine for landscape painting inspiration‚ once I saw it the image got stuck in my head. The colors collaborated where very interesting and the tree looked so realistic. Canadians should really know this famous piece because its transforming. Its so unique‚ I never heard about oil painting on a canvas until I researched further on about this piece. The
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Peter Paul Rubens‚ in 1633‚ created a painting called “The Martyrdom of St. Levien.” An oil on canvas that is 455 x 347 cm in length. Rubens depicts st. Levien being grabbed onto by his beard‚ his aggressor is holding the saints tongue that was purposefully torn out with a type of pliers‚ being held above a pair of chomping teeth from a dog. St. Levien is being held down by two men‚ one holding his beard and the other holding a bloody knife within his teeth with a look of anguish towards the Saint
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John Doe Dr. Paula Radisich ART 206‚ TR 11:00-12:20 Spatial Devices The Piazzetta‚ Venice‚ Looking North (Early 1730s‚ Oil on Canvas) It is blaringly obvious after just a glance that Canaletto is a master painter and has a particular gift when it comes to creating an illusion of the third-dimension through the spatial devices he employs when painting. First and foremost everything in the piece is appropriately set to scale this can be seen on the right side of the work in the front where
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repeated golds and warm browns to harmonize the “Self Portrait Dedicated to Dr. Eloesser”. She also uses vivid colors to emphasize the flowers and “beautiful” things. As far of methods of application‚ Van Gogh uses a thick application of paint on canvas‚ called impasto. Looking at the painting you can tell that the paint is laid on thickly because the texture of brush strokes are visible. This gives the painting a greater sense of physical energy and a palpable surface texture. (Stockstad) In Frida’s
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