Text edited by Rosamie Moore. Write to romapip quipo.
This was depicted as a man being served at a party on a diner lid. This was a piece made out of white marble with scratchy black and brown lines that went in a vertical direction. Those black and brown lines also give it a visual The funerary monument of flavius agricola of movement and realism.
Since the man is lying in a half seat perspective you see the horizontal lines of his leg and his body.
He has one knee bent upward where the rope become wrinkly and the other leg that is flat and cross under his upward leg. On his bottom leg you can tell the robe was stretch out because his knee and most of his thigh there are no wrinkles.
He has a simple torso and a simple face that is detail but not highly detailed. The lid he is sitting on is fairly big but it is not overwhellming big where it takes away from the actual purpose of the piece.
The man I not life size but it is a big sculpture that has equal scale to the background piece. The other thing that attracted I was how he was described I felt this was a man that was just relaxing and enjoying life. I felt he had no worries in the world just him and whatever he had in his bowl.
It was as if he was almost going to take a nap because he was at peace with himself. The next piece is a contemporary piece of art that you could not take your eyes of when you walked into the room. This was a piece that I felt had that wow factor to it which intrigued me to look more in depth in to it.
This I feel is an optical allusion that use lighting, lines, and color to make the object look like it are floating in air. There is a dim round line that blend into the wall and its shadow and also a thick horizontal line that is the focal point of this piece.
That overlapping lines of the shadow also helps with the illusions. What i feel is the main part of this is the coloring. It is like a light greenish with a hint of brown in it.
Once I got up to the piece it was painted in a fade fashion where the edges where paint darken than the middle of the circle. It also looked like the edges were slight glossy clear so that the edges would fade back into the wall which also gave it that illusion.
This was spaced out on a huge wall so that it was the vocal point. It was not a full sphere it was about a third of a sphere that was about two feet off the wall. Going from a the exciteing eye pogalling contemary art to a renessance painting is a big deference in style and color.
The intrersting about this paint is the color scheme. It uses muiltaple warm colors. In the back right is the brightest part of the picture where it looks like fire which brings you to this face body thing that is also one of the brightest parts of the this painting.
The funerary monument of Flavius Agricola, which is housed currently in the Indianapolis Museum of Art (inv. ), was discovered in the early 17 th century when the foundations for Bernini’s baldacchino were being dug within St. Peter’s basilica in. Sep 14, · Funerary Monument of Flavius Agricola, AD "Eat and drink, for tomorrow we die"--that is the message of this Roman man's epitaph, though not the exact words. There is an interesting story that goes along with this heartoftexashop.com: From Indianapolis Museum of Art at Newfields, Funerary Monument of Flavius Agricola ( - CE), Marble, 26 1/2 × 70 × 27 in.
This is a dark evilisee feeling by the colors in it. The reds, yellows, and oranges that create fire in a couple parts of the photo. Then ther is the dark green and blues that cause a dark feeling of the painting.
The darkness of the right side bring me the start there and fade over to the left where is still seems dark but it seems to calm down a slight bit.
The scaleing of this is I feel is small because the painting has muiliaple pictures it is all in one but there are many differnet pictures all blened together. For example there is a face body guy that has some sort of a floor like a dance floor where people are dancing and next to that there is a build with a guy trying to keep the dorr shut.
Even though there is a ton of different pictures going on they all have a follow to them that makes it seem possible. From a wild busy painting that had a great since of darkness and evil and then moving to a paint from the eighteenth century to a calm painting call washinton street at dusk.York - A City Crammed with History.
At the start of the campaign season of 71AD the new Roman governor of Britannia province, Petilius Cerialis, established a new fortress for the Ninth Hispanic Legion in the Vale of York to secure a firm base of operations for his planned campaign against the troublesome Brigantes tribe of northern England.
Arch of Bera. Theater decoration: erotes fighting animals. Temple of Venus.
Caracalla as Alexander. Nymphaeum, statue of a lady. Athens, Roman Forum, Library of Hadrian. From Indianapolis Museum of Art at Newfields, Funerary Monument of Flavius Agricola ( - CE), Marble, 26 1/2 × 70 × 27 in.
The Funerary Monument of Flavius Agricola Essay. This piece called the Funerary monument of Flavius Agricola was a large marble piece that is categorized as a piece of ancient art - The Funerary Monument of Flavius Agricola Essay introduction.
This was depicted as a man being served at a party on a diner lid. The funerary monument of Flavius Agricola, which is housed currently in the Indianapolis Museum of Art (inv.
), was discovered in the early 17 th century when the foundations for Bernini’s baldacchino were being dug within St. Peter’s basilica in.
Funerary monument to Silvestro Aldobrandini by Nicolas Cordier at S. Maria sopra Minerva. The Christian prohibition of the ancient funerary rites meant that this type of sarcophagi went out of production.