The Scream (Norwegian: Skrik; created in 1893–1910) is the title of expressionist paintings and prints in a series by Norwegian artist Edvard Munch, showing an agonized figure against a blood red sky. The landscape in the background is Oslofjord, viewed from the hill of Ekeberg, in Oslo (then Kristiania), Norway. Edvard Munch created several versions of The Scream in various media.
The well-known surrealist piece introduced the image of the soft melting pocket watch. It epitomizes Dalí's theory of "softness" and "hardness", which was central to his thinking at the time. Many also consider that the melting watches were there to symbolize the irrelevance of time.
It is possible to recognize a human figure in the middle of the composition, in the strange "monster" that Dalí used in several period pieces to represent himself – the abstract form becoming something of a self portrait, reappearing frequently in his work. The orange clock at the bottom left of the painting is covered in ants. Dali often used ants in his paintings as a symbol for death, as well as a symbol of female genitalia.
The figure in the middle of the picture is symbolized as a "fading" creature, as which, when you often dream you cannot pin-point the exact form and composition of a creature. The iconography of this famous painting is that of a dream that Dalí had experienced. The clocks symbolize the passing of time that one experiences in a dream state.
Magritte painted it as a self-portrait. The painting consists of a man in an overcoat and a bowler hat standing in front of a small wall, beyond which is the sea and a cloudy sky. The man's face is largely obscured by a hovering green apple. However, the man's eyes can be seen peeking over the edge of the apple. Another subtle feature is that the man's left arm appears to bend backwards at the elbow.
Drawing Hands is a lithograph by the Dutch artist M. C. Escher first printed in January 1948. It depicts a sheet of paper out of which rise, from wrists that remain flat on the page, two hands, facing each other and in the paradoxical act of drawing one another into existence. Although Escher used paradoxes in his works often, this is one of the most obvious examples.
The lithograph may signify mutual constitution; that is, the principle of one entity being formed by the other and vice versa (e.g., the state vs. the demos, predator–prey co-evolution, the subject and objects, "chicken or the egg?", agency-structure).
Hand with Reflecting Sphere also known as Self-Portrait in Spherical Mirror is a lithograph print by Dutch artist M. C. Escher, first printed in January 1935. The piece depicts a hand holding a reflective sphere. In the reflection, most of the room around Escher can be seen, and the hand holding the sphere is revealed to be Escher's.
Self portraits in reflective, spherical surfaces are common in Escher's work, and this image is the most prominent and famous example. In much of his self portraiture of this type, Escher is in the act of drawing the sphere, whereas in this image he is seated and gazing into the sphere. On the walls there are several framed pictures, one of which appears to be of an Indonesian shadow puppet.
It depicts a world in which the normal laws of gravity do not apply. The architectural structure seems to be the centre of an idyllic community, with most of its inhabitants casually going about their ordinary business, such as dining. There are windows and doorways leading to park-like outdoor settings. Yet all the figures are dressed in identical attire and have featureless bulb-shaped heads. Identical characters such as these can be found in many other Escher works.
The Funeral (often attributed as The Funeral (Dedicated to Oskar Panizza)) is a painting by the German Expressionist artist George Grosz completed between 1917 and 1918. The work mixes elements of Futurism and Cubism to show a funeral procession, set in a modern urban city, depicted as an infernal abyss filled with twisted and grotesque human forms.
The Funeral is dedicated to the German psychiatrist and avant-garde writer Oskar Panizza, noted for his play Liebeskonzil, which references the first historically documented outbreak of syphilis and depicts God the Father as a senile old man. Although his works were deemed blasphemous at the time by both the Church and government of Emperor Wilhelm II, they were greatly admired by the young, idealistic Grosz.
Seurat spent two years painting A Sunday Afternoon, focusing scrupulously on the landscape of the park. He reworked the original as well as completed numerous preliminary drawings and oil sketches. He would go and sit in the park and make numerous sketches of the various figures in order to perfect their form. He concentrated on the issues of color, light, and form. The painting is approximately 2 by 3 meters (6 ft 10 in x 10 ft 1 in) in size.
Motivated by study in optical and color theory, he contrasted miniature dots of colors that, through optical unification, form a single hue in the viewer's eye. He believed that this form of painting, now known as pointillism, would make the colors more brilliant and powerful than standard brush strokes. To make the experience of the painting even more vivid, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited today at the Art Institute of Chicago.In creating the picture, Seurat employed the then-new pigment zinc yellow (zinc chromate), most visibly for yellow highlights on the lawn in the painting, but also in mixtures with orange and blue pigments. In the century and more since the painting's completion, the zinc yellow has darkened to brown—a color degeneration that was already showing in the painting in Seurat's lifetime.
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