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Perception Keys Essay Sample

Perception Keys Pages
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Abstract
This paper discusses two perception keys and will answer questions about Delaroche’s Execution of Lady Grey and Claude Monet Impression Sunrise. Monet’s painting uses light to create the scene on his painting. Delaroche uses detail for his painting. “Delaroche’s reputation was built on doing what the photograph does best-reproducing exact detail and exact perspective.”

Perception Key (p.353)
1. Delaroche’s painting looked like a photo, his paintings were exact. I believe he felt photography was a threat because the results were so much faster and more precise. 2. It is very surprising that Delaroche hadn’t seen a photo prior to this painting. His painting looks like it is a modern day photo. 3. I believe a photo of this scene would have reduced its sharpness. The photographer would have to be too far away to capture the whole scene which would cause the images to be blurred or grainy. 4. The color makes you focus on the people in his painting.

Perception Key (p.91)

1. Color is the most dominant over line in the five Impressionist paintings. The line does not seem to be important to the painter. 2. Pierre-Auguste Renoir Luncheon of the Boating Party seems to rely on diagonal lines and objects. 3. Claude Monet’s Impression Sunrise is the most symmetrical. Edouard Manet A Bar at the Folies-Berge`re is asymmetrical. Asymmetrical paintings draw me in because they aren’t balanced which allows me to enjoy the painting, but also forces me to focus on the whole painting. 4. If I were to purchase one of these paintings it would be Claude Monet Impression Sunrise because paintings of people do not attract me, I prefer scenery and abstract art.

Execution of Lady Jane Grey
Execution of Lady Jane Grey by Paul Delaroche was created on a 97×117 inch canvas with oil in 1843. A young pail girl with long red hair is the center of this painting. Her dress is comparable to a wedding gown but the color is beige. The girl looks innocent but the color of the gown indicates guilt. There is an older man with silver colored, bowled cut hair style and balding at the center, he is assisting her to kneel down to the chopping block. He seems to be acting in a gentle way with her. The painter puts a lot of detail into the man’s face, creases at the corner of the mouth, long pointy nose and a short but masculine chin. The man is wearing a long black cloak with bright orange lining. The girl is kneeling down to an olive green cushion; the chopping block is wooden with rod iron handles that are fastened to the floor with rope. There is wheat under the chopping block, possibly to keep the floor from being saturated in blood. The room is upstairs, could be an attic, the only lighting is from downstairs.

There is a large doorway, with arched openings. A large column made of marble, with sculpted designs sits to the left of the girl. The walls also appear to be made with marble. The rich design of the room indicates that the scene is from a room in a castle. The painter uses various shades of black and grey to illuminate the room. There is a man whom may be a priest standing in the corner with his head hung in an awkward position and hands up against the wall, he is wearing a black cloak. A woman is sitting in front of him; she is dressed very conservative with a long dress in fall colors. The priest and woman look to be praying for the girl. They all appear to be trying hard to make the young girls final moments peaceful and comfortable as possible. The executer stands on the other side of the girl, he is wearing bright red tights and a cap to match. He is leaning on his ax. His stance indicates boredom; this is probably not his first execution. Delaroche uses great detail in this painting. He is known for producing paintings with exact detail and exact perception. This scene makes you feel as if you are a part of it.

Reference:

Martin, D.F & Jacobus, L.A (2011). The Humanities Through the Arts. (8th
ed.) . Wolf, F. Theodore & Geahigan, George (1997) Art Criticism and Education Discipliners in Art Education: Contexts of Understanding

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