A simply golden landscape at sunset, by the central figure in Impressionism and father of Post-Impressionism.
Is modernism different with respect to its use of visual tropes such as metonymy? The answer leads us to conclusions about the reliance of language and painting on metaphor and metonymy.
Examines the use of metonymy, synecdoche, and symbols in representative painting prior to ‘Modern Art’ in the twentieth century.
Two late paintings portraying tranquil sunlit scenes of dawn over still water, remarkable in their anticipation of Impressionism.
Two modest and simple landscapes, some of the first painted outdoors or ‘plein air’ using oil paints, which paved the way for Constable, Turner, and the Impressionists.
Visual metaphor is common in advertising. Such images succeed in bringing together two apparently unrelated subjects, using the one to position the product favourably in the mind of the beholder.
Just as we are practised and skilled at reading beyond the literality of words, we need tools to see beyond pictures. This is the start of a journey to acquire those tools, and achieve visual literacy.
Instead of depicting her as an erotic nude in a scene of lust and voyeurism, Rembrandt reveals Bathsheba’s inner conflict, and transforms the technique of painting.
In his later years, Poussin turned more to landscape painting. This is one of his most sublime and pure landscapes, idealised rather than representing any view of the real world, and one of the greatest landscape paintings.
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