Answers to Perception Key Questions, Chapter 4 (page 97) - Part 97- Answers to Perception Key Questions, Chapter 4 (page 97) introduction.
Answers to Perception Key Questions, Chapter 4 (page 97)
Answer to Question #1
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Out of the three paintings of Rembrandt (1659), Kahlo (1940), and Brooks (1923), Kahlo’s painting entitled ‘Self-Portrait with Thorn Necklace and Hummingbird’ appears to be more dominated by detail. This can be seen in the presence of the thorns and the hummingbird, which both connects her to Christ; the monkey and cat that were family pets; and the leaves of Mexican folk art (Martin&Jacobus, 2007, p.97). Color contributes to that domination by relaying the expression the painter wishes to articulate out of a given thought.
Answer to Question #2
The subject matter of each painting is, indeed, similar; but there is a very big difference in the way each painter portrayed himself or herself in the picture. This difference came about as the effect of the use of lines, colors, light, space, and the objects that are included in the picture. There is feeling expressed in the depiction of the lines, space, and color. For example, we feel the heaviness and crammed situation in Kahlo’s self-portrait, which differed from the emptiness and darkness of Rembrandt’s portrayal. The difference lies on how the elements of art form an overall picture that best describes the thought or idea.
Answer to Question #3
Rembrandt portrays himself as bothered and in deep meditation; Kahlo portrays herself as a sufferer yet strong, unrelenting, and unembarrassed; lastly, Brooks portrays herself as alone and separate but upright and independent.
Answer to Question #4
In the three paintings, I see Rembrandt’s self-portrait as the one where light works most mysteriously. Everything is in blackness except for his face and a portion of his folded hand. However, in reality, light should have extended to his neck and the other portion of his hand, so that, in effect, it appears to use light most mysteriously…in a rather moving manner.
Answers to Perception Key Questions, Chapter 2 (page 24)
Answer to Question #8
The expression on the soldier’s face in the left side of the photograph is not appropriate to the situation. It is very contrasting to the natural expression of people who are in the process of killing other helpless people. The facial expressions are very contrasting as well. The victim on the right portrays extreme fear, trauma and terror. General Loan on the left, however, portrays insensitivity and lack of concern. The two men signify two separate, unrelated sections that are only linked by the bridging arm of the general.
Answer to Question #9
No, these works of Adams (1968) and Goya (1808) cannot be fairly compared when one is in black and white and the other is in full color. Lack of color directs the eye to the main forms that are solely being signified. When Adams’ photograph, for example, is printed in colored, the background would catch the eye of the beholder, which, in turn, would put less emphasis on the main forms on the front (but more unity). This would utterly change the art expression, which the artist would wish to represent. When depicted in black and white, emphasis is depicted more by means of lines and shades than by colors and space.
Answer to Question #10
The big difference between viewing a photograph of a real man being killed and a painting of that event can be the following: first, a real photograph gives more emphasis on the main forms and the present situation being shown, as compared to a painting that focuses more on unity—as a whole—than emphasis; second, there is less art and unity when a scene is shown in the photograph, although it can be portrayed as art through the use of balance and correlation; third and final, Adams’ photograph is strong in perception but weak in conception, while Goya’s painting is weak in perception but strong in conception. The only difference between the two is that they portray different approaches of perceiving art.
Martin, F.D., & Jacobus, L.A. (2007). Humanities through the arts. New York, NY: McGraw-Hill Humanities.