Upon researching through the text of the 7th edition of "Artforms", I came upon one such image located on page 402, plate number 573. It is a piece entitled "At the Moulin Rogue" painted by a French artist by the name of Henri de Toulouse-Lautrec. Appearantly, this was a prime example of the said artist's work, for whom "painted the gaslit interiors of Parisian nightclubs and brothels" and was known for creating awkward themes to invoke emotion from the viewer.

Though does it truly invoke such a vivid response? For me, personally, I think no. It is true that commonly uses of hue shift and altered gradation can be known to presume a sense of abnormality, such as in the more modernistic and well-known works of Andy Warhol, but as an oil painting done in the post-impressionistic style, I feel this can be an often too easy solution. Notice the coloration of the face presented most vividly in the bottom right corner. While the opaque light blue

This piece, unlike Lautrec's, uses predominantly cool colors rich in tone to frame its subjects. The fruit basket as well as the woman in the center background, leads your eye up into the light located behind the trees, while the utter lack of chiaroscuro shading and face-fowardness of the man and woman drives a bold force into the characters themselves. The subjects almost appear to be bathing amongst the trees, rather than laying beneath them.

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With his body turned perpendicular to his lower body, outwardly stretched right leg, and upwardly launched cloth around the leg, this shows a clear representation of implied motion within the sculpture. The viewer can instantly realize that the stone contained within his left hand, prepared for propulsion, is about to be launched.

In this painting there is a clear segregation between the angels and men. The figures on the ceiling and in the upper left are unsaturated, lifeless in color and aural in nature, while the disciples below possess deepened chioroscuro and more vibrant color tones and uses of primary, triadic, and complementary colors. This serves to designate a powerful seperation between the natural and the supernatural.

Artwork used in these methods of movement-tension to convey the illustrated theme of the work seem to have been used quite frequently during the rennaisance, as seen in many works from such other artists as Michaelangelo and Raphael. It can be said, I think, that such portrayals function as an adequate way to exhibit physical emotion of subjects rather than the mental. And applied insight to what future events these motions can bring about add substantial interest as well as intrigue for the viewer.

Some topics in this essay:
Gianlorenzo Bernini's, Jacopo Tintoretto's, Andy Warhol, Luncheon Grass, Moulin Rouge, Toulouse-Lautrec Appearantly, , Michaelangelo Raphael, Moulin Rogue, statue david, moulin rouge, page 301, located page, complementary colors, shared idea, prime example, text plate, 7th edition,