Nice work, Liam. I really like this photo. The two cus's in the foreground (the whole people that is) are looking at something that is causeing some tension in the room. One looks worried and the other looks annoyed/angry. My favourite thing about this photo is the cus in the background on the washing machine. He's having a conversation with the cus taking the picture: happy, go-lucky. He's almost amused with the other two who are not having that great of a time. Internal conflict?
When I first saw this image, I thought it was configured like a crossroads. But now, after your latest post, I see it as a “cross”. The formal structure, composition, and poses of the figures (such as the kneeling figure in the foreground) remind me of the neoclassical paintings of Jacques-Louis David. Given your comments about structure vs. frivolity, it is interesting to note that David’s “cerebral brand of historical painting”, represented a shift away from “Rococo frivolity” towards “classical austerity and severity”. His work reflected the restrictive moral climate of the late 18th century following the demise of the aristocracy and during the rise of the French Revolution.
10 comments:
is the forth you a reflection of your face on the dark tile. possibly wearing sunglasses and looking mean?
Keep looking. It is more obvious than that.
the only thing i can think of is the forth you is taking the picture. after that i'm at a loss...
Ask Kevin
i found an extra foot.
That's it. That's not all, but that's it :)
huh, i also found the "tip" of some piece of anatomy.
Nice work, Liam. I really like this photo. The two cus's in the foreground (the whole people that is) are looking at something that is causeing some tension in the room. One looks worried and the other looks annoyed/angry. My favourite thing about this photo is the cus in the background on the washing machine. He's having a conversation with the cus taking the picture: happy, go-lucky. He's almost amused with the other two who are not having that great of a time. Internal conflict?
always :)
When I first saw this image, I thought it was configured like a crossroads. But now, after your latest post, I see it as a “cross”. The formal structure, composition, and poses of the figures (such as the kneeling figure in the foreground) remind me of the neoclassical paintings of Jacques-Louis David. Given your comments about structure vs. frivolity, it is interesting to note that David’s “cerebral brand of historical painting”, represented a shift away from “Rococo frivolity” towards “classical austerity and severity”. His work reflected the restrictive moral climate of the late 18th century following the demise of the aristocracy and during the rise of the French Revolution.
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