One Work of Art from Michelangelo Buonarroti and One work of Art from Assignment

One Work of Art from Michelangelo Buonarroti and One work of Art from Leonardo da Vinci - Assignment Example Through the art we are able to see how they have dressed and also in the picture we see one person at the center representing the religious leaders also being involved (Meyer, 2011). It’s seen as the last judgment presented to people on the account of their evil deeds in church. In the Mona Lisa art Leonardo tried to put across the beauty by her curves on her long hair with the color on her face being toned bringing out her beauty. Her hands joined together showed her being calm or relaxed. The clothing can be seen as an ideal woman from her decency showing how mature she is. Her skin color is evenly distributed through da Vinci’s painting. Buonarroti picture symbolizes the kind of activities in the society. The nude picture represents the church followers back scenes which are not in line with Christianity. Michelangelo was a religious person and through his artistic talent he portrayed human anatomy and movements in most of his arts. He was able to blend the colors well the blue shade and the brown shade. The blue showing the sky and the white clouds with people around with actions like asking for a favor from someone (Meyer, 2011). Leonardo da Vinci used blurred and dark outlines contrast of light and dark bringing an ambiguous effect. It has been able to convey an ideal woman as she is conservative and the looks on her face cannot be really told as blank expression as you cannot really determine if she’s smiling or not. Leonardo da Vinci used the technique in framing, use of lighting and composition (Perry, 2009).He used observations and understanding in coming up with his art. Mona Lisa’s eyebrows and eyelashes are visible portraying her beauty. Through glazing technique to show realism achieved through variation in color and shading. He tried to portray her inner beauty by using the dull colors portraying calmness (Perry, 2009). He also used the oil layering on wooden palette. The brush strokes can be seen as

Lennie is mourning the death of his puppy Essay Example for Free

Lennie is mourning the death of his puppy Essay At the beginning of the extract, Lennie is mourning the death of his puppy by his own hand when Curleys wife enters the barn and attempts to comfort him and she allows Lennie to stroke her hair. When Lennies big fingers fell to stroking her hair we see that something is going to happen as the mood changes and the tension is heightened. We have an inclination to what is about to happen as we have seen the inevitability of the scenario with Lennies strength and Curleys wifes desire for affection and attention. When Curleys wife tells Lennie not to muss it up, Lennie strokes harder, as he is overcome with the pleasure of the experience, this shows that Lennie doesnt listen to anyone except from George, thus reinforcing what we already know. Curleys wife says you stop it now and jerks her head sideways and Lennie then panics and automatically his fingers close on her hair and hung on, this is because it is the only thing he can think to do, this emphasises his child-like mentality as his reaction is physical as opposed to psychological. Lennie was in a panic and his face was contorted, these two short simple sentences portray the innocence and naivety of Lennies actions as well as reflecting the way Lennies mind works, short and simple. He begs Curleys wife to stop screaming because Georgell be mad and aint gonna let him tend no rabbits showing that he has a one-track mind, much like a child. Lennie then gets angry and tells Curleys wife I dont want you to yell, this again shows his child-like mindset and his anger leads him to shake her. So hes shaking her, not in an aggressive manner, but to protect his part in the dream, her body flopped like a fish and she was still, for Lennie had broken her neck. At this point we see Lennie, not just kill Curleys wife, but kill the dream too. Lennie does not realise he has killed her as he continues to speak to her, he lifts her arm and lets it drop and is, for a moment, bewildered. His mind cant capacitate why she is not responding, all he thinks he did was shake her, showing just how unaware he is of his own strength. Animal imagery is used to describe how Lennie pawed up the hay until it party covered her, this connotes Lennies clumsiness and density. In the concluding paragraph of the extract we see Lennie become conscious of the outside for the first time, he recalls what George told him to do if he gets into trouble and goes to hide in the brush, taking the dead puppy with him to throw it away because its bad enough like it is. Here we see Lennie make a decision himself, be it the right one or not, he seems to have matured slightly because of the situation at hand and this event could be something that changes Lennies childish behaviour. Throughout the death of Curleys wife, we still feel more sympathy for Lennie, because he is so unaware of the danger his actions can cause and he is still a naive and innocent character, despite the unintentional harm he has brought to many things. Show preview only The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE John Steinbeck section.

Relationship Between Humans And Colour In Architectural Spaces

Relationship Between Humans And Colour In Architectural Spaces Colour can clarify and define space, form and structure, yet in many architectural practices is often considered only at the final stages of the design process. This tendency to subordinate colour reflects an attitude held by many design professionals since the Renaissance. The premise that colour is secondary to form, the disegno colore theory, was established by Aristotle in his Poetics during the Renaissance. Further reinforcing this belief, the architect Le Corbusier influenced the role of colour in architectural design still upheld by many today. He considered whiteness to convey order, purity, truth and architecture. His views were further supported by contemporaries such as Adolf Loos who considered white to be the colour of heaven, while Theo van Doesburg believed it the spiritual colour of the period (Minah 2008). White became the epitome of modern architecture. While Le Corbusier latterly modified his attitude toward the relationship of colour in architecture, the colour rules established in his work Purism, co-written with Amà ©dà ©Ãƒ © Ozenfant, were never as influential as his earlier beliefs (Batchelor 2000). The following paper examines the importance of colour within architectural space and its ability to influence mental well-being through its sensory and physiological properties. Experiencing Colour What is fundamental in understanding the use of colour and light in interior space? Why do some spaces bring joy, while other do not? Many would judge it simply a matter of taste, while others an expression of artistic skill, use of precise colour theory or scientific research. It is a complex combination of many factors, both human and scientific. Colour is perceived by the eye through different wavelengths of light carried to us by our surroundings and interpreted by the brain (Nassau 1998). Without light there would be no colour. Light reflects off surfaces, triggering an electromagnetic response in the eye, which in turn translates into colour within the brain (Miller 1997). Our perception of colour is dictated by its hue (actual colour), its intensity or depth of tone (saturation) and its brightness, creating shade and shadow (Miller 1997). An academic interest in the psychological meaning of colour has been prevalent for centuries. Philosophers from ancient Greece dating back to Aristotles time, artists post da Vinci, the early 19th century poet Goethe and subsequent latter day psychologists, anthropologists, biologists, etc, have theorised and investigated the complexity of human response to, and use of colour (Birren 1978; Sharpe 1980). Shown in Table 1. are the six categories believed by Graham, to be key to the human responses to colour within the built environment (Pierman 1978). The scope of the subject is so huge that for the purpose of this paper my main focus will be physiological, mood and associative response to colour and its implications on our experience of interior space. Biological Reactions of a Colour Stimulus There is a reoccurring theme in published literature on human response to colour, namely, the association of hues at the long or warm end of the visible spectrum (red, orange and pink) with arousal and excitation, and those at the short or cool end (green, blue violet) with calmness and relaxation (Goldstein 1942; Gerard 1958; Wilson 1966; Jacobs and Hustmyer 1974) which crosses multi-cultural boundaries (Oyama, Tanaka et al. 1962; Adams and Osgood 1973). Although not all results have shown identical outcomes in respect of systolic blood pressure, skin conductance, respiration, heart rate, eye-blink frequency and electrical brain activity, the emotional responses have been similar. Further studies have used word associations with colour, such as blue being associated with tender, soothing, secure and comfortable and orange with disturbing, distressed, upset (Wexner 1954). A more recent study attempted to replicate the findings of Gerrard, with a focus on the effect on cardiovascular function (Yglesias, Stewart et al. 1993). Whilst the effect on the heart could not be replicated the individuals mental expectations of the consequence of the colours was in accord with previous literature. Jacobs and Seuss similarly found the effects of 4 primary colours projected onto a large screen produced high anxiety levels for red and yellow, consistent with earlier studies (Jacobs and Hustmyer 1974) Schauss claimed that pink colours acted as a natural tranquilizer and had successfully subdued prison inmates (Schauss 1979), but this has not been substantiated in further studies (Pellegrini, Schauss et al. 1981). The earlier findings may have been more to do with the Hawthorne effect, particularly as such a result would contradict the prevalent red/blue spectrum theory. Whilst all of the above research with its consequent design implications was carried out using coloured light, slides, patches, or words, KÃ…Â ±ller et al experimented using full scale decorated rooms. Those decorated with colours from the long visible spectrum created greater arousal than those from the short spectrum. Additionally, introverts or those in a negative mood became more affected than others, impacting their performance (KÃ…Â ±ller, Mikellides et al. 2009). Similarly, Kwallek found that an individuals ability to screen colours for irrelevant stimuli had an impact on the effect of colour. High screeners were more productive in a red working environment, while low screeners performed better in a blue-green office (Kwallek, Soon et al. 2006) (Kwallek, Soon et al. 2007) (Kwallek, Woodson et al. 1997). In addition, Kwallek et al found saturation of colour was a significant predictor of differences in mood between males and females. Ainsworth contrarily found no difference in performance between red and blue offices (Ainsworth, Simpson et al. 1993). However, In a study of almost 1000 workspaces in four countries, interior colour was recognised as an important influencing element of mood and performance (KÃ…Â ±ller, Ballal et al. 2006). A key article by Kaiser reviews the varied literature on non-visual physiological responses by humans to colour, (Kaiser 1984a), concluding that there are reliable physiological responses to colour recorded, but that some of the results may have been effected by cognitive response to colour (Kaiser 1984a). The preceding review shows that, despite considerable interest and research, studies have yet to provide a thorough and empirically proven set of rules for the relationship between colour and emotions (Valdez and Mehrabian 1994). Cognitive Response to Colour The way we respond to colour can also be a result of conscious symbolism or associated actions. Yglesias et al showed that we have expectations in respect of our response to certain colours (Yglesias, Stewart et al. 1993), regardless of involuntary physiological responses. These may be learned through culture or tradition, memory, preferences or fashion. Colour associated with actions can be seen in the red, amber and green of traffic lights conveying stop, yield and go, respectively. When these colours are used in isolation from their connection with traffic, they can still influence their association (Hutchings 2004). Red is commonly used to signify danger, or to command attention and is the most pervasive colour signal in nature (Humphrey 1976). It can, however, have a somewhat ambiguous meaning as it is the colour of edible berries, signifies love, lust, anger and blood; a combination of both positive and negative symbolism. Culture and tradition can connect specific emotions with certain colours. Typically, white is worn by Western brides for its connection with purity, whereas in India the preferred colour is red (Hutchings 2004) and in other countries black, which is in stark contrast to its commonly accepted association with mourning (Kaya and Crosby 2006). White continues its connection with purity through its use in kitchens and bathrooms, translating into cleanliness and hygiene. It can also be seen in its association with hospitals and specifically the doctors coat, further reinforcing its sterile status (Blumhagen 1979). In China white is associated with righteousness. Black is associated with dullness and stupidity in Indian culture, while red implies ambition and desire (Kreitler and Kreitler 1972). Colours can also be steeped with religious meaning through association. For instance, green is the sacred colour of Islam (Kaya and Crosby 2006), and was also considered sacred by the Celts up until the Christian church introduced white (Singh 2006). In addition to white, purple is the symbolic colour used in Christian churches throughout Lent for drapes and altar frontals, while orange is considered the most sacred colour in Hindu religion. Red and white is a combination used for ritual decorations in Melanesia and for representing the Sacred Heart of the Catholic Church in Mexico (Singh 2006). Colours with religious connotations and subsequent emotional connection can have a profound effect on an interior if inappropriately used and could cause offence, or negative feelings. Colour associations also appear to rely on an individuals previous knowledge and experience, combined with personal emotional connections. Kaya and Crosby found colour schemes were remembered in alliance with known interiors, such as restaurants, schools or their homes and, subsequently deemed appropriate colours for specific building types or rooms. For example, some related the colour blue with feelings of relaxation, calmness, comfort and peace, with an associated link to hotels and residences (Kaya and Crosby 2006). Red, a colour frequently aligned with stimulation and arousal, was often coupled with places of entertainment, such as restaurants (Kaya and Crosby 2006). Conclusion A complex collection of factors combine to dictate an individuals perception of colour within the built environment. Despite decades of research into our physiological response to colour and its implications, scientific results have been contradictory and sometimes inconclusive, albeit with a general consensus on reaction to colours within the short and long visible spectrum. For example, as highlighted earlier, red wavelengths can influence biological rhythms, with green wavelengths being weaker. These results are a direct physiological response. A human does not have to have any knowledge of the colour red for a biological response. However the result may be compounded by an indirect physiological response to the colour based on cognition. For instance, an individual may have a strong mental association of red with blood, violence, fire or hatred. We all have our own personal knowledge of colour, based around culture, tradition and memory, which serve to guide our choice and experi ence of colour and light. In addition, response to colour can also be influenced by our immediate environment, such as whether we are alone or in a group, or how we are feeling at the time and its effect on our ability to screen colours. A person in a depressed mental state may not respond in the same way as someone in a more positive mood. Colour is a powerful force which can be used in different way to motivate and stimulate, to control our actions, to create an environment of joy or misery. In making colour choices for interior space, it is crucial to understand the nature and culture of the users, in conjunction with scientific research. It is important to discern whether the chosen colour has a direct physiological impact on a particular biological function, or if the colour effect depends on cognitive learning or emotional associations. Selection should also consider the implications of hue and saturation of colour, which play a strong part in eliciting positive feelings and a sense of well-being when appropriately chosen. Interiors should not be devised purely for reasons of fashion or aesthetics, if the aim is to elicit a positive emotional response from the user; a more considered approach should be undertaken. 1876

Biome Broadcast :: essays research papers

Biome Broadcast   Ã‚  Ã‚  Ã‚  Ã‚  LANCASTER / PENNSYLVANIA This morning Darian, Danny, Laura, and I were bored so we decided that we would all go on a hike at Blue Ridge Mountain. All of us went home, got our hiking equipment, and packed a lunch. We then met at my house. I drove all of us up to Blue Ridge Mountain. We got there in a half hour it was around 10:30 AM.   Ã‚  Ã‚  Ã‚  Ã‚  It was probably one of the most beautiful days we had all year, it was around seventy to seventy five degrees and there was barely any humidity. Even though we have all four seasons and varied amounts of precipitation throughout the year it felt like it was either a scorching humid summer day or it was a freezing snowy winter day. It felt like we only had two seasons all year either summer or winter.   Ã‚  Ã‚  Ã‚  Ã‚  When we stepped out of the car we could see and hear birds singing. We could also smell, hear, and see the beautiful trees swaying in the gentle breeze. Pictures of a robin and a cardinal that we saw while stepping out of the car. We all got our gear out of the car and walked over to the trails. We had to decide what trail to take. We had three choices the first trail was half a mile long, the second trail was two miles long, and the third trail was four miles long. Since it was such a beautiful day we all decided to take the third trail that was four miles long.   Ã‚  Ã‚  Ã‚  Ã‚  We started hiking around 11:00 AM. While we were hiking we heard wings flapping, we all turned and saw a robin fly towards the ground, pick up a worm, and feed it to her babies. Everyone thought that it was cute. After, we watched the robin for a while we continued hiking until 12:30 PM.   Ã‚  Ã‚  Ã‚  Ã‚  Everyone was hungry so we decided to find a spot to eat our lunches. We found a perfect spot, it had a great view, a patch of beautiful dandelions, and a big beautiful maple tree to sit under. A picture of the great view we had during lunch. A picture of one of the many dandelions that were in the patch that we were sitting next to during lunch. A picture of the maple tree we sat under while eating lunch. We all sat down on the big blanket that we had brought along and ate our lunches. Laura went over and picked a dandelion and smelled it. We talked for a while and admired how big and beautiful the Blue Ridge Mountain was.

Transformational Change

At each moment of every day, someone, of eminent importance or the subordinate drifting around the park is embarking on a transformational change of some specific nature. What does that suggest to us? It indicates that at some point in our life we will experience this transformation as well. A transformational change is a modification to your life, as you know it; the learning cycle begins by recognizing that there is a substantial problem with your life in its current state. Once this breakthrough has been exposed, you must establish a way to suppress the predicament in order to resolve it. From this point on it may be a brief or time-consuming journey to your new life; but the expedition can be excruciating nevertheless. â€Å"Transformation, though desirable, rarely comes easily. † (Alexander, M. Clugston, W, & Tice, E. , 2009, Ch 5, p7) One conclusion that you can count on is that the ordeal that you have been through was meaningful and advantageous to your growth and development. Personally, I have been through a significant amount of transformational learning experiences. A select few come to mind, such as: graduating high school and beginning college for the first time, getting married, having a child, getting a divorce, going to real estate and tax school, and the death of my grandmother. Each of these circumstances have taken a toll on me; but when it came to selecting the transformational change that I am presently engaged, I believe that my decision recedes back into position in my renewal experiential cycle. I have ineffectively accomplished my original educational goals; so instead of establishing a new target, I will be â€Å"embracing the opportunity† to attempt once more. I am certain that ninety percent of our class, at the slightest, is going through the same transition as I am; working tediously to get a college degree taking into account a cumbersome work schedule and a family. Those were the strongest decisive factors this time around. At this point in my life I sense it is now or never; I faithfully believe that God has a plan for all of us, and it is now my time to thrive. When change is openly engaged, growth inevitably results—allowing boundaries to be broken and a new sense of freedom to be experienced. † (Alexander, M. Clugston, W, & Tice, E. , 2009, Ch 5, p3) According to Jack Mezirow’s research, identifying the seven phases occurring in the learning process, I have fulfilled up to this moment the first six phases: * â€Å"Experiencing a disorienting dilemma† I have faced the reality that it is time to buy my own home to raise my daughter in, despite the issue that I will not be getting married. In order to do this I must be financially secure with a career and a college degree on the wall. * â€Å"Self-Examination† Am I ready? Can I handle the stress? Is it worth the trouble? Will I have the time? Am I going to have to give up something in order to accomplish my goals? Will my financial aid and all of my credits transfer I have already received? Yes to all, and it will be worth it as the result. * â€Å"Critical assessment of assumptions† Will there actually be a job or an innovative career opportunity available to me when I essentially receive my college degree? I assume there will be, but all I can do is complete school through graduation and explore then. * â€Å"Recognizing that others have gone through a similar process† My mother is my hero. She went back to school in her early thirty’s, the same age I am now, and she has three degrees on the wall. She actually started her doctorate degree, but decided to wait until the school relocated near us in a year and a half in order for her to go to classes on campus rather than online. Therefore, when she does get the doctorate she will have four college degrees and be a doctor. I cannot help but admire her. * â€Å"Exploring a process† Going to college online at Ashford University until I complete my Bachelor’s Degree is my plan. Then from there you cannot speculate what may happen. I may continue school until I am fifty years old. I genuinely love learning and education universally. * â€Å"Formulating a plan of action† This time in school I am majoring in a degree that will actually benefit me obtaining employment immediately when graduating. In addition, I have approximately twenty years experience in all aspects of business and management. My previous degree program at the last school I attended was Interior Design. I am highly interested, but the market is obsolete, just as Real Estate in which I hold a license. * â€Å"Reintegration† I am not certain that I have accomplished this phase at the present time. (Alexander, M. Clugston, W, & Tice, E. , 2009, Ch 5, p7) For me personally, the reintegration phase can be experiential in two different aspects; attending school and being acclimated by the end of my first class, which is undoubtedly fulfilled. On the other hand, it could indicate graduating and facing the world as a newfound pristine college graduate. If the later is the case, then I have ample time to set new short-term goals for my next class, and continue adhering to them until my ultimate goal of graduating categorically occurs. I have had numerous blessings in my lifetime; however, the day that I graduate from college will be the second most ecstatic day of my life, second to childbirth.

The Definition of Form in Art

The Definition of Form in Art The term form can mean several different things in art. Form is one of the seven elements of art and connotes a three-dimensional object in space. A  formal analysis of a work of art describes how the elements and principles of artwork together independent of their meaning and the feelings or thoughts they may evoke in the viewer. Finally,  form is also used to describe the physical nature of the artwork, as in metal sculpture, an oil painting, etc.​ When used in tandem with the word art as in art form, it can also mean a medium of artistic expression recognized as fine art or an unconventional medium done so well, adroitly, or creatively as to elevate it to the level of fine art. An Element of Art Form is one of the seven elements of art  which are the visual tools that an artist uses to compose a work of art. In addition, to form, they include line, shape, value, color, texture, and space.  As an Element of Art, form connotes something that is three-dimensional and encloses volume, having length, width, and height, versus shape, which is two-dimensional, or flat. A form is a shape in three dimensions, and, like shapes, can be geometric or organic. Geometric forms are forms that are mathematical, precise, and can be named, as in the basic geometric forms: sphere, cube, pyramid, cone, and cylinder.  A circle becomes a sphere in three dimensions, a square becomes a cube, a triangle becomes a pyramid or cone. Geometric forms are most often found in architecture and the built environment, although you can also find them in the spheres of planets and bubbles, and in the crystalline pattern of snowflakes, for example. Organic forms are those that are free-flowing, curvy, sinewy, and are not symmetrical or easily measurable or named. They most often occur in nature, as in the shapes of flowers, branches, leaves, puddles, clouds, animals, the human figure, etc., but can also be found in the bold and fanciful buildings of the Spanish architect Antoni Gaudi (1852 to 1926) as well as in many sculptures. Form in Sculpture Form is most closely tied to sculpture, since it is a three-dimensional art and has traditionally consisted almost primarily of form, with color and texture being subordinate. Three-dimensional forms can be seen from more than one side. Traditionally forms could be viewed from all sides, called sculpture in-the-round, or in relief, those in which the sculpted elements remain attached to a solid background, including bas-relief, haut-relief, and sunken-relief. Historically sculptures were made in the likeness of someone, to honor a hero or god. The twentieth century broadened the meaning of sculpture, though, heralding the concept of open and closed forms, and the meaning continues to expand today. Sculptures are no longer only representational, static, stationery, forms with a solid opaque mass that has been carved out of stone or modeled out of bronze. Sculpture today may be abstract, assembled from different objects, kinetic, change with time, or made out of unconventional materials like light or holograms, as in the work of renowned artist James Turrell. Sculptures may be characterized in relative terms as closed or open forms. A closed-form has a similar feeling to the traditional form of a solid opaque mass. Even if spaces exist within the form, they are contained and confined. A closed-form has an inward-directed focus on the form, itself, isolated from ambient space. An open form is transparent, revealing its structure, and therefore has a more fluid and dynamic relationship with the ambient space.  Negative space is a major component and activating force of an open form sculpture. Pablo Picasso (1881 to 1973), Alexander Calder (1898 to 1976), and Julio Gonzalez (1876 to 1942) are some artists who created open form sculptures, made from wire and other materials. Henry Moore (1898 to 1986), the great English artist who, along with his contemporary, Barbara Hepworth (1903 to 1975), were the two most important British sculptors in modern art, both revolutionized sculpture by being the first to pierce the form of their biomorphic (biolife, morphicform) sculptures. She did so in 1931, and he did in 1932, noting that â€Å"even space can have form† and that â€Å"a hole can have as much shape meaning as a solid mass.†Ã‚   Form in Drawing and Painting In drawing and painting, the illusion of three-dimensional form is conveyed through the use of lighting and shadows, and the rendering of value and tone. Shape is defined by the outer contour of an object, which is how we first perceive it and begin to make sense of it, but light, value, and shadow help to give an object form and context in space so that we can fully identify it. For example, assuming a single light source on a sphere, the highlight is where the light source hits directly; the mid-tone is the middle value on the sphere where the light does not hit directly; the core shadow is the area on the sphere that the light does not hit at all and is the darkest part of the sphere; the cast shadow is the area on surrounding surfaces that is blocked from the light by the object; reflected highlight is light that is reflected back up onto the object from the surrounding objects and surfaces. With these guidelines as to light and shading in mind, any simple shape can be drawn or painted to create the illusion of a three-dimensional form. The greater the contrast in value, the more pronounced the three-dimensional form becomes. Forms that are rendered with little variation in value appear flatter than those that are rendered with greater variation and contrast. Historically, painting has progressed from a flat representation of form and space to a three-dimensional representation of form and space, to abstraction. Egyptian painting was flat, with the human form presented frontally but with the head and feet in profile. The realistic illusion of form did not occur until the Renaissance along with the discovery of perspective. Baroque artists such as Caravaggio (1571 to 1610), explored the nature of space, light, and the three-dimensional experience of space further through the use of chiaroscuro, the strong contrast between light and dark. The portrayal of the human form became much more dynamic, with chiaroscuro and foreshortening giving the forms a sense of solidity and weight and creating a powerful sense of drama. Modernism freed artists to play with the form more abstractly. Artists such as Picasso, with the invention of Cubism, broke up the form to imply movement through space and time. Analyzing an Artwork When analyzing a work of art, a formal analysis is separate from that of its content or context. A formal analysis means applying the elements and principles of art to analyze the work visually. The formal analysis can reveal compositional decisions that help to reinforce content, the work’s essence, meaning, and the artist’s intent, as well as give clues as to historical context. For example, the feelings of mystery, awe, and transcendence that are evoked from some of the most enduring Renaissance masterpieces, such as the Mona Lisa (Leonardo da Vinci, 1517), The Creation of Adam (Michelangelo, 1512),  the Last Supper (Leonardo da Vinci, 1498) are distinct from the formal compositional elements and principles such as line, color, space, shape, contrast, emphasis, etc., the artist used to create the painting and that contribute to its meaning, effect, and timeless quality. Resources and Further Reading Form, Tate Museum, tate.org.uk/art/art-terms/f/formThe Art of Sculpture, Encyclopedia of Art, visual-arts-cork.com/sculpture.htmThe hole of life, Tate Museum, tate.org.uk/context-comment/articles/hole-of-lifeBarbara Hepworth vs Henry Moore, CultureWhisper, https://www.culturewhisper.com/r/article/preview/3670Works of Antoni Gaudi, http://whc.unesco.org/en/list/320Henry Moore Foundation, https://www.henry-moore.orgBarbara Hepworth, https://barbarahepworth.org.ukJames Turrell, http://jamesturrell.com Resources for Teachers The Elements of Art: Form, Grade Level: 3-4, National Gallery of Art, https://www.nga.gov/content/ngaweb/education/teachers/lessons-activities/elements-of-art/form.htmlShape and Form in Art: Instructional Program for Grades K-4, Teacher’s Guide, http://gettingtoknow.com/wp-content/uploads/shapeinartTG.pdf