Word: foregrounds
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...parallel lines become a window through which a viewer sees the scene that was photographed. By moving his head from side to side, he can look through that window at different angles and change the perspective of the three-dimensional view; he can look around an object in the foreground to see what is behind it, just as if he were examining the actual scene...
...Robert Vickrey studied about 100 detailed photographs of the skies to work out the background for his portrait of Schmidt. The whirling mass in the upper righthand corner is a spiral galaxy. To the left is a very bright star as seen through an optical telescope. In the right foreground, Vickrey renders a quasar, which may be recognized by the small jet stream spilling out from it at right. In showing Schmidt's head with its reflections receding into space, the artist tried to "give the feeling of infinity, the impression of an echo or radio waves being transmitted...
...artist's technique, known as tarashikomi, the brushing on of successive tones of ink while the underlying ones are wet. Appropriately for "bird's-eye" perspective, the bird below may be smaller than the lotus blossoms above, but the viewer reads it as floating in the foreground...
...like Alciati's Ripe (1635), which encyclopedically portrayed all the traditional symbols and gestures in art associated with important didactic themes like virtue or temperance. In most of Copley's work the symbolic paraphernalia, like the background materials, is executed in a style that strongly contrasts it with the foreground subjects. In the portraits, the sitter is usually set off against a hazy stage-prop background that contradicts, in its two-dimensionality, the fullness and solidity of the foreground forms. Generally speaking, the quality of Copley's portraits varies inversely with the amount of paraphernalia and background cluttering...
...zoos in Italy, but Antwerp, where Rubens lived, boasted one, and there he was able to sketch lions in their coiled-spring power. And it is within the painting's faithfulness to nature that the miracle becomes more believable. Remains of their former meals lie scattered in the foreground. Amidst their curling manes and rippling bodies, Daniel is impaled by a shaft of light that slashes into the den. The sheer force of the composition points directly at the baroque style then in its flowering...