Sand - Terminology, Composition, Shape, and More

Sand is everywhere; in fact sand is the very symbol of ubiquity. Lets learn a little more about sand. Sand Terminology Technically, sand is merely a size category. Sand is particulate matter thats larger than silt and smaller than gravel. Different specialists set different limits for sand: Engineers call sand anything between 0.074 and 2 millimeter, or between a U.S. standard #200 sieve and a #10 sieve.Soil scientists classify grains between 0.05 and 2 mm as sand, or between sieves #270 and #10.Sedimentologists put sand between 0.062 mm (1/16 mm) and 2 mm on the Wentworth scale, or 4 to –1 units on the phi scale, or between seives #230 and #10. In some other nations a metric definition is used instead, between 0.1 and 1 mm. In the field, unless you carry a comparator with you to check against a printed grid, sand is anything big enough to feel between the fingers and smaller than a matchhead. From a geological viewpoint, sand is anything small enough to be carried by the wind but big enough that it doesnt stay in the air, roughly 0.06 to 1.5 millimeters. It indicates a vigorous environment. Sand Composition and Shape Most sand is made of quartz or its microcrystalline cousin chalcedony, because that common mineral is resistant to weathering. The farther from its source rock a sand is, the closer it is to pure quartz. But many dirty sands contain feldspar grains, tiny bits of rock (lithics), or dark minerals like ilmenite and magnetite. In a few places, black basalt lava breaks down into black sand, which is almost pure lithics. In even fewer places, green olivine is concentrated to form green sand beaches. The famous White Sands of New Mexico are made of gypsum, eroded from large deposits in the area. And the white sands of many tropical islands are a calcite sand formed from coral fragments or from tiny skeletons of planktonic sea life. The look of a sand grain under the magnifier can tell you something about it. Sharp, clear sand grains are freshly broken and have not been carried far from their rock source. Rounded, frosted grains have been scrubbed long and gently, or perhaps recycled from older sandstones. All of these attributes are the delight of sand collectors around the world. Easy to collect and display (a little glass vial is all you need) and easy to trade with others, sand makes a great hobby. Sand Landforms Another thing that matters to geologists is what the sand makes—dunes, sandbars, beaches. Dunes are found on Mars and Venus as well as Earth. Wind builds them and sweeps them across the landscape, moving a meter or two per year. They are eolian landforms, formed by air movement. Have a look at a desert dune field. Beaches and riverbeds are not always sandy, but those that are have a variety of different landforms built of sand: bars and spits and ripples. My favorite of these is the tombolo. Sand Sounds Sand also makes music. I dont mean the squeaking that beach sand sometimes does when you walk on it, but the humming, booming or roaring sounds that large desert dunes produce when sand tumbles down their sides. Sounding sand, as the geologist calls it, accounts for some eerie legends of the deep desert. The loudest singing dunes are in western China at Mingshashan, although there are American sites like the Kelso Dunes in the Mojave Desert, where I have made a dune sing. You can hear sound files of singing sand at Caltechs Booming Sand Dunes research group site. Scientists from this group claim to have solved the mystery in an August 2007 paper in Geophysical Review Letters. But surely they have not explained away its wonder. The Beauty and Sport of Sand Thats enough about the geology of sand, because the more I poke around the Web the more I feel like getting out to the desert, or the river, or the beach. Geo-photographers love dunes. But there are other ways to love dunes besides looking at them. Sandboarders are a hardy bunch of people who treat dunes like big waves. I cant imagine this sport growing into a big-money thing like skiing—for one thing, the lift lines would have to be moved every year—but it does have its own journal, Sandboard Magazine. And when youve perused a few articles, you may come to give sandboarders more respect than the sand miners, offroaders and 4WD drivers who threaten their beloved dunes. And how could I ignore the simple, universal joy of just playing with sand? Kids do it by nature, and a few continue to be sand sculptors after they grow up, like the Earth artist Jim Denevan. Another group of pros on the world circuit of sand-castle contests build the palaces shown at Sand World. The village of Nima, Japan, may be the place that takes sand the most seriously. It hosts a Sand Museum. Among other things there is, not an hourglass, but a yearglass . . . The townspeople gather on New Years Eve and turn it over. PS: The next grade of sediment, in terms of fineness, is silt. Deposits of silt have their own special name: loess. See the Sediment and Soil list for more links about the subject.

Leadership Lessons From Abraham Lincoln Essay - 949 Words

Topic: Leadership Lessons from Abraham Lincoln. The American Civil War was fought from 1861 to 1865 in the United States. As a war measure, Emancipation Proclamation is applied primarily to Southern states rebellion and later it spread its way to North. Emancipation Proclamation created a history in abolishing slavery suppressing the war and saving Republic. Abraham Lincoln left this aspect of legacy to the people. I really have no idea about Lincoln until I read the description of him by presidential historian Doris Kearns Godwin. All I know was, that he was a politician and later a president. There are many heroes, many leaders and many presidents but â€Å"why Lincoln became a universal example, a respected figure and considered as the greatest president of USA?†. Because he exhibited many leadership qualities which are essential for the present generation. Lincoln’s Leadership Qualities Faced Challenges He faced many challenges throughout his life but out of all, the wildest challenge is his cabinet. He enabled friendship by bringing the strong political opponents together creating a unique cabinet. His idea of providing authority to rivals shows his intelligent act towards the nation. Because, all he needed was best cabinet members who show their own leadership, who felt to raise a question against him and argue with the authority knowing their strengths and weaknesses. There is no place for personal feelings and emotions in his constitution. And, this is one of theShow MoreRelatedLincoln Movie Leadership Analysis1380 Words   |  6 PagesFairhurst Leadership Communication 4008 8 December 2015 Lincoln Essay The year is 1865 and the Civil War death toll has risen just over six-hundred-thousand men. The freedoms sought out by our nation’s founders, now jeopardized by the secession of eleven states from the Union. 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The Conflict of Women in 20th Century India Free Essays

Throughout recorded history, women the world over have been held to different standards than men. They have been consistently oppressed in nearly all aspects of life, from political to personal, public to private. In the 20th century, great strides have been taken to end this oppression and level the playing field. We will write a custom essay sample on The Conflict of Women in 20th Century India or any similar topic only for you Order Now In India however, a number of deeply rooted traditions have made this effort particularly difficult, and as a result, women’s triumphs over oppression in India are all the more intriguing. To understand the position women found themselves in at the dawn of the 20th century, one must have a general understanding of the numerous historical women’s conflicts unique to the Subcontinent. It took the overwhelming success of Gandhi’s nonviolent revolution to unite women politically and create the an atmosphere whereby women, empowered by the times, could take a stand for their equality. The 1970’s saw the beginning of a highly organized modern women’s movement in India. Violence against women was one of the main focuses of the movement. Harassment, wife-beating, rape, and â€Å"dowry deaths† were all too common, and police enforcement was ineffective as were most attempts at prosecution. Commonly called â€Å"atrocities against women†, these acts occurred frequently. Why then, if these events were happening so often, was there so much apathy towards them on the part of the courts and the police? To answer this question one must look back upon a history marked by religiously and culturally accepted forms of oppression such as female infanticide, polygamy, purdah and sati. Purdah, still practiced today in many Moslem societies, is the practice of covering a women in cloth to protect them from the gaze of non-family males, in order to maintain their purity. This practice became common in India in the days of the sultanate. From a traditional western perspective this is a very repressive requirement. Gandhi took a particular pleasure in bringing women out of purdah, and involving them in the political movements of the times. Sati is another story. Early British rule in India was careful to stay out of the traditions and private lives of the natives. They ruled indirectly, typically demanding monetary tribute from local leaders in exchange for allowing them to rule as they pleased. This philosophy changed dramatically under the governor-generalship of Lord William Cavendish Bentinck which began in 1828. He began a much more interventionist policy that included the an increase in transportation facilities, industrialized cloth production (which displaced the ancient commercial structure) and he abolished the ancient tradition of sati (female infanticide was also outlawed by the British). The last of which caused a great rift in India’s intellectuals and businessmen. Sati is an ancient Hindu tradition whereby a widow is burned in the cremation fire of her departed husband. This practice was abhorred by British missionaries and businessmen. However, to many of India’s intellectuals it was an act of bravery and dedication on the part of the widow, to be admired. This is evidenced by the first petition against the intervention, which stated, â€Å"Hindoo widows perform (sati), of their own accord and pleasure, and for the benefit of their Husbands’ souls and for their own, the sacrifice of self-immolation called Suttee (another spelling of sati)- which is not merely a sacred duty but a high priviledge†(Stein, p. 22). For those who did not take part in this practice, the life of a Hindu widow was a very restricted one. A census conducted in 1881 showed that one-fifth of all women were widows, so these restrictions were very important. The Dharmashashra of Manu (a Hindu text) talks about how a Brahmin widow should act stating, â€Å"†¦ but she may never mention the name of another man after her husband has died. (Stein, p. 94) As child brides were common in the Subcontinent, one often saw young widows unable by traditional law to remarry and make an attempt at a new life. Furthermore, they rarely had the education to support themselves. Education was historically bestowed solely upon the males. In the 19th century only the wealthiest of families sought after any sort of formal education for their female children, and there was no movement in the government to change this. â€Å"A survey of Madras found over 5000 girls enrolled in Indian language schools, as against 179,000 boys†(Stein p. 268). This lack of concern for the formal education of women exemplifies how their place in society was viewed. The treatment of high cast women was one of the first forms of oppression attacked by advocates of women’s rights. In the 1860’s action was taken by avid social reformer Madhav Govinda Ranade, who founded the Widow Re-marriage Association and the Deccan Education Society (which sought to increase young women’s educational facilities). Although Ranade challenged some of traditions that prevented the liberation of women, he was seen by many as a hypocrite, himself taking on a child bride after the death of his wife. Soon however women would take the reins in the battle for their own independence. A woman by the name of Ramabia is considered, â€Å"the first Indian Feminist to address other women directly about emancipation† (Stein, p. 275). She, like Ranade, was a member of the Brahman caste. She would go on to travel and study in England and later in America, where she wrote about the mistreatment of women in India. A converted Christian upon her return to India, Ramabia opened schools for high caste women. This effort, in conjunction with various projects Ramabia worked on for women, was far ahead of its time and it would take nearly a century before women would tightly bind together to formally resist oppression. Early in the 20th century women were forbidden to protest their condition or even to congregate to discuss the matter. This was a right even the lowest cast males, the untouchables, was bestowed. It was a common belief at the time, that free women would inevitably come to neglect their marital responsibilities. The Indian National Congress, led by Gandhi, was one of the first political organizations to actively include woman, even women formally in Purdah. Although these women mobilized formally in the name of nationalism, it was this extensive political activity that would become a catalyst for future self conscious feminism (a school of thought that was looked upon with great caution and fear). In 1917 the congress demanded that women be able to vote on the same basis as men, but these efforts to were for the progress of nationalism rather than exclusively for the improvement of women’s rights. The eventual partition and independence of India was seen as a tremendous success for passive resistance and the Gandhian way. In the decades to come a number of political movements would emerge that would utilize various forms of civil disobedience as their main form of protest. There was intense and organized women’s participation in these movements, as a result of their participation in the independence movement there was a clear precedent for this. In the 1960’s India saw the effects of dramatically improved agricultural techniques resulting from the new technology of the ‘Green Revolution’. However, these benefits did not come without a cost. Although food was more plentiful, farmers not wealthy enough to keep up with the technology got left in the dust. As a result women toiling on the land found themselves worse off than ever before. There were also severe environmental implications of the sudden and extensive use of technology. In response a number of movements emerged. Within these movements (such as the Marxist, the Farmers, and the Environmental movements) unified groups of women emerged and took on unprecedented responsibility. They actively and enthusiastically sought after redistribution of land and wages. The first group to cross over and actively seek out women’s liberation was an organization of â€Å"new Marxists† called Magowa. Starting in Maharashtra, which would become the center for liberation activity, they wrote their second publication on the, â€Å"varied facets of women’s oppression in India†(Omvedt p. 76). The population base of this movement was the rural and the toiling. This was important because the women of this group were already organized, although not all of these organizations with this base turned their focus toward feminist causes. 1974 was a pivotal year for the movement. Not only did it see the founding of POW (the Progressive Organization of Women), but it was the year that the official Status of Women Commission published their report, Towards Equality, on women’s low and ever decreasing status in Indian society. This paper would add much fuel to the impending fire and validate it to the mainstream population. There were large conferences in Pune and Trivandrum in 1975 on women’s issues further bringing the movement into the mainstream. Many autonomous groups popped up with different agendas and issues. Some of the common issues included; the division of housework, party politics, rape, and â€Å"dowry deaths†. The issues of violence, popularly called â€Å"atrocities against women† became the centerpiece of the movement in the early eighties and the cause for its expansion. A forum against rape in Bombay led to the creation of the Forum Against Atrocities on Women, or the FAOW. All over India these feminist groups were emerging. There constituencies came to included women from all walks of life No longer did women simply motivate toward third party objectives, they now fought for their own rights as the largest oppressed group in the nation. From an unanswerable and most often unaddressed problem in the 1800’s, to a hotly contested issue on the cutting edge of politics in modern times, the conflict over women’s rights in India has come full circle in one century. Although feminist sentiments existed throughout, it took active female inclusion in the political world by Gandhi’s independence movement to give their voices strength and to eventually have them heard. There was avid political activity on the part of women and female organizations leading up to the 1947 split. The effectiveness of this work foreshadowed the influence women could have on politics when working together, and paved the way for the modern women’s movement that began in the 1970’s. Unfortunately, even at the end of the eighties â€Å"atrocities against women† were still occurring and they continue to occur today, but the change in attitude and the end of apathy that has emerged over the last century surely gives promise that someday there could truly be equality for women in India, and the world over. How to cite The Conflict of Women in 20th Century India, Papers

Paul Klee Essay Example For Students

Paul Klee Essay A Swiss-born painter and graphic artist whose personal, often gently humorous works are replete with allusions to dreams, music, and poetry, Paul Klee, b. Dec. 18, 1879, d. June 29, 1940, is difficult to classify. Primitive art, surrealism, cubism, and childrens art all seem blended into his small-scale, delicate paintings, watercolors, and drawings. His family was very interested in the arts. The jobs that Pauls parents had were strange for 1879. His mom helped support the family by giving piano lessons. His father did the housework. He cooked, cleaned, and painted. Pauls grandma taught him how to paint. After much hesitation he chose to study art, not music, and he attended the Munich Academy in 1900. Klee later toured Italy (1901-02), responding enthusiastically to Early Christian and Byzantine art. Klee was a watercolorist, and etcher, who was one of the most original masters of modern art. Belonging to no specific art movement, he created works known for their fantastic dream images, wit, and imagination. These combine satirical, grotesque, and surreal elements and reveal the influence of Francisco de Goya and James Ensor, both of whom Klee admired. Two of his best-known etchings, dating from 1903, are Virgin in a Tree and Two Men Meet, Each Believing the Other to Be of Higher Rank. The paintings of Klee are difficult to classify. His earliest works were pencil landscape studies that showed the influence of impressionism. Until 1912 he also produced many black-and-white etchings; the overtones of fantasy and satire in these works showed the influence of 20th-century expressionism as well as of such master printmakers as Francisco Goya and William Blake. Klee often incorporated letters and numerals into his paintings, but he also produced series of works that xplore mosaic and other effects. Klees career was a search for the symbols and metaphors that would make this belief visible. More than any other painter outside the Surrealist movement (with which his work had many affinities its interest in dreams, in primitive art, in myth, and cultural incongruity), he refused to draw hard distinctions between art and writing. Indeed, many of his paintings are a form of writing: they pullulate with signs, arrows, floating letters, misplaced directions, commas, and clefs; their code for any object, from the veins of a leaf to the grid pattern of Tunisian irrigation ditches, akes no attempt at sensuous description, but instead declares itself to be a purely mental image, a hieroglyph existing in emblematic space. So most of the time Klee could get away with a shorthand organization that skimped the spatial grandeur of high French modernism while retaining its unforced delicacy of mood. Klees work did not offer the intense feelings of Picassos, or the formal mastery of Matisses. The spidery, exact line, crawling and scratching around the edges of his fantasy, works in a small compass of post-Cubist overlaps, transparencies, and figure- field play-offs. In fact, most of Klees ideas about ictorial space came out of Robert Dulaunays work, especially the Windows. The paper, hospitable to every felicitous accident of blot and puddle in the watercolor washes, contains the images gently. As the art historian Robert Rosenblum has said, Klees particular genius to be able to take any number of the principal Romantic motifs and ambitions that, by the early twentieth century, had often swollen into grotesquely Wagnerian dimensions, and translate them into a language appropriate to the diminutive scale of a childs enchanted world. After his marriage in 1906 to the pianist Lili Stumpf, Klee ettled in Munich, then an important center for avant-garde art. His wife, Lily, gave music lessons, while Paul babysat their only son, he was a good babysitter. .u72c624da88257911d8554c081bf1743c , .u72c624da88257911d8554c081bf1743c .postImageUrl , .u72c624da88257911d8554c081bf1743c .centered-text-area { min-height: 80px; position: relative; } .u72c624da88257911d8554c081bf1743c , .u72c624da88257911d8554c081bf1743c:hover , .u72c624da88257911d8554c081bf1743c:visited , .u72c624da88257911d8554c081bf1743c:active { border:0!important; } .u72c624da88257911d8554c081bf1743c .clearfix:after { content: ""; display: table; clear: both; } .u72c624da88257911d8554c081bf1743c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u72c624da88257911d8554c081bf1743c:active , .u72c624da88257911d8554c081bf1743c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u72c624da88257911d8554c081bf1743c .centered-text-area { width: 100%; position: relative ; } .u72c624da88257911d8554c081bf1743c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u72c624da88257911d8554c081bf1743c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u72c624da88257911d8554c081bf1743c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u72c624da88257911d8554c081bf1743c:hover .ctaButton { background-color: #34495E!important; } .u72c624da88257911d8554c081bf1743c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u72c624da88257911d8554c081bf1743c .u72c624da88257911d8554c081bf1743c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u72c624da88257911d8554c081bf1743c:after { content: ""; display: block; clear: both; } READ: Leadership Experience EssayKlee painted in a unique and personal style; no one else painted like he did. He used pastels, tempera, watercolor, and a combination of oil and watercolor, as well as different backgrounds. Besides using the canvas that he usually painted on he used paper, jute, cotton, and wrapping paper. A turning point in Klees career was his visit to Tunisia with Macke and Louis Molliet in 1914. He was so overwhelmed by the intense light there that he wrote: Color has taken ossession of me; no longer do I have to chase after it, I know that it has hold of me forever. That is the significance of this blessed moment. Color and I are one. I am a painter. He now built up compositions of colored squares that have the radiance of the mosaics he saw on his Italian sojourn. The watercolor Red and White Domes (1914; Collection of Clifford Odets, New York City) is distinctive of this period. His paintings and watercolors for the next 20 years showed a mastery of delicate, dreamlike color harmonies, which he usually used to create flat, semiabstract compositions or even effects resembling mosaic, as n Pastoral. Klee was also a master draftsman, and many of his works are elaborated line drawings with subject matter that grew out of fantasy or dream imagery; he described his technique in these drawings as taking a line for a walk. After 1935, afflicted by a progressive skin and muscular disease, Klee adopted a broad, flat style characterized by thick, crayon like lines and large areas of subdued color. His subject matter during this period grew increasingly brooding and gloomy, as in the nightmarish Death and Fire. Klee died in Muralto, Switzerland, on June 29, 1940. His work influenced all later 20th-century urrealist and nonobjective artists and was a prime source for the budding abstract expressionist movement. If Klee was not one of the great form givers, he was still ambitious. Like a miniaturist, he wanted to render nature permeable, in the most exact way, to the language of style and this meant not only close but ecstatic observation of the natural world, embracing the Romantic extremes of the near and the far, the close-up detail and the cosmic landscape. At one end, the moon and mountains, the stand of jagged dark pines, the flat mirroring seas laid in a mosaic of washes; at the other, a swarm of ittle graphic inventions, crystalline or squirming, that could only have been made in the age of high-resolution microscopy and the close-up photograph. There was a clear link between some of Klees plant motifs and the images of plankton, diatoms, seeds, and microorganisms that German scientific photographers were making at the same time. In such paintings, Klee tried to give back to art a symbol that must have seemed lost forever in the nightmarish violence of World War I and the social unrest that followed. This was the Paradise-Garden, one of the central images of religious romanticism the metaphor of Creation itself, ith all species growing peaceably together under the eye of natural (or divine) order. Pail Klees Dancing Girl is a painting that he did in 1940 that stood out from all the rest on our visit to the Art Institute. Dancing Girl is a painting made up of simple short bold line strokes and a couple of circles to high light her head and hands. Done in 1940 Klee used a far-fetched medium for this piece. Dancing girl was composed on oil on linen and then glued on to a panel. As strange as it must seem it still has a strong appeal to it. Dancing Girl follows the pattern of man of Klees past work. His work at times seems ard to explain but understanding to the mind. There are certain suttle objects in the painting that make it obvious that this is a girl dancing. One is the distinguishing fact that this is a young woman. This is shown by the 3 main lines that make up her body. .u689760a61f279b44c8a327e7447fe4ba , .u689760a61f279b44c8a327e7447fe4ba .postImageUrl , .u689760a61f279b44c8a327e7447fe4ba .centered-text-area { min-height: 80px; position: relative; } .u689760a61f279b44c8a327e7447fe4ba , .u689760a61f279b44c8a327e7447fe4ba:hover , .u689760a61f279b44c8a327e7447fe4ba:visited , .u689760a61f279b44c8a327e7447fe4ba:active { border:0!important; } .u689760a61f279b44c8a327e7447fe4ba .clearfix:after { content: ""; display: table; clear: both; } .u689760a61f279b44c8a327e7447fe4ba { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u689760a61f279b44c8a327e7447fe4ba:active , .u689760a61f279b44c8a327e7447fe4ba:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u689760a61f279b44c8a327e7447fe4ba .centered-text-area { width: 100%; position: relative ; } .u689760a61f279b44c8a327e7447fe4ba .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u689760a61f279b44c8a327e7447fe4ba .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u689760a61f279b44c8a327e7447fe4ba .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u689760a61f279b44c8a327e7447fe4ba:hover .ctaButton { background-color: #34495E!important; } .u689760a61f279b44c8a327e7447fe4ba .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u689760a61f279b44c8a327e7447fe4ba .u689760a61f279b44c8a327e7447fe4ba-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u689760a61f279b44c8a327e7447fe4ba:after { content: ""; display: block; clear: both; } READ: In cold blood - truman capote EssayHalfway down the middle line there is a curve that forms the shape of a triangle as well as her other leg. Under the triangle on the background is a shade of red that gives the triangle and you the visual effect of her wearing a dress. The painting itself is simple yet dramatic as most of Paul Klees works were. The Background was a tealish green color with ighlights of yellow around the circles to distinguish her hands and feet. What makes the main object stand out at the viewer more is the white highlight around the girl. This effect draws your eye to the center of the piece and then lets you wonder around the rest of the painting. It appears as if he (Paul Klee) used watercolors and inks for this and implemented small pictures and childlike symbols to give it appeal. Klee valued the primitive look especially art of children. I believe that he envied their freedom and respected their innocence. . As the art historian Robert Rosenblum has said, Klees particular genius was] to be able to take any number of the principal Romantic motifs and ambitions that, by the early twentieth century, had often swollen into grotesquely Wagnerian dimensions, and translate them into a language appropriate to the diminutive scale of a childs enchanted world. . Formerly we used to represent things visible on earth, he wrote in 1920, things we either liked to look at or would have liked to see. Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities