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I. Intro

This work is called The Ambassadors by the painter Hans Holbein, it is believed to have been painted in 1533, it is in the National Gallery of the United Kingdom, where it deals with and represents two ambassadors, one from France and another from the United Kingdom.

II- COLOURS AND LIGHTS

Like most paintings of that time, they tried to be as similar as possible to their actors, where they used light and dark colors at the same time, highlighting the particularities of interest with light colors and the ambassadors, mostly dressed in dark suits of the time, mainly dark colors.

III- LINES AND MOVEMENTS

The artist uses all the lines, both straight and curved, because the artist was primarily a portraitist of his time, but he had certain beginnings or peculiarities that he wanted to reflect and hide from everyone's sight. As is the case of the skull in front of everyone and at the same time hidden.

IV- INTERPRETING THE NARRATIVE

The painting only celebrates the meeting of two ambassadors from two kingdoms (France and England at that time), in a studio, at first glance more in detail as if it hides things that can only be seen with a good analysis. Because this is the case: it is not known if it was requested from the artist or if he knew something.

V-DESCRIBING THE SCENE

The painting shows the meeting of two ambassadors from two kingdoms in a study (because of what is carelessly seen on the desk or table) setting limits calculating positions music and other things. But when you look deeply and with perspective you begin to see many objects that were wanted to hide in front of everyone.

With sizes position of the objects, and where the characters are located. The object that welcomes the hidden story is a human skull that is hidden in perspective in the middle of the painting in the lower part hidden with perspective. There are other elements such as the hidden position of the crucifix, as if wanting to indicate leaving aside religion, the points on the map where they point to Africa, as the guitar marks the lower tropics of the earth, and how the table setting is made pointing to two stars, apparently they knew something about the secrets or enigma of the Dogon and certain capabilities that for someone who understood they knew or gave. The position of the hands as if between the lines showing the unfinished pyramid, is a message of Freemasonry, but the painting does not clearly indicate the lodge, because of the colors it would seem that they belonged to the Illuminati, predecessors of the Illuminati of Bavaria, whose most distinctive colors are green, red, white and brown.

VI- EXPRESSING OPINIONS

It is interesting to see how knowledge was hidden in front of everyone at that time, how, it is not known if by request or not, places on tropical maps are indicated between two people, and the knowledge of the Masons of that time is shown since apparently both characters were members, and the artist was asked to show them and camouflage them in front of everyone. The painting apparently shows or tells the knowledge of the Dogon people with an entity that apparently is not from this planet and how to find these people, and go for their knowledge.

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This art work is called the wonderer above the sea of fog, was painted in the romanticism period in 1818 by Caspar David Friedrich . You can find it at the Kunsthalle museum in Hamburg Germany.

Ligth and colors.

The painting use muted grays and blues contrasted with worm highlights, creating a dramatic atmosphere perspective as mist envelops jagged peaks below the solitary figure.

Lines and movements.

Friedrich's composition employs triangular formations and jagged verticals that guide the eye upward, mirroring the wanderer's gaze. The swirling fog creates fluid movement contrasting with static rock formations, establishing visual rhythm while diagonal lines converge toward distant peaks, suggesting transcendental journey beyond physical boundaries.

Texture.

The paint contrasts rough rock textures with soft vaporous fog brushstrokes. The figure's clothing shows subtle textile detail against ethereal mist, enhancing dramatic tension through textural opposition

Artistic technique

Was painted using traditional oil with sfumato (soft gradient technique) to create the mists and clouds .

Description

Wanderer Above the Sea of Fog depicts a man standing on a rocky cliff, overlooking a vast misty landscape. The figure contemplates nature's sublime power, embodying Romantic ideals of human insignificance amid nature's grandeur.

The clouds present some variations of white, gray, and yellowish touches that suggest the incidence of sunlight. They are not uniform but show different densities and volumes.

On the horizon, the more distant mountains appear wrapped in a bluish haze, an effect known as "atmospheric perspective" used to convey distance.

The upper sky shows a gradation of blues that intensify toward the highest point of the canvas, suggesting the immensity of the firmament that extends beyond what is visible.

Interpreting the narrative.

The artist want to transforms a simple landscape into a metaphor for the human soul. Man is not merely contemplating the mountains; he is confronted with the abyss of his own existence. The mist is not just an atmospheric phenomenon; it is the representation of the unknown, of what is sensed but cannot be fully known.

Opinion

In the Romantic tradition, the landscape functions as a projection of the inner state.

From my point of view this picture evokes the sublime solitude of the human being facing the immensity of nature. The figure contemplates the landscape from above, symbolizing spiritual seeking and humanity's capacity to transcend the material to connect with the infinite, inviting us to reflect on our smallness in the universe and the greatness of our contemplative spirit.

This piece of art captivate me because it mirrors our own yearning for perspective. We see ourselves in that solitary figure, back turned, surveying a world both beautiful and terrifying below him.