| Title | Creator | Date | Era | City | Country | Emotional Sum (Sense of Life or emotional World View) | Theme | |
|---|---|---|---|---|---|---|---|---|
| Diana | Sculptor: Auguste Saint-Gaudens | 1892 | 1900s | New York | United States |
Serenity in action. But not a strong world view in any case, quite placid. |
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| Pirelli Calendar Diver | Photographer: Uwe Ommer | 1984 | Italy |
Women can be strong, dynamic and unconsciously beautiful. |
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| Staircase Group (aka Portrait of Raphaelle Peale and Titian Ramsay Peale) | Painter: Charles Wilson Peale | 1795 | Philadelphia | United States |
Perceiving accurately is important and playing with the artistic medium is fun. |
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| Blue Phoenix | Painter: Koyo Omura | 1921 | 1900s | Chicago | United States |
A pleasing and lush, possibly claustrophobic, world. |
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| Day at the Beach | Painter: J.C. Leyendecker | 1932 | 1900s | United States |
Fun and cuteness. |
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| Wisdom and Strength | Painter: Paolo Veronese | 1580c | 1500s | Venice? | Italy |
Sumptuousness is good, and the human form is good. |
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| Feast of Belshazzar | Painter: Rembrandt Van Rijn | 1635c. | 1600s | London | United Kingdom |
The only way to know the sense of life or world view of the painting is through it's history, since the image is very mixed. Shows an opulent and sumptuous world, but the people are obviously distressed over something. Assuming one knows its history, you could conclude it is an exercise in depicting the dangers of the worldly pursuits and wealth. |
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| Crane Under the Rain | Ohara, Shoson: | 1928 | 1900s | Japan |
Life is difficult. |
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| Horse Seen from Behind | Draftsman: Andrea Boscoli | 1587c | 1500s | United States |
Not much except perhaps stylistic -- confident, strong drafting style, and a vibrant, alive, horse. |
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| Senso-ju Temple at Asakusa | Hiroshige: | 1840s c | 1800s | Tokyo | Japan |
Pure, simple, quiet tranquility. |
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| System of Architectural Ornament, A | Designer: Louis Henri Sullivan | 1922 | 1900s | Chicago | United States |
The world is a place of infinite, ordered, geometric, fluid possibilities. |
