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The fresco "The Triumph of Death" centers upon the horrors associated with the great bubonic plague,aion kinah, which killed a large number of people during the 1300s. An interesting thought concerning these types of art is that throughout Europe at the time you can encounter other artists who also explored the deaths associated with the plaque. Often on projects of this magnitude several artists would unit to complete a work of art together.

The usual procedure was that,maplestory mesos, the master selected to perform the art work would complete the basic design labors, however he would than assign the actual painting tasks to apprentices for the final completion. It has been aptly stated that this was the case in Orcagna's "Triumph of Death". In either case, whether he completed the final product or case worked it ,lotro gold,out it is definitely a work of art and stands amongst the finest works created by man.

When one first views the fresco they immediately see the artistic merits associated with this work. To start out we view a well composed painting with a feeling of looking through a window at the subjects involved. The artist has taken great pains to ,cabal gold,portray the individuals in a realist aspect. Their faces show the burdens from all the death they have been viewing and that which is still to come. The lines are straight forward and provide no unexpected interruptions what so ever. Orcagna has taken the liberty to maintain his painting in a light and dark setting so as to enhance his efforts to create a deadly background. Often man associates dark colors with their final earthly act of dying. We can clearly see the shadows within the facial elements establishing vast numbers of stressful wrinkles as if they,RIFT sales,must do tasks which they would rather not do. His use of stout shapes for the frail bodies permits him to exaggerate in an effort to make his point consistent with his color selections. He employs a series of low-key, mixed shades saturated in skin tones. He has left little empty space in his images which directs our eyes to immediately be drawn towards the faces of the men displayed; the texture appears to be wrinkled as he so desired it to be.