Reflections, shadows, and earthly objects can be portrayed in this painting as well. Although they are both telling stories about
Berth Morisot was a French paintmaker and painter, who was associated with impressionism. Born into a family of a government official who was supportive of the arts she was able to openly practice her passion to paint. Through her painting The Basket Chair, she demonstrates her remarkable style of rough to light brush strokes that create a sense of realism in this piece. She was one of the few female painters of her time. The subject matter of her piece is not as interesting as that of Gustave Caillebotte’s
Can you imagine being kidnapped? “The Kidnappers” by Willo Davis Roberts and “ The case of the missing socks” by Lewis Montgomery were both great books. The plot in “The Kidnappers" was more interesting than in “ The case of the missing socks”. The plot is better because it was more intriguing, had more twists, and it had more events in it.
She is looking closely and intently at the socks as she repairs, it; lips firmly puckered. Covered in a fringe shawl that is red plaid with a cameo brooch placed onto it; dressed in a dark skirt, white long-sleeved shirt, wearing wire-rimmed glasses. There is a table next to her with a blue and white cloth; covered with the many items she loved, including other socks waiting to be mended. Not to mention, the socks seem to be shaped like Africa, which is where his grandmother have resided once before. Some other items include: scissors, a ceramic, bobbin thread, and a glass.
The main color scheme of this painting is very muted and includes mainly earth tones such as grey and tan. Even his use of blue is very minimal and muted. The main building is illuminated by the sun coming from the left, outside of the scene. It shines on the central façade and the portion of the building in the background, as well as beneath the bridge. It shines the brightest where it comes through beneath the bridge and illuminates the bank of the river along with the people on it.
Annotated Bibliography Baker, Houston A., and Charlotte Pierce-Baker. " Patches: Quilts and Community in Alice Walker's" Everyday Use". " The Southern Review 21.3 (1985): 706. The two writers use symbolism to convey the message in that it is an indication of fullness to stand as a sign of condemnation or rather the act of judging, the quilter patch is a fragment. A patch may have the capability of a showing off some level poverty.
The appealing factor of this paintings comes from its message and juxtaposition of colours and stroke
The artist Vincent Van Gogh show depth in “The Artist Bedroom” piece, by using a little atmosphere perspective in the walls of the bedroom near the window. He does this with the light and dark blue colors in the crease of the walls. The table illustrates the illusion of depth, by using the overlapping method. The table is not covering the painting on the wall, but sits in front of it causing the painting and the window to look far away. The artists used the change in size method a few times with the locations of both chair, as well as the head and foot of the bed.
The painting has a light and smooth finish to finish to it, and at the same time the bold outlines of the male figures appear like a sketching. Little detail compared to the woman in the center of the canvas. The clouds are dark and made with
The whiteness of the art piece could refer to the 17th and 18th centuries’ practice of removing color from Greek, Roman and Byzantine art for its “purity”. The texture of the board and the acrylic paint are similar to the rough popcorn ceiling paint and spikey feel to it. The hydrocal/plaster looks as if it used to create the top of the 9 sided dome and the faces. The edges of the dome and the building have a sharpness to it because of the illustration board. The lighting in the gallery accentuates the sharpness and the texture because it is white.
There is no source of natural light in the picture, and the direction of the artificial light is indiscernible. When a viewer first looks at the painting, they see the cow and man observing each other. Then, a viewer will notice the finer details of the smaller cow being milked, the man with a scythe in the town, and the sapling being held by gentle hands. The colors in the foreground are whites and greens, while in the background there are darker tones of green and black. The lines are curved and overlapping, suggesting wrinkles and folds in the cow and the
This helps to create a close up look at the view outside the window suggesting the intimacy between the artist and the habitat outside. This is because the focus is almost wholly given to the view outside the window. The view, which is embellished by the presence of flowers sitting on the windowsill, and creepers climbing on the railing, is located in the center of the composition. Despite the lack of a line of symmetry and any logic or geometric order, Matisse has been able to draw the attention of the viewer’s eye through the use of bright colours, almost fluorescent, which were used to portray the calm sea with its floating blue boats, and the sky tinted with the colours of the sunset. The calm sea at the horizon is painted with unreal tones of pink, sky blue, and violet whereas the boat, painted with tones of indigo, orange and green, seem to move along with the light breeze.
The border is softened by the floral components, and the brighter colors come out with the border decal. The pastel blue and greens of the background contrasts to the foreground to the pale colors of her white dress and fair skin. Everything is organic in shape except for the gothic border. The border is also vertically symmetrical. Mucha shows the gathering of the woman's dress by closeness of the lines to show movement and lightness in the fabric.
