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Compare And Contrast September Song And The Autumn Gate

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Artist vs. Self
The American art scene is home is to a compilation of skilled artists. One such artist was Thomas Kinkade. He was highly regarded for the treatment of light in his works, earning him the title Painter of Light. However, he had many more styles of painting. Under the brush name Robert Girrard, Kinkade painted a collection of pieces that distinguished themselves from his signature look, yet still had a “Kinkade” touch. These difference and similarities can clearly be seen when comparing and contrasting his works September Song and The Autumn Gate.
A clear difference in technique is present between September Song and The Autumn Gate. As a Robert Girrard piece, September Song is painted in an impressionist style. This style is defined by the rough, short brushstrokes that give the painting a textured look. In this specific painting, the single brushstrokes are visible all around. They especially stand out in the grass and leaves. These wide strokes create a vague, though recognizable, subject. One can also see the several different colors of unblended strokes that combine to make up the landscape. This is …show more content…

Looking at September Song, how does it make one feel? The pale palette and sunset image give off a mood of calm. The forest has a certain tranquility about it. The impressionist style of the work even gives a somewhat dreamy feel to it. This painting creates the peaceful feeling of strolling along a country lane on a cool fall evening. The Autumn Gate has a little more energy to it. Maybe the air feels crisper, the walk a little brisker. The wood in The Autumn Gate doesn’t pose a sense of danger, but might feel a bit wilder. The chiaroscuro style of The Autumn Gate helps to develop the energy, light standing out against dark. The actual gate also peaks curiosity. Where does this road lead? The shadow swallowing the bend doesn’t give any hints. The overall painting sets an intriguing

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These three things are combined in Preston’s artwork to create an overall message to convey to her audience. The main and significant message that this artwork represents is the possibilities of the fusion between various Aboriginal art forms and the possibilities of an indigenous revolution to come. This artwork expresses the importance of aboriginal art, culture and their way of life as this was a time in which Preston’s beliefs of the importance of Aboriginal art deepened. It was also at this time of significance to her where she developed a series of landscape paintings influenced by this idea. This artwork is also representative of her time living in Berowra where she was enthused by the seasonal display of native plants, in which she wanted to capture the essence of the Australian bush and its

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2), it has been created with the same materials as the previous work of art in which I discussed however it measures 244 x 244 cm. In this work of art, we are able to see two females standing still and facing towards the sunset as two older men are on opposite sides of them facing towards us. It seems as though this image depicts individuals who have just finished their workday based on the way in which they are dressed. It is evident that he puts forth some of the same techniques used in Iceberg Blues (Fig. 1) such as the images containing city people and the sunset landscape. Also, the individuals in this painting are not communicating with each other or making any eye contact perhaps because they also have different beliefs and cannot relate to one another.

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“Thomas Cole captured the beauty of both the dangerous unpredictability of untouched wilderness, and the peaceful serenity of land subdued by man. In art, the former, the terrible beauty and power of nature, is called the sublime.” Born in 1801, Thomas Cole was an American Romantic Period movement leader and head of “The Hudson River School” which “captured history for America”. This artist was born in a time when advancements and new shifts were made in the field of art. Luckily, paint was made affordable because of preferences in chemistry and in 1840, the convenience of the rich and brilliant paint in collapsible tubes was invented.

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In front, people can follow the direction of the river with combination of blue tones and white. Near of the river, people appreciate the mixture of yellows form the grass and the greens of the trees which project the importance of Pontiac as a protector of the valley. The artist represents the movement of the grass with tones of yellows and browns. On the top of the paint, people see the variance of white and gray on the sky as if the painter permits the audience to think about the manner in which Pontiac died. Farnsworth presents, in the painting of Pontiac, the movement with a variance of colors and tones which help the audience to follow the direction and gives texture to the valley which contrast with the Pontiac’s

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The dust across the mid ground of the painting contrasts against the blue and green hues of the top third of the painting. The detail of the drover on his horse in the foreground of the painting shows how Roberts can have intricate details whilst maintaining a soft and smooth stroke line. This interprets the theme of ‘The Bush’ by comparing it to Australia’s inner core landscape. The green from the trees is perched above and away from the earthy tones below. The perfectly blue sky shows a hope in the distance indicating the help the drover needs in this story.

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Jacques Louis-David was a painter that I thoroughly dislike. He was a painter that admired putting people to be executed by guillotine, but when the time came for him to be executed he plead that he was only a painter following the big bad men of the dictatorship that was known as the French Revolution. He painted for a cause while other famous painters did it for the credit. He also made the characters of his paintings more pure and understandable, but only if they were characters that he had befriended in the Revolution. David’s paintings were also more life-like then some of the other painters’ paintings.

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The painting depicts what seems to be a panoramic view from afar but looking closely each aperture and objects make up the impressions of faces. From the left side there seems to be an aperture looking over a big cliff with branches of trees. This cliff and branches make up the face of an old person. The rock exposures within the cliff form the illusions of wrinkles, wrinkly lips and a long and untreated mustache. The branches give the effect of baldness, contributing to the overall appearance of an old man’s face.

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There are lines painted in different directions, such as the diagonal lines of the mist and mountains, vertical lines of the man’s coat, and horizontal lines of the sky. However, they all contribute to the unity of the piece because they are angled inward to become leading lines. They guide our eyes to the center of the artwork, the man. The colors are also opposites of one another—the man’s coat is green, but the rocks he is standing on have a reddish, brownish hue. However, they do not clash because Friedrich uses a darker hue.

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The two paths signifies that the life of the traveler

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He drew paintings to pass time. He painted his first masterpiece in 1897, it was called The Dinner Table.

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