J’Lyrick Woods Writing Assignment #1 AR-170 2-D/3-D 2-D-P.50-Figure 1.4-Mel Bochner, Vertigo This conceptual artist has taken basic elements of art such as lines and color and has created this amazing two dimensional artwork, Vertigo. In this artwork the artist uses regular lines, a rhythm of diagonal lines, and a slight tint of an orange in the background of the actual lines. The different directions, overlapping, and crossing of the lines, help imply the chaos and disorder the artist is trying to reveal through this painting.
When observing this image it is apparent to indicate that the
Finally, a man’s portraits in the bottom right of the painting. This painting is supposed to represent the bible story, Noah’s Ark. There are four prominent art and design elements that were utilized in this painting: lines, shapes, light and value, and color. The first element is directional lines. Directional lines are used to guide the viewers eye to the main piece of the painting. In this case, the lines starting from the top right of the painting are directional.
The line is wrapping around the lion’s tail making a swirl to make the tail darker. The line outlines the rocks on the side of the painting. Every line in the painting goes in different direction to make a new object in the artwork and draws the viewers attention to the piece. Background of
The curved lines are diagonal and convex outward, beyond the visible boundaries of the painting, then meet in the middle to draw your eye to its core. It is also worth noting the use of curves to imitate the folds of flower petals: Implied water ring texture brings it a sense of realness, and add the wavy outlines, helps to create
The lower part of the painting is describing the frontier part in readers’ point of view, and the upper part of the painting is describing the farer part in readers’ pointing of view. In the frontier part, there are columns to show it is the interior. The interior is suggested to be a café by the name of painting ‘Women on a Terrace Café’. In the farer part, there are buildings and road so it should be the main street.
The boldest lines are in the frame and they are used to separate the scenes. The painting itself is very flat; however the artist manages to use overlap in order to create a sense of depth within the painting. In the upper-right painting, the author overlaps the soldiers watching David cut off Goliath’s head. Also, in the lower paintings, the artist overlaps the people watching David present Goliath’s head to the king. In the upper-left painting, the artist makes a distinct height and body mass difference between David and Goliath.
The artwork is dominated by all sorts of lines, mostly diagonal lines from the pink curtain surrounding both sides of the frame. The entire frame is dominated by all sorts of shapes, the harsh lines of the table, the crisscrossing of the basket, and the wrinkles on her sleeves. The only piece of the work where lines are not heavily used nor provides a distraction is the Virgin Mary’s face and the space golden surrounding her head. Even her hair is free from any sort of lines or harshness in texture, further emphasizing the divine and purity in thought due to soft lines being easier on the viewer's eyes compared to the rest of the piece. The artwork not only draws attention to her face but highlights the fact that her mind and her face are free from imperfections, in this moment she is completely pure from worldly sins and
And the two ends of the bridge in the middle of the painting were equally wide, which according to the rule of linear perspective the rear end should be
This essay examines one of the many self-portrait paintings by Frida Kahlo called ‘broken column’ (1944). In this painting Kahlo portrays herself as a complete full bodied woman while also reflecting her broken insides. She stands alone against a surreal barren fissured landscape that echoes the open wound in her torso. A broken stone column replaces her damaged spine and is protected by a white orthopaedic corset, while sharp nails pierce into her olive naked flesh. Frida is partially nude except for the corset and white bandages.
The lining in the skin makes the painting look more realistic and the lighting brings out the dimensions very well. The lining is overlapping which shows the movement in the painting. The triangle shape begins at the top of Mary’s head and down the back of Jesus contacting to the bottom of her hands and coming around her shoulder. Spacing is very important
Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light.
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.
Nonetheless, this does not detract from his contained and centred presence due to the general thick lines and large swatches of colours in the painting. Instead, it contributes to his unyielding gaze. Her technique of layering colours is repeated in the lines decorating the top of his mace and his headpiece. Moreover, she seems to have used the
This also found on some parts of the chair. Theses conflicting uses of lines give the audience a sense of chaos and confusion in the world around the man. Van Gogh, predominantly known for his color usage also
