The first art element that I feel is one of the most important to the artist pertaining to this painting is the use of line. There is an undefined, invisible vertical line that goes from left to right where the mountains meet the
The subject of the painting is a depiction of a mountain landscape. Near the bottom of the picture plane in the foreground there’s a canal through the mountain side. If you look closely you can see someone in the water climbing up the rock. The overall theme of the piece seems to be very peaceful and exciting. Hassam uses a few visual elements of form to support his painting.
This image is a representation of the individual as it is of two people, however this painting could be a precursor of the enlightenment
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.
Title: Tanana River Artist: David Mollett Medium: Fast Dry Alkyd Oil on Canvas Dimensions: n/a Date: Description David Mollett creates a work of art directly influenced by nature in his painting the Tanana River. The Alaska Range can be seen in the background, jagged, majestic and aged, covered with termination dust. The warmer ground below the range shows the result of cooler air flowing off the mountains, forming ground fog at the base of the mountains. The painting continues to draw you away from the mountains tops, into the boreal forest, across the winding river with sandbars filed with driftwood and bleached logs. The viewer is guided toward the large piece of driftwood in the foreground.
The drawing depicts a setting which takes place at night. The rays of light emitted by the sun barely scrapes the sky. A river flows down, slightly to the right of the painting. A few bushes and shrubs grow around the arid desert, while large strands of grass flow with the wind around the river.
A deer skull hangs from the front of the tree, with large antlers that curve to the sides and forward, placing these objects in the foreground of the pictorial plane. Almost all of the background is blue sky, with a mountain range and mesa placed horizontally in the lowest eighth of the picture, pushing the mountains into the distance. The middle-ground is a horizontal band of green and tan, at the very bottom of the image. The extremely low placement of background and middle-ground creates a sense of great spatial distance. The painting has an asymmetrical balance, with skull and branches at the top countered by the mountains at the bottom.
It seems very unrealistic and it needs the beautiful finishing that you would find in Vermeer’s paintings. Technology can be used to give finer touch to the art but it cannot bring realistic touch in it. Vermeer’s paintings are more natural and Tim’s is bit plastic. Technology is straight and art is flexible and it allows interpretations. Same is the difference we find in the work of Vermeer and
This painting is an oil painting on canvas by Albert Bierstadt. (1863). It is called “The Rocky Mountain, Lander’s Peak.” Looking at just the composition Bierstadt uses dramatic lighting and atmospheric perspective to draw your eyes to the waterfall and then up to the mountains from a far distance. The detail and colors used show that the artist spent a lot of time one this piece. The diagonal lines of the mountains are separating the sky from the horizontal lines of the land and trees.
The Chinese Paintings shows the Daoism/ Taoism in the people of China, especially, the famous landscape paintings such as “Along the River During the Qingming Festival” of Zhang Zeduan. Daoism is often interpreted as a person living a simply, honestly, and in harmony with nature. Along the River During the Qingming Festival captures the daily life of people from the Song period at the capital, Bianjing, today’s Kaifeng in Henan. The theme celebrates the festive spirit and prosperous street scene at the Qingming Festival, rather than the holiday’s ceremonial aspects, such as tomb sweeping and prayers (comuseum.com, chinahighlights.com). The scene from the collection of this paintings shows the simple and honest life in the capital by remembering
Another painting attributed to Tensho Shubun would be Reading in the Bamboo Study, painted around 1446. This painting, an example of an isolationist landscape, is also considered to be a shigajiku with a long introduction at the top of the scroll and five brief inscriptions, each by a different person. The inscriptions depict a poem. This illustration depicts a scholar’s study, almost hidden in a bamboo grove, the building just barely visible covered by a thatched roof and supporting a single large window from which a lone scholar can be seen holding what appears to be a book. Near the house in the scroll is a sharp bluff which is capped by two pine trees, one is straight while the other is bent.
Egley was able to utilize depth in order to render a work that appeared smaller as the observer’s eye moved from the foreground to background. The lines in this painting point toward one single point system as Egley created a perspective work of art by scaling the figures. Even the colors help guides the eye
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.
The “Great Wave” was created by Japanese painters, Hokusai Katsushika of 19th century. It was the first outline for a progression of initially 36 popular perspectives of Mount Fuji, Japan's consecrated mountain. This painting demonstrates a somewhat sensational scene. An enormous wave is swapping more than three modest, long and thin boats confined with fishermen.
Even though the mountains in Pieter Bruegel's painting are not the main subject they are presented in a way where they are very noticable. In his painting the mountains are not covered by another object such as trees or human figures. In fact, the trees on the left side of the painting and the birds flying above actually create a diagonal line that leads the viewers gaze back towards the mountains. In Fan Kuan’s hanging scroll the mountains are the main subject and show their significance by hierarchy of scale as well as placement. They are centered in the middle of the scroll and are dominating to its surroundings.
