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
Additionally, everyone is assigned stereotypical gender colors; the men are in blues while the woman is in a pale pink gown. One of the most striking aspects; however, is the perspective at which this painting is portrayed. It is
Reflections, shadows, and earthly objects can be portrayed in this painting as well. Although they are both telling stories about
The lighting in Red Hills with Flowers is dim because dawn was approaching. One might feel like they could not walk or reach into this painting because they would not feel like it had the right space to do so. The lines are curved to shape the mountains and the center of the
Viewing the painting, brightens the light in the artwork. There is a sense of reality as the light seems to move through the clouds. The faces of the characters are shown by light and there is an effect of light moving by walking in front of the scene. Emotions are evoked when one looks at this scene. There is a state of protection and safety.
The objects in the background of the artwork lack the color intensity of figures in front. There is less contrast between light and dark. In addition, this artwork has a variety of lines. There are organic lines
To the right of the painting is a ramp that leads those coming off the ferry, into the center of Paris or to the Pont des Art Bridge. At the start of the ramp there appears a poor woman with her children. Towards the back of the mid-ground are the buildings within the center of Paris; to the right is shiny domed building which is the institute of French fine art, and to the left is are the new theaters of the Place du Châtelet. In the background is this huge clear bright sky that take up half the picture plan and is layered with heavy coats of blue’s and thick white rough textured clouds that are layered throughout the sky. This panoramic landscape painting would be considered 4th on the hierarchal
Botticelli's The Birth of Venus was created in 1482-1486. It is a tempera on canvas. Tempera on canvas is a type of painting which is painted on oil painitng cloth. Botticelli's The Birth of Venus is a horizontal painting, which scaled 5'8" x 9'1. Raphael's Galatea, on the other hand, was created in 1513.
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
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.
In the painting we observe a man at the top of a hill. His head is tilted downward and his composition is darkened. As the beholder moves his eye to the left, the altitude of the painting drops into a dark valley. The ocean that lies beyond the darkened valley is lit up by the setting of the sun. The painting transitions from a sunset lit hill, to a dark valley, and then to an ocean that fades into the horizon.
Although the structures of these two paintings are similar, elements such as tone, colour, line and texture are diverse. For example, the first painting maintained depth and illusion, transposing the third dimension on a flat canvas and composing a convincing landscape painting to lure the audience in. The second painting displayed barely any depth; therefore, the represented literal surface continues to make spectators see the pictures as paint on a surface. Nevertheless, audiences can still become absorbed in the first paintings picture space due to the distance and illusion.
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
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.
In this painting, Leonardo uses the technique of “Sfumato” which is a ‘smokelike’ effect or haziness. It is also an atmospheric perspective view because you can see the background of the mountains and hills. Just like a scenery effect. As in the Renaissance period, the
