The painting is oil on canvas and contains an extensive amount of contrast. For example, the bright vermillion blanket against the dull eggshell colored door. The disparity between the colors used is prominent. Additionally, the fusion of ornate patterns and simplistic solids is evident. The tablecloth is a geometric mixture of cream and periwinkle.
Reflections, shadows, and earthly objects can be portrayed in this painting as well. Although they are both telling stories about
“The paintings are so large and dark, except for those tiny sprays of light. They make me… they make me think of being stuck somewhere? I don’t know, like weighted down, but then those little patches… Those little parts that stick off? It seems like the darkness is almost trying to leave the whole thing, because the little light is back there, and it’s turning its back on the light” (Glasgow 133-134).
In the play, one side of the painting by Kandinsky is described as “geometric and somber,” while the other side is “wild and vivid” (1). These two sides can represent many things, such as reality and imagination. The two sides in the painting contrast with each other and are painted on two different sides of the canvas. However, one cannot exist without the other, and they rely on each other to bring out the depth and emphasis of each object in the painting. The geometric side represents reality, where everything is orderly and in its place.
"It is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore. It was nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls" (Gilman 648). The first description of the room helps us get a feel of how big and barren the room would be to be forced to live there on your own. " No wonder the children hated it! I should hate it myself if I had to live inthis room long" (Gilman 649).
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.
Bedrooms are a repeated symbol used in Anderson’s Speak that expresses the struggles with establishing identity. An early example of symbolism involving bedrooms occurs when Melinda criticizes her room for not matching her personality. Just after Melinda rushes up to her room, she is reminded of how out of place and strange her bedroom is. Melinda thinks, “My room belongs to an alien. It is a postcard of who I was in fifth grade.
In Rehearsal Before the Ballet, Degas uses a split complementary color scheme with monotonous orange-yellows, blue-violets, and greens to express only the figures and their movements. Degas is more interested in painting the actions of the dancing girls by pushing the paint around and layering blotches of color with swift brush movements against the canvas. For example, the only distinction of one of the dancer’s arms is a swoosh of blue-violet paint as she leaps into the air. The movement and texture of color flatten the painting because the figures are pushed up to the surface of the picture plane. Degas does give a sense of depth with the size of the figures decreasing the further they overlap each other; however, the representation of space is denied.
The table is located in front and diagonal with where she is and where the painting is, this shows that the table is closer in view than of the painting behind it also creating distance. The woman, table, and objects on the table all appear to be closer to the edge of the painting, which gives off the impression that there is space between them and the wall with the painting, which is high plane versus low plane
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.
Leonardo believed that, the integration of the musical harmonies would bring symbiosis to the optical space of the painting and to the one viewing the painting. Leonardo clearly understood how single point perspective could control how the viewer perceived his painting. He employed this technique to draw our attention to Christ’s face which is at the center of the composition. Likewise Christ’s gaze is directed to his left hand whereby he is reaching for the ‘bread’.
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.
In this artwork, Van Gogh uses strong vertical lines to give the sense of unease. These lines are present in the floor boards, the chair and in the wall. The lines give an unnerving feel to the room as vertical lines suggest that the room was not a place of tranquility, or calmness, but a rather gives a sense of despair. Furthermore, In the room there is also horizontal lines to suggest peace, and calmness.
The Focal Point of the painting would be the three people at the table but mainly the woman and man sitting across from each other. There is no unity or variety that appears in the artwork. The artwork is in proportion. There is no movement in the picture considering the people are sitting down at the table. There is no rhythm or pattern in the artwork that is involved.
