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 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.
Most of his lines were contour lines which suggested volume. Each of the four walls are symmetrically balanced. In addition the mural shows texture because the lines and shades of light and dark paint makes it look like one could touch whatever is being displayed in the
They lead your eyes to the large boat, onward to the bottom, where there are animals boarding it. The lines are also very sharp. They outline the shapes in the painting, giving the shapes a clear border. The next element is shape. The shapes are at very sharp angles.
This acrylic painting was completed by Lawrence Smith, and is representational. Smith uses lines and color to divide the areas and to give each element its figure. He uses mostly cool colors (green and blue) which gives the painting a sort of calming effect. Smith uses proportion to show that the light house is further away by making the rocks larger and the trees smaller. He used shapes like triangles for the tree branches.
If Twachtman had been working in oil paint, like many of his impressionist contemporaries, Connecticut Landscape would most likely have an incredibly three dimensional look, however, he used oil pastels which has less of a gradient for three dimensionality. Instead of creating a higher relief, like oil paints, when oil pastels are layered, they create a much more matte texture. The less oil pastels layered, the more the color of the material on which the oil pastel is applied shows through. In the center of the painting, Twachtman layers multiple strokes of oil pastels to create a matte look, but uses the oil pastels much more sparingly at the edges. This gives the sense of stability in the center because the texture is consistent throughout.
The article Chicano Manifiesto by Armando B. Rendon is talking about Rendon’s experience living in the United States as a Chicano citizen. He grew up on the West side of San Antonio with his grandmother and mother. Rendon learned Spanish as his first language, but as he started school Rendon had to soon learn English quickly since speaking Spanish was not allowed. At the age of ten, Rendon and his mom moved to the bay area.
throughout the painting we can view shading and shadowing that mesmerises and helps to fully appreciate the skill it takes to create. However, there are also parts of the portrait in which we see texture such as the texture of the many trees scattered throughout the landscape. An Additional example can be seen in the garments worn by the persons within the piece and the buildings in the background that seem be carved into. The principle balance may also be viewed upon further inspection. The way that the many trees wrap over the flowing river and the inhabitants of the landscape can be an example of symmetry.
This gradation of color allowed for a three dimensional effect to take hold in the piece. The white, negative space, creates depth, whereas the darker areas of the piece forms the faux-elevated part of the work. Change in color creates the lines in this piece. Most of the lines are organic from the round lines of the stencil and rough due to the smears of the graphite. This rough graphite creates visual texture and attempts at tricking the eye into thinking that it is three dimensional.
The painting has a light and smooth finish to finish to it, and at the same time the bold outlines of the male figures appear like a sketching. Little detail compared to the woman in the center of the canvas. The clouds are dark and made with
Vertical and curve lines depict some sort of leaves under the figures of man and animal. This shows a roughness of the texture. Gently wavy lines of the shaft create the movement. There is also a lot of movement in the scene on the top of the column.
The majority of his works showcase women in distress, and he used a series of tiny dots to create the images. Lichtenstein did not actually paint each dot by hand however. Instead, he used stencils
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
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 line quality in the man’s shirt behind his left arm shows that he is bending his elbow holding something. Another example of line quality would include the woman’s right arm showing that she is bending her elbow as well. Carl Bloch uses value in the painting considering he darkens the outside of the picture and the individuals behind them to show some emphasis on the three individuals sitting at the table. The shapes included in this picture would consist of the “normal” shape of a human and the shape of the cat behind the woman at the table; although, it does
