A Formal Analysis Of Joe Light's Colored Hobo

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

The medium used for this work of art is oil. In this technique the oil acts as a binder and causes a quick drying layer that can built upon. The formal elements of a painting include line, color, space, light, texture and pattern. The line appears to be an implied line in which the work creates directional movements from top to bottom. But also forces the viewer to see how the figures stand out and there importance in the painting. The color shows a subtle spectrum with a detailed background from the skies to the mountains to the artist table canvas. The light is somewhat even throughout the painting showing emphasis on every figure holding something in their hands; and more so the final product of the artist that are being captured on the canvas. The visual texture of the painting appears to be smooth and the pattern is decorative and somewhat vibrant. The principle of unity and variety are evident in this painting, the design itself shows a sense of community of important figures throughout African American history. I was drawn to this piece because it embodied the heritage of African American art through history. This painting by Hale Woodruff displays many of the significant contributions that African Americans made to the world of Art. Not necessarily “picture art” but all realms of life art: cooking, liberal arts, politics, labor, law and many more through his vibrant

His hand is positioned on the bottom left of the frame with the fingers and palm situated towards the middle left side. The shoulders positioned in the top third cut through representing a horizon. The direction of the fingers makes your eye travel around the painting, the tie the slices through the middle of the shirt, the cuff of the shirt cuts across to stop your eye falling out of the frame, the lightness balancing all the darkness. The mouth dominates the image and drags you eye back to the

The uses of actual and visual texture manifest themselves throughout the painting. Actual texture can be found in the thick wooded area in the right of the painting where the top of the woodland canopy is painted in thick brushstrokes. It is also apparent in the sea, where thick, short brushstrokes give the illusion of movement and variations in height of the waves. Although rather elementary, visual texture can be found in the tree in the foreground, where thin, white and black lines give the appearance of volume to the bark of the tree.

He plays with shading as well, the trees are painted a dark blue color to give it the imprint that sun maybe setting in the piece, taking away light and instilling darkness. While Santa Cruz, at the bottom of the mountain, is completely dark due to the fact it is so far away from the eye. In the clouds at the top of the piece, the colors within that piece are analogous colors; you see this in the clouds because of the usage of pink to white, white to grey, grey to pink; all are

The illusionistic brushwork denotes the bulky drapery folds that are wrapped around the body.3 Behind his head is a large golden circle that could either qualify as a large halo or a sunset in the distance. His left foot is slightly lifted and is resting on the base of the writing desk which highlights that this artwork is three

The painting has contrasting colors like red, white, yellow and green. While it also has some dark colors to create a sense of power. These vivid colors create a complementary contrast. The dark red background with the gold designs makes the black man wearing the different shades of green stand out. Also, the white horse has various colors of brown and black which makes it stand out from the red. The main idea is to see the black man on the horse and you can tell Wiley thought the color scheme through. The contour lines Wiley used were organized, thin, and nicely controlled when it came to drawing the horse’s hair and body figure. Also, gold lines were detailed in the background creating a type of pattern to create an illusion. Closely, if you look into the background Wiley drew little sperms to complete the background. Lastly, the actual texture of the painting has a smooth finish. The oil on canvas painting almost makes it seem like if you touch it the horse would be silky

The front of the painting shows three African American men in the time of the Harlem Renaissance. Each of the men are doing something different. Near the three men, are factories blowing out smoke. In the lower right hand corner, a man is being held back and dragged down by what seems to be a hand made from the smoke, showing that he is still doing work that he does not want to do. Below him are cotton fields, where slaves used to have to work and do hard labor with little to no pay. The man on the bottom left side is shown to also have the hand by him, watching his moves. He is in a pose where he is frustrated and seems to have given up on his dreams. Closer to the center, higher up, stands a third man, playing a saxophone. Music can symbolize freedom and awakening. Along the outer edges of the painting, the colors are dark browns, reds, and oranges. As the focus is drawn closer to the center, lighter colors such as yellow. Darkness, as an archetype, represents despair and the unknown while lightness shows hope, renewal and intelligence. The goals of success, exuberancy, and harmony showed hope and renewal in change in

In this painting, two visual elements stand out over all the rest. These elements are that of color and texture. Color in art is an element that has to be phenomenal in order to get recognition and true appreciation from the viewers. In this painting, the colors are rich, vivacious and standout as dark, but bold representations of the uniqueness of it all. The use of brown and yellow and green and grey and white all come together in a harmony of color and unity. As for the texture in the painting, it is that of brisk and roughness that is nature. The sharp edges of the bucks rack and the cold, rough edges of the dead tree show

The work is very smooth and fluid making it appear much like a photograph. The oil is not built up on top of itself keeping it very two dimensional. The colors vary between dark and light throughout the painting. In the top right corner, the sun, outside the painting, shining down, aluminates the castle and also the lone tree at the bottom left corner. Besides the back cliff, the rest of the painting is in shadow and displayed in a much more melancholy tone. The colors that Cole focuses on, to display the sharp contrast between rock and nature, are mostly dark greens and gold. The striking blue of the river stands out dramatically from the rest of the colors and draws the eye after the initial citing. The grey in the cloud is the only place where I can find that shade of gray in the work, and it sets itself apart from the snow white clouds in the background. The color helps draw the eye immediately to the castle on the hill. My eyes then fallow the flow of the river down to the tree, which is illuminated by a beam of sunlight.

This painting appears to take place either at either dusk or dawn, when the sun is at the horizon. Likely it is dusk, as the setting appears to be in the Northern Hemisphere and the snow in the picture residing on the left hand side of fence would suggest it has yet to melt, so the sun would be setting in the west, or on the right. So the viewer, as well as the subject, is facing south. This affects the painting in several ways. The lighting is very dramatic, the middle ground being very much more lighted than the foreground and background, therefore the colors are more saturated than the foreground and background. Greens, browns and greys are used a lot in this piece and makes it very muddy. The house really does stand out against the painting because of the contrast of lighting.

We can also see the use of black shades to create a hole at the bottom part of the rock. With his excellent use of colors, we can identify the good, healthy and green grass from the bad, unhealthy, brown grasses. Looking beyond the main focus of the painting, he uses colors to separate the sky from the land in the background creating a solid form of perspective on the painting. He also uses colors to create water forms as seen behind the young character. Now, for the sky, he uses shades of white to magnificently differentiate the thick clouds from the light ones. He also uses this to create a source to light to the whole area. All these put together creates a splendid, realistic and familiar atmosphere for the viewers to relate with.

Although the use of line and light is not as defined as the color scheme, they still play an important role in the overall organization of the painting. Gauguin uses curvilinear lines throughout this work with no right angles or sharp points. The outlines in the background are fairly blurry and some of the lines blend into one another. In contrast, the characters in the foreground are comprised of precise, sharp lines. Gauguin goes as far as lightly outlining the bodies with a dark line in order to give them a sense of depth. Light also serves to enhance certain aspects of the painting. Gauguin has been careful in his use of light to create some areas of brightness and some of darkness. The central figure glows in the bright light, which shines down on her from above. This light shows the importance of the decision of whether to pick the fruit or not. It is focused so directly on one area and is void in the others.

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the