Additiona Painting Analysis

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

Texture and pattern are very easy to identify in this painting. The street’s cobblestones show texture and pattern in the way that they are arranged. Texture is also demonstrated through the paint strokes on the buildings, the tree, and even the sky. These thick, uneven strokes add a layer of depth and texture to all elements of the painting.

The blue rectangle running the left side of the painting, heavily tinted in green, creates the image of a wall or curtain besides the window. The lighter colors rectangle on bottom, almost seems as a part of the wall, but the slight tilt hints to a table or dresser top. On top of platform are an random assortment of objects,

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

In Square at La Trinité there are very prominent vertical lines. The two figures in the right corner of the painting are vertical figures and are what the viewer is initially drawn to when first looking at the image. Another really distinct vertical line is the tree on the left hand side of the painting. That tree stands out in particular because of its dark color compared to the right side of the painting. The buildings in the background are made up of both horizontal and vertical lines. The roof and windows in particular are examples of horizontal lines. The

Further more, in the painting, “the Gleaners”, the entire screen is filled with contrast elements. First of all, the main figures in the front labor scene are full of rich vigor, contrasting to the background with silent objects such as hay, trees and farmhouse. Secondly, the color brightness of the front contrast to the back, as well as the comparison of relative sizes between figures and scenery, applying the principle of perspective. What’s more, the most classic is the horizontal line, the intersection of the sky and the ground, contrasting with the light source, from the top left. Consequently, 2D and 3D spatial effects are combined precisely. Meanwhile, the sense of space of the image is strengthened as well.

Perspective lines occur also in the background of the painting in the upper right in the trees getting smaller as they descend into the painting. This painting is an example of linear perspective. All lines converge at a vanishing point.

Looking at each of the art angles we see that only the front view shows implied lines with the separation of colors between the texture’s slopes. This texture is created by an upside down “V” hump throughout the artwork, which can be seen in the Enhanced View in the appendix. Moving from Left-Side to Right-Side the other artworks are shown at only certain angles, we see here lines become complete rather than implied, becoming more abstract; this also shows that the element of motion is from the viewer is needed to see this artwork completely. From the front view the artwork shows implied shape, the left side, shows shape with objects with curved edges and lines, and the right-side shows objects with straight/sharp edges. We can also say that, overall, this piece of artwork has form due to the necessity for the artist to create these 3rd-Dimensional “V” humps to show the other artworks at their angles. This work of art also employed value as shown in all 3 angles, we can see that at

Eckersberg also uses specific space and perspective to create a feeling of “being where” when viewers see“The Cloister.” Eckersberg uses one point perspective in this painting and foreshortening in his painting. Viewers concentrate on the direction of implied line in the building(details) The horizontal line places in the back of the cloister. The end of the parallel is the wall on the cloister. One-point liner perspective and horizontal intersects in vanishing point. On the foreground hallway, the wide of the floor is longer than the end of the floor. At the sametime, the pillars of foreground is wide and bigger and have more details than the end of the cloister. Because of the light source form the courtyard, right part of the right side

A man and woman are walking over the bridge while a dog is walking toward them, and another man is gazing out in the water. In this painting I have three orthogonal lines starting with the first one on the top corner of the building on the left side. This line then follows across the roofline, down through the man walking’s neck, through the woman’s skirt. This line then finishes on the cement and ending on the shadow of the dog. Orthogonal line two starts at the end of the bridge railing on the bottom right side. The line then continues down the railing, crossing through the old man in green and through the woman and man walking near each other. This line will end on the building in the left corner and right above the buggy by finishing on the building. The third and final line starts along the sidewalk on the bottom left side, leading up the sidewalk and going through the man’s coat, head and hat, while ending on building in the middle of the painting. The vanishing point leads us to the man that’s walking’s head while he is looking away at the water. This vanishing point pulls the focus of the painting on the man and also the women next to him on the bridge.

The concept of linear perspective is simple to understand. There is a horizon line, which is the point where the sky meets the ground. There is a vanishing point, which is where all the lines of the painting run inward to meet the horizon line (Exploring Linear Perspective).

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

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this