Albert Fitch Bellows 'Oil Painting Down To The Brook'

The Roe Deer at a Stream shows a scene with a great measure of greenery such as the trees, grass, and bushes. Along the middle there is a stream with running water that goes into the left side of the painting. There are two deer in the stream and a third one is beside the stream on the grass. There are many trees that reveal a cloudy sky towards the top of the artwork. On the right side of the piece there is a cliff that is a reddish-brown which is different from the green tones that are on most of the artwork. The painting is very detailed in texture and value as seen on the hill in the background and the shading of the rock which gives it a realistic feel. Overall, the tones of the painting are earthy colors due to it being a nature scene.

The heavenly portrayal of the background and foreground shows a flawless use of space. The distance between the foreground and background was well selected for this piece. This is die to the fact that the two children are not close enough to exaggerate the way they look but they are also not too far away. The distance covered in the background communicates a message of clarity and relaxation that is evident in the children's faces. Two dimensional portrayal of the painting appears to fit the calculated purpose. The

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

The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.

A lucent crescent of the moon is seen on the top right hand corner of the painting where dramatic contours and fluidity of the brushworks are seen due to the Japonisme influences. Moreover, the eleven stars and the rolling hills are depicted moving to the momentum of the swirling sky.

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.

At first glance, the painting above may seem very odd. There is a woman flying above what appears to be settlers on the open plains. However, after examining this image closely it begins to make more sense. The title of this painting is American Progress by John Gast. The title of this painting goes along with the painting itself very well as this painting depicts American progress.

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 foreground of the painting displays quite a few important formal quality details. The lower right quadrant exhibits a comparatively focused escalation in the chiaroscuro of the tree trunks. The crustiness of the deep earthy tones and the lushness make the lower right quadrant appear darker and more jungle-like. In opposition, there are some blue hydrangeas in the same vicinity that provide for a visually appealing contrast to the darker tones that surround them. The blue hydrangeas manifest themselves as wild and uncultivated.

The texture of the canvas works very well with the subject matter portrayed in the painting. The grassy hill side and the leaves of the trees are especially complimented by the canvas. It makes the leaves feel like they are slightly moving, this combined with the lack of detail itself the leaves. This is contrasted nicely with the very detailed renderings of the trunks and branches of the trees, the

The painting, House by the Railroad, by Edward Hopper was completed in 1925. The house he painted was in the style of a Victorian house. The house was built next to railroad tracks. He painted House by the Railroad with oil based paint on a canvas. The artwork is a twenty-four by twenty-nine inches in a frame. When I look at this painting, the first thing I think of is where is it located? It looks like it is in the middle of nowhere but then again it looks like it is in a town because of the railroad tracks. The house is built next to the railroad tracks but there are no trees. The house contains several windows which I think would be neat. In this painting, he uses vertical and horizontal lines. He used vertical lines for the columns of the house and parts of the house. He also uses horizontal lines for parts of the house and the railroad tracks. Many of the lines Edward Hopper painted were medium size. The painting is painted with several figures lined up. If you look at the front of the house, you can tell that it is square on top of another square. The one on the bottom left is also a square but it is bigger. The picture and the lines are very soft. The lines in the picture never seem to overlap each other. The way the sun is in the picture makes it look absolutely beautiful. The sun could be either rising or setting by the look of the artwork. House by the Railroad was painted in the United States. Edward Hopper painted this picture after he came back

• The focal point of the painting is the sun-drenched valley and river. The emphasis comes from the diagonal of the tree to the left that directs the view of the scene down the valley toward the farmland.

“Under”). One could mistake that the focal point is the little figure under the birch tree who is a priest. However, the main point in this landscape is all about the birches. The reason why one could say so is because of all the visual elements such as: the birches are in the middle of the painting; they are also the most lighted objects in the painting (light is shining in the form of an oval) (National Gallery). Due to the levels of lightning one can see that the picture is divided into three horizontal parts: the top (dark, but not as dark as the bottom of the painting); the middle is the lightest; and the bottom is the darkest. This means that he used what he learned about the Dutch style and mixed it with his personal style thus we have a whole new way of seeing his point of view.

The next question we usually ask ourselves is “why?” why the color, why the worn out look of the farmhouse, why the surroundings, in general why is the painting depicted like this? That brings up the need to analyze the work of art at hand. When focusing on this painting, you can see a few birds soaring over the farmhouse. They’re quite small so there’s some difficulty telling if they’re flying towards or away from the farmhouse. It is still very probable that they flew over it at some point in time though. The lines in the painting are mostly depicted in the trees, and outer walls of the farmhouse. Standing firm the trees look, and or represent strength and dominance. It makes you wonder if there’s still hope for the dead looking environment surrounding the farmhouse. When first observing this painting; the thoughts were generally negative such as; sad, abandoned, lonely, and depressing, etc. The painting is indeed centered, and the focal point is obviously the farmhouse.

He also liked their version of Catholicism because they believed God was noticeable in everyday life. This attraction to the Breton way of life is apparent by the way Bernard paints them. Both the woman and the landscape are drawn simply; the figures do not look realistic but the viewer is able to distinguish what each object is. The simple geometric form of the woman's hat and the shape of the haystacks are very similar in contour, yet both are easily discernable. Likewise, the trees and the clouds are alike in their shape, as well as the curves of the woman's eyes and mouth are similar to the rolling hills behind her. The painting is considered to be abstract because the imagery used in the work departs from representational accuracy. Abstract artists such as Bernard select and then exaggerate or simplify the forms suggested by the world around them. Bernard's rendering of the Breton woman in her simple attire juxtaposed with the countryside communicates his belief that she is nearer to nature and God than contemporary peoples. The stylized delineation of the figures and the vivid colors convey the emotion and imaginative sensibility of the Breton women rather than simply recording what Bernard saw.