Alexand Monet Essay

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.

Claude Monet is one of the most familiar and best loved of all Western artists. His images of poppy fields, poplar trees, water lilies and elegant ladies in blossoming gardens are familiar to people who have never seen the original paintings and may never have visited an art gallery. Monet's works have won a place in the affection of the general public that seems almost without parallel. (Rachman, 4) In the decades since his death in 1926, Monet's work has been intensely studied by a variety of art critics. However, none of his works have been as deeply studied as those done in Giverny, in the early twentieth century. During this time Monet's paintings, which focused on specific subject matter from various viewpoints,

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.

Although both images show boats on water, the visual elements show different situations. The first image shows an ocean of great volume that could swallow the sailors whole; this contrasts the second image that shows water that is calm and appears relatively shallow. This effect is the product of effective visual elements which help the artist describe the objects shown. The second image shows its elements more clearly because it focuses on the overall structure and color of the objects to explain the situation. Whereas the first image requires a deeper analyses of the figures in the painting. Although both images show happiness the first image shows a happiness that come from relief. The is achieved because the arts contrasts object in the

The following is an analysis and an interpretation of Autumn on the Seine, Argenteuil. This oil on canvas painting can be found in the High Museum of Art. Claude Monet, the artist of this piece painted this in 1873, right as the Impressionism Movement was beginning. Monet played the important role of one of the founders of the Impressionism Movement with his works like Autumn on the Seine, Argenteuil. Autumn on the Seine, Argenteuil is from a series of paintings that Monet did while in Argenteuil. In the artwork Autumn on the Seine, Argenteuil, the lighting used throughout the painting, brushstroke techniques, perspective, and color all play an important role in the piece, as well as in the Impressionism

Guy has made outstanding use of space to portray what he really cares about in this painting. This painting is one of many versions wherein the landscape is the same but the spaces in the landscape are used differently (DMA.org, 2016). As busy as the streets were in Brooklyn in the early 1800s, Guy decided to make this painting without any people or animals in order to pay more attention to the beauty of the landscape itself. The gloomy outlook to the painting and the fact that there are no people on it may suggest the hollowness that the artist must have felt while making this painting. There is no particular aspect of the painting that communicates the passage of time.

In 1898 Henri Rousseau painted The Eiffel Tower, and during this time the Eiffel Tower had been opened for just about about ten years so it was still fairly new. The painting features the Seine River and the Eiffel tower perfectly aligned to create a beautiful scenery. In this particular painting he was inspired by both the Eiffel Tower and the Seine River, but in reality, these two attractions never align how Rousseau portrays them. This shows how, like in many of his paintings, Rousseau toyed with the

Gustave Caillebotte addressed at least three senses in his painting, Paris Street, Rainy Day. Cobblestones and sidewalks appeared slick with rain and water puddled in the cracks between the stones. People carried shiny umbrellas and were bundled up in coats against the chill of a rainy day with barely enough sun to cast shadows. Hunkered down beneath his umbrella, as if he wanted to get to his destination without looking at his surroundings, the man in the left center of the painting walked briskly. Only the people in the foreground appeared comfortable enough to take in their surroundings. Buildings, streets, umbrellas, even clothing appears as grey shading into black. The flesh tones of the hands and faces and the reds and greens of the

It is also almost as if the painting has a smooth flowing texture to it, which indicates that Monet used is his paintbrush very precisely. The composition of this piece is extremely satisfying, meaning that the water lilies could've been placed anywhere in the painting but the way the painting is interpreted would still be the same.

When entering the room, people crowded around Monet’s pieces, which felt like an honor to see the type and techniques his work has. The colors describe the feeling of an early morning. The painting has a muted palette of blues, greens, and grays. The sunrise is orange and yellow which are surrounded by the clouds and smoke from steamboats. Three boats are shapes and visible while the rest fade into the distance. This painting is an example of plein air or outdoor painting. I also notice that Monet layered the colors so that when I viewed the painting from a far distance I knew what the painting was about however when I looked at it up close I saw brush strokes and

It seems as if Monet attempted to cover up his method in coping with his ailments through Doncieux’s placement of visitor rather than her native role of mother. Monet began to change his style from figure painting to landscape pieces. This change was onset through Monet’s realization that landscape scenes would allow for him to keep all his personal problems associated with painting hidden away and completely under control. Monet’s new found freedom from his conflicts

The subject matter of Rain, Steam and Speed is the Maidenhead railway crossing of the Thames. A golden brown landscape punctuated by the river to the left takes up the bottom portion of the painting. The top half is tinged by a blue sky that is marked by swirls of gold and white,

Claude-Joseph Vernet made a painting that brings your attention to the foreground. In the front, there is a boat being boarded. Some of the people that are not boarding the boat are standing by the sea. In the sea, some boats are sailing off in the distance. One of the boats in the distance is a large boat that gives the illusion of being three-dimensional. The form gives this illusion because of the reflection in the sea. If you look in the lower-right, you can see the light from the sun illuminating the sky. This light is hidden behind a large mountain that also has a three-dimensional form. There is also lots of texture in the painting. Some texture is seen in the mountains and ground giving a rough look, and some is seen in the sea in the form of ripples. On top of the mountain in the lower-right, there is greenery that has an illusion of being light and feathery. In that mountain, there is an arch that makes the other side visible. In the far distance, you can see a faint