Analysis Of Fishing Villages By Riverbanks

I like this painting because of the feeling and memories it reminds me of. The water and rocks remind me of all my childhood memories of swimming in the water and hiking mountains. The bright and light colors create a cheerful and

This painting is from the Ming Dynasty, and very clearly depicts and captures the essence of The Southern School, or Literati painters.

The painting appears to be three-dimensional but is painted flat or two-dimensional. The painting looks three-dimensional through the use of different techniques by the artist to give off the illusion of depth. Bierstadt overlaps and changes the sizes of the mountain peaks to emit a since of depth to the painting. He uses atmospheric perspective to give the impression of depth through hazy conditions. The wildlife below the mountain is less distinct to make the mountains the vocal point of the painting. The highest mountain peaks are painted lighter and are less distinct to highlight the dense fog and cloud coverage throughout the mountain range. Along with depth, the artist also uses color to express the beauty found in

This illustration represents an earliest style and painting technique found on a good portion of Chinese paintings. The black paint was applied directly to the vase to create a distinction and captivate its audience. The artwork is made of two

The convergence of the implied lines forming the river banks with the fading blue mountains on the right produce a left to right movement when viewing the painting. The invisible lines created by the mountain range and the river emphasize direction by moving the viewer from a narrow and cramped foreground to a vastly open background that seems to go on for miles. His use of lines to produce this movement down the river has an effect of taking the viewer on a short ride into the distance towards the open mountains under a clear blue sky with white fluffy clouds. In contrast the buildings in the distance are enveloped in white with much softer lines and less defined outlines. This progression from clearly outlined and defined to less defined and wispy shapes communicates the thought of starting a journey in firm reality and moving down a dreamy river towards the unknown. Carefree clouds, beautiful mountains, and blue water just take the viewer to a more serene place, away from the reality of the

The trees in the shallowest part of the field are wrought with texture. Every shadow, every needle, every piece of bark is beautifully lit and emphasized. The contrast of the image is full scale. The whitecaps in the river and the falling water are amazingly white. The blacks of the shadows being cast by such direct sunlight are very dark. The rainbow and the part of the image behind the rainbow are gray, as well as much of the face of the mountain. This overall tonality provides a lovely balance to the

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.

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.

Hill painted a perfect looking scenery which made it realistic as if a real scenery picture was taken with an advanced technology. Hill applied a wide range of vivid colors to help enhance this piece more. If I was to visit a senior citizen home and had to depict this painting to a blind fe/male. I would start off by saying firstly, my attention was drawn towards the upper atmosphere’s bright blue color which reflected from the large body of water underneath it. Which is often associated with feelings of breaths slowing down and when one reaches a certain state of relaxation. Secondly, by imagining one mashing a pillow against their palms I was able to feel the fluffiness of what floats in the sky. In order to picture, the way the sizes and shapes change I would compare it to when one

The scene is comprised of mountains, trees, clouds, and a sun that sets over a lake. The oil-based painting gave off a serene-like, peaceful, and calming

In addition to how the cranes looked realistic in their body movement, and also how elegant the clouds look, hovering over the building. This painting is considered to be a very important art piece to the Song Dynasty's art movement or the "Chinese Renaissance" era.

This painting shows how close and codependent humans and nature were. How well humans worked together with one another and their world. How peaceful those that are close to nature are, which is why it (nature) must be celebrated and appreciated.

When mentioning Along the River During the Qingming Festival, most people will immediately think of the version by the Song dynasty artist Zhang Zeduan, which is undeniably the earliest and most well-known version. There are many copies and variations of this work, including a painting by the Ming dynasty artist Qiu Ying, which is also called Along the River During the Qingming Festival. Although the artist uses the same title, this painting has its own beauty and connotative meanings that cannot be ignored and which people need to discover and appreciate.

A landscape painter “tended to be a recluse, an individualist, and a Daoist (Morton and Lewis 2005).” These artists thought of landscape painting as the “grandest and most satisfying way to represent nature as a whole, to feel a sense of communion with nature, and to know oneself to be part of an orderly cosmos (Morton and Lewis 2005).” Thus, one can see the implications of landscape painting lay not just in its beauty and simplicity, but also in its spiritual connection with Nature, and thus had wide appeal. The point of view in landscape painting was also of paramount importance. The Chinese artists understood that Western artists took in scenes from five or six feet from the ground. Chinese artists worked from a raised viewpoint, so that they are not bogged done by small details in the front and get a better sense of the whole scene (Morton and Lewis 2005). Every part of the image that is created has its own innate interest, and yet it all comes together and works well as a whole (Morton and Lewis 2005). It is clear that landscape painting was a cherished and important art form in Song Dynasty culture.

These painting techniques show the influences of master ink paintings done by Dong Yaung and Jaurn. Huang's Dwelling in Fuchin Mountains shows not only that, but beautiful composition that enhances the brush strokes. Daiost painting like this show off the purity of the landscape almost like its untouched and seems like we're looking at a remote part of the world that no one else has ever seen. Culture this painting shows something different than what we have seen in early landscape painting in class or most American paintings after this time which depict the day or a specific event. While Chinese painting showed a sort of journey