Analysis Of St. John On Patmos

The left panel depicts the first of three saints, Saint John the Baptist, in the midst of his signature baptizing of Christ. A river flows from the furthest reaches of the landscape down to the bottom frame, with Christ standing thigh-deep in the water, a dove alighting from God perched in the clouds in the top left. Saint John kneels over him on the riverbank while a group of people huddle in the distance behind the baptism scene. In traditional style, the triptych simultaneously depicts a central scene as well as past and future narrative events—present here as Saint John preaching chronologically before the actual baptism of Christ.

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

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

Specifically, the painter reinforces the rich embroidery and silk-like, cosmopolitan texture apparent on the subject’s dress. Such decisions of detail and intricacy illustrates the grandeur characteristics of the portrait. Furthermore, oil-based paint is a durable form of medium. By applying this high-quality paint onto canvas, Diaz gives the permanent portrait higher chance of being preserved throughout

The visual elements it portrays are shading, visual texture, organic shape, value, and complementary colors. Shading is seen in the painting frequently because it shows more detail to the painting, like the burning house and the sky, and it also gives off a dark and despair tone to the painting. It gives detail in the landscape by showing

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 use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.

The use of color is very important in this piece as it is one of the formal features that has been used the most and strikes the viewer upon seeing the work of art for the first time. At first glance, it seems as if the color has been randomly placed in the

Thirdly, the texture of the painting I see when viewing the painting is velvety and silky. I feel that the velvety texture is caused by the smoothness of Marilyn’s face. In addition, the silkiness I see is due to the gold paint that surrounds Marilyn’s face. Fourthly, the use of value is present on the painting by the lightness and minimal darkness. For example, the darkest value is seen on Marilyn below her chin on her neck, eyes, her lips, on the right side of her face, and on minimal parts of her hair. I feel that the dark value creates the illusion of shadows. In addition, the golden brown paint that surrounds Marilyn is dominant because it shimmers when light reflects it. Moreover, the lightness is present by the yellow, turquoise, and pink colors. In addition, the lightest value of color is white which is on Marilyn’s teeth. Lastly, the colors viewed on the painting consist of golden brown, black, yellow, pink, turquoise, dark red, and

Abstract This is a visual analysis on the work of 18th century Baroque painter Thomas Jones. This paper analyses Thomas Jones’ painting titled Landscape with Dido and Aeneas (Storm). Thomas Jones dates this painting at 1792 or late Baroque period. The Baroque period in painting emphasized dramatic scenes, richer colors and textures than in the Renaissance (Encyclopaedia Britannica, 2013). This paper tries to analyze various formal elements of design, including color, line, and shape.

3. Three elements and principles that were used in this painting are; 1. the element of color was used in a Harmonious way, 2. the element of texture in this painting is more visual than physical and was used with the repetition of variation, and 3. the element of line was used in a way that created unity within the painting.

Colour can be defined as the result of light hitting an object and its resulting perception based on the physics of sight or the eye.  Artist have been theorising and implementing colour and colour relationships for many years, and through many artist/art movements.  Successful use and understanding of colour can elevate  a particular piece of art far beyond any that do not successfully implement colour and its various elements.  For this essay I will explore the painting “Wo ist Ein Zigarrengeschäft” (1954) by Jean Phillipe Dallaire(Fig 1-3).  In this exploration I will examine aspects of this painting which include Dallaire 's use of form, and colour.  While also considering briefly Dallaire 's painting in in comparison to Jean Dubuffet 's, painting “The Dandy”(1954)(Fig 4).  Both paintings originate from the same era with two artist interpretations of colour and form, and two sets of techniques.  Before considering the painting itself I will examine the artist himself, as this will help in understanding his painting, “Wo ist Ein Zigarrengeschäft”(1954).

Visual Elements: The Waterloo painting has unmistakable qualities adding to the presence of lines, shape, color, pattern, space, time and motion.

First, the passage tells that the woman dress is luxury, but the woman in the picture is classify as a servant and cannot afford this kind of dress. In contrast, the professor argues that there is an examination of the picture's pigment. It turns out that the pigment is not come from the picture original and it was added to increase the picture's value.

Secondly, the light and colors help to enhance the piece. Due to the oil painting,