Analysis Of The Painting ' Cathedral Street '

Though the viewers focus first on the centered figures, it is easier to first analyze the surrounding settings to understand them. The stone wall foreground and the open fields of the background each embodies one of the girl’s thoughts. The back landscape is filled with warm, airy colors of blue and orange, as if it were under a bright sun. On the other hand, the foreground’s stone walls and concrete floor has dark, cold, shadowy, earthy colors that seem to appear as if under a stormy cloud. The sunny land suggests free, pure, spacious land previous to the industrialization. Yet, the darkened foreground due to the overcasting shadows resemble the currently dirty,

The painting depicts a young woman in a pink dress sitting down. The background is very dark but three things can be made out by the viewer. Starting with the ground plane of the painting, an orange carpet can be seen covering the entire floor. It is patterned and contains yellows, greens and blues. The cool toned colours are darker in hue than the warm toned. Secondly, there appears to be a cabinet or a desk lining the wall behind her. The wood of the cabinetry is carved with detailed designs and is made of a dark stained wood. Despite the dark background a single red rose can be seen on top of the cabinetry. The rose looks freshly picked and shows no signs of withering in its petals. It is painted in a muted red colour that allows it to stand out on

Young Man and Woman in an Inn ("Yonker Ramp and His Sweetheart"Frans Hals (Dutch, Antwerp 1582/83-1666 Haarlem)Date: 1623Medium: Oil on canvasDimensions: 41-1/4 by 31-1/4Classification: PaintingsCredit Line: Bequest of Benjamin Altman, 1913Accession Number: 14.40.602Location: Gallery 615, The Metropolitan Museum of ArtRetrieved from http://www.metmuseum.org/Collections/search-the-collections/110001059Young Man and Woman in an Inn ("Yonker Ramp and His Sweetheart"Frans Hals (Dutch, Antwerp 1582/83-1666 Haarlem)Date: 1623Medium: Oil on canvasDimensions: 41-1/4 by 31-1/4Classification: PaintingsCredit Line: Bequest of Benjamin Altman, 1913Accession Number: 14.40.602Location: Gallery 615, The Metropolitan Museum of ArtRetrieved from http://www.metmuseum.org/Collections/search-the-collections/110001059

Yvonne Jacquette portrays a metropolitan scene in Shinjuku Pleasure District, Tokyo II. Jacquette shows this through the use of one point perspective to illustrate buildings and streets. Advertisements on the buildings also imply that the scene is a city. There are pedestrians and parked cars on the side of the streets suggesting a downtown shopping center. The viewer can also assume that scene takes place at night due to the darker colors such as gray, brown, and black. This is also shown by the neon lights on the buildings. The vertical, obvious brush strokes and sign reflections on the street hint that it is raining. The people shown in the painting carry umbrellas suggesting there is rain.

There is a man relaxing and laying on the ground smoking a pipe with a red cut off shirt and a blue hat. Next to him is a man in a suit and a top hat sitting up. And between them and behind a little is a woman in a navy blue dress with a nice sun hat. The people in this painting all seem to be different in many ways. The clothing is the most obvious. Their clothes show the class difference amongst the people. There are people in suits and others in jeans. It's good to see people of all classes mixed together in one painting. There are plenty of animals too there is a solid black Great Dane type dog. Toward the middle of the piece is a woman with a red blouse and a pink skirt holding an umbrella and holding a little girl’s hand. They seem to be mother and daughter. The little girl is in a white hat and dress. To the left and slightly behind them are two people sitting beside a tree both are women, one with an umbrella. Behind them are more people laying and a man looking to the right with a telescope. The man could possibly be trying to look at the people on the boats. There's a lovely couple with the man standing and the woman kissing his cheek. Everyone must be having a good time. The amount of color and slight and subtle detail put into the painting really gives it life and movement.

On Painting by Leon Alberti is, in essence, a book of guidelines for novice painters. Alberti explains that since paintings are meant to represent things that are seen, they need also be approached this way. In his theory, he breaks up the way of painting into three important components circumscription, composition, and the reception of light. Within these three are guidelines for the portrayal of subjects, spaces and emotion.

Marcus Harvey was born 1963 in Leeds. He is an English artists and painter known for his controversial works. However, most would way his painting Myra is his most infamous. Marcus Harvey attended Goldsmith College where he studied art. After a while he became one of the YBA’s or Young British Artists with fellow Goldsmith College alumni. Many of Marcus Harvey’s works of art include provocative subject matters or are purposely made in a way where the intent is to make controversy. Harvey not only paints but he does sculptures and photography also. While researching Marcus Harvey and his early life I found no events or lifestyle influences that would have lead him to be drawn to controversial art I think it is just who he is, and controversial subjects inspire him.

Line is an active element in Vincent Van Gogh’s Night Café. His use of line directs the viewer’s gaze to what Van Gogh wants us to focus on- the distant doorway in the back. To achieve this purpose, Van Gogh directs all of the lines within the painting toward the back door. The lines on the yellow floor create a downward perspective as it gets closer to the lower field of vision. The diagonal lines on the floorboard and billiard table draw a perspective past the empty tables and chairs into the back room, to the silhouette of the standing figure. These converging lines contrast with the horizontal lines of the red walls. By the door, there is a bar with bottles and a vase of flowers on top. These accessories create minor implied vertical lines

Color is highly evident in this painting, and helps to draw the viewer’s eye to certain places in the painting. The café is yellow, and adds a boisterous feeling to that section of the piece. The yellow light spills onto the street and walls of the town, creating bright colors and drawing the eye. The sky and town use dark colors to illustrate nighttime, although the bright spots of the stars cause the viewer to look to the sky.

There is also a mirror placed on the table allowing the viewers to link with space beyond the frame. Also in the far back right of the painting you can see a young man talking to an elderly. The artist created an very old or old-fashioned look by using opposing colors, red and green. “The second half of the fifteenth century in northern Europe saw an expansion of genre

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 painting I chose is called “Grey and Silver, Old Battersea Reach,” which was made by an artist named James Whistler, full name James Abbott McNeill Whistler. He has made many other paintings such as “Arrangement in Black and White No. 1, Portrait of the Artist’s Mother”, and “Morning Glories.” “Grey and Silver” was made in 1863, oil on canvas. The style of the artwork is realism, which means it represents a person, place, or thing. Whistler was born in 1834 and died at the age of 69 in 1903.

The artwork is a realistic portrait of a women. It is abstracted with asymmetrical balance with exotic and vibrant colors. As if the women is sitting in the corner with two

From the opening chapter of Charlotte Brontë’s Jane Eyre the reader becomes aware of the powerful role that art plays. There is something extraordinary about the pictures Jane admires from other artists, as well as the work she creates herself. Her solitary pastime often operates as an outlet of pain, either past or present, and offers her the opportunity to deal with unpleasant emotions and memories. Jane’s art transcends her isolation by bringing her into contact with others who see it; it functions as a bridge between her desire to be alone and her need for companionship. Despite her struggles with inner conflict and the people in her life, Jane’s art helps her find personal power, marking her true

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