Art View Near King's Bromley

The six trees are very evident when you first look at the painting more often than not it will be the first thing that catches your eye. There are multiple rivers around the painting nevertheless they are all connected in some way. One of the other main focal points that grabs the eye is the white

Brighter paintings were much improvement over the paintings of the past. They were very eye appealing and much more noticeable. Gainsborough’s untrained painter’s eye did not effect the outcome of his paintings; he was painting from his heart. He painted whatever his eyes saw; in most cases the outcome of his paintings were a perfect mix of background and foreground. People began to start noticing his artwork even though he did not have a degree or formal education in art; this was very promising to the young painter. His work slowly moved up into the great artwork of the city. His name was becoming known all around. He can begin his career with the bright colors he added to the scenery of the painting.

The painting depicts a singular mountain with trees and abstract landmasses in the foreground. The trees are placed in such a way that they seem to echo the shape of the mountain. This is an example of Cézanne’s attempt to created a structured composition out of the scenes that he observes in nature. Cézanne was not depicting nature as it was, but rather he was, as he called it, making “a construction after nature” (Stokstad,1013). This is one idea that lead Cézanne away from the impressionists, who were more concerned with reproducing on canvas exactly what their eyes perceived. Another thing that was different between Cézanne’s style and the impressionists’ was the way that he applied paint to the canvas. For example, in this painting, the trees and land in the foreground are loosely painted in; their forms are created by an amalgamation of colored blotches. The blotches of color often bleed into each other, and the forms that they represent begin to dissolve. The image is flattened by the ambiguous forms in several spot in this painting, creating a disruption in the illusionistic space and bring the viewer’s focus on the inherently flat surface of the painting. The most effective technique that Cézanne employs in his attempt at depicting space in this painting is atmospheric perspective. Coloring the mountain with the same shades of blue

Claude Monet’s use of the illusionary space in this image is actually quite amazing. At first glance, your eye is drawn towards the left side of the painting, due to the amount of large and bulky objects in the foreground. Suddenly though your eyes turn to Camille; the woman gazing into the distance. As she stares off into the distance she acts a point to redirect the focus of the piece past the water and into the village across the river. This painting has a surprising power in that it is ability to fully mesmerize and captivate the viewer in a way few pieces of art can.

The uses of actual and visual texture manifest themselves throughout the painting. Actual texture can be found in the thick wooded area in the right of the painting where the top of the woodland canopy is painted in thick brushstrokes. It is also apparent in the sea, where thick, short brushstrokes give the illusion of movement and variations in height of the waves. Although rather elementary, visual texture can be found in the tree in the foreground, where thin, white and black lines give the appearance of volume to the bark of the tree.

The ingenuity of the composition is that it used a lot of tricks in the layout of the elements, meanwhile being rendered very simply and concisely. The artist realized that the eye does not settle naturally on the center of a painting and that

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.

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

His early paintings had an unconventional, unique, and unfinished look about them. The images were known to everyone in everyday life.

Although it is hard to use all of these elements Van Gogh did it in an excellent manner, with nothing in this painting being overpowering to the viewer's eye. This may be the reason for the great success for Van Gogh and his piece. This piece was so different for the era that Van Gogh did not live to see his paintings success, even though he was not successful in his lifetime most of his pieces are still remembered today for their strong composition and

The Sea at Le Havre, painted by Claude Monet in 1868, is a 23 5/8” x 24 3/8” oil on canvas landscape painting. Monet was a French artist who lived from 1840 to 1926 and was considered to be an impressionist. A unique quality of Monet was unblended “sloppy” brushstrokes combined with a use of precise choice of color, as seen clearly in The Sea at Le Havre. Because of his vigorous and richly textured painting style, Monet was able to capture the look and feel of the movement of water, which was demonstrated in The Sea at Le Havre, using an impasto style. He used erratic brushstrokes to show the ripples of forming waves and the foam of the waves crashing on the shore. His brushstrokes are also almost completely horizontal, which seemed to make the painting feel heavier. In the sky, Monet used thicker, longer, and more opaque strokes, as well as of varying hues of blue and gray, along with white, to create a look of overcast. To give the clouds fluffiness and substance, the paint that was used for the sky was inconspicuously smudged in some places, with more defined clouds layered overtop. The depth of the painting is attributed to his choices of color. Black is rarely used in the painting aside from where necessary, but rather replaced with darker shades of blue to show divots in the water, heavy clouds, and the distance of the village of houses that line the horizon. The different shades also give a more realistic form of light to his paintings, which was a focus of the impressionism era. His painting appears to be slightly gloomy, but doesn’t convey sadness. The piece is uniform in color, to emphasize the overcast, darkened day. Monet also used symmetrical spacing, with the canvas split nearly in half between the sea and the sky. The only thing that separates the sea and the sky is a piece of jutted-out land that shows he is on a gulf or an inlet. On that piece of land, that goes a little over a third of the way onto the canvas, Monet used heavy contrast, then continues the horizon with a slightly thick, darker blue-gray line to clearly separate the halves of sea and sky. There are three places where it appears that Monet used black along with darker shades of purple and blue, and each of those three places are

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

Claude Monet was born in Paris in 1840 and would become known as one of France’s famous painters. Monet is often attributed with being the leading figure of the style of impressionism; but this was not always the case. Monet started out his career as a caricaturist, showing great skill. Eventually “Monet began to accompany [Eugène] Boudin as the older artist . . . worked outdoors, . . . this “truthful” painting, Monet later claimed, had determined his path as an artist.” Monet’s goal took off as his popularity grew in the mid 1870s after he switched from figure painting to the landscape impressionist style. William Seitz supports this statement through his quote, “The landscapes Monet painted at Argenteuil between 1872 and 1877 are

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

When I saw the painting for the first time it grabbed my attention. At first I thought it was the beautiful colors that attracted me to the painting, but it was more. In the picture the shadowy men look scared. They looked as though they were trying to run away from something and this lake that forms into this river that is surrounded by tall grass is the way out, or at least a place to hide until the coast is clear. During that time in my life I felt