Claude Monet Haystacks

In The Oxbow the implied lines and shapes seemingly going in all different directions give the work the illusion of mass, likewise the light and dark areas fade into each other

This work embodies the period style because it contains avant-garde geometric shapes to define the forms, colors, and interpretations that were important to the Post-Impressionists. First off, the harshness of the lines goes hand in hand with the shapes that exist in the work. The shapes tend to be simplified shapes, which demonstrates that Cezanne wanted things to appear as if they could be broken down. Cezanne utilizes an array of geometric

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.

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.

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.

Depth is mostly occurring in the background with the mountains and the field with going all the way to the mountains. Jean-Francois Millet did an amazing job in showing the depth in his artwork. By adding the depth in the artwork, the artwork easily become more realistic. Normally a person can look across a field and can see for miles. That is exactly what Jean-Francois Millet did when he painted the Potato Planters.

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

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 artist used vertical perspective, overlapping, diminishing size, and atmospheric perspective to achieve the perceptual style. The vertical perspective means that the foreground is at the bottom of the painting, and middle ground is in the middle, and the background is on the top. In this painting, the carriage is the closest to the audience, so it is located on the bottom. The mountain is the farthest, so it is on the top. Meanwhile, the artist made objects overlap with each other to creates an illusion of near and far. The trees on the left side of this painting overlaps with the houses in the back. Thus, the audiences can feel that the trees are nearer than house. At the same time, when the tree overlaps with the houses, which also create an illusion to the audiences that the trees are in the front of the house. The author also used diminishing size to illustrate the distant between the objects on this work and the observer. Diminishing size means that objects come smaller as they go farther away. In the painting, the horses are much “bigger” than the kids. It does not mean that the horses are literally much bigger but means that the horses are closer to the audience. Atmospheric perspective means that the objects in the foreground is clear and crisp, and the things in the background is less clarity, and become hazy. In this painting, the color is vibrant in the foreground, and the color becomes bluish-gray in the background. The mountain looks vague, and the horses and the houses are really clear. The artist used all those methods to create the illusion of space and depth and used space and depth to create

From what can be understood by the viewer, West has created the piece with a head-on perspective. Through the use of many imaginative sharp diagonal lines, that can be drawn from either the more centralized figures whose hand rest atop his head and back is turned toward the viewer or the figure from the far left corner who learns at an angle and holds a spear across his body, towards the very last beast that is placed near the far upper right corner, West is able to create space and distance. The pyramidal construction of figures, foreshortening, and atmospheric perspective also work collectively to draw the viewer into the painting more closely.

In this section, we’ll discuss line, color, texture, space and form. As far as line, this painting contains at least two types that can be analyzed, actual physical lines, and implied lines that move the eye around the composition.

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

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

The dramatic color Bernard used in "Breton Woman and Haystacks" along with the large areas of open space and bold lines that define structure, volume and texture are all characteristics of the