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.
Another main focal point in this canvas was subject matter. This is where the objects or events are described. The artist gives us different objects such as the old couple seems displayed as depressing. Or you can observe it as normal couple, walking across the river, enjoying the night. He also gives us a boat which could possibly be giving us a correlation because the boat looks like it’s broken or about to sink. There is also another interpretation with the object that Van Gogh displays which is, the stars. Depending upon which way you want to take it, they look like flowers or fireworks. Also, there is a sense of false appearance with the houses. If you stare at just the bank you will notice that it is just a bunch of bright lights but if you pay attention to the water close to the bank, you will acknowledge the darkness or shadow of the houses.
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.
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
The horizontal line in the middle of the painting give the art piece the trick of depth. Also, the horizontal line infers to relax, rest, sleep, and calm, thus tie the theme of the painting together. Repetition of the small lines and the wavy look on the sand by the base of the mill lead to the impression of sinking whole. Long vertical lines a long both side of the painting were also present, it depicted the illusion of moving away or leaving behind the main object which is the farm. many other lines were presented it on the sand and wood all gives the delusion of movements. Natural light was present gave the painting the feeling of warmth and shades of some of the features in the painting. The overall presentation of this painting is asymmetrical balance, but in my opinion the Hogue tried to balance the overall appearance of the painting. For instance, items that were painting in one side, were also balance by different object on the other side. Looking even further in the balancing of the painting, the shadow of the mills on the sand were balance by the skinny cow on the other side.
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
In this painting, two visual elements stand out over all the rest. These elements are that of color and texture. Color in art is an element that has to be phenomenal in order to get recognition and true appreciation from the viewers. In this painting, the colors are rich, vivacious and standout as dark, but bold representations of the uniqueness of it all. The use of brown and yellow and green and grey and white all come together in a harmony of color and unity. As for the texture in the painting, it is that of brisk and roughness that is nature. The sharp edges of the bucks rack and the cold, rough edges of the dead tree show
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.
The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.
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.
“Under”). One could mistake that the focal point is the little figure under the birch tree who is a priest. However, the main point in this landscape is all about the birches. The reason why one could say so is because of all the visual elements such as: the birches are in the middle of the painting; they are also the most lighted objects in the painting (light is shining in the form of an oval) (National Gallery). Due to the levels of lightning one can see that the picture is divided into three horizontal parts: the top (dark, but not as dark as the bottom of the painting); the middle is the lightest; and the bottom is the darkest. This means that he used what he learned about the Dutch style and mixed it with his personal style thus we have a whole new way of seeing his point of view.
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
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
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