Design Of The City Using Acrylic On Canvas

The author uses raw descriptive words such as “iron,” “tarry,” and “tin,” to display this city as superficial. The city is just made out of these substances that the people have made these buildings out of. These substances all conduct heat and present this madness and anger of the man in the poem. These materials present a manmade structure that displays the city as shallow.

The Bourgeois society is represented in the top half of the painting; tall office towers line the city sky which is a dominating reminder to Americans of a chance for prosperity. The Statue of Liberty sits in the distance; Frida pushes the ideal of Western strength and freedom to the background, which realizes the possibility of American economic failure. The water is a dark grey, reflective of the dreary years of the depression era. A collection of six industrial smoke-pipes reach high from behind the commericialist towers of the city. They seem to acknowledge the defining role of lower class workers and industrial society in the prosperity of America.

The lightly glossed, oil painted canvas depicts a little girl dozing by the red railing of a fire escape above the city streets. The little girl is seen to be resting her head on her right hand, napping. Walter Williams contrasts the curves of the girl’s soft pink dress with the hard grid of the ironwork and straight lines of the window that reflects similar fire escapes across the street. A rooftop water tower is outlined against the haze of the evening sky, and a skylight punctures the roof below.

As a formal analysis, this artwork has a figure in the center of the page, which can be assumed to be the focal point due to its positioning in the center of the picture plane. Also, this artwork is monochromatic, and the only color used is the hue green. Towards the top left-hand corner, there are darker shades of green, which make this part seem to be in front of the rest of the picture by using overlapping to convey depth. Also, towards the right side of the picture, the people seem lighter and appear farther away than the dark shaded buildings Additionally, since the figure in the center of the work is larger and more detailed than the other figures, it appears that the center figure is closer to the viewer.

The foreground of the painting displays quite a few important formal quality details. The lower right quadrant exhibits a comparatively focused escalation in the chiaroscuro of the tree trunks. The crustiness of the deep earthy tones and the lushness make the lower right quadrant appear darker and more jungle-like. In opposition, there are some blue hydrangeas in the same vicinity that provide for a visually appealing contrast to the darker tones that surround them. The blue hydrangeas manifest themselves as wild and uncultivated.

There are many different types of street art and murals that are part of any community. Street art and murals can give a voice or a cultural background to the community. Many types of cities have beautiful street art like Hollywood, within Hollywood there is a little community called Little Armenia. In this community there is a mural located on the side of Winona and Hollywood Boulevard. This mural is a symbol of what the Armenian Genocide was and because the mural is an area where Armenians and others walk from to go to the Turkish Embassy to fight for remembrance for the 1.5 million Armenians that have died on April 24. This mural shows us what the community is about and it brings the community higher and not lower.

Imagery: “It’s small and red with tight steps in the front and windows so small that you’d think they were holding their breath. Bricks crumbling in places, and the front door is so swollen you have to push hard to get in. There is no front yard just, only four elms the city planted by the curb. Out back is a small yard that looks smaller between the two buildings on either side” (Cisneros 4).

Stone City by Grant Wood was created in 1930 by using oil on wood panel. This painting illustrates a lot of visual elements and principles of design which are important components of an artist’s work. Visual elements and principles of design help draw the viewer’s eyes to certain aspects of the painting and they tell the story of what the artist is trying to convey. This analysis will highlight the visual elements and principles of design that are present in Grant Wood’s Stone City.

A painting entitled “City On A Rock” will be looked at. It was painted by Louis Lozowick in 1931. This painting has entirely no colour: It is viewed as a black and white painting. “City On A Rock” shows a glimpse of a small neighbourhood overlooking a waterbody. Along each side of the water body, there are two bridges. The sky towering over the neighbourhood and bridges appears to be quite stormy. Another part of this painting is the power line that can be seen from the bridge furthest away from the houses.

In this part Lynch argues that people in urban situations orient themselves by means of mental maps. To un-derstand the role of these mental maps in our urban lives, he conducted a field research of the visual qualities of the cities of Los Angeles, Boston and Jersey in the previous chapter, and deduced that these visual qualities can conveniently be classified into 5 types of elements: Paths, edges, districts and nodes.

To the viewer, this work does not appear vivid or aggressively bold, for Marin’s use of gray and black hues compose the majority of the background and bridge foreground. However, even though the most dominate color is gray, it is not the first noticed by the viewer, for the small sized, vivid hues in the near center background of the painting initially capture the eye. The four intense colors of blue, yellow, purple, and red pop against the monotone city and structural surroundings. These colors instantly give the painting a rush of energy, standing out in the work and drawing the attention of the eye. The darker, black colors of the foreground bridge is proportionately balanced by the brighter colors in the background, contributing to a feel of color balance and evenness. All of the colors are also very saturated and deep, for none are too “light” or unable to be seen, except for a few gray tones, helping to achieve dimensionality and variation. Considering that Marin’s work is overwhelmingly dominated by cool hues, the audience could infer that this painting would possess a soothing, calm feeling, which opposes the thesis analysis. Conversely, through the small use and implementation of these four vivid hues, the feeling of this work is changed in its entirety. Instead of a serene “cool” feel, the painting emits a blast of speed and energy,

Similarly, City Night (1929) is a forty-eight inch tall painting of geometric and sharp edged urban architecture towering over the glowing moon. The naturally rounded moon is contrasted to the manmade straight lines of the city. The pedestrian perspective and ominous scale places the audience between sharp towers.

The city is a symbolic type of the culture produced by industrialization a world of decay

With the help of public art, dull and tired environments are transformed to inspire the community of people working and living there. When the government pays an

great city vividly. It can also be seen to be used as a symbolic map