Dong Qichang, in the Shade of Summer Trees, 17th Century, Ming Dynasty

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.

It is said that a picture is worth a thousand words, but maybe they are worth far more than that. Pictures, although seemingly simple in nature, are extremely complex. Far too often, people overlook what a picture truly is. When a person looks at an image, they most likely see only the image, nothing else. Many people do not look deep enough into an image to fully comprehend the true meaning of it. However, when an individual begins to truly study an image in an attempt to understand the true complexity of it, they will be surprised at what they overlooked before. As stated by French Realist Painter, Gustave Courbet, “Fine art is knowledge made visible.”

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

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

The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly

This painting appears to take place either at either dusk or dawn, when the sun is at the horizon. Likely it is dusk, as the setting appears to be in the Northern Hemisphere and the snow in the picture residing on the left hand side of fence would suggest it has yet to melt, so the sun would be setting in the west, or on the right. So the viewer, as well as the subject, is facing south. This affects the painting in several ways. The lighting is very dramatic, the middle ground being very much more lighted than the foreground and background, therefore the colors are more saturated than the foreground and background. Greens, browns and greys are used a lot in this piece and makes it very muddy. The house really does stand out against the painting because of the contrast of lighting.

Similarities in Wen Zhengming’s and Tang Yin’s can mostly be attributed to the influence of Confucian ideals. Wen Zhengming was a “wen-jen,” meaning he was “a scholar well versed in the classics, poetry, and history” (Scarce 417). Similar to Confucianism, they both have the aesthetic of “integrity and sincerity” and “spontaneity and simplicity” (Scarce 417). Spontaneity is reflected in Wen Zhengming’s calligraphy when the characters vary in thickness. For example, the first character down from the fourth column from the right is thick and vertical. However, the sixth character down from the fifth column from the right is thin and horizontal. These contrasting qualities exemplify the spontaneity and expression in Wen Zhengming’s calligraphy.

Physical properties, in other words, are describing what you see. When I look at this painting I see many shapes displayed. According to Fichner-Rathus, Lois.in the book

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

In a small town in China, 1738. Peaceful and simple people are living happily with a small crime rate. Most people know each other, and a lot of people are either farmers or bakers that work together to help the town strive. Since there is a mall population, the people welcome everyone with open arms. One day, a stranger comes into town looking for a job. The stranger as the people said, looked very shady and unfriendly. The town's people split on how they feel about this guy, and as a friendly gesture decided to help him out. The man claimed that he wanted to live a simple life, away from the rich people's arrogance.

I don’t think one artist on this planet could ever copy or imatate his work because its so complicated. Some would say his work was imature but I think the talent level was beyond regular. Most of the faces on this painting are more created images then distinct lines on a paper. If Dali was alive today he would be more then a multi-millonare. The paints go from dark to light to show form. For some reason the gowns of one of the female statues is being held on by a botton. The breasts on the females go from a lighter shade to a darker shade. Which gives the statues a fading qaulity. I think this painting was done with some sort of oil paints. He did showing the ripples of light on the lake. This lake is some what invisible. The head of a statue goes from larger to smaller and smaller. This particular painting doesn’t depict religion , which is why I find it caught in space. His mother is painted on the side of a cliff and light shows a man inside the face of his mother. This painting shows qualitys of figure, contour and light. There are many minitures and copys of figures in this painting. The toreador its self looks like coluseum in heaven. Ther are

This painting shows how close and codependent humans and nature were. How well humans worked together with one another and their world. How peaceful those that are close to nature are, which is why it (nature) must be celebrated and appreciated.

Art has many faces, and windows to be seen at from. You can choose to look at paintings that represent thoughts from the artist mind, or you can choose to look at art that is meant to pleas the eyes. My favorite is when you can see the battles going in the artist mind when he created his art reflecting on the work, and you can feel that in Yue Minjun work.

The next question we usually ask ourselves is “why?” why the color, why the worn out look of the farmhouse, why the surroundings, in general why is the painting depicted like this? That brings up the need to analyze the work of art at hand. When focusing on this painting, you can see a few birds soaring over the farmhouse. They’re quite small so there’s some difficulty telling if they’re flying towards or away from the farmhouse. It is still very probable that they flew over it at some point in time though. The lines in the painting are mostly depicted in the trees, and outer walls of the farmhouse. Standing firm the trees look, and or represent strength and dominance. It makes you wonder if there’s still hope for the dead looking environment surrounding the farmhouse. When first observing this painting; the thoughts were generally negative such as; sad, abandoned, lonely, and depressing, etc. The painting is indeed centered, and the focal point is obviously the farmhouse.

I personally get a sense of perfection in a human world when I look at this painting, which is a bit misleading but appropriate for a time in which men were beginning to question the divine and finding answers in the natural world where science and mathematical solutions were starting to make sense of everything around us.