Edvard Munch's The Scream

     Color values are strong in this painting. It goes back to what I said about color, but I believe the soft hue of the blue walls against the strong hue of the bed frame and floor provides enough contrast to pull you into the painting. I also like the strong hue of the table. It connects the visual of looking at the chairs and the bed. When you look at the table, your eye cannot help but look at the other furniture.

As we all know, color is the voice for the artist 's sentiment. It makes up the appearance of a picture. Color is the decisive factor in depths of the two-dimensional plane of the artwork, making the viewer feel physically and mentally attracted, or the context of things - the phenomenon the author wants to present. Colors have been around for a long time, but there is not a common definition for colors. And perhaps humans are one of the luckiest creatures that can identify colors. Often, the recipient 's eye knows a myriad of colors and colors that always change based on the relationship between light and perspective. In art, color creates a sense of

It seemed to me that I could hear the scream. I painted this picture; painted the clouds as real blood. The colors screamed" (Preble 52). Some people, when they look at this painting, only see

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.

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.

Specific Purpose: To inform the audience about the importance of Edvard Munch’s contribution to modern art.

In this painting, Bierstadt often used greens, yellows, oranges, and blues to add a balance to the overall scene and to create a very well composed final product that is pleasing to the eye. For example, Bierstadt used cooler colors such as luscious, green vegetation, ice-blue water, and pale, atmospheric blue-green mountains to compliment the warmer colors such as the pale-yellow hues in the sky backdrop. Bierstadt also used the triadic color harmony to create depth within this painting by using cooler color such as dark forest green and blue-green to push elements farther into the background. And using warmer colors such as pale-yellow and red violet to bring highlighted elements forward into the foreground. Bierstadt also carefully used colors and shadows to create a sense of light and tranquility, for example the sun breaking through the clouds casting majestic rays upon the life and rocks below seems almost holy or other

The colors that are used in Falguiere’s oil painting help to create a mood using an intense earthy color palette with various analogous colors. The analogous colors that are used in the work of art vary between yellow and red, they are more natural to represent colors skin tone and dark clothing and a more idealistic space. The colors have a great intensity with the red being very deep and even the yellows and browns of the flesh are very bright. The bright colors bring focus to the foreground and the darker more muted colors are in the background. This is done by the artist to add focus to the composition. The pattern with color is that the foreground is lighter and brighter so lighter colors are used, with the audience they are more muted

This painting shows around five colors being used; red, green gold, pink and white. These colors mean so much in every day life. The form shows how lines play a big role in the body as they're symmetric all around the torso, but when connected to the head it seems to turn into scribbles that look like flowers

The yellow was more present, because it was very upbeat and seemed like something severe was going to happen. It is unique to me that the picture focuses on a lot of greens and blues, showing that these two combine together to make the art piece seem more intense. This tone color was also bright and put off some very extreme force. I also believe that Variation XI “G.R.S.” gave off a mood of energy. I got this feeling because it has a very fast tempo and the quick pace of the tone created a different picture in my mind. The tone color of the song helped to implicate a new meaning behind The Rapids, Sister Island, Niagara.

Some warm colors are red, red-orange, orange, yellow-orange and yellow. One example in the textbook is A Young Hare by Albrecht Dürer in 1502. The sunlight bathes the hare in a golden warm color. The hare itself is also portrayed in warm color, which is yellow-brown. Those warm colors used in the painting result in a feeling of enthusiastic and cheerful. The hare is not described as a peaceful and calmly model; rather, he appears to move by himself. It seems to me that the hare is living at that moment. And one thing that makes a portrait to be fully amazing is it does not seem like a painting at all.

The first reason that the painting makes me feel warm and peace is the color. A large area of using warm color in the painting makes the piece become warm tone. Interior at Gordon Square is a painting using plenty of color blocks such as blackish green, lemon-yellow, grass-green, khaki, red ochre and yellow-green. Moreover, the board’s color is light yellow. Besides, there are some cold colors in this painting such as Prussian blue and dark blue, those dark shades in this painting make the whole picture sedater. The combination of the warm colors and sedate atmosphere makes me feel peace and warm.

The hues (and possibly tints) have variable degrees of intensity that portray their level of vividness and insipidness (Sayre 107). It is possible that the work was painted on positive space background of black. Although, by physical law, black represents the omission of color is not viewable in the color spectrum, it brings out the intensity of the grey, brown, blue-violet and other colors of the polygons. The varying intensity of the colors creates strong contrast between light and dark areas of the

When I was young, and knew little about how the world worked, I was frightened by the ideas of monsters in my closet or dolls that come to life while you are asleep. Now that I am older, I have more experience living on Earth, and I know what to expect from it. Likewise, horror genre has grown to create an alternate reality in which one can not assume that what we come to expect of the real world applies in a fictional one: “[The horror genre] must posit an unnatural threat that is outside the realm of normalcy, reality, or history…[with] sympathetic and vulnerable potential victims”(Sipos).As society has grown to expect certain things from a horror film over the years, the horror genre has evolved to counteract that growth in order to provide the audience with the one thing that remains constant in the horror genre, the feeling of fear. The feeling of fear is the one aspect of the genre that defines a horror film: “horror is one of the rare genres that are defined not primarily by period or formal idiosyncrasies, but by the effect they produce in the audience...They all aim at the bodily response of their audience” (Hantke). Throughout the history of the horror genre, parts of the mythology, conventions, and iconography, of the genre that were used to produce the desired response of an audience have changed drastically along with the various cultural changes that occurred during the genre’s history as evidenced by the contrasting and comparable aspects of the horror films,