Edward Hopper Painted The Night Hawks

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

     When I look at the texture of the painting, I do get a true sense of a wood floor, a wooden bed frame and a piece of fabric hanging from a nail. I think he might have used different techniques for creating various textures in the room. I think the floorboards are of multiple layers of paint, as to create the tones of the wood. I think that the bed frame, however, is just a single layer of paint, almost thin in nature. The texture of the glass in the window gives you a sense that there is an actual surface to the glass. His use of texture gives me a sense that I can walk right into this room.

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

However, the desert scene and mountains suggest that this was painted in Southern California. In the background, one can see a man leading a pack animal, a woman, and an infant along a road towards the church, identified by the cross on the rooftop. There are no shadows to define form in the background. This is, again, a contrast to the shadows made by the Madonna in the foreground. The lack of shadows, however, does not make the background look flat. The Impressionist styled painting and the lack of detail in the background creates a distant look that gives depth to the painting. The numerous contrasts between the background and the foreground allows the artist to subtly draw the viewer?fs attention towards the foreground. These contrasts help grab the viewer?fs gaze and direct it to the most important part of the painting: the woman and baby.

From her auburn curls cascading from beneath her tilted hat, to her arm positioning, the trees, clouds, down to the tiniest blades of grass, they all slant one way or the other. The artist has utilized the diagonal line is multiple ways; the slight angles that Reynolds incorporated into each area provides a sense of movement in what could have been a dry and stagnant scene. Along with movement, there lies an illusion of depth: paired with shading, the use of line gives the perception of more area being included than there actually is. These lines also direct the viewer’s eye toward the sitter. Objects located around the edges of the composition lean towards the center, pulling the viewer’s glance directly to the

Nighthawks by Edward Hopper use the elements of light in his art work. The formal qualities of his art work are the contrast between the tones. The light in the art work amplifies particular items in the diner. For instance, the cherry wood countertops and the tops of the stools in the diner are shown as the contrast of the light. The colors of the objects are also made to shine through the art work. The outer part of the diner is only noticed through the green tile that is lighter around it. The element of light is used to contrast the change in the objects. The diner also partially blends in with the background of the art work. This effect is also accomplished through the lighting used by Edward Hopper. The color element used in the art work is expressive. The color contrast in the objects are what make the lighted objects stand out in the way that you can see and focus on what the figures are doing. You have a server, a gentleman and a lady at the end of the bar and the figure that is sitting alone is not lighted so you tend to keep focused on your lighted figures. The viewer of

Edward Hopper, who represents arguably the zenith of the 20th century, American Realism and the 19 century artist Vincent Willem van Gogh both painted vibrant and expressive paintings during their time. In 1942 Hopper created the piece “Nighthawks” and Van Gogh created “Café Terrace at Night”, also known as The Cafe Terrace on the Place du Forum which was created in mid-September of 1888. Both of these compositions were painted using the same Oil on canvas medium. Both painting even have a similar setting one set in a diner the other at a Café but, both painting wanted to convey a different feel or tone. Looking closer at both works we see that, the line, shape, texture, and color allow us to recognize the difference between their styles,

Further more, in the painting, “the Gleaners”, the entire screen is filled with contrast elements. First of all, the main figures in the front labor scene are full of rich vigor, contrasting to the background with silent objects such as hay, trees and farmhouse. Secondly, the color brightness of the front contrast to the back, as well as the comparison of relative sizes between figures and scenery, applying the principle of perspective. What’s more, the most classic is the horizontal line, the intersection of the sky and the ground, contrasting with the light source, from the top left. Consequently, 2D and 3D spatial effects are combined precisely. Meanwhile, the sense of space of the image is strengthened as well.

The painting, House by the Railroad, by Edward Hopper was completed in 1925. The house he painted was in the style of a Victorian house. The house was built next to railroad tracks. He painted House by the Railroad with oil based paint on a canvas. The artwork is a twenty-four by twenty-nine inches in a frame. When I look at this painting, the first thing I think of is where is it located? It looks like it is in the middle of nowhere but then again it looks like it is in a town because of the railroad tracks. The house is built next to the railroad tracks but there are no trees. The house contains several windows which I think would be neat. In this painting, he uses vertical and horizontal lines. He used vertical lines for the columns of the house and parts of the house. He also uses horizontal lines for parts of the house and the railroad tracks. Many of the lines Edward Hopper painted were medium size. The painting is painted with several figures lined up. If you look at the front of the house, you can tell that it is square on top of another square. The one on the bottom left is also a square but it is bigger. The picture and the lines are very soft. The lines in the picture never seem to overlap each other. The way the sun is in the picture makes it look absolutely beautiful. The sun could be either rising or setting by the look of the artwork. House by the Railroad was painted in the United States. Edward Hopper painted this picture after he came back

For this scene natural lighting is being utilized. The lighting is comes from the available source within the scene, which are the several lamps hanging from the ceilings throughout the pizzeria. The three point light system can also be seen in this scene. The main lighting source is the key light. An example of this is present, when we first see Sal at the beginning of the scene. We see a light coming from the left side of the frame. This light illuminates one part of his face but casts a shadow on the other half part. Here we have a high key lighting. The use of fill light is also present; we can see an example of this in the shot where we see Vito reaction that what Sal is saying. One half of his face is lit by the key light

The oil painting is an attempt to map the motion and energy of the body. It is a sequential depiction of movement split into a series of about twenty different static positions that show a nude figure descending a flight of stairs. The nude, like the notion of the painting, is abstract, composed of conical and cylindrical shapes and elements, assembled in a way that suggests the rhythm of the body when going downstairs. The colours used are those typical of Cubist paintings - ochres and browns. This is because Cubists felt that using a

The couple positioned in the front appears very large to make the painting 3-D. The relative size of the dancers drastically shifts to create a window into the painting. The viewer can imagine being a part of the event and watching the poverty-stricken dancers. The angle that the painting is at appears to be almost a bird’s eye view. This adds to the effect of feeling as part of the audience. Spatial features are also added with overlap making figures look even more distant. Almost everything can be seen all the way to the back of the painting as the lighting in Dance Marathon spreads equally throughout the painting. Many lamps hang from the ceiling to give it a sense of many sources of light and to distribute the light evenly.

In the use of light to depict the mood of the situation, Hopper uses intense light

In the small town of Charleston, an older, lonely man sits at the bar in a Diner. A young couple sat at the other end drinking coffee. The woman was dressed nice in a pretty red dress and the man looking dapper with his blue suit and hat. The older man is a regular at this diner. He arrives at the same time, sits on the same stool, and is always dressed nice as if he were about to meet someone. He never did though. The waiter knows the older man by name and says, "Hey Hopper, anything new today or just the same old, same old?" whenever he would walk in. Hopper would just shrug his shoulders as usual and sit on his stool. He looks at the couple at the end of the bar and nods, while waiting for the waiter to get him his

Although the use of line and light is not as defined as the color scheme, they still play an important role in the overall organization of the painting. Gauguin uses curvilinear lines throughout this work with no right angles or sharp points. The outlines in the background are fairly blurry and some of the lines blend into one another. In contrast, the characters in the foreground are comprised of precise, sharp lines. Gauguin goes as far as lightly outlining the bodies with a dark line in order to give them a sense of depth. Light also serves to enhance certain aspects of the painting. Gauguin has been careful in his use of light to create some areas of brightness and some of darkness. The central figure glows in the bright light, which shines down on her from above. This light shows the importance of the decision of whether to pick the fruit or not. It is focused so directly on one area and is void in the others.