Edward Hopper's Painting: Summertime 1943, Oil Painting

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

To begin with the analysis, we must look at the general shape of this piece of art is very 2D meaning its flat and it has some well-defined lines. As you look at it you can see that it is not balanced and not proportionate. The subjects are identifiable. There are three people in this piece of work along with a dog. As you look at it you can see a mother and her two children and their family dog. One child is sitting on the dog and the other girl is looking ar her sister while the mother watches them closely. You can clearly see a narrative being portrayed on the canvas because the two girls are looking at one another. The style is realism because their features are not over drawn to exaggerate a body part. The title relates to the piece of art because it’s a picture of a woman and her children. The message is conveyed very clearly and the style is very realistic looking.

Although both of these works of art represent a cafe setting, the color schemes and use of brushwork is the number one clue that separates them from each other. In Manet’s painting, he uses much brighter colors to show that the time of day is likely in the mid-afternoon. Hopper on the other hand uses a much darker palette to make the observer understand his is set during the night, hence the title of the work. “The Nighthawks”, has a much more realistic approach because of the clarity of the figures and the crispness of his line work. The characters in his work are easily distinguishable and are proportional. In Edouard’s painting, he uses very obscure brush strokes to create the figures shown. The foremost characters are visible but when you look into the background, they become almost blurry. He does this to draw your attention to the front most people.

The sun is low in the skyline showing the time of day, possibly early evening and at the same time sets the tone for the artwork. I can imagine an evening with a full household of at least 5 including the little girl. She has retreated to her place of tranquil and serenity.

This art piece portrays a darker colored woman in the middle with twelve men sitting at the table, six men on each side. She is not wearing any sort of garments except for a simple white cloth around her spread out arms. All men are divided into three-men group based upon similar actions. The man immediate right to the woman is the only man with paler skin color. On the table, there are feast of fruits, vegetables, bread, and drinks.

The painting depicts a young woman in a pink dress sitting down. The background is very dark but three things can be made out by the viewer. Starting with the ground plane of the painting, an orange carpet can be seen covering the entire floor. It is patterned and contains yellows, greens and blues. The cool toned colours are darker in hue than the warm toned. Secondly, there appears to be a cabinet or a desk lining the wall behind her. The wood of the cabinetry is carved with detailed designs and is made of a dark stained wood. Despite the dark background a single red rose can be seen on top of the cabinetry. The rose looks freshly picked and shows no signs of withering in its petals. It is painted in a muted red colour that allows it to stand out on

The woman painted is sitting in what seems to be a domestic setting. However, unlike many other painted black women in the Enlightenment, she is seated alone. She is not depicted serving a white woman or doing any labour. The white cloths wrapped around her head and body along with the light background creates a dramatic contrast between the light colours and her dark skin. Her breast is exposed, but she is not sexualized like in many paintings of white women of the period. Despite her less-than-modest exposure, the woman does not show any signs of embarrassment. She is not blushing and her gaze is fixed on the viewer in neither a demure nor passionate way. In fact, she seems nonchalant about her exposure.

abstract, painted with energetic brush strokes, it has some kind of silence to it. Dana Schutz did not use her usual tropical color palette to paint this painting. The artist used yellow, brown and white tones mixed with black and red. Image is showing Emmett’s head and a torso quite zoomed in. However, the angle is different from a photograph, in a painting Emmett is positioned horizontal to a viewer. Emmett is wearing a black tuxedo with a white shirt. The tuxedo is painted carefully, with clean lines and with a red rose positioned on tuxedo pants, which I found quite surprising, because usually flowers are placed on lapels of tuxedos. Emmett’s face is destructed, there is a visible deep cut in the paint. A lot of paint was used to paint

The artwork is a realistic portrait of a women. It is abstracted with asymmetrical balance with exotic and vibrant colors. As if the women is sitting in the corner with two

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

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

The background has areas of dark and light that may be representing a dark part of this woman's life and the light area showing awakening in this woman's soul. To me the woman in the painting is staring out into the world and realizing that there is so much out there for her. That she can walk out of there and not be lost any more. Mrs. Mallard felt the same way. In the room she realized that she can now live her life on her own the way she wants to. She walked out of the room with a sense of

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

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

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this