Today we are viewing a painting by Jean-Michel Basquiat Untitled (Fallen Angel) created in 1981 using acrylic and oil-stick on canvas. I will articulate a few of the elements and principles Basquiat uses in this painting that make this an amazing piece of art that sold for $11.2 million in 2008.
In the top left side of the painting Basquiat used a black vertical brushstroke to create an implied line. This line is located inside a slightly open orange geometric shape of an implied rectangle. In the bottom left tip of the angel wing, the artist uses different hues of yellow, a sunshine yellow layered on top of a shaded Dijon yellow to show different value. The foreground and middle-ground show occupied space by the fallen angel, whereas the blue background shows open space. The artists use of color is bold and distinctive with the contrast of warm hues used in the angel such as yellow, red, and orange, against the cool blue background. Basquiat shows implied texture at the top of the angel using a black semi-circular halo that has sharp, jagged vertical black lines that represent spikes like on
…show more content…
Whereas, in the foreground and middle ground the artist creates variety using several different analogous color inside the angel and other figures. One focal point is the largest figure in the center of the painting, the angel, its location and large size show that it’s a focal point. In the lower tip of the angels right wing are swerving, dancing lines, that our eye naturally follow taking us on a gracefully curving visual ride that draws the eye to the next part of the painting showing rhythm. On the top right corner under the grey area, is a set of black incomplete half squares that resemble shelves on a wall, this is an example of pattern. Basquiat creates contrast by using complementary colors orange and blue, the orange above the right wing in the lines of the crown and the blue in the
“Basquiat, The Radiant Child” is a documentary about a young artist of the early 2000’s. This young artist left home to begin his journey; he started out as a bum with nothing and became a street artist. Obviously, Basquiat was very driven by his work otherwise he wouldn’t have taken such a big risk. For this reason, many people were inspired by him and loved what he was doing. I however wasn’t a big fan of his. Throughout the documentary his friends and other artist talk about how he would pretty much mooch off of other people; although his friends said it in a nicer way. He even told his girlfriend that he couldn’t work because he didn’t like how people treated him, so she had to pay for their rent on her own. I personally felt like this
The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.
Stylistically, his painting is an example of the “smooth” manner, characterized by fine technique in the portrayal of illusionistic form. In this painting, Calabrese uses strong directional lighting from the top, left corner of the painting to highlight the scene. It is Caravagesque in the way
Gabriel by George Sand, translated by Gay Smith and directed by Rebecca MaxField was performed at the AS220 Head Trick Theatre Saturday, December 15 at 9:00 pm. Art is about the obscurity of modern art. In George Sand’s Play, Gabriel raises many unsolved questions.
The ingenuity of the composition is that it used a lot of tricks in the layout of the elements, meanwhile being rendered very simply and concisely. The artist realized that the eye does not settle naturally on the center of a painting and that
The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the
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
The main figure in the painting, Adele, is depicted very realistically, standing in the middle of the painting, dressed in an elegant dress and scarf, topped with an enormous hat, holding a passive expression; as a whole, the depiction of an extremely lavish figure, suggesting strength and confidence in the woman, solely for remembrance of future generations, the usual attributes of a portrait. On the other hand, the background really captures Klimt’s abstract style, filling up the negative space of a white canvas with a blur of color. Adele stands in a blooming garden, composed of forms ranging from roses to clusters of paint that look like flowers next to definite petals. Farther in the background, the formless field of flowers keeps going until ending sharply in a straight line, separating it from what looks like a village. In the rustic-looking background a herd of horses seem to march in parade, people running alongside, their faces lost in movement but their exited expressions evident in their actions.
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.
Specific characteristics that are commonly associated with this painter’s style is that he tends to use luminous colors, mannerism, dynamic tension. His technique focuses on oil on canvas, perspective (atmospheric and linear), and chiaroscuro. As seen in this artwork, this would gravitate towards classical allegory because of the presence of Bacchus. His use of luminous colors from the artwork can be seen such as the blues, reds, pinks, and greens. There is atmospheric perspective seen on the horizon on the right side of Ariadne and there’s a sense of depth being illustrated on the background. There is also a sense of dynamic tension seen between bacchus on the right
Berryhill paint in two very distinct and different styles but Mr. Berryhill’s work is the outcome of generation of artist trying to push the envelope of the standards set the Italians of the renaissance. They both use similar colors but while titian uses colors to represent the reality of the situation Mr. Berryhill uses colors to describe the feeling of the painting. Form the emotions and the sounds Mr. Berryhill splashes color all over not because the color was there when he painted it but because that is the best way to give his audience a feeling of the scene. Titian’s work may seem formulaic to today’s standards but what he was doing at the time was revolutionary. The Italians were pulling the world of art into the third dimensions. This allowed artist to be more creative with depth and scale. If Titian’s painting Assumption of the Virgin was flat and was only used to represent the scene no one would have cared. But Titian used overlapping of the figures and the effects of shadows to make this painting almost seem real. Michael Berryhill uses those same steps to give his painting depth also. The wires of the machine over lap, the box goes back to a corner to show its depth, Titian absolutely helped to create all of modern art because he set some of the standards that modern art is based
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
In order to demonstrate these specific characteristics, Leger incorporates many different types of elements into this piece. In this painting, color plays an important role. The shapes of the blue squares contrast altogether with the other shapes and also, with the mutated beige background. Leger uses numerous colors such as the neon yellow, red, blue, black, and green in order to reveal that the colors are free and therefore, these colors exist in space. As mentioned earlier, this painting included a variety of different shapes; there are two different types of shape that can be seen in this painting. The first type is geometric or regular shapes such as the squares, circles, and rectangles. The second, on the other hand, are organic and freeform shapes such as the feet, hands, and face. Next, Leger incorporates many lines throughout this portrait. From curved lines to a single horizontal line, Leger includes each different type to develop a sense of movement, or rhythm. The curved lines makes the viewer’s eyes circle around the piece to further realize the symbolism. For space, Leger leaves many of the corner as negative space. However, the corners of this painting are not the only ones Leger leaves as space. Because the shapes and colors are kept simple, there’s also quite a series of distance between the shapes even throughout the whole entire painting. Again, because of the simplicity of the shapes, even the texture of this painting can be seen as smooth. The painting does not involve any harsh or rugged lines, and is
The two figures of the Archangel and Virgin Mary are close together and it shows a scene of almost touching fingers while they try to reach for one another but seems like they would never join hands. The male figure of the archangel would carry a long feather like pen and it would bow down to the Virgin marry and tries to respectable speak to her. On the other hand, the Virgin Mary seems to be in authority because she is standing up and looking down at the Archangel. This creates tension in the painting while we question the social distinction between the two. Looking closely at the Virgin Mary, her eyes would be close. It is almost like she is resisting the contact from the Archangel and tried to stay away from him. Looking on the left, the Archangel have white wings and there is green-yellowish light that surrounds him and the red clothing on him show that he is there for good news. But the resistance from the Virgin Mary seem like she is unaware of what is happening and is unable to accept the annunciation from the angel.
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