Flower Still Life Painting by Rachel Ruysch

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

Hirsch uses bright and subdued colors to represent the rank and status of the paintings occupants. The color of the chairs in contrast to the blue-black background gives the illusion of space. He utilizes highlights and shadows throughout which gives the viewer the impression of light cast onto the scene from outside. The light bounces off the reflective surface of the king’s head as well as the silverware and gold goblets. The shades of green and yellow give the fruit on the table a real feel to it. The smoke raising becomes transparent as it swirls upward and finally vanishes. The use of color shows the importance of every element from the

The flowers face many angles and are all different, most have contrasting shades of green leaves surrounding the petals and varying stem widths and lengths. This creates interest throughout the painting. To complement the bright yellow flower petals, Van Gogh has detailed a baby blue background with small, vertical and horizontal brush strokes. This contrasts well with the yellow flowers and helps to separate them from the yellow foreground. Also, to break all the yellow sections, he has cleverly used a lighted yellow tint on the bottom half of the vase, rather than shades, which he has used to outline the petals of the flowers. In doing this and by also adding light to the front petals and vase, Van Gogh has added a third dimension to his painting. Like Olley, Van Gogh has painted this artwork in warm colours to create a joyful and uplifting artwork to look at.

For example, in one of the works, Orchid with Two Hummingbirds, the orchid is highlighted because the orchid was the tool that at one point Charles Darwin had used to explain evolution. Darwin astonished the world by describing the orchid not as one of God’s perfect creations, but as “part of a family of plants exhibiting ingenious devices that had been modified over time to ensure cross-fertilization.” (Reynolda House Museum of American Art) The hummingbirds, thus, play a critical role for the flower by scattering its pollen. In addition to their scientific emphasis, these painting are filled with sexual associations, making them a controversial subject for Victorian audiences. This was a rejection of divine creation, and a support piece of natural selection. (Reynolda House Museum of American Art)

The piece I am writing about is the Red Canna, by Georgia O’ Keefe. This oil piece of art is a painting that is nonrepresentational. The forms in this painting are flourishing which can be seen from looking at the flower petals developing across the canvas.The shapes in this piece can be described as sharp, organic, and curvy. The subject of this artwork is growing as means to the flower maturing which show more and bigger details. The location background of this picture is outdoors, maybe in the woods, the jungle, or by a beach. The location of this piece is currently located at the Arizona State University Museum. I found this beautiful painting on Santa Fe Campus on one of the wall columns. The light in this composition is very powerful

The Parrot Tulip, by Lowell Nesbitt, was painted in 1973 and was made by oil based paint on a canvas. Nesbitt was a floral artist that spent most of his time looking for the perfect flowers in nature. His work corresponds with the “Still Live, Dead Nature” where his work highlights inanimate objects rather

What stood out to me of the painting was how bright the picture is. There was no use of dark colors, everything was nice, colorful, and happy feeling. I think the focal point in this painting is the flower itself because they are much brighter that the rest of the painting. Probably to emphasize the beauty of the painting with light. The subject of the artwork is the

The background of the painting is very dark and a reflective of the dark times some women were in during this time. The dark background and the subject’s serious persona give the painting a mysterious sensation. Mrs. Richard Skinner’s clothing pieces are very light colors which give a light-hearted ambiance to the painting but the dark background, dim lighting, and the dark table that lay before her completely alter the mood of the painting. The lighting of the painting, therefore, emphasizes Mrs. Richard Skinner even more due to her dark surroundings, which is another example of Copley’s attempt at accentuating her womanhood. Some of the props in this painting elaborate and stress her sexuality even further. The subject is holding a flower in the painting; flowers are symbolic of purity and femininity. The way the subject is holding the flowers is to be noted as well. She is holding

Frelinghuysen comments on how nature seems to be the subject. She calls the piece a “tour de force of mosaic,” which means the piece achieves its goal successfully (Frelinghuysen). Analyzing the mosaic, she points out the greens and yellows and the two swans which “carve a slender ripple in the placid shimmering pool” around a small area of water lilies (Frelinghuysen). Frelinghuysen takes account on Tiffany’s unique use of shapes and colors, apart from traditional glassmaking techniques, commenting on how it creates “luminous illusions in mosaic” (Frelinghuysen). She observes how the textured pieces display leaves veining in the shrub. The way he “juxtaposed tiny shapes of slightly varying hues” to create both “intense and subtle” colors, impacted the painting overall according to her (Frelinghuysen). His use of more shading, unlike Byzantine-inspired mosaics, also helped create a better interpretation of nature. Her interpretation describes how his utilization of color and shape helps portray nature as it truly

What really makes this piece significant is its attention to detail, and also its lack of detail. All the bright and simple kid drawings of flowers that convey our innocence and ignorance are just simple. Their simplicity relates back to colors of a simpler time when we didn’t know anything, like we still do in a way now. In the middle of it all is the boy who represent the truth of what really is, his picture flawlessly contrast the colorful simple ness of the sketches with not only his black and whiteness, but also is seriousness. That outline of his body and gun alone is a drastic difference from the straight lines that make the flowers. Even the shading shows the professional step up the boys sketch is from his face and left side being white, and his right

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.

“Under”). One could mistake that the focal point is the little figure under the birch tree who is a priest. However, the main point in this landscape is all about the birches. The reason why one could say so is because of all the visual elements such as: the birches are in the middle of the painting; they are also the most lighted objects in the painting (light is shining in the form of an oval) (National Gallery). Due to the levels of lightning one can see that the picture is divided into three horizontal parts: the top (dark, but not as dark as the bottom of the painting); the middle is the lightest; and the bottom is the darkest. This means that he used what he learned about the Dutch style and mixed it with his personal style thus we have a whole new way of seeing his point of view.

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

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 relationship in the painting between the mother and daughter give it a definite asymmetrical balance and maybe a little radial balance. A radial balance because of their eyes being the central focus, then the faces, then the holding of each other, then where they are placed on the canvas, and then the bench and the landscape. The colors used by the painter, also creates balance with in the picture. The wine colored dress of the mother, red sash of the daughter’s dress, ruby lips, and the rosy cheeks give a warm feeling to the central focus of the mother and daughter. The cool color of the sky is the same as the women’s eyes as well as the trees and green on the mother’s dress. These balances give unity or a unifying feeling to the painting, especially between the mother and daughter.