Isla By Yoan Capote: Painting Analysis

I think the artist is able to communicate the bad condition of the ship and its crew is in. The mood of the work is scary and gloomy. The design and intensity of the waves, the changing weather, and the ships in the ocean seem to make the scene come alive. It really conveys a since of naturalism in the painting the way it depicts the environment around the ship.

I like this painting because of the feeling and memories it reminds me of. The water and rocks remind me of all my childhood memories of swimming in the water and hiking mountains. The bright and light colors create a cheerful and

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

At first glance, the Red Fish looks like a decoration piece that someone would hang in their home or lake house for decoration. However, with a more in depth look, viewers will see that this painting illustrates much more than it appears. In 1990, Leonard Koscianski used a piece of canvas, 64’’x46’’ to paint the image of a fish out of water. Koscianski used oil and dark shades of red, orange, blue, green, and white to create the Red Fish. The Red Fish was painted vertically with the fish as the main focus point. Behind some green blade grass, a large red- orange fish appears to be leaping out of the water. The size of the fish helps show that the fish is the center piece of the painting. Behind the fish there is a small patch of land, filled with blade grass with two white house’s sitting off in the distance. Directly behind the houses is a section of woods. From left to right, the tree tops seem to follow and up and down pattern. The dark blue sky begins at the tree line and ends at the top of the painting. Throughout the sky there are patches of clouds that are an off white color. The contrast between the colors used by Koscianski show a lot of detail, but did not take away from the huge red- orange fish. Along with the color scheme, Koscianski used lines to add detail to the fish and to provide depth to the painting. With proper use of colors and lines, Koscianski was able to create the Red Fish. In 1991, the Montgomery Museum of Fine Arts

The uses of actual and visual texture manifest themselves throughout the painting. Actual texture can be found in the thick wooded area in the right of the painting where the top of the woodland canopy is painted in thick brushstrokes. It is also apparent in the sea, where thick, short brushstrokes give the illusion of movement and variations in height of the waves. Although rather elementary, visual texture can be found in the tree in the foreground, where thin, white and black lines give the appearance of volume to the bark of the tree.

by 90 in, or approximately 5 ½ ft. high by 7 ½ ft. wide. The artwork is imposing and takes up much of the wall, necessitating that the viewer stand in multiple places to view the panting from multiple angles. The painting is in a relatively thin frame, with no glass. The media is oil and acrylic on canvas. The lighting in this gallery space is dim, and the painting is illuminated with two dim spot lights, in such a way that middle of the painting is illuminated more so than the sides. The subject matter of the painting is a view of the San Francisco bay, with San Quentin State Prison visible on the opposite side of the bay. The prison composes the background and is placed in the center right of the painting, the water in the bay and a small sailboat compose the middle ground, and the coastline composes the foreground and is placed on the left side of the painting. The prison is very small in scale compared to the coastline, to create the illusion of distance between the two, and the viewer’s perspective is that of standing on the coastline opposite the prison. The prison and the sailboat are the only two man-made objects in the painting. The coastline depicted is a small and rounded beach. Large tan and brown boulders with sage green and brown plant-life growing on them are placed on the opposite side of the small beach from the viewer’s perspective, and partially obstruct the view of

The image shows a sailing ship, it could be an optimistic view of the painter expressing their particular direction of their goals and how we make choices in life. Or goals that are merely drifting away because it is difficult to get what we want out of life at times. Also sailing away could be a form of independence and freedom were we wish to break free from the constraints of everything we do in our daily lives. sailing on stormy waters depicts the difficulty of our choices and that things might be tough going forward. Or simply the strong desire to change life symbolizing the positive changes of our

The piece that stood out to me is The Appeal” by Erica Daborn because of the simple black and white color. The first thing I noticed was the animals behind a wall or in some kind of cage while on the other side people are holding empty bowls. The people were asking the animals for food but there is also a lady with fox skin on her shoulders. The Mural was made with charcoal on a canvas and has many details in the texture of the animals and people. Daborn’s contrast on this mural makes it stand out, as well as the size of the canvas. She did very little of the landscape in the background so that people would look for the meaning instead of the beauty. On the plague next to the painting it mentions that it is a part of the Dialogues with Mother

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

First piece is a shallow bowl, hand-coiled and outdoor fired, about 6 inches width, and 2 inches length, and height. The piece was made in america, in 1901 by Nampeyo, in Arizona. The bowl looks almost wooden, the artist probably used brown clay. The painting inside the bowl, looks like a abstract bird form, with a stylized eagle tail. Nampeyo used black and red paint, and a lot of different shapes. Starting from the bottom, it looks like two triangles that curve and join the black thin lines in, the inside rim of the bowl. Above that are two lines probably indicating that she moving on to a different part of the painting, there's a square but its curved in on both sides in the middle there are two half moons, painted red, forming a circle, leaving a uncolored oval

The horizontal lines of the land represent calmness and te diagonal and vertical lines of the sea represents power and ever changing . There is a contrast with these two such as the sea is ever changing and the land that is hard slow to change. Next I looked at the shapes of the painting. With landscapes, such as this painting, there is organic shapes that show the chaos and never ending change of the ocean and storm that is pounding the land that is calm. I then looked at the contrast of the waves and land then the sky and storm. The waves are dark with the land being light with the opposite light above the dark waves and dark above the light land area. It makes it seem like the storm clouds are passing with the rising of the

One of these details is the end of the waves. The ends of the waves are curled, making it look as if the waves have fingers that are reaching out to the boats so they can crush the boats. This gives the viewer a sense of calamity and catastrophe. Katsushika purposely made the wave look massive compared to Mt. Fuji because it gives the viewer a feeling that the wave is much larger than it actually is. In fact, people estimate that the biggest wave in the painting is only 32 to 39 feet tall, which is big, but with the perspective given, it looks as if the wave is really 300 feet tall. I think that Katsushika made the outline of the smaller waves look like a mountain because he didn’t want the main focus of the artwork to be about Mt. Fuji, and instead, he wanted it to be about the huge waves and the part the

I chose to right about the Raft of Medusa by the French Romantic painter and lithographer Théodore Géricault. This style of art is Romanticism. This painting took place three years after the actual event. This painting is about a raft that was build when the medusa ship was sinking. This raft was asked to build by the captain because they didn’t have enough life boats. There were at least 150 people on this raft and only about 15 people made it out alive after being rescued by another ship. The 'Medusa' was a ship that had been carrying French colonists to Senegal, and sand sank off the west coast of Africa due to incompetence on the part of the captain, who was a political appointee which provoked a political scandal in France. The occupants

When I was looking through 17th-18th century European artwork in the Norton Simon Museum, there was one piece of art that really stood out to me. That beautiful art piece was the Bay of Naples by Claude-Joseph Vernet. This piece stood out to me because of the beautiful scenery that is displayed and the deep serenity the piece gives me when I look at it. The Bay of Naples is a painting of a landscape that captures the daily life of the bay. The materials used for this painting was oil on canvas.

The beautiful painting is a visual treat to anyone laying eyes on it. The blue sky the wavy water the sailboats all are ironic to any coastal shore. The moon on the distance is an indication that it’s early dusk or dawn. The sea looks windswept but calm and clear rather than stormy and angry. The ship is setting out on a long journey but the butterflies are an indication to a positive spin on departure so it’s probably intended for people who have had or will have firsthand experience with departure and those emotions.