Joseph Hirsch 's Painting Analysis

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

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

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

On Painting by Leon Alberti is, in essence, a book of guidelines for novice painters. Alberti explains that since paintings are meant to represent things that are seen, they need also be approached this way. In his theory, he breaks up the way of painting into three important components circumscription, composition, and the reception of light. Within these three are guidelines for the portrayal of subjects, spaces and emotion.

As indicated by the shape in the foreground, the lines that signify the contour of the rocks and freestanding structure merge. The lines lead the eye vertically as it meets the center. When looking at the painting as a whole, the viewer can see how the artist uses straight

Diagonal lines formed by the legs and arms of Mary and cherubim show the motion. There are horizontal lines on the ribbon tied around her waist. Moreover, both horizontal and vertical lines are used to create the frame of the painting. Also, rhythm lies in this work. There are repeated organic shapes such as flowers and cherubim scattered all over the painting. Some of the cherubim are overlapped with each other. This is a symmetrically balanced painting as a vertical line can be drawn at the center of the painting, which shows the balance of visual

This painting has an evident use of hierarchy of scale, in which the painter portrays Samuel bigger than the rest to show his greater importance. In addition, the other characters are intended to show as weightless, as we can observe that some of the people located in the back do not have legs. The use of color and its variety is characteristic in the Late Antique art, and in this specific painting is used to further understand the story that is being told. David can be recognized among the gathered group of people since he is dressed different from the rest, with a purple toga. The color purple during this period was directly associated with status, for which the artist is believed to have used it to represent David’s royal position. Color can also be seen as a support for the hierarchy of scale, the variety in color is the direct representation of the importance of each character. Samuel is dressed in white, a color symbolizing spirituality and purity, for which he has the divine privilege to anoint David. Another

This series is immensely personal for not only Rothko, but also for the viewer. These murals explore identity as these paintings are an exploration of raw emotion felt by such a deeply depressed man who committed suicide in 1970. These paintings can be seen as a discovery of Rothko’s self and also a form of emotional release due to the unsettling colours he has adopted (black on maroon and dark red on maroon); these paintings are a clear reflection of emotional instability. According to Rothko, these paintings were “concerned with the most profound questions of existence.” That statement could possibly mean that he was thinking about his mortality at this time as he had been suffering from depression and had also been diagnosed with a mild

Support of how Vermeer had such vibrant paintings was the 3D glowing “working-up” which made his paintings so bright and lifelike. However true this may be Vermeer used a technique called underpainting or “working-up” which used much more paint than usual, but also added volume and gave his paintings more of a 3D feel. He would lay an initial layer of paint to the canvas, which served as a base for subsequent layers of paint. He then slowly built up the paint layers using multiple paint colors, rather than the more common method of building up the image using neutral or gray. This gave his paintings even more depth and a feel of reality. He had a very expensive pallet and used hand-ground paints and a glazing technique which was mostly used

The selection from Leon Battista Alberti’s On painting is mainly divided into 5 paragraphs numbered 25 through 29. Just as the title suggests, the text deals with the art of painting and its virtues. It talks about the benefits painting offers to the artist and why they are valuable, as well as showing the importance a work of art gives to the object being painted. While referring to many examples in history, Alberti also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory.

Museum visitors can see paintings by the seventeenth-century Dutch artist Jan Vermeeer, but you cannot see how he achieved his remarkable effects. Most of his paintings showed simply furnished household rooms. The people and objects in these rooms seem so real that the paintings resembled photographs. Vermeer’s use of perspective and light would also contribute to the paintings’ realism. Some art historians believe he used a gizmo called a camera obscura. This machine projected an image onto a flat surface so you could draw it. For most experts, Vermeer’s possible use of technological aids does not make his totally fabulous results less impressive. It is agreed by art historians that the paintings are masterpieces. Vermeer’s paintings are admired

When one looks at the painting White light, an array of colors spring off the canvas and permeate one’s senses. The primary and intense color of red is softened by the primary colors of yellow and blue. While the tertiary color of green subtly takes its place among the hues to give some balance. The perceivable tones of black and white add value and seem to give some

The artist uses almost all implied lines. Taking the face of the milkmaid as a starting point, it is important to focus on the light coming from the window and reflecting directly upon her face in shadows and pale scales therefore, creating an effect of three-dimensionality. It makes the viewers focus what the maid is doing: pouring milk. Then we will see a line between the milk vessel and the bread. I also see a line from the bread basket in the left foreground to the maid's head. These lines intersect at the maid’s wrist, which lead us to the action that she is doing. Other lines in the work are the window and framework, the edge of the table, the outline of the woman’s clothes, and the bottom of the wall. These implied lines are less important than the line from the maid eyes. If you take a closer look, you will see a parallel line between the slant of the basket to her diagonal slant of her arm and head.

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