Katharina Grosse Analysis

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

She created the “spontaneity and freshness…associated with sketches” through “[painting] on unprimed and unsized white canvas,” allowing her paintings to appear much more in the moment, a hallmark characteristic of Impressionist art. Sometimes, she would leave the edges of the canvas devoid of paint, furthering the sketch-like quality of her paintings. White was dominant in her palette, be it through the application of paint or the peeping through of the canvas, giving her paintings the luminosity she desired. Her palette consisted of vibrant colors that “[were] admirably suited to her essentially feminine subjects” and she created the illusion of depth through

One of the aspects I believe unifies this painting is, as I talked about above, the continuation of the blue of the woman’s clothing continuing up into her hair, which gives the piece a sense of wholeness and relativity. There is also balance in this piece, for while the woman’s head is offset, this is balanced out by the elongation of her shoulder and arm in the right side of the image. Variety is also achieved in this piece through the use of a variation of hues and a lot of tonal difference. Emphasis is placed upon the hair with the use of an unnatural hair colour, as well as the face where light colours are used to highlight and pull the attention. Space is not so much of an active principle in this piece, but is still present nonetheless. Beryl is placed in the middle of the painting, with her taking up roughly 50% of the space, and the rest taken up by background.

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

Jackson Pollock was a legendary, novel, abstract expressionist who has created numerous paintings through his drip-style, action painting technique (Goodnough, 2012). Theosophical influence arose from Phillip Guston and Thomas Hart Benton, while in the early stages of the artist’s life. Muralists, such as Jose Clemente Orozco and Diego Rivera were also admired and studied by Pollock. He was captivated by the unorthodox techniques of David Alfaro Siqueiros which contributed to the abstract style of Jackson Pollock (Solomon, 1987).

The woman is dropping seeds in the ground and one can see the seeds falling out of her hands into the hole the farmer dug. Jean- Francois also shows the farmer in a bent way moving the dirt from the hole for his wife to drop the seeds in the hole. The artist also painted clouds in the sky which looks like they are supposed to be moving. The whole painting seems to be alive with a lot of movement occurring.

Every painter has a certain style of painting, whether it's intentional to paint abstract or unintentional to paint as a modernist. I analyzed Abigail Kuchar’s artwork. She is an artist at Western Washington University. Currently, she is enrolled as a student and working on her Bachelor of Fine Arts. Recently, she exhibited her work in a Symbiotic Qualia, Western Gallery (group BFA Thesis Exhibition). Her ideas on visuals are very unique as compare to another artist. Her work is heavily influenced by reoccurring natural forms and patterns, representing, the specific shapes that have been successful in a variety of different applications. For example, the formation of bubbles, lichen, barnacles, anemones, spores, pollen, and seed pods, all have similar compositions. By creating work that includes these forms, the viewer is presented with something unusual, but vaguely familiar. Her material used in the artwork is environment-friendly.

Further more, in the painting, “the Gleaners”, the entire screen is filled with contrast elements. First of all, the main figures in the front labor scene are full of rich vigor, contrasting to the background with silent objects such as hay, trees and farmhouse. Secondly, the color brightness of the front contrast to the back, as well as the comparison of relative sizes between figures and scenery, applying the principle of perspective. What’s more, the most classic is the horizontal line, the intersection of the sky and the ground, contrasting with the light source, from the top left. Consequently, 2D and 3D spatial effects are combined precisely. Meanwhile, the sense of space of the image is strengthened as well.

I enjoyed learning about them and looking at it. Prior to doing more research on them, I just thought their work wasn't art and just random things put up/built in places. Now that I know more about it, I am able to fully understand it and enjoy it better. I couldn't live with this in my house, it would take up too much space. Theoretically however, I think I would enjoy having this in my house. I t has a nice meaning behind it and it would be nice to see everyday. It is aesthetically successful in my opinion, it just works so well. I would say this art piece is a mix between formalism and Imitationalism. I believe both are what makes an artwork aesthetically successful. The whole thing, from how it was constructed to the meaning behind it, are the reasons why I think this piece is

We can also see the use of black shades to create a hole at the bottom part of the rock. With his excellent use of colors, we can identify the good, healthy and green grass from the bad, unhealthy, brown grasses. Looking beyond the main focus of the painting, he uses colors to separate the sky from the land in the background creating a solid form of perspective on the painting. He also uses colors to create water forms as seen behind the young character. Now, for the sky, he uses shades of white to magnificently differentiate the thick clouds from the light ones. He also uses this to create a source to light to the whole area. All these put together creates a splendid, realistic and familiar atmosphere for the viewers to relate with.

This depth or distance that the beholder of the eye misses as he/she analyzes the action of the 2-dimensional portrait is what’s called the painter’s space. In reality, one of the greatest abilities one’s eyes have is being able to determine depth and distance; small objects are at a far distance and bigger

The black lines that seem to frame the woman into a sort of foreground are also present in the implied background, thus melding them into a singular seemingly flat space. The blending of large areas of color leave the space open, and the intent lines of color are the only implication of space or form. “Space is made ambiguously expansive by means of the slight blurs and partial erasures in and around the figures,” (Ashton). This juxtaposition of open and defined spaces easily mirrors the wily nature of women to contain some sort of depth, while at the same time being of shallow character. Lewison makes note of this contrast saying of the woman that, “she is self-consciously seductive, challenging the male to approach while at the same time remaining aloof,” (146). Although there is an understood figure and a somewhat implied background, the work still has the ability to be flat at one glance and especially deep upon another.

Taking following extreme cases of abstraction, when speaking of Pollock’s work such as his ”Autumn Rhythm” (1950), we realize how the visual formed is fully based on science and gravity that permits the dripping and pouring of the paint on the horizontal canvas. But, by walking around/on the canvas we can argue Greenberg’s analysis and suppose that the painter possibly connects with it, he gets drowned in the act and merges inside the painting while mechanically pouring paint on the canvas. This means that even though the painter tries to focus on the flatness of the painting rather than the content and is physically detached from the canvas, this focus cannot erase an emotional

Filled with shades of red, the upper part of the painting comes to create a strong opposition with the black area below it, itself encircled by a darker red. This painting consisting of three floating rectangles in various colour combinations, creates a sombre mood conducive to spiritual contemplation. With the use of Rothko's saturated colours the viewers are moved

Acrylic paint is for losers, it could never match with the likes of oil paint. This was a common belief for any artist during the 20th century. Likewise, paint is a complex medium in the realm of visual artist; it always strikes an intricate dialogue within artistic domiciles. Who will survive? Oil paint, the noble, protagonist grease; or Acrylic paint, the economical, underdog wash. Consequently, most creatives argue between the importance of both mediums, but it genuinely relies on the preference of the artist; whatever she or he promotes in consideration of the pigment and drying time, expenses and brands, and “beginners versus professionals” stigmas.