Art Analysis: The Red Fish By Leonard Koscianski

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

This painting is so realistic and painted with such precision and detail that he must’ve wanted us to see this place exactly how he did, with great beauty and light. The local colors are vibrant and cool yet still make you smile because it reminds you of a warm summer day. The use of two contrasting colors, the blue of the water and sky and the tan of the cliffs and couds, make the tan color stand out creating such a visually pleasing and dynamic effect. The organic fluffy clouds and the ripples in the water convey a peaceful sense to the scene. The pompous cliffs stand solidly contributing to the historical importance of this location. The artist captures the illusion of depth through atmospheric perspective; as the object gets farther it encompasses less detailed contributing to the descriptive nature of it. Since the left side of the painting is much heavier than the right this painting is asymmetrical. Your eye tends to gravitate towards the cliffs on the left because of their size and bright color which emphasize the cliffs. This emphasis creates a focal point that the viewer is immediately compelled to look at.

Fish magic was created in a pane using oil and watercolors. It combines the components from the sea, such as fish, the earth, which are flowers and the galaxy, that is the moon and the planets. The painting appears as though Klee was conveying a complex story using the elements of the sea, sky on canvas and the earth. He expresses his romantic, expressionist and surreal mood through the painting . Any person examining Klee’s work for the first time will definitely think it was a work of a nursery watercolor worm. After looking carefully at the elements, one can see how the elements in the painting fuse together to illustrate a message after seeing hoe Klee was managed to make an artistic impression using simple elements.

There is also a mirror placed on the table allowing the viewers to link with space beyond the frame. Also in the far back right of the painting you can see a young man talking to an elderly. The artist created an very old or old-fashioned look by using opposing colors, red and green. “The second half of the fifteenth century in northern Europe saw an expansion of genre

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 work is privately owned, and displayed occasionally in Melbourne. It captures and stands towards the audience because of its contrastive colour. It is almost pure black, with spots of yellow. The materials he used were also significant, and the way he distorted the face of the fish, gives a sense of almost cubism. The seemingly random twigs which stick out from the fish, give an impression of danger. The overall atmosphere the fish gives, is very dark and evil. He acts like an omen and a forewarning of environmental disaster.

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.

I believe the artist used the yellow-green color for the cats coats to communicate that something bad could possibly happen if a nuclear war

The Museum of Fine Arts, located in St. Petersburg, Florida holds a variety of artworks that depict a specific period in human development and cultural aspects. The variety was very helpful and the process to narrow down the search of a painting of my choice became less difficult. The painting that I choose was made by an American artist named Stuart Davis Untitled (Black and White Variation on Windshield Mirror). Davis’s painting was extremely peculiar and I wanted to further examine its properties. The Untitled has three characteristics that are unique: Davis’s background for creating the painting, understanding the types of lines used, and the choice of color schemes.

In the book, “House of the Red Fish” There is a lot of characteristics that can describe Tomi such as Courage, Bravery, and Confidence. These traits describes how great Tomi is as a character in “House of the Red Fish”. These are the characteristics to describe Tomi as Character in “House of the Red Fish”.

Another interesting part of this canvas is the direction of the reflections showing from the water. Van Gogh tries gives us this sense of calm movement with the reflection of the lighting going in a downward course. Also, the artist shows the viewer the grouping from the stars, to the lights from the houses, to the reflection form the water and which again it gives us the sense of the lighting going in a downward motion.

Claude-Joseph Vernet made a painting that brings your attention to the foreground. In the front, there is a boat being boarded. Some of the people that are not boarding the boat are standing by the sea. In the sea, some boats are sailing off in the distance. One of the boats in the distance is a large boat that gives the illusion of being three-dimensional. The form gives this illusion because of the reflection in the sea. If you look in the lower-right, you can see the light from the sun illuminating the sky. This light is hidden behind a large mountain that also has a three-dimensional form. There is also lots of texture in the painting. Some texture is seen in the mountains and ground giving a rough look, and some is seen in the sea in the form of ripples. On top of the mountain in the lower-right, there is greenery that has an illusion of being light and feathery. In that mountain, there is an arch that makes the other side visible. In the far distance, you can see a faint

The artwork, “Number 10,” by Mark Rothko displays two rectangles (top, yellow and the bottom, white) with a baby blue background color. Seeing the painting for the first time was surprising since I didn’t understand how it correlated with the title. It was easy to look at, but it didn’t catch my attention right away! I felt confused and frustrated while observing the piece because I didn’t know how I was going to find the meaning that lay behind the painting. This reminded me of my first-born nephew; I had such a difficult time trying to understand why he would cry so much. However, I was aware that crying was his way of communicating how he felt, just like painting this abstract piece was Rothko's style of communication.

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

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