Metropolitan Museum of Art Critical/Research Paper

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 paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

There is also a striking luminosity to the painting. The man and the woman’s faces appear to slightly glow, as if you can really see the reflection of the sun beaming off of their skin. This was achieved by a complex method of applying glazes. Wood would apply a layer of oil paint, allow it to dry, and then varnish it. This tedious process would be repeated numerous times. It was a process perfected by the 16th century Venetian painter, Titian. The series of glazes seems to have created an overwhelming sense of depth and radiance within the paint.

Additionally, Tanning uses value in this painting to take each component and make it more lifelike and visually appealing. This is especially notable when looking at the sunflower and the girls. When focusing on the flower, the petals which stand the highest have a much brighter yellow to them when compared to the lower petals. This is because the lower petals do not stand in the light, which causes them to appear darker in

The main focus of the painting intended by Titian is a nude woman, Venus, looking straightforwardly at the audience. The young woman’s nipples are erect; with her left hand covers her pubic area, the sexuality of this painting is unquestionable. She is completely naked except for the ring on her little finger and the bracelet around her wrist. It is clear that the intention of this painting is to evoke sensual feelings in its audience.

The exhibit that I viewed at the Philadelphia Museum of Art was one about European Art between the years 1100-1500. This was a series of paintings, sculptures, architecture, and tapestry of the Medieval and Early Renaissance as well as objects from the Middle East. This exhibit was an important part of the history of the Philadelphia Museum of Art because for the first time, Italian, Spanish, and Northern European paintings from the John G. Johnson collection were shown. It gave me a good idea of what the paintings were like in these four centuries and reflected ideas of both the east and the west.

As some parts of background are closer to the light source than the front, they are applied with brighter hues, high in value. In addition, Millet places things like haystack, trees and farmhouse in the back, and peasant women in the front. Hence. On the basis the positions of objects, the principle of line perspective, and the relative distance to the viewer, three gleaners visually appear within a larger proportion on the painting. In other words, the front figures’ sizes are bigger than the back objects’.

The Whitney Museum of American Art has often been referred to a citadel of American Art, partially due to the museums façade, a striking granite building (Figure 1), designed by Bauhaus trained architect Marcel Breuer. The museum perpetuates this reference through its biennial review of contemporary American Art, which the Whitney has become most famous for. The biennial has become since its inception a measure of the state of contemporary art in America today.

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.

Titian painted Venus and Adonis because of the tale called Ovid’s Metamorphoses. Basically, the tale was about the goddess Venus getting struck by cupid and her falling desperately in love with Adonis. Adonis, a hunter was leaving with his hunting dogs but the goddess Venus does not want him leaving. She foresees the hunt will be dangerous for him and tries very hard for Adonis not to leave. Titian grabbed the moment of the goddess Venus, giving of her warning, and Adonis’s death and basically painting the emotionally charged moment of Adonis’s departure for the hunt (Venice). The goddess Venus in this painting is portrayed as more of a frantic women rather than a dignified feminine ideal. Also the role is sort of reversed and the goddess Venus is portrayed more as masculine than feminine. Since she was struck by love so hard, she is depicted as sort of an aggressive women in

Consequently, many of the colors used in Titian’s Venus of Urbino rematerialize in numerous of Titian’s other works, for example the green in the curtain behind the young woman’s head. The green depicted was painted

For color choices, Titan used a mixture of cool and warm colors: dark green on the curtain, blue on the sky, red on the mattress and skirt, yellow on the dog and human figure. The whole image is realistic as well, and there are many repeating patterns on the mattress. Both of painting has a great depth of filed. However, Giorgione used atmosphere perspective: trees and clouds far away seem more small and blurry but closer objects are bigger and in focus. Titian used liner perspective. The floor tiles, the patterns of the couch and the tapestry on the wall also help to create liner perspective. No objects suggests the time: it could either be dawn or sunset. Two maids are looking for something which

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.

Jan van Eyck was active since 1422 and died in 1441. He was the most celebrated painter of the fifteen-century in Europe. One of his famous works is “The Last Judgment”. At first sight this work immediately attracted my attention. The painting’s stunning colors and the fact that it reminded me of a previous similar work I have seen, triggered in my mind. The material that is used is oil on canvas, transferred from wood. The size of this work is 22 1/4 *7 2/3 in. (56.5 * 19.7cm).

The Museum of Modern Art in New York City is the world’s leading modern art. Its exhibits have been a major influence in creating and stimulating popular awareness of modern art and its accompanying diversity of its styles and movements. The museum’s outstanding collections of modern painting, sculpture, drawings, and prints range from Impressionisms to current movements. Moreover, there are exhibits of modern architecture, industrial design, sculpture, photography, prints and electronic media. The museum presently has a modern art library of 300,000 books and impressive collections of films that are shown regularly. The Museum is said to be the complementary of the Metropolitan Museum