Michael Andrew 's Lights Iv : Pier And Road

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

Nolan’s painting style is noted for its fluidity, which he emphasized by applying unusual mediums—such as ripolin (an enamel house paint) and polyvinyl acetate—to masonite, glass, paper, or canvas.

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

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.

Perspective lines occur also in the background of the painting in the upper right in the trees getting smaller as they descend into the painting. This painting is an example of linear perspective. All lines converge at a vanishing point.

In the painting North Shore Lake Superior by Lawren S. Harris which is located in the Tom Thompson Gallery in the AGO, line and colour relationships bring about a sense of harmony and contrast throughout the piece as well as the feeling of peacefulness. When the viewer witnesses the landscape, the composition exemplifies a scene of a beach in the winter with its many blue tones. The work of art resembles a beach with a cool atmosphere incorporating mostly blue, grey, and white. In the foreground, there is a tree trunk at the shore of the ocean which is centered and surrounded by many stones. The trunk has no texture due to the abstraction of its form; no detailed lines are present and the solid vertical strips of dark colours simplify the structure. There is an evident presence of light as indicated by the diagonal lines that descend from the top left hand corner of the painting. The lines illustrate dynamic movement of the sun beams as they collide with the contour of the freestanding form. The combination of elements, such as line and colour, bring about harmony as well as evoke a sense of tranquility.

6. Primarily cool blues with hints of green to enhance the subject, mostly a very light sky-blue mixed with white, progressing all the way to pale cerulean. The effect of fog detailed in the scene mutes the colors, lending the sfumato effect to the whole piece.

This specific piece of art was created around the same time when he was known by many people, in his late 50s'. Specifically, the art piece Exotic Landscape was most likely made in Laval, France at 1910. Although he-- “has

Media: Johannes Vermeer used oil paint on canvas, and he executed the painting by using shades of grey or browns. After those steps he would apply transparent glazes in more saturated colors such as blues, yellows, reds.

As the years passed, in 1930 he began his professional life. Nitsche went to Cologne, Germany, with Professor Ehmcke where they together designed The International Press Exhibit (Pressa). A year later, Paris opened its doors to many talented artists but Nitsche didn’t feel he fit in because French art at that time

Vincent van Gogh’s oil on canvas painting the Church of Auvers was well known for its distorted appearance. During the late 1870’s, impressionism became the dominant approach to art. This was not the case for van Gogh. He began to paint things as he saw them, no matter how distorted it actually turned out. This is otherwise known as post-impressionism, an art movant that expressed symbolism and was subject to any physical or mental views of the artist ("Vincent van Gogh Biography, Art… "). Though the piece has fluent motion, it is not due to well-blended colors, a staple in impressionistic artwork. Instead, He leads the viewer into the painting through his dense brush strokes. It was sad that van Gogh has a large fascination with Japanese artistic

Sax Impey is a Cornish artist, who works out of the Porthmeor studios overlooking the beach, St Ives. Born in Penzance and trained in Newport, Wales where he studied . The majority of his work is inspired by the sea. Continuing the tradition set in motion by Ben Nicholson, Patrick Heron and other recognized Cornish artists. Alongside Francis Bacon as well. His work is drawn from his own first hand experiences with the ocean and its relentless energy and overwhelming power and its seeming endlessness. Growing up in Penzance Impey was always exposed to views out to sea but a lot of the work is actually inspired by navigating around the world’s oceans during his career delivering yachts around the world for TV yacht delivery, travelling thousands of nautical miles. The particular work of his I have been studying is from his exhibition “Storm” from 2011 at the Millennium Gallery, St.Ives. His work is technically very impressive with his skill of semi photographic representation and carefully calculated compositions.

In decalcomania, the artist applies paint to a surface, sandwiches the paint in-between the surface and another, and then peels it apart (Brahman, Kennan, & Alcaine, 2004). The outcome of the pressed paint becomes the painting (Brahman, Kennan, & Alcaine,

Impasto is referring to the buildup of paint on a canvas or painting surface to make a clumping appearance. The buildup of paint enhances the object(s) in which the artist is trying to show off within their artwork. This technique is not meant to have a smooth even look, but to have somewhat of a 3D presence to it. According to Frank (2014), the impasto technique works best when it is oil based paint (p.123).

In the poem ‘The Painter’, the poet John Ashbery describes the artistic creativity in direct conflict with the demands of today’s society. In this poem he expressed how an artist wants to paint the sea and bring forth a relation between the sea and the buildings of the city. The painter places himself amidst the nature and the urban concrete jungle and as he expected his work to gain creativity, his expectations got diminished as he was unable to capture reality of life through his art. He was thus attempting to create something impossible and remains unsuccessful (Ford 112).