Painting: River Rouge Plant By Charles Sheeler

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

The vertically arranged structure of the painting is translated through the indicated line of the growing flowers. This line meets the horizontal line, which is set by the surface holding the flowers; creating a uniform ‘L’ shaped structure. However, there is some contrast to this traditionality. Only very subtly did Monnoyer stray from this structure; through the draping flowers over the side of the ledge. The formation of the flower arrangement indicates a triangular like shape, which creates a slightly more dynamic focal point. It moves the viewer’s eye away from the ‘L’ structure, to focus on the rich colours found throughout the triangular formation of the floral arrangement. Another line, this line being more subtle yet still diverging the viewer’s attention away from the formality of the perpendicular lines, is created by the drapery in the dark background. It is one of the only visible features found in the shadows, and guides the viewer’s eye diagonally across the composition and to the vibrant floral arrangement.

Texture and pattern are very easy to identify in this painting. The street’s cobblestones show texture and pattern in the way that they are arranged. Texture is also demonstrated through the paint strokes on the buildings, the tree, and even the sky. These thick, uneven strokes add a layer of depth and texture to all elements of the painting.

The three most significant art principles I found in this painting are the contrast of the light and dark areas, the focal point being his aunt, and the sense of unity conveyed. The contrast of colors shows the natural cast of shadows within an

The artist used an array of colors in the painting to portray his idea. He used different values of colors to show the objects that are getting direct sunlight and those that are shaded. The trees that are in the sunlight have a lighter value of brown on their trunks and a lighter value of green on their leaves, while the trees that are in the shade have darker brown trunks and darker green leaves. The dirt road is a tan color with spots of darker brown to show where the shade lies from the trees. You can tell that the horses and wagons are in the sun because they have a lighter value of color and the artist used a darker

The Harbor of La Rochelle is a 50.5 x 71.8 cm oil on canvas painted by Jean Baptiste Camille Corot in 1851. In this painting, the artist depicted a picturesque scene of the everyday life in a placid harbor city in a sunny warm day. Corot was the leading painter of the Barbizon school of France in the mid-nineteenth century. He is a pivotal figure in landscape painting. His work simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism.

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

The painting, House by the Railroad, by Edward Hopper was completed in 1925. The house he painted was in the style of a Victorian house. The house was built next to railroad tracks. He painted House by the Railroad with oil based paint on a canvas. The artwork is a twenty-four by twenty-nine inches in a frame. When I look at this painting, the first thing I think of is where is it located? It looks like it is in the middle of nowhere but then again it looks like it is in a town because of the railroad tracks. The house is built next to the railroad tracks but there are no trees. The house contains several windows which I think would be neat. In this painting, he uses vertical and horizontal lines. He used vertical lines for the columns of the house and parts of the house. He also uses horizontal lines for parts of the house and the railroad tracks. Many of the lines Edward Hopper painted were medium size. The painting is painted with several figures lined up. If you look at the front of the house, you can tell that it is square on top of another square. The one on the bottom left is also a square but it is bigger. The picture and the lines are very soft. The lines in the picture never seem to overlap each other. The way the sun is in the picture makes it look absolutely beautiful. The sun could be either rising or setting by the look of the artwork. House by the Railroad was painted in the United States. Edward Hopper painted this picture after he came back

The use of lines in Stone City is one of the key visual elements in this painting. The artist used many contour lines to define the boundaries between the trees and the valley, the river and the land, and even the long roads from the hills as it winds through the countryside. Wood also incorporated a lot of implied lines into his artwork. The trees and bushes that line the hills create a line of sight which draws the eye of the viewer to the house on the river, which is the focal point of this painting. The lines all move in different directions and help the artist highlight different aspects of the painting. Around the city and in the foreground of the painting the artist uses a lot of horizontal lines, which gives the town a calm sensation. As we move away from the city, we find a lot of vertical lines which denote growth. We also find a lot of diagonal lines which imply action in the painting. The diagonal lines are predominantly used by the artist in the creation of the roads and

At close inspection, the colors red, white, yellow and blue placed side by side looked unintelligible as they are placed throughout the trees on the left side of the painting. At a distance, however, the colors begin to mix into different variations of orange, green, yellow, white, blue, and red, making the palette more interesting. This technique is used on the entire painting. The water’s reflection of the trees uses the same technique. Like in Claude Monet’s first major Impressionism painting, Impression: Sunrise (Garnier, 823), the painting Autumn on the Seine, Argenteuil also uses the brushy strokes. Both use a body of water’s reflection in the piece, making the water itself more interesting, and giving Autumn on the Seine, Argenteuil perspective.

The background of the picture is dark. The artist paints the trees using dark colors and jagged lines to show how scary the moment was for the slaves. The slaves are walking through water that is also dark and filled with rocks and sharp sticks. The background gives the painting the emotion that bad things were happening at this time.

The dark, gloomy colors used for the clouds and the background could signify that a storm is approaching. This along with the brushstrokes of the water, which show the ocean waves crashing on to the seashore, show that this storm has the potential to be devastating. In addition, the thick texture and brushstrokes applied to the trees show that it is extremely windy as the trees seem as if they are about to fall. The trees and flowers along the shore are completely submerged underneath the water, and the depth of the texture given to the water exhibits an ominous feeling about this storm. The water level depicted in the painting is high, meaning that the storm may bring flooding and result in casualties.

To further elaborate upon the elements of art on the painting, the lines are in their vast

• The focal point of the painting is the sun-drenched valley and river. The emphasis comes from the diagonal of the tree to the left that directs the view of the scene down the valley toward the farmland.

The painting measures 54.5cm x 76.5cm. It was painted using oil on unvarnished millboard in an artist's painted frame. Like most of the other Futurists Balla was intrigued with the automobile.  He was especially interested in it, because of his studies into the motion of objects. He did a series of almost 40 paintings on the speed of the automobile.  His work Abstract Speed + The Automobile Has Passed is described as, “the intersecting straight lines which radiate from the front of the automobile represent the swelling and noise of the engine, while the curved lines and concentric circles given off by the automobile, are intended to give the impression of speed and displacement of air.” This series of paintings is more abstract than the paintings