Red School House Durrie 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

perspective is used very well to make the mountains in the far distance appear quite a bit hazier than the church that is supposed to be a little closer to the viewer, and that is even slightly hazier than the brick wall, shrubs, and trees that are right outside of that archway. David also makes the objects that are meant to be closer much larger. That mountain, of course, would be massive. But, because of the perspective he uses, it appears to be only about the size of the top of the church. Additionally, almost all of the figures in the painting lead the viewer's eye right to the baby Jesus. Each of the angels, except the one playing the guitar, are looking directly at him so that when the viewer looks at them, they immediately look over to Jesus. Even Mary, who is also the subject of the composition, is looking down at the baby. Renaissance paintings often used tricks like that to draw the viewer's eye to the main subject, which was usually Jesus.

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.

Firstly, Gareth Hinds communicates the emotions of the wordless scenes through the different arrangements of the drawings. Arrangements of the images conglomerates contrast, perspective and colors. First, the

Hill painted a perfect looking scenery which made it realistic as if a real scenery picture was taken with an advanced technology. Hill applied a wide range of vivid colors to help enhance this piece more. If I was to visit a senior citizen home and had to depict this painting to a blind fe/male. I would start off by saying firstly, my attention was drawn towards the upper atmosphere’s bright blue color which reflected from the large body of water underneath it. Which is often associated with feelings of breaths slowing down and when one reaches a certain state of relaxation. Secondly, by imagining one mashing a pillow against their palms I was able to feel the fluffiness of what floats in the sky. In order to picture, the way the sizes and shapes change I would compare it to when one

From what can be understood by the viewer, West has created the piece with a head-on perspective. Through the use of many imaginative sharp diagonal lines, that can be drawn from either the more centralized figures whose hand rest atop his head and back is turned toward the viewer or the figure from the far left corner who learns at an angle and holds a spear across his body, towards the very last beast that is placed near the far upper right corner, West is able to create space and distance. The pyramidal construction of figures, foreshortening, and atmospheric perspective also work collectively to draw the viewer into the painting more closely.

The painting demonstrates diminution of scale, for the long palm trees at the top of the composition appear smaller than the long palm trees placed lower on the page. Not only does the artist use diminution of scale, but they also use vertical location. The bushier palm trees n the back left side of the composition all appear to be the same size, but because some are placed higher on the page, they appear to be further away than the ones placed lower on the page. The artist use of overlapping helps achieve perception of depth. By overlapping the trees it makes it look like the painting has much more depth. Because of all of this, the painting portrays deep depth, not only because of the multiple overlapping and diminution of scale, but also because of the multiple horizon lines, causing the painting to look like the road goes on over the hills. This painting is a narrative, and its focal point is down the road. As the roads begin large and gets smaller, the eyes follow the road until it ends.

The painter uses one point perspective, as shown the by direction of the walls and paintings on the wall. There are seven gentlemen in this painting. Some of them are musicians, playing the violin and watching the music sheets. Some pictures on the wall have the same meaning. The winter landscape, Christ, and trees symbolize the cycle of the life. Much light in this painting can show people the musician face clearly. The musician in orange seems like that he noticed the painter, and rest of them were just doing their own stuff. This detail makes the whole scene very

The artist uses the technique of stacking figures, the students sitting in the chairs all around and above the doctor creates a sense of depth as you get higher the students get smaller and less detailed. It also gets darker the higher you go; the light stays around the scene that they are watching in the foreground. Eakins does use chiaroscuro, as discussed before he uses shade to make it darker and it seems like he bends it around the scene to keep the spotlight on the patient in the middle. The painting seems to use atmospheric perspective since there is a loss of detail the farther up you look, the figures turn blurry. The students also start paying less attention to the teacher and more students are falling asleep as well versus the students up front who are actively taking notes and being more attentive.

The 3-d effect is created by the layering of the 3 figures and overlapping their different body parts. This is also emphasized by the use of shadows. The illusion of space adds to the composition by invoking the viewer’s imagination and leading them to believe that the painting takes place somewhere dark and secretive. There were multiple principles of design incorporated into the piece. Such as the rule of thirds and triangular composition.

The buildings are just far enough away and draped in a delicate fog that their details remain slightly imperceptible. But in retrospect, this entire painting lacks any distinct quality, yet possesses a magical ability to draw one into the scene and envelope them in the mystery and serenity of that Parisian evening.

The color scheme is desaturated and this perspective is very realistic. The painting is mostly yellow, In order to highlight this pair of farmers, let their clothes use saturated colors. Many lines are used in the picture. The artist uses the horizontal line to separate the sky and the earth. Using a lot of slashes, let the farmer's behind wheat looks very lush. Our eyes move from the focal point, this pair of farmers, and the farmers next to the shoes and two sickle. Then our eyes dance over from the wheat and the blue sky. The artist used desaturated colors to create a peaceful mood and the artist contrasts the yellow wheat with the blue clothes to make the farmers jump out. Last the yellow wheat symbolize toil creating a feeling of satisfy and

The pattern created by the lines in the large leaves create a rhythmic background that enhances the images in the foreground. The element of space is used to create a frame within a frame in the painting.

Visually Monet used rapid brushstrokes to depict the atmosphere in the changing light. There is dense, blue spots around the top of the train. He uses orthogonal lines in the foreground. The blurred strokes help to convey the speed of the train in a picture. In the background he shows the new type of residential housing in Paris. The train tracks create a linear perspective. There are distinct human figures shown on the right side painted in broad, blurred strokes.

However the painting of Gogh has a stronger feeling of depth. Especially when the distant mountain and the sky merging into the whole. While in View from my window, a distinct dividing line can be found between the green trees and gray- white sky. What’s more, in Gogh’s painting, the big field is divided into several geometrical parts, while in Pissarro’s work, fields are mostly in parallel arrangement and segmented by downy curves. Gogh also put human-related objects in the center of his painting, surrounded by natural environment. However, beneath Pissarro’s paintbrush, only one figure located at the bottom right of the painting.