Research Paper On The Milkmaid

To start the analysis, line is what is going to be observed first. The lines are shown to be softer and less crisp along the clothing and faces, but becomes much sharper with things that need more definition such as the tiles on the floor beside the woman and child and the wood planks that the, what seems to be store clerk, is standing on. The faces of the people in this scene also contain contour lines, seeing how contour lines are the lines

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.

The painting Udney Maria Blakeley (1830), by Thomas Sully, was the first painting that came to mind when assigned the project: the painting has fascinated me both as a child and an adult due to the beauty of both the woman in the painting, but also from my deeper understanding of art now. Thomas Sully used the wet medium of oil on canvas, and included the woman in the foreground of the painting holding a rose in a vase in her right hand. There is a deep contrast between the women dressed in a white gown, and the darker background of the painting. Due to the highlighting along the left side of her face, and the shadowing on the right, it can be assumed that she is facing, or even looking straight at the

This art piece portrays a darker colored woman in the middle with twelve men sitting at the table, six men on each side. She is not wearing any sort of garments except for a simple white cloth around her spread out arms. All men are divided into three-men group based upon similar actions. The man immediate right to the woman is the only man with paler skin color. On the table, there are feast of fruits, vegetables, bread, and drinks.

The painting depicts a young woman in a pink dress sitting down. The background is very dark but three things can be made out by the viewer. Starting with the ground plane of the painting, an orange carpet can be seen covering the entire floor. It is patterned and contains yellows, greens and blues. The cool toned colours are darker in hue than the warm toned. Secondly, there appears to be a cabinet or a desk lining the wall behind her. The wood of the cabinetry is carved with detailed designs and is made of a dark stained wood. Despite the dark background a single red rose can be seen on top of the cabinetry. The rose looks freshly picked and shows no signs of withering in its petals. It is painted in a muted red colour that allows it to stand out on

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

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

The artwork is a realistic portrait of a women. It is abstracted with asymmetrical balance with exotic and vibrant colors. As if the women is sitting in the corner with two

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 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

the woman is doing all of the cooking. Why is she the only one in the

A man and woman are walking over the bridge while a dog is walking toward them, and another man is gazing out in the water. In this painting I have three orthogonal lines starting with the first one on the top corner of the building on the left side. This line then follows across the roofline, down through the man walking’s neck, through the woman’s skirt. This line then finishes on the cement and ending on the shadow of the dog. Orthogonal line two starts at the end of the bridge railing on the bottom right side. The line then continues down the railing, crossing through the old man in green and through the woman and man walking near each other. This line will end on the building in the left corner and right above the buggy by finishing on the building. The third and final line starts along the sidewalk on the bottom left side, leading up the sidewalk and going through the man’s coat, head and hat, while ending on building in the middle of the painting. The vanishing point leads us to the man that’s walking’s head while he is looking away at the water. This vanishing point pulls the focus of the painting on the man and also the women next to him on the bridge.

Characteristic of the Baroque period is the subject matter of the painting, a maid working in the kitchen. The maid stands in the kitchen pouring milk from a pitcher into a bowl. On top of a table rests a basket of bread and window on the left provides the light for the picture. Like Rembrandt, Vermeer also excelled in the lighting department. He also excelled in the Baroque style of painting everyday scenes. The painting is not merely a boring portrait but a moving masterpiece. The shadows, spots, and nail on the wall along with the lighting of the bread and pitcher testify to the painting's Baroque

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink