Return From Fishing By Sorolla

The painting is a large painting it is almost five feet tall and four feet wide. It is an oil painting on traditional canvass. The color choice is very dark and gloomy. It serves the purpose of putting the viewer in a somber mood. From the first glance you can tell that this is a sad setting. To some viewers Ida might bring a feeling of

The painting was massive measuring over twelve feet high and seven feet wide. The painting is vivid and vibrant red, blue, and the gold color over powers the viewer and shades them to the perceived glory of Jesus and all he stands for and can be to them. The image is not constructed in three dimensions that people are accustoms to today, but instead one dimension were size is

This painting is so realistic and painted with such precision and detail that he must’ve wanted us to see this place exactly how he did, with great beauty and light. The local colors are vibrant and cool yet still make you smile because it reminds you of a warm summer day. The use of two contrasting colors, the blue of the water and sky and the tan of the cliffs and couds, make the tan color stand out creating such a visually pleasing and dynamic effect. The organic fluffy clouds and the ripples in the water convey a peaceful sense to the scene. The pompous cliffs stand solidly contributing to the historical importance of this location. The artist captures the illusion of depth through atmospheric perspective; as the object gets farther it encompasses less detailed contributing to the descriptive nature of it. Since the left side of the painting is much heavier than the right this painting is asymmetrical. Your eye tends to gravitate towards the cliffs on the left because of their size and bright color which emphasize the cliffs. This emphasis creates a focal point that the viewer is immediately compelled to look at.

At first glance, the Red Fish looks like a decoration piece that someone would hang in their home or lake house for decoration. However, with a more in depth look, viewers will see that this painting illustrates much more than it appears. In 1990, Leonard Koscianski used a piece of canvas, 64’’x46’’ to paint the image of a fish out of water. Koscianski used oil and dark shades of red, orange, blue, green, and white to create the Red Fish. The Red Fish was painted vertically with the fish as the main focus point. Behind some green blade grass, a large red- orange fish appears to be leaping out of the water. The size of the fish helps show that the fish is the center piece of the painting. Behind the fish there is a small patch of land, filled with blade grass with two white house’s sitting off in the distance. Directly behind the houses is a section of woods. From left to right, the tree tops seem to follow and up and down pattern. The dark blue sky begins at the tree line and ends at the top of the painting. Throughout the sky there are patches of clouds that are an off white color. The contrast between the colors used by Koscianski show a lot of detail, but did not take away from the huge red- orange fish. Along with the color scheme, Koscianski used lines to add detail to the fish and to provide depth to the painting. With proper use of colors and lines, Koscianski was able to create the Red Fish. In 1991, the Montgomery Museum of Fine Arts

There was a time when social classes were most easily identified through material goods and possessions. Whether wealth was gained through inheritance or hard work, it was the luxury items that made the most visible and tangible statement regarding a person’s social status. Men could rely on a large house or expensive car to proclaim the success they had earned. It was much more common to see women adorned in jewels, designer clothes, and furs as symbols of her upper class status. The extravagance of a woman’s appearance was a reflection of the success of her husband, so it was natural to indulge her desire for expensive material possessions.

The work is privately owned, and displayed occasionally in Melbourne. It captures and stands towards the audience because of its contrastive colour. It is almost pure black, with spots of yellow. The materials he used were also significant, and the way he distorted the face of the fish, gives a sense of almost cubism. The seemingly random twigs which stick out from the fish, give an impression of danger. The overall atmosphere the fish gives, is very dark and evil. He acts like an omen and a forewarning of environmental disaster.

The use of light and colour in The Slave Ship has a dramatic effect. It contains a broad range of colours varying from the dark blues, reds, maroons yellows oranges and pinks.

The focus of the painting is a woman in bright yellow. This woman stands above the crowd, showing only her back and a hunched figure. Her posture suggests that she is shy, self conscious and is afraid of the spotlight that she suddenly finds herself in. Her head is bowed which hides her face and deters us from seeing her identity. She looks as if she carries a great burden on her shoulders. She shares her pedestal with another woman in red who is smirking and confidently showing herself off. She, unlike the other woman, displays herself to be seen by all. She leans against the building behind her, her arm thrown to the side, which opens up her posture. Her confidence is worn as easily as her revealing

In person, the painting is 30 inches by 25 inches. These dimensions are larger enough to capture the immaculate lines created to capture every detail, yet small enough to allow the audience to have an intimate viewing experience. The piece of art is hung on a white wall in the middle of the American art collection. It sits next to a luxurious red victorian era chair. The two pieces are approximately 2 and a half feet away from the viewer. The space from the viewer and the piece of art is enough to allow the work to speak volumes. The amount of negative space provided by the wall allows the viewer to be focus solely on the piece of art. The piece is lit from one can light that hangs approximately 6 feet above the artwork. The cool lightbulb complements the dark undertones of the piece, while the highlights are enhanced.

Overall palette of this painting is mixed. The ocean itself is in a cool palette but, the introduction of little drops of red warmed it up but the boat in different hot and cool colors made the whole palette

The artist has used mostly a blue hue for this painting with a mix of darker and lighter tones. Lighter tones or values seem to be used near the surface of the water to help show the nearness of it with respect to the rest of the painting. The light value also shows how it is positioned with respect to the light source. A darker tone or value has been used for the other parts, helping to show the depth of the water and also to add an unknown mysterious aspect to the painting. The artist’s use of analogous colors, like blue and green for the water help create a harmonious and calm feeling: the woman is sinking, but she isn’t panicking. In middle of all these analogous colors, the artist uses

In the first painting, Paris is giving the gift of the Golden Apple to the Goddess Aphrodite for her stunning and blinding beauty; whereas in the second painting Jesus is giving the gift of food to the famished fishermen, who up until then had no food for themselves. This theme is always seen in many different ways due to the fact that the range of gifts is vast and can contain a plethora of different types of things. Despite having the same theme and basic ideas, the paintings differ in the motives for the gift giving. In The Judgment of Paris, Paris gives the Golden Apple to Aphrodite partially because it was commanded of him by Zeus and partially because of his personal gain. Contrary to that idea of gift-giving to raise the already magnificent even higher, is the idea of Jesus’ selfless contribution to those in need. The two paintings also have one major difference; their styles differ in that the first has very prominent and refined looking characters and the second has more moderate and somewhat petty ones. In The Miracle of the Fishes the focus is on the modesty of the fisherman, whereas, in The Judgment of Paris the characters—the goddesses especially—appear dignified and distinguished.

In Night Fishing at Antibes, the main shape that is the focal point is the spear in hand of the fisherman. Just as the balance of colors got darker the farther you went away from the spear, the actual clearness and sharpness of the painting gets less clear as you get farther away. The sculptures that make up the characters are softly combined with the features of the vast landscape. There is a plethora of varied lines that help sort out the wanted and unwanted, just as the shading had done before. The distorted lines that make up the character bowing his near the water creates an unfamiliar and uneasy feeling. The dark formations of rock on the entire right side of the painting are very rough and sharp to indicate the danger of the other side. The bricks to the left side of the painting are more curved to represent the safeness of the platform that the females are standing

But even the men in the white tank tops with more flesh exposed, their hats are fine, and their body language is relaxed and do not portray that of a servant. I noticed the sail and row boats in the distance, the women surrounding the table; laughter, wine and company, and obvious friendship, but maybe also boredom. Was this a pre or post boating trip as the title hints? Was this painting staged, or maybe even a band and live music playing to the side? After closely looking over the portrait, what is most interesting to me is that contrary to the large number of people in the painting, no one’s gazes meet, showing no connections between the people, although most are smiling.

The first similarity within the two paintings was the common theme of children, although their portrayal is drastically different from one another. Within Return from Fishing, the children are placed in the center of the picture, and the scene looks pleasant. A young boy has returned to shore with his father, but none of the characters look exhausted or dirty from spending all day out on the water. Instead, the scene looks natural and idolized. During this time period, fishing was a daily event, and fathers often taught their sons about the family business at a young age. ADD QUOTE ABOUT FAMILY FISHING. In the early 1800’s, Valencia was a small coastal town whose citizens fished for themselves, rather than for the fish auctions. In this painting, Sorolla wanted to capture the simplicity of life, when families caught their own food, instead of buying it at the market. The simple and agrarian lifestyle is absent from the painting And they Still Say Fish are Expensive. Although this scene does display a child, it is no longer an idealized depiction, but instead the young boy was in an accident out on the water. One article described this painting by stating, “The serene, deeply-felt emotion with which Sorolla interprets his fisherman stands in contrast to other major paintings featuring similar scenes and characters” (CITATION). This painting directly contrasts Figure A because it is distressed instead of peaceful. The figures in this painting are front and center, making them the central focus. Also, the viewer is sympathetic at the idea that the youngest member on the boat was injured and not the two older gentlemen. Sorolla painted this scene as a way to critique modernization within Spain. During modernization, the central focus is on youth and how the next generation will