Robert Monet's Misunderstood

In Gustave Caillebotte’s painting, he uses a wide range of colors too, but these are more vibrant. The viewer is enticed to see themselves in the in the painting as there is an empty waiting to be occupied. The method of his

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.

According to Donald Finkel, describing his own speculations help the observer understand his interpretation of the artwork. In light of this, he shares the correlation between the different parts of nature and color in the first stanza by drawing attention to how “the sea is blue”(1). By starting his poem with this reason, repeated twice with other elements of the painting, it conjures the imagery of a chain reaction within creation. The land, sea, and people are linked as one- a commentary on the inclusiveness of nature. In addition to the color blue, a connection is created with the use of similes between the color of the men’s “white faces”, which was “like the snow on Fuji...and the crest of the wave” (3). It is not by mere coincidence that the three main objects in Hokusai’s work are alike in color. Once again, land, sea, and humanity are linked in a triangle, providing balance. Finally, a yellow neutral tone envelops the people, “an earthcolored sky” that is also “the color of their boats”(8, 4-5). Finkel, and the woodblock, are saying that nature is not the tool of humans, but rather that humans are just one part of a larger world that, as the wave shows, can just as easily overwhelm

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.

Claude Monet is one of the most familiar and best loved of all Western artists. His images of poppy fields, poplar trees, water lilies and elegant ladies in blossoming gardens are familiar to people who have never seen the original paintings and may never have visited an art gallery. Monet's works have won a place in the affection of the general public that seems almost without parallel. (Rachman, 4) In the decades since his death in 1926, Monet's work has been intensely studied by a variety of art critics. However, none of his works have been as deeply studied as those done in Giverny, in the early twentieth century. During this time Monet's paintings, which focused on specific subject matter from various viewpoints,

Monet's painting Sunrise displays vivid color, which is commonly used among impressionists. The painting is of the sun rising over the lake, over looking the bay and the boats within. "Sunrise is a patently a seascape; but the painting says more about how one sees than about what one sees. It transcribes the fleeting effects of light and the changing atmosphere of water and air into a tissue of small dots and streaks of color-the elements of pure perception" (Fiero 114). This painting is typical of its style because it captures light at that moment. The sun is rising and its color is projected to everything in its path. Monet seems to capture this

As we all know, color is the voice for the artist 's sentiment. It makes up the appearance of a picture. Color is the decisive factor in depths of the two-dimensional plane of the artwork, making the viewer feel physically and mentally attracted, or the context of things - the phenomenon the author wants to present. Colors have been around for a long time, but there is not a common definition for colors. And perhaps humans are one of the luckiest creatures that can identify colors. Often, the recipient 's eye knows a myriad of colors and colors that always change based on the relationship between light and perspective. In art, color creates a sense of

The uses of actual and visual texture manifest themselves throughout the painting. Actual texture can be found in the thick wooded area in the right of the painting where the top of the woodland canopy is painted in thick brushstrokes. It is also apparent in the sea, where thick, short brushstrokes give the illusion of movement and variations in height of the waves. Although rather elementary, visual texture can be found in the tree in the foreground, where thin, white and black lines give the appearance of volume to the bark of the tree.

In this painting, two visual elements stand out over all the rest. These elements are that of color and texture. Color in art is an element that has to be phenomenal in order to get recognition and true appreciation from the viewers. In this painting, the colors are rich, vivacious and standout as dark, but bold representations of the uniqueness of it all. The use of brown and yellow and green and grey and white all come together in a harmony of color and unity. As for the texture in the painting, it is that of brisk and roughness that is nature. The sharp edges of the bucks rack and the cold, rough edges of the dead tree show

The work is very smooth and fluid making it appear much like a photograph. The oil is not built up on top of itself keeping it very two dimensional. The colors vary between dark and light throughout the painting. In the top right corner, the sun, outside the painting, shining down, aluminates the castle and also the lone tree at the bottom left corner. Besides the back cliff, the rest of the painting is in shadow and displayed in a much more melancholy tone. The colors that Cole focuses on, to display the sharp contrast between rock and nature, are mostly dark greens and gold. The striking blue of the river stands out dramatically from the rest of the colors and draws the eye after the initial citing. The grey in the cloud is the only place where I can find that shade of gray in the work, and it sets itself apart from the snow white clouds in the background. The color helps draw the eye immediately to the castle on the hill. My eyes then fallow the flow of the river down to the tree, which is illuminated by a beam of sunlight.

When I look at the Water Lilly I see a very peaceful place. The light tells me that it’s a sunny place. It is a soft place and I see someone playing there or laying down on the bridge having fun. I see the way he used the different colors in the artwork.

Finally, Color is the last of the visual elements that I found this painting captured. The use of warm colors in the painting allows the image to be welcoming and have a positive disposition on the image. The colors are also relatively softer then what the normal colors would be, the reds are not as rich as red could be, the yellow is not as vibrant as yellow can be. Overall though I found the use of visual elements to be prominent in the painting making the image somewhat more

The colors that are used in Falguiere’s oil painting help to create a mood using an intense earthy color palette with various analogous colors. The analogous colors that are used in the work of art vary between yellow and red, they are more natural to represent colors skin tone and dark clothing and a more idealistic space. The colors have a great intensity with the red being very deep and even the yellows and browns of the flesh are very bright. The bright colors bring focus to the foreground and the darker more muted colors are in the background. This is done by the artist to add focus to the composition. The pattern with color is that the foreground is lighter and brighter so lighter colors are used, with the audience they are more muted

Monet’s two paintings of Charing Cross and The Church of San Giorgio Maggiore by comparison are very similar but furthermore both paintings are also quite different. One similarity is the color palette that Monet chose for the Charing Cross and The Church of San Giorgio Maggiore. There could be a speculation that the palette of colors was similar due to both the paintings being created during the same time era of 1900. But nonetheless the very light and dull colors makes both of the paintings flow together and makes the viewers eyes move throughout both compositions. Even if there is hardly any detail in Charing Cross, the implied lines with the variation of colors makes the viewer form the painting in their mind.

Mondrian placed these colors only according to his own intuition. It is clear that he made some alterations in color and changes are detectable in the rectangles that are filled with somewhat mixed or tinted variations of these colors. The equal amounts of color make it so there are no places to focus. Instead the repeating randomness creates a sense of static and movement within the painting.