Scraping A Deerskin

Tanner uses the impasto technique, thickly applying the oil paint on the canvas. His brushstrokes are not hidden or smoothed away, they are visible, adding another dimension to the painting. The paint is the thickest on the folds of the fabrics, the blankets and the girl’s clothes giving the appearance of the fabrics a certain weight. Unlike the curving brushstrokes of the fabrics, Tanner seems to use extremely small or

The Roe Deer at a Stream shows a scene with a great measure of greenery such as the trees, grass, and bushes. Along the middle there is a stream with running water that goes into the left side of the painting. There are two deer in the stream and a third one is beside the stream on the grass. There are many trees that reveal a cloudy sky towards the top of the artwork. On the right side of the piece there is a cliff that is a reddish-brown which is different from the green tones that are on most of the artwork. The painting is very detailed in texture and value as seen on the hill in the background and the shading of the rock which gives it a realistic feel. Overall, the tones of the painting are earthy colors due to it being a nature scene.

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.

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

Pieter Brueghel's painting tricks the observer. The viewer is first drawn left, where a red-shirted farmer and his horse, plowing a hill, descend into shadows. The eyes then wander

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

Slacks and Calluses follows the story of two school teachers, Constance Bowman and Clara Marie Allen in San Diego in the summer of 1943. Constance Bowman was a journalist and a high school English teacher while Clara Marie Allen was a high school art teacher. To help for the war, they spent their entire summer vacation building bombers in a bomber factory. The book revealed a lot of information regarding the social class in the lives of women. There is enough evidence in the book to show that it does not support the idea that the country embraced the idea of women leaving the home to work in a factory to help with war efforts. The women in Slacks and Calluses mostly worked at the factories because they didn’t have many other opportunities.

The challenge of the task took over the need to make new work or simply utilitarian work. It became her focal point of all her pottery work and effort. The work was an old style. One more labor intensive and eventually discarded. As with many other art forms, the original format is often considered less effective because it produces fewer actual pieces or the intended art. In reality, the tenacious effort applied in careful traditional processes allows the soul of the artist to infuse the artwork with the true intended meaning. It has been termed, ? black on Black? work. (Peterson 23)

The medium used for this work of art is oil. In this technique the oil acts as a binder and causes a quick drying layer that can built upon. The formal elements of a painting include line, color, space, light, texture and pattern. The line appears to be an implied line in which the work creates directional movements from top to bottom. But also forces the viewer to see how the figures stand out and there importance in the painting. The color shows a subtle spectrum with a detailed background from the skies to the mountains to the artist table canvas. The light is somewhat even throughout the painting showing emphasis on every figure holding something in their hands; and more so the final product of the artist that are being captured on the canvas. The visual texture of the painting appears to be smooth and the pattern is decorative and somewhat vibrant. The principle of unity and variety are evident in this painting, the design itself shows a sense of community of important figures throughout African American history. I was drawn to this piece because it embodied the heritage of African American art through history. This painting by Hale Woodruff displays many of the significant contributions that African Americans made to the world of Art. Not necessarily “picture art” but all realms of life art: cooking, liberal arts, politics, labor, law and many more through his vibrant

The brush that felt glazed with the abundant horde of a thousand corn leaves rusting from left to right stroked the blank canvas with an orange that reminds me of the Arizonan sunset. Another stroke and the background color of the canvas caught no sign of white. The neutral vibrancy of the painting that was the color of a broad lion was complete and was set for the next coat of paint.

When people look at the “American Gothic” photo painted by Grant Wood they may see a resemblance to the “American Gothic” photograph captured by Gordon Parks. Both images have someone holding something in their hand. In the painting a man is holding a pitchfork, and in the photograph Ella Watson is holding a broom and a

He recounts a story of a pistol falling into a paint tray, and the client improperly cleaning the grips. Upon the author inspecting the grips, he found the paint to be solid dry. To make things worse, the client wrapped the grips in tissue paper that was still adhered in some spots. The author determined that the checkering wasn't a total loss, and accepted the job. The first step of the process was submerging the grips in boiled linseed oil for 24 hours. After that, he cleaned them with a common nylon brush. While not all the paint came off, a good amount did. To remove the remaining materials, he re soaked the parts in the linseed oil. At every hour, he would remove them for another brushing. Once there were minute traces, he used a single line cutting tool (the go-to for recheckering) to enhance the design, and clean it

Therefore, the art production in the Low Countries values realistic, domestic, straightforward approach, as well as devotion to the detail of everyday life as we can observe in the domestic scene of A Kitchen. As the seventeenth-century Dutch painters tries to create a convincing illusion of naturalness, the overall realism in the painting is result of the usage of houding (literally, “bearing” or “attitude”) technique, which means balancing of colors and tones to position elements convincingly in a pictorial space. As a rule, bright colors tend to come forward (especially warm ones, such as red and yellow), as do sharp tonal contrasts (Freedberg & de Vries, p.

Also, I like to expand my vocabulary, especially of the materials that I use. In terms of media vocabulary, I'm constantly looking for anything that has that connection to human hands in a meaningful way. He has developed several different techniques to create various different artforms, but he has majorly used 3 techniques in creating the Earth’s skin Crumpled, Designer One and Plain. In these techniques he separates the bottle caps metal, the thread and crumples them and sewing them all together with gold thread. The bottle caps used are linked to liquor, which has historical associations, since hard drinks played a prominent role in the earliest contact between Africa and Europe. The caps used are all from local brands of liquor and the act of stitching them into sheets like melding the different circumstances of these continents together into an indeterminate form. The distillers recycle bottles and caps are more or less by-products of this process. The distilleries discard

The Wheatfield with crows was painted onto a double square canvas that Vincent had started using in the last few weeks of his life. The painting depicts a cloudy sky over a empty wheat field except for a few black crowes. The wheat field is split by a dirt foot path that forks into three directions with green grass running down both sides of the path. In the sky there are two light blue circles that resemble a moon. The wheat in the field is a golden yellow which contrasts with the dark blue sky that uses a mixture of black, purple and blue. The green grass has been mixed with the yellow of the wheat to create lime green and the dirt path uses a mix of brown and light green. The brush strokes are clearly visible and have not consistent paint thickness no small details are made. The painting is set drawing the day but the sky is darkened by the stormy weather. Vincent talks about some paintings in a letter a the time of this painting “vast fields of wheat under troubled skies”(1). Black crows fly in from the distance from the top left corner and across the centre of the painting.