Seeing the Liberation of the Peon by Diego Rivera Essay

The heavenly portrayal of the background and foreground shows a flawless use of space. The distance between the foreground and background was well selected for this piece. This is die to the fact that the two children are not close enough to exaggerate the way they look but they are also not too far away. The distance covered in the background communicates a message of clarity and relaxation that is evident in the children's faces. Two dimensional portrayal of the painting appears to fit the calculated purpose. The

I think what I like the most the murals that he painted I liked how he

The manipulation of perspective was not only significant for symbolic meaning. It was used as a visual tool in order to create the “magic” that the painting is known for. Because the vanishing point is approximately 5 feet from the bottom of the picture, which is practically floor level, this allows for both the top and bottom of the picture to come together and establishes an illusion of an actual structure. While this “created space” within the picture appears to be real, it is actually just one of the

The next art element that is demonstrated in this painting is time and motion. The think strokes of the leaves on the tree make it looks as though a wind is blowing through the streets of France. The pedestrians in the street demonstrate an element of time and motion because they appear to have been caught mid-stride on the way to their destinations. The server in the café, as well as his customers, show motion because they are moving and having conversations amongst themselves.

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.

The painting appears to be three-dimensional but is painted flat or two-dimensional. The painting looks three-dimensional through the use of different techniques by the artist to give off the illusion of depth. Bierstadt overlaps and changes the sizes of the mountain peaks to emit a since of depth to the painting. He uses atmospheric perspective to give the impression of depth through hazy conditions. The wildlife below the mountain is less distinct to make the mountains the vocal point of the painting. The highest mountain peaks are painted lighter and are less distinct to highlight the dense fog and cloud coverage throughout the mountain range. Along with depth, the artist also uses color to express the beauty found in

Claude Monet’s use of the illusionary space in this image is actually quite amazing. At first glance, your eye is drawn towards the left side of the painting, due to the amount of large and bulky objects in the foreground. Suddenly though your eyes turn to Camille; the woman gazing into the distance. As she stares off into the distance she acts a point to redirect the focus of the piece past the water and into the village across the river. This painting has a surprising power in that it is ability to fully mesmerize and captivate the viewer in a way few pieces of art can.

Further more, in the painting, “the Gleaners”, the entire screen is filled with contrast elements. First of all, the main figures in the front labor scene are full of rich vigor, contrasting to the background with silent objects such as hay, trees and farmhouse. Secondly, the color brightness of the front contrast to the back, as well as the comparison of relative sizes between figures and scenery, applying the principle of perspective. What’s more, the most classic is the horizontal line, the intersection of the sky and the ground, contrasting with the light source, from the top left. Consequently, 2D and 3D spatial effects are combined precisely. Meanwhile, the sense of space of the image is strengthened as well.

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

As for the use of space, Hassam creates the illusion that there is three-dimensional space in this work. By making the buildings, trees, and people all appear to grow smaller in the background creates the illusion of a deep space, which in turn allows the painting to feel more realistic. The artist makes all of the objects that are closer up (or larger), to remain the focus because the farther away the other objects appear, the more they become blurred and indecipherable . Often times, this is how our eyes perceive things in reality as well, so this illusion successfully gives the work a more natural, three-dimensional feel.

It shows the environment through the use of trees, grass, and a stream. In the first picture, three major elements discuss nature. These includes the landscape, presence of vegetation, and rivers. In the scenes, the painting shows altitudes through the view of the slope that slants towards the river. Also, through the focus on the objects in which nearer objects are bigger, while the further objects such as the people towards the river are small.

--Space becomes isotropic, rectilinear, abstract, and uniform. With the visual pyramid between view and the painting then another between the painting and the vanishing point, the object of study and the viewer are subjected to Cartesian persepectivialism.

This depth or distance that the beholder of the eye misses as he/she analyzes the action of the 2-dimensional portrait is what’s called the painter’s space. In reality, one of the greatest abilities one’s eyes have is being able to determine depth and distance; small objects are at a far distance and bigger

For some time master artists have devoted time and effort to perfecting the elusive techniques needed to create a realistic picture. Painters of the post-Renaissance moved closer to realism by several methods, one being perspective. To give a picture depth was difficult and required close observation. Finding the horizon line and then relating it to the paint canvas creates a linear perspective, as does proper sizing of objects in relation to each other. Making trees larger in the foreground and smaller in the background gives a sense of space. Using

The first thing I notice in The Starry Night is the sky in the background because it stands out the most. There are many shining stars, the big bright crescent moon and wind swirls painted throughout the blue sky using contrasting colours like orange, yellow and white. Through the swirling wind, thick curve lines are flowing across the sky to form this spiral-like formation. Eleven yellow stars which look like huge fireballs lighten the whole art piece by contrasting with the cool blue, dark night sky that contains a variety of shades of blue and grey. There is also the crescent moon at the top right-hand corner that is bigger and emits an even brighter light compared to the rest of the stars. Next, I notice the giant cypress tree on the left side because of how its proportion is a lot bigger than everything else in the rest of the painting. It blocks out part of the sky and the village located at the bottom. The village houses are tiny and painted in the shade. It is compact and is close to the hills and its surrounding objects which makes the houses blend in and become unnoticeable.