Skecthing Gustave Calliebotte’s Paris Street; Rainy Day Essay example

What first catches the viewer 's eyes are the vivid colors used in the painting. Ultimately what jumps out the most is the man on the right 's red robe. The artist intended this for a reason, discussed later. The room where the men are standing is front lit. Also the atmosphere is

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

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

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.

     When I look at the texture of the painting, I do get a true sense of a wood floor, a wooden bed frame and a piece of fabric hanging from a nail. I think he might have used different techniques for creating various textures in the room. I think the floorboards are of multiple layers of paint, as to create the tones of the wood. I think that the bed frame, however, is just a single layer of paint, almost thin in nature. The texture of the glass in the window gives you a sense that there is an actual surface to the glass. His use of texture gives me a sense that I can walk right into this room.

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.

because of the odd position of his body and feet - it looks as if he

This painting appears to take place either at either dusk or dawn, when the sun is at the horizon. Likely it is dusk, as the setting appears to be in the Northern Hemisphere and the snow in the picture residing on the left hand side of fence would suggest it has yet to melt, so the sun would be setting in the west, or on the right. So the viewer, as well as the subject, is facing south. This affects the painting in several ways. The lighting is very dramatic, the middle ground being very much more lighted than the foreground and background, therefore the colors are more saturated than the foreground and background. Greens, browns and greys are used a lot in this piece and makes it very muddy. The house really does stand out against the painting because of the contrast of lighting.

The piece is actually a home that was initially supposed to just have a view of a water fall. However he went above and beyond that and put house on top of the water fall . He created it this way so that the sound of the water became a very significant part of the Kaufmann family whom he created the beautiful home for. The location which the house was constructed is beautiful I would love to do work in such a beautiful place. The best part of the piece for me was that it can be lived in. It’s not just a painting that can be looked at but pieces that you can hear, see, touch, feel and live within. Both inside and outside is beautiful on the outer part of the house he used rocks that are in the surrounding of those to create unity between nature and the house. He had a very great sense for texture and materials that were native to the surroundings. He was very careful about building this house and didn’t harm the environment it is interesting because the house looks like he built around trees because you can see trees between walls. His caution and love of nature was shown through the piece that gives it a great meaning and. The inside the house his artistic genius his most defiantly shown. The House has a open plan and the rooms pour into each other. This shows his willingness to take risk because this was not a very used or popular technique used in the

The artist used vertical perspective, overlapping, diminishing size, and atmospheric perspective to achieve the perceptual style. The vertical perspective means that the foreground is at the bottom of the painting, and middle ground is in the middle, and the background is on the top. In this painting, the carriage is the closest to the audience, so it is located on the bottom. The mountain is the farthest, so it is on the top. Meanwhile, the artist made objects overlap with each other to creates an illusion of near and far. The trees on the left side of this painting overlaps with the houses in the back. Thus, the audiences can feel that the trees are nearer than house. At the same time, when the tree overlaps with the houses, which also create an illusion to the audiences that the trees are in the front of the house. The author also used diminishing size to illustrate the distant between the objects on this work and the observer. Diminishing size means that objects come smaller as they go farther away. In the painting, the horses are much “bigger” than the kids. It does not mean that the horses are literally much bigger but means that the horses are closer to the audience. Atmospheric perspective means that the objects in the foreground is clear and crisp, and the things in the background is less clarity, and become hazy. In this painting, the color is vibrant in the foreground, and the color becomes bluish-gray in the background. The mountain looks vague, and the horses and the houses are really clear. The artist used all those methods to create the illusion of space and depth and used space and depth to create

It’s pouring down outside. The quiet old blocks are penetrated with musky November fogs. Two or three pedestrians dart out of the FamilyMart (a convenience store) at the corner, and perhaps because of the dark sky and muddy roads, they do not have any relaxed expression on their faces. I can sense their impatience and indifference as they pass me by face to face, though I stand in a relatively distinguishable

In 1898 Henri Rousseau painted The Eiffel Tower, and during this time the Eiffel Tower had been opened for just about about ten years so it was still fairly new. The painting features the Seine River and the Eiffel tower perfectly aligned to create a beautiful scenery. In this particular painting he was inspired by both the Eiffel Tower and the Seine River, but in reality, these two attractions never align how Rousseau portrays them. This shows how, like in many of his paintings, Rousseau toyed with the

Another main focal point in this canvas was subject matter. This is where the objects or events are described. The artist gives us different objects such as the old couple seems displayed as depressing. Or you can observe it as normal couple, walking across the river, enjoying the night. He also gives us a boat which could possibly be giving us a correlation because the boat looks like it’s broken or about to sink. There is also another interpretation with the object that Van Gogh displays which is, the stars. Depending upon which way you want to take it, they look like flowers or fireworks. Also, there is a sense of false appearance with the houses. If you stare at just the bank you will notice that it is just a bunch of bright lights but if you pay attention to the water close to the bank, you will acknowledge the darkness or shadow of the houses.

It shows the true beauty of a landscape painting with numerous formal elements and principles of design. The painting is appealing to me because I have always been engaged outside working on our farm, or hunting with my brother. Knowing the importance a road make for my family when we move are goods to the local grain elevator. This panting is similar in that regard because it involves the working class on a winding road. Their dependence on the road to move goods and obtain food from place to place. Brueghel's painting still hold true today because people depend on roads for interaction and movement of goods. When gazing at the painting, I can see myself stuck in time; performing the different tasks alongside the road. When I first saw the painting compared to now, I would say that my response to the panting has changed. At first glance you see a typical landscape; however, when analyzing the painting you can find the true meaning of human interactions.

You could almost breathe in the hot dust swirling in the air just by looking at the painting. The buildings on both sides of the painting are all the same, camel-colored and with wooden hatched windows which continue down to the horizon along with the cramped alleyway. They resemble modern Ashburn townhouses; they may be only four stories and are quite small in width. Unlike the cookie cutter houses in Ashburn, after closer examination, I could see the intricate details like variations of dangerous dips, cut outs, artful arches, crest moldings, and high windows that look out into the forgotten city street. The shadows Pierron uses sheds light on these unique characteristics of the buildings and displays the casual beauty people in the city may take for granted. Small, scattered groups of people seem to be chattering about their affairs or businesses and the paved path is still visible under a small