Sudden Shower With Shin- Ō Hashi Bridge And Atake

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

Nakamura Hiroshi was a reportage painter in Japan, Nakamura became deeply involved in depicting the protests against US military bases in the mid 1950's. Nakamura sketches the US military base in Tachikawa near in Tokyo which becomes the basis of a large-scale oil painting titled the Sunagawa #5.

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

The artwork is a complex mixture if colors, shapes, and tints. In the painting, there are eight figures. Seven that is to the center and left of the painting and one on the right. The seven persons on the left are all either touching each other or interlocked with someone. Of that seven, six are men and one is a female. There is a man in

Black, white, and gray is the foam of a crashed wave along a California beach. While the birds-eye-view of the shoot gives us a portion of the beached tide a line of white foam dangles from the bottom of the top border. There the homecoming of the beached wave is met with a wall of resistance from a smaller salty surge. Meanwhile, the water retreats back to its endless body as it curls around protrusions of shell and rock. Mid photo, water spreads itself out on the dry sand making it stained with darker gray and soggy. At the bottom a dark shadow casts itself parallel to the bottom border.

As a formal analysis, this artwork has a figure in the center of the page, which can be assumed to be the focal point due to its positioning in the center of the picture plane. Also, this artwork is monochromatic, and the only color used is the hue green. Towards the top left-hand corner, there are darker shades of green, which make this part seem to be in front of the rest of the picture by using overlapping to convey depth. Also, towards the right side of the picture, the people seem lighter and appear farther away than the dark shaded buildings Additionally, since the figure in the center of the work is larger and more detailed than the other figures, it appears that the center figure is closer to the viewer.

1. The image is a painting of Chaudiere Falls in the late 19th century by Cornelius Krieghoff. In the foreground you can see a cropping of rock overlooking water at the edge of the falls with a small section of plants at the side of the image that has deep red flowers at the top. In the middle ground a bright red plant is shown in a small island of rocks, and the beginning of the falls shown with its turbulent waters. The background is the most spectacular with its sunset with blue, red and yellow in the sky whilst the ground is barely seen with just a resemblance of trees and land in the distance.

It is estimated that 5000-8000 prints were made during this process, which makes it very valuable. Although prints were one cheap, prints are actually very valuable now. In the print, it is shown that there is a mountain in the background, behind the wave. Which is kinda the whole point of the painting, “the great wave off Kanagawa”. In the print, it shows a wave, but this wave is not a tsunami but called things like “freak wave” or “monster wave”, which makes it nonetheless deadly. In the print, it is shown that there are boats trying to fight the wave, which is confused to be Japanese inspired but that's just its style. It's funny because Japanese politicians don't even view it as Japanese art, which is mostly why Hokusai considered it a failure. Japan even delayed this artwork from being catching on worldwide.

The first piece, “A Choppy Estuary,” created by Hulk Abraham, was created with the use of wet media, this one being painted with oil paints. The picture consists of four ships, clouds, and some people on nearby land. It uses various colors, with major focus on various reds and blues, to place emphasis on the ship on the front right of the piece.

The fishhooks from far away look like waves done in oil, but once you stand close to the painting you can see the texture of the fish hooks are actually creating the waves. The tactile quality of the fishhooks creates a sense of implied lines as well. When looking at the image of the ocean, the brain sees the curved lines of the waves, but there are actually no lines there just fish hooks. Isla also presented atmospheric perspective because the image looks like the sea goes on for miles and miles. Also, there is a vanishing point where the horizon meets the sea, alluding to the illusion of depth. The complementary colors of the sea, green with the black, creates a picture of a chaotic ocean rather than a calm

The first thing I noticed is a young two to four years old white boy on the right side of the painting. His left arm is around a male lion, and his right hand is holding a stick with some blue berries that resemble like grapes. At his right food is female lion and lamb laying on grass. Behind the lioness and the lamb is a hollow trunk of half a tree with yellow tree, a vine with the blue grape-like berries, green bushes, and hill that has orange tree and hollow tree trunk. On the boy’s left side is a white goat with black spots and leopard laying down on the dirt ground. Behind the male lion is a

I can see the water is three dimensional and recognize a realistic plate and a sheet of paper from the use of shades to describe their features. There are some confusions for me because of Letinsky's use of shadow. Some objects have shadow and some do not. Those with shadows have different angles showing that these objects shouldn’t be in the same place they are placed in. I have difficulties determining from where certain objects are flat and realistic. Since the whole artwork is filled with a grayish background and the right side of the artwork is a blank space with its shadow, the left side of the artwork is emphasized. Moreover, it highlights the yellowish-red pears which then draws the audience’s eyes to the spilling water nearby them due to their flatness compared to the water. This is only my opinion from my perception of the artwork. If another person viewed it, he or she, even possibly for Letinsky, to comment

Traditional ukiyo-e prints showed images from the pleasure districts of the urban cities like Edo. The images were of the beautiful courtesan (bijinga) and famous kabuki actors of the theater district. Similar to magazine of today, ukiyo-e prints during the Edo period provide fashion and culture tips to the wives of wealthy merchant and samurai families. They were also used for advertising and commerce. During the late Edo period a successful effort to bring landscape woodblock print into the world of ukiyo-e was made by Hokusai and Hiroshige. The Luther W. Brady Art Gallery is hosting an exhibit of first edition woodblock prints designed by Ando Hiroshige (1797-1858). The exhibit, Along the Eastern Road: Hiroshige’s Fifty-Three Stations of the Tokaido was organized by the Reading Public Museum and will be at the Brady Gallery until December

Almost instantaneously recognizable, The Great Wave off Kanagawa (woodblock, 10 1/8 x 14 15/16 in, c. 1830-32), created by Japanese artist Katsushika Hokusai in 1830, beautifully captures the graceful, swelling movement of a crashing tsunami. Because of the way in which line and proportion are utilized, this woodblock print gracefully portrays the sheer power of the ocean. Derived from the Edo period in nineteenth century Japan, this classic was the first of a series of works from Hokusai titled Thirty-six views of Mount Fuji, all of which effortlessly depict the mountain in a wide array of angles and scenery. Arguably, The Great Wave off Kanagawa is the most iconic and cherished piece of Japanese artwork in the world. Even more importantly, Hokusai is considered prominent father figure for both Japanese art, as well as Western modernization as a whole. The Great Wave truly displays how tiny and weak man is compared to the force of nature. Not only is The Great Wave a quintessential piece of art, but it established a piece in the comprehensive networks of art, trade, and politics, that has instilled a tremendous positive impact on the twenty first century.

Claude-Joseph Vernet made a painting that brings your attention to the foreground. In the front, there is a boat being boarded. Some of the people that are not boarding the boat are standing by the sea. In the sea, some boats are sailing off in the distance. One of the boats in the distance is a large boat that gives the illusion of being three-dimensional. The form gives this illusion because of the reflection in the sea. If you look in the lower-right, you can see the light from the sun illuminating the sky. This light is hidden behind a large mountain that also has a three-dimensional form. There is also lots of texture in the painting. Some texture is seen in the mountains and ground giving a rough look, and some is seen in the sea in the form of ripples. On top of the mountain in the lower-right, there is greenery that has an illusion of being light and feathery. In that mountain, there is an arch that makes the other side visible. In the far distance, you can see a faint