Summary Of Mt. Hood, Oregon By Albert Bierstadt

The Oxbow is done in a very large scale, giving the viewer a sense of actually being in the landscape and increasing its affect. The 4’ 3 ½” x 6’4” size of the painting gives it a sense of life and its size pulls you into the drama that is The Oxbow and allows every minute detail within the painting to be seen. The proportions of this painting are all pretty accurate and give the work its naturalistic quality.

The painting depicts a singular mountain with trees and abstract landmasses in the foreground. The trees are placed in such a way that they seem to echo the shape of the mountain. This is an example of Cézanne’s attempt to created a structured composition out of the scenes that he observes in nature. Cézanne was not depicting nature as it was, but rather he was, as he called it, making “a construction after nature” (Stokstad,1013). This is one idea that lead Cézanne away from the impressionists, who were more concerned with reproducing on canvas exactly what their eyes perceived. Another thing that was different between Cézanne’s style and the impressionists’ was the way that he applied paint to the canvas. For example, in this painting, the trees and land in the foreground are loosely painted in; their forms are created by an amalgamation of colored blotches. The blotches of color often bleed into each other, and the forms that they represent begin to dissolve. The image is flattened by the ambiguous forms in several spot in this painting, creating a disruption in the illusionistic space and bring the viewer’s focus on the inherently flat surface of the painting. The most effective technique that Cézanne employs in his attempt at depicting space in this painting is atmospheric perspective. Coloring the mountain with the same shades of blue

There are times in our lives in which certain events change a part of us, either emotionally, physically or mentally. In our own meaningful way, we have a storm like O’Conner, in which we go through an impactful change.

Later in the years with his painting “Copper Hills” he started to drop small details and added different hill, a house, a water tower, and a train but with dull colors. However, it is not a distraction to the main hill for the viewers.

On Saturday, November 4th, I visited the Denver Art Museum in Denver, Colorado. The piece of art I decided to write about is called “A Mountain Symphony (Longs Peak, Rocky Mountain National Park, Colorado)” This two-dimensional oil on canvas painting was completed in America in 1927 by Sven Birger Sandzén. This painting has not been on public view since 1927 and is located in the Denver Art Museum in Denver, Colorado. It was a “Free Day” at the museum, so I decided to attend by myself. I was unable to get a picture of myself in front of the work of art I decided to write about, but I did get several pictures of the artwork and a picture of myself with the “Free Day” sticker. I decided to write about this work of art because it was the only piece in the museum that really stood out to me and really caught my attention. A Mountain Symphony is a lively, beautiful landscape painting with a vibrant pallet filled with luminosity and broad brushstrokes. The sculptural quality of the paint surface reflect the influence of turn-of-the century modernist techniques. The balance of color and light brings happiness and joy to the viewer.

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

Imagine a single event that can kill 57 people and 7000 deer and elk. Snap trees like a toothpick, and turn the sky grey for 15 days. Now, stop imagining, Mount St. Helens, in the Cascade Range of southwestern Washington State, erupted. On May 18th,1980. According to (Campbell 371), “At least $1 billion in economic damage was reported”. The eruption of Mount St. Helens took many lives, and devastated America. Mount St. Helens destroyed more than 230 square miles of ancient forest.

I decided for my project that I would spend the time researching Mount Baker. Mount Baker is located about 30 miles east of Bellingham, Washington. The Cascade Mountain range extends over 140 miles between Seattle, Washington and Vancouver, Canada. Mount Baker is a Stratovolcano, which is also known as a composite volcano, it is also the highest peak in the North Cascades and the fifth highest in the Cascade mountain range (Volcano Hazards Programs). Cities located near Mount Baker include Abbotsford, British Columbia and Bellingham, Washington. The closest stream to the mountain is the Nooksack River which runs near the west side of the mountain. On the southwest side of the mountain is Baker Lake. I chose this area because it is a very

The third painting from the Impressionist era is that of artist Joseph Mallord William Turner (British, 1775–1851). Turner’s “The Lake of Zug”, 1843 is a beautiful portrait painted in watercolor over graphite that were sketched based from Turner’s trip to the Swiss Alps. The color contrast is beautiful, the sight of the sun setting behind the mountains signifying the end of one day and the encouragement of another. The sun shines on the lake, with basking glows that illuminate the people and the surrounding mountings. This portrait fits the company image, because it shows that there is a beacon of light that still shines and brighten things around them. The

The painting by Albert Bierstadt “Rocky Mountain, Lander’s Peak” is truly magnificent. Its high horizon line portrays a wide, vast piece of land containing a Native American village besides a lake, sitting below the mountains in the background. The atmospheric perspective is present here with the mountains being painted lighter, and not as detailed, than the rest of the painting. There is a pretty prominent presence of a one point perspective, with the vanishing point being the light, oasis-looking, waterfall in the distance. The colors vibrancy are dependent on the clouds in the sky, being it is clearly not a bright and sunny day, giving a more realistic feel to the whole composition. The focus point, the waterfall, is painted with bright

On May 18th, 1980 one of the worst volcanic eruptions occurred in the United States. Triggered by an earthquake, Mount St. Helens erupted in Washington State at 8:39am. According to the National Oceanic and Atmospheric Administration, it was "the deadliest and most economically destructive event in the history of the United States." There were many effects from this terrible, natural event. People, animals, and the environment were all effected.

In the years from 1860 to 1870, many prominent artists all made contributions, especially in Realism. Realists from the Hudson River School painted detailed pictures of Western landscapes and vistas. One artist in particular is Albert Bierstadt. Bierstadt painted many oil-based pieces based on his experiences crossing through the Rocky Mountains. The Domes of Yosemite, was painted in 1867 and was one of Bierstadt?s finest accomplishments (Wilmerding 127).

In the painting North Shore Lake Superior by Lawren S. Harris which is located in the Tom Thompson Gallery in the AGO, line and colour relationships bring about a sense of harmony and contrast throughout the piece as well as the feeling of peacefulness. When the viewer witnesses the landscape, the composition exemplifies a scene of a beach in the winter with its many blue tones. The work of art resembles a beach with a cool atmosphere incorporating mostly blue, grey, and white. In the foreground, there is a tree trunk at the shore of the ocean which is centered and surrounded by many stones. The trunk has no texture due to the abstraction of its form; no detailed lines are present and the solid vertical strips of dark colours simplify the structure. There is an evident presence of light as indicated by the diagonal lines that descend from the top left hand corner of the painting. The lines illustrate dynamic movement of the sun beams as they collide with the contour of the freestanding form. The combination of elements, such as line and colour, bring about harmony as well as evoke a sense of tranquility.

Hill painted a perfect looking scenery which made it realistic as if a real scenery picture was taken with an advanced technology. Hill applied a wide range of vivid colors to help enhance this piece more. If I was to visit a senior citizen home and had to depict this painting to a blind fe/male. I would start off by saying firstly, my attention was drawn towards the upper atmosphere’s bright blue color which reflected from the large body of water underneath it. Which is often associated with feelings of breaths slowing down and when one reaches a certain state of relaxation. Secondly, by imagining one mashing a pillow against their palms I was able to feel the fluffiness of what floats in the sky. In order to picture, the way the sizes and shapes change I would compare it to when one

“Under”). One could mistake that the focal point is the little figure under the birch tree who is a priest. However, the main point in this landscape is all about the birches. The reason why one could say so is because of all the visual elements such as: the birches are in the middle of the painting; they are also the most lighted objects in the painting (light is shining in the form of an oval) (National Gallery). Due to the levels of lightning one can see that the picture is divided into three horizontal parts: the top (dark, but not as dark as the bottom of the painting); the middle is the lightest; and the bottom is the darkest. This means that he used what he learned about the Dutch style and mixed it with his personal style thus we have a whole new way of seeing his point of view.