The Importance Of The Color 's Use

Upon entering the museum I was bombarded by this 12 x 45 ft. architectural painting. Almost resembling the museum building itself. With sharp horizontal and verticals lines, this multi colored piece reminded me of our last piece from project 8. Using a variety of colors with no obvious correlation, the clash of colors instantly made me reflect on how I could improve future and previous projects alike. The amount of straight lines in different lengths and widths, also reminded me of our piece from project 1. With no curves and lines going every which way, its amazing how a piece made entirely of lines with no figures could be so captivating.

There are many artist’s who can make an impact with how they convey their work. An artist who conveys his work with elegance, is Tom Killian. He is a local artist from California, and went to the University of Santa Cruz California. Living in California was going to shape his perspective on the world forever, specifically on how he depicted his work. In a work of art of his itled, Monterey Bay from Santa Cruz Pogonip. The work of arts creation came to be in 2002. The process in creating this piece was intricate, it was created from a wooden stamp press, the presses used are hand carved into wood and linoleum blocks. For each of the colors used in the piece, a new block has to be created to ensure that the colors doesn’t blend in ways the

Stone City by Grant Wood was created in 1930 by using oil on wood panel. This painting illustrates a lot of visual elements and principles of design which are important components of an artist’s work. Visual elements and principles of design help draw the viewer’s eyes to certain aspects of the painting and they tell the story of what the artist is trying to convey. This analysis will highlight the visual elements and principles of design that are present in Grant Wood’s Stone City.

Artists tell stories through their canvas, stories that cannot be told by words, stories that can only be painted. One will interpret the meaning of an artwork base on their own preference and palate. Similarly, artists also painted out their own taste of beauty and present them out for viewers to contemplate and construe as they desire. “Skyline” by Charles Sheeler and “Yellow Room” by Fairfield Porter in the Wichita Art Museum are two particular artworks that have their own voices hidden under the combination of line, shape, and space. The two works utilize the elements of form harmoniously to deliver the perfect balance and unity. At the same time, the use color and their representation are what differentiate the two pieces from each

The palette used by Lievens is extraordinarily bright, colorful painting. It is an extremely detailed painting, some of which comes from the painterly technique used in the brushwork, and there are visible brush strokes that add to the details of the painting. In the museum, the piece was hanging where the viewer’s eye level is approximately in the middle of the painting.

To the viewer, this work does not appear vivid or aggressively bold, for Marin’s use of gray and black hues compose the majority of the background and bridge foreground. However, even though the most dominate color is gray, it is not the first noticed by the viewer, for the small sized, vivid hues in the near center background of the painting initially capture the eye. The four intense colors of blue, yellow, purple, and red pop against the monotone city and structural surroundings. These colors instantly give the painting a rush of energy, standing out in the work and drawing the attention of the eye. The darker, black colors of the foreground bridge is proportionately balanced by the brighter colors in the background, contributing to a feel of color balance and evenness. All of the colors are also very saturated and deep, for none are too “light” or unable to be seen, except for a few gray tones, helping to achieve dimensionality and variation. Considering that Marin’s work is overwhelmingly dominated by cool hues, the audience could infer that this painting would possess a soothing, calm feeling, which opposes the thesis analysis. Conversely, through the small use and implementation of these four vivid hues, the feeling of this work is changed in its entirety. Instead of a serene “cool” feel, the painting emits a blast of speed and energy,

Some building are meant to have a great façade and just show how and intricate design can stand up on it s own, but while the Perez Art Museum has great façade and has a very interesting design, its serves to much more than that. The PAMM is not only a Museum that shows all types of vintage and contemporary artworks, but in addition it works as an education center for kids, as screenings and presentations to an outdoor area for visitors to hang out and enjoy the views that Miami has to offer. All these variation of spaces are achieved thanks to numerous factors for example the interchangeable galleries that creates different moments for the visitors, the relationship between the site and the building itself, a canopy that wraps around the whole the building creating a porch with shade for people to enjoy the views, an auditorium with dual functionality, and third floor for offices and educational centers with an amazing view to the bay. All these components generate social

The site of the monument is open to where anyone can contemplate it. Being out in the open the bystander can visually see that the work is tied to the building. The work is painted onto a building without disturbing any of its architectural qualities. Because of its location the building forms a climax to the street. It is seen as the most intense building for the reason that there are no other buildings placed next to it with such art. When a viewer examines the monument it is better to observe it from a far to visually see how different it is from the other buildings. The colors of this monument are lighter and more intense than the other building. This monument encourages viewers to look at it as it stands there in a large open space. Viewers would congregate when they encounter this monument because of the parking lot that it’s located on. It stands out to the drivers leading them to the parking lot where it presents its dominant viewpoint. The monument only presents one dominant viewpoint all other viewpoints will display the same composition.

As you immediately enter the exhibit, the canvas that represents a beautiful sunset is the first image you lay your eyes upon. From a distance, “the monumental color field evokes the seamless gradations of L.A.’s evening skies” (Blue Burning). Despite the simplicity of the artwork itself, the colors and their layering capture you. The sky blue acrylic paint fills the top one- third of the canvas. This gives way to a mixed shade of gold and yellow, which becomes darker and darker until it gives way to a shade of orange. The presence of orange is minimal. It quickly darkens into total blackness marking the end of the painting. Norman Zammitt’s painting, entitled “Blue Burning,” gives this initial sentiment that it was simple

As I looked further into Leo Villareal’s work, I found that he is “known internationally for his light sculptures and site specific architectural works.” Although “The Bay Lights” only show one color, it is fascinating to spot similarities between “Crystal Universe” in how both show the color white. The color white is always thought about something clean and pure. Villarreal has the ability to show purity through this artwork because when I personally have passed this bridge, I felt a sense of peace and safeness. Where in “Crystal Universe” I also felt peace when the initial color is

I will use this newly acquired information to view everyday items differently, to see the beauty behind plain brick walls. I will take in Merrill’s way of thinking to ask myself, “What was learned?” each time I have completed an artwork. This will improve my future techniques and widen my range of perceptions and thoughts. I believe that Michael Merrill was successful in reaching his goal. He wanted to focus on viewing objects in a different way and using light sources to differentiate colour and contrast from night and day. I was unbelievably fascinated with Merrill’s way of thinking, as it showed me that there is more than one way to view an object. He so eloquently explained his opinion on his apartment complex that it made me realize that no two people in the world see something the same way. I would consider the building to be not worth of my time to paint, yet Merrill demonstrates his capabilities in a piece of art that I would consider incredible. All of Merrill’s artworks are so perfectly done, from every crisp edge, to the shadows, to the

On the contrary, German architect Gottfried Semper studied architecture in Paris. He was heavily influenced by the debate of polychromy in classical antiquity, which was a challenge to the aesthetic tenets of classicism. This had ultimately leaded to the collapse of the view that most classical structures are “white”. Like Soane, Semper also went on the Grand Tour as a mode of architectural education. This trip turns out to be momentous for his artistic development. As he took detail drawings painted structures along the way as seen in figure 2. Later, Semper published his influential “Preliminary Remarks on Polychrome Architecture and Sculpture in Antiquity” in which Semper suggests colour becomes the way in which the meaning of the building was articulated. His findings reinforces the argument that great periods of arts have always exploited color and the insensitivity to polychromy was at heart a prejustice fostered by out model aesthetics of Neo-Classism. Semper’s application of the theory can be seen in the sketch of the Art History Museum facade in Vienna showed in figure 3. It is a prefect case of how Semper tries to apply colours in his design. Therefore it can be see that right from the start, Soane and Semper was destined to be different in architecture style.

Exhibitions are a wonderful way to view and explore art and its many elements. Such exhibitions are traditionally in a gallery, but more and more have become showcased online. Regardless of how the viewer experiences the exhibition, the art usually has either a theme or central ideas that bring the pieces together. Frank Lloyd Wright is a man who created many architectural pieces in his life that were displayed in several exhibitions. One such online exhibition is “Frank Lloyd Wright: From Within Outward.” In this exhibition Wright uses a central idea of creating from the inner elements of design to the outer elements. His architectural pieces visually resemble this idea and are usually accompanied by a description providing even further support. This accompanying text is not always available when looking at exhibitions displayed physically. While there is this contrast of physical and online displays, neither type of exhibition is hindered to the overall purpose of displaying art around a central theme.

The book consists of twelve chapters that propose this idea that designers should explore the nature of our senses’ response to the spatial built forms that people invest their time in. It tries to cover a specific topic in each chapter that in order to deconstruct the book, it is necessary to cover each chapter individually.

What remains the significance of color in art? Could it be the disposition and feelings it provokes to the viewer, the distinguishing factor in the meaning of a piece? Maybe color is used in the association of simply shadow work, used only in technical terms to create value and the curvature of a three dimensional illusion? Or maybe the use of color in artwork appears as simple as how one learned the use in childhood, gender identification: blue means male and pink means female. True, artists select colors to produce a certain mood or atmosphere; to create space, light, and shadow, however, in regards to the artist Cindy Sherman, color is used profoundly in gender roles and symbolism. Representation and hidden meanings found within artwork is not a new concept by far, artist have been using such method for centuries. Nonetheless, the unique and slightly nightmarish way the contemporary artist Cindy Sherman uses color in representational ways brings about a new light to a familiar technique. Cindy Sherman, an American artist born in 1954, is extensively acknowledged as one of the most prominent artist in contemporary art. During her career, Sherman has extensively used the infinite surplus of images from movies and television, the internet, magazines, as well as art history, to create a massive collection of confrontational artwork. In many of her pieces she has discovered the manufacture of contemporary identity as well as the significance of representation, especially in