The Works Of Kazimir Malevich

In Berthe Morisot’s painting, she uses colors ranging from blue to green to yellow to orange. She uses paint thinly but in big brush stroke but her color was dull. Her brush strokes are in a cross hatching manner. This method of cross hatching creates depth and shadows on the foreground. Intermixed, in her piece are signs of dry brush strokes. Morisot’s figure is enticing to the viewer by staring back at the onlooker. Morisot’s painting looks very freeing as that is what she longs for. She has a sketch like quality about her painting.

A lucent crescent of the moon is seen on the top right hand corner of the painting where dramatic contours and fluidity of the brushworks are seen due to the Japonisme influences. Moreover, the eleven stars and the rolling hills are depicted moving to the momentum of the swirling sky.

All the elements in the painting implies the trouble of the depression and the drought stark the farmers very hard. The painting depicts the abundant farm due to the drought that was symbolized by the sands, the extra skinny cow is about to die from thirst,

Thus, the painting demonstrates an idealized view of the beginning of society through the formations of religion, logic, trade, and a human’s creation of their own fate. This theme can be seen

The painting by Frans Hals symbolizes the wealth of which the baby comes from and the prosperous pride of fertility. It portrays the lifestyle and the type of emotion people had when families arose. With the use of tenebrism the artist uses heavy darkness and shadow to illuminate the focus

Groseclose focuses on studying the artwork’s use of lighting and the identity of the subjects, their postures, and facial expressions. Also, she interprets the painting

the roles of those two important races in America of the time. The painting is related to the time of slavery (1619-1865) and the unequal positions between the Negros and whites. Finally, I have observed that the unknown painter detailed the whites’ men face very well, yet the black men and woman’s face appears faceless or without identification. This is a representation of the European view towards Negros as a uniform object or animal.

Born on the 30th of March 1853 in Groot-Zundert, Netherlands to his father Theodorus van Gogh, who was an austere country minister and mother Anna Cornelia Carbentus, who was a moody artist whose love for nature, drawing and water colours had been passed down to her son. Van Gogh’s art was notable for beauty, emotion and colour, at the age of 15 his family began suffering financially which meant he had to leave school and start working, he worked at his Uncle’s art dealership. In June of 1873 van Gogh was transferred to Groupil gallery in London and fell in love with the English culture and became

Vincent took drawing classes from Anton Mauve and his uncle gave him his first commission which was twelve drawings of the city view. In 1884 he rented a large space in Nuenen which was home to many farmers, rural laborers and weavers and that’s who he painted and sketched. He gave Theo some of his works to sell but that didn’t work out because his works had a dark tone and the French preferred color. In 1885 after his father died he moved out of his family home and into his studio where he started working on The Potato Eaters (1885). During that year he enrolled in an art academy in Antwerp where he found the classes too traditional for him. He went to stay with Theo in Paris in 1886 and Theo introduced him to colorful arts of modern artists like Claude Monet. Also he met a group of post-impressionist artists at Fernand Cormon’s studio which influenced and inspired him to use brighter colors. He started using short brush strokes and painting cafes and boulevards. He also found inspiration in Japanese woodcuts and started to collect and study them. Vincent moved to Arles and he loved it there because of the bright light and colors. He had a plan to set up a “Studio of the South” there

“The process starts out in an incredibly open way with endless possibilities; the addition of each plane of colour, however, progressively limits the work’s evolution and, ultimately, when a painting ‘works’, it coalesces into a composition that is intuitive and carefully controlled.” GS

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

Russian Avant-Garde was born at the start of the 20th century out of intellectual and cultural turmoil. Through the analysis of artworks by Aleksandr Rodchenko and El Lissitzky this essay attempts to explore the freedom experienced by artists after the Russian Revolution in 1917. This avant-garde movement was among the boldest and most advanced in Europe. It signified for many artists an end to the past academic conventions as they began to experiment with the notions of space, following the basic elements of colour, shape and line. They strove for a utopian existence for all benefited by and inspired through the art they created. They worked with, for and alongside the politics of the time. The equality for all that they sought would

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this