The central lighting on the painting Guernica by Pablo Picasso, surrounded by the darker background

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

The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.

In his painting, there is a term to expressing how light varies from its original light. For instance, the background of the painting is adding with brown color, yet using tint and shade effect to the sun sets with distinctive brightness. Brightness is adjusted by horizontal movement, and Breton increases, and decreases his painting’s brightness at the background view. Upper part of the pieces, twilight shines with varying brightness, depending on the darkness of the sky surface. Brightness for the mid-gray tones in the surrounding space, with significantly affecting the highlights and shadows. Overall painting allows depress emotion. Figures is luminous such as the sky and houses, also for the woman, she is apparently describing with a energetic sense of natural, and mournful atmosphere. The light at the back part of the drawing gives viewers to pay attention to the woman rather than the background, since there is bright white T-shirt with dress, and the woman’s face. Breton uses tint and shade effect at the upper part of the painting, and clouding of the back scene maintains a tenderness. Breton uses bright light at the sun sets, and it expressed that it was the dawn and bring message with a bright future will come soon to the woman, and the

Although the surface of the artwork has been fairly damaged by smoke from burning candles and incense, there is still a suggestion of the bright circular halos which had once ‘crowned’ both the Virgin and the child. Cooper relates the symbolism of the circle as “one which expresses archetypal wholeness and totality and therefore divinity” (1982:19). The upper body of Mary appears very large, especially in comparison with the Christ-child, whose body ‘fits’ into her bosom, which is generally associated with comfort. Almost as though she tries to console him concerning his future death (Tansey & Kleiner, 1996: 312).

clever camera techniques which create tension and fear. The camera shots also pay close attention to detail. For example, when the man with the dog throws a stick for his dog to fetch into the sea, the camera

A large mural, Guernica is an example of Synthetic Cubism painted by Pablo Picasso (1881-1973). Created using the medium of oil paint on canvas with a narrow palette consisting of the neutral hues: white, grey and black; the formalist qualities of Guernica can have harrowing effects on the spectator, “But to see it in real life, in its full size, is an even stronger emotional experience. Some people have said they experienced an instant rush of many powerful, fearful emotions” (The Open University, 2016, Block 3, 2.2.2).

In Artwork 1, Mary is placed in the centre of the image between Christ who is on the left and God who is on the right. The Holy Spirit is between the two which forms the Holy Trinity. The composition can be viewed as forming an inverted triangle or heart shape. Mary is the focal figure with an attitude of modesty, reverence and tranquil emotion with her right hand placed upon her heart in which reinforces this. God is expressed as a picture of wisdom as He is crowning the head of Mary with a garland of roses, along side Jesus. The Holy Spirit is present in the image above Mary and is portrayed in the traditional form of a white dove. Cherubs, angelic beings, are visible at the base of the painting which can be interpreted as guards. The use of blue in their garments symbolising heavenly grace in

Guernica is monochromatic to make its imagery more powerful. Lack of color keeps the viewer focused on the subject matter at hand, as well as keeping the mural cold, which agrees with its general theme of injustice in war. Also, Picasso’s flat imagery does not distract the viewer from concentrating on imagery. The viewer is given no other choice than to concentrate on the subject matter of Guernica and ponder it’s meaning. The flat, grayscale images generalize the imagery and contribute to the general theme of unnecessary suffering and tragedy.

Additionally, the turquoise is darker in some areas, such as at the tips of her wings and at the sides of her headdress. The design itself incorporates both curved and straight lines. Four sets of two dark repetitive lines decorate the platform upon which she is kneeling. Her arms are stretched out to the side and separate from the rest of her body, attached to the wings directly above them. Her wings are intricately designed, and heavily detailed. The wings themselves can be divided into three distinctive parts. At the top of the wings, closest to her arms, there are several repetitive rows of wavy lines; these lines form a small pattern of circles. From there, the wings are split into two more sections below, however they follow a similar pattern. The line work begins close together on the sides near her body, then move further apart as the wings stretch farther from her. Small, slightly raised triangles protrude to connect the lines and form the individual feathers of the wings. The largest of the feathers are found on the outermost section of the wings, furthest from her body; the feathers in the middle section near the areas made up are wavy lines are smaller in comparison. There is also attention to detail concerning both her hair and face. She is clearly wearing heavy eye makeup, which would have been reminiscent of the kohl ancient Egyptians

“Guernica” is one of the most well-known paintings in the world. It was painted by Pablo Picasso in 1937. The painting itself measures 11ftx 26.5ft. “Guernica” depicts the bombing of the Spanish town of Guernica during the Spanish civil war. The whole thing is done in a cubist style not surprising since Picasso is known for his cubism. In the painting there are people and animals alike all of them in pain and or suffering. “Guernica” is also filled with symbolism that Picasso incorporated into it, and hidden messages. The painting is also colorless it only uses black, white and, gray.

The word art is an encompassing one, vastly interpreted and with multiple definitions. In the case of Picasso's painting Guernica, art informs, educates and expresses. Its power lies in its ability to capture and compel an audience nearly six decades after the modern world's "other" day of infamy. To understand fully the painting that evolved out of the Spanish painter's outrage, one must know its context. "Why do you think I date everything I do? Because it is not sufficient to know an artist's works--it is also necessary to know when he did them, why, under what circumstances" (Picasso). An appreciator who knows the saga of Spain's historical fishing village is given a depth of experience that only a genius like

Although the use of line and light is not as defined as the color scheme, they still play an important role in the overall organization of the painting. Gauguin uses curvilinear lines throughout this work with no right angles or sharp points. The outlines in the background are fairly blurry and some of the lines blend into one another. In contrast, the characters in the foreground are comprised of precise, sharp lines. Gauguin goes as far as lightly outlining the bodies with a dark line in order to give them a sense of depth. Light also serves to enhance certain aspects of the painting. Gauguin has been careful in his use of light to create some areas of brightness and some of darkness. The central figure glows in the bright light, which shines down on her from above. This light shows the importance of the decision of whether to pick the fruit or not. It is focused so directly on one area and is void in the others.

Her mother was a devout Catholic and passed these strong values down to her daughter, Frida. This can be seen through the crown of thorns around her neck rather than her head, showing herself as a Christian Martyr. The subtle blood that is trickling down her neck may represent that of her ongoing pain through her divorce. The contrasting butterflies on her headdress and bright background of leaves are suggestive of resurrection. Over the left-hand side, a monkey can be seen distracted playing with its hands. It was also a gift from Diego and a symbol of the devil she feels he is. As seen on her left-hand side a Black Cat can be noticed staring down the Hummingbird. Perhaps it is ready to feast on the good as it is a symbol of bad luck. She had experienced great trauma and pain in her life and this could be seen as the bad luck symbolised through the cat. To leave a blank background would be unlike Kahlo; the bright and varied shades of greens and yellows seem to show a wall of uncontrolled nature, possibly expressing her feelings at the time. Looking to the upper half of the painting Dragonflies and Butterflies fly around her hair that is intertwined with cloth, delineating a figure eight like crown filled with purples and maroon. We see the life filled Dragonflies and Butterflies

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

For this project I will be going over the medium for Guernica by Pablo Picasso. The medium means the tools and paints used to create the artwork for this particular piece, it also has to do with the technique on how to construct this painting. But first, let me give you a little background of this symbolic painting. Pablo Picasso created this painting in reaction to the aerial bombing over Guernica, Spain by German and Italian forces during the Spanish Civil War back in 1937. After this tragedy, the Spanish Republic asked Picasso to paint a large mural about the bombing for display at the 1937 World’s Fair in Paris. Guernica was painted in remembrance to show the catastrophe of war as well as the anguish and destruction it inflicted on the people of Spain, especially the innocent civilians. The encompassing scenario is set within a room where, in an empty part on the left, a wide eyed bull looms above a woman grieving for a dead child she is holding. The middle of the painting shows a falling over in pain, having been pierced by a spear or lance. One of the focal points of this piece is the gaping wound in the side of the horse After it was completed, Guernica was exhibited to the world during a limited tour, receiving large amounts of recognition and becoming quite famous. This power piece obtain much exposure bring the Spanish Civil War to the world’s awareness. The colors for the painting are black, white, and grey. It is also done with oil paints on an eleven feet tall