Visiting The Milwaukee Art Museum From Jane Bradley Pettit

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

This work embodies the period style because it contains avant-garde geometric shapes to define the forms, colors, and interpretations that were important to the Post-Impressionists. First off, the harshness of the lines goes hand in hand with the shapes that exist in the work. The shapes tend to be simplified shapes, which demonstrates that Cezanne wanted things to appear as if they could be broken down. Cezanne utilizes an array of geometric

Texture and pattern are very easy to identify in this painting. The street’s cobblestones show texture and pattern in the way that they are arranged. Texture is also demonstrated through the paint strokes on the buildings, the tree, and even the sky. These thick, uneven strokes add a layer of depth and texture to all elements of the painting.

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

From her auburn curls cascading from beneath her tilted hat, to her arm positioning, the trees, clouds, down to the tiniest blades of grass, they all slant one way or the other. The artist has utilized the diagonal line is multiple ways; the slight angles that Reynolds incorporated into each area provides a sense of movement in what could have been a dry and stagnant scene. Along with movement, there lies an illusion of depth: paired with shading, the use of line gives the perception of more area being included than there actually is. These lines also direct the viewer’s eye toward the sitter. Objects located around the edges of the composition lean towards the center, pulling the viewer’s glance directly to the

Norman Rockwell, a 20th century painter was born in 1894. He depicted many scenes of American culture through his perspective until his death in 1978. I chose to do my looking assignment on his oil and graphite on canvas and wood “Framed”. I traveled to Roanoke to see this fine piece of art in the Tubman Art museum. When I first looked at this piece I was very drawn to the texture. By the looks of the picture I took, you cannot really tell that this piece is textured. This piece depicts a picture of a man who seems to be a museum worker holding a frame and essentially framing himself in it. In this piece you also see other pieces of art hanging on the wall around him giving him a wide variety of very expressive looks. You see in this painting that Rockwell used a picture inside of a picture to tell the story of the museum worker.

As you arrive into the reception area of the Cleveland Museum of Art, you are greeted with silence. The clomping of shoes and whispers of fellow museum goers about what the “true meaning” behind the piece is fills the air. The first floor of the museum is dedicated to historical artifacts and artwork dating in the time period called Before Common Era (B.C.E.). Each piece is accompanied by a placard on the wall courtesy of the museum. The pieces are approximately dated, described, and an explanation of how each piece was used is given in the short paragraph.

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

It might, due to the wood it is printed on, but the artist did not put any literal texture onto the print. Although, there is implied texture that we can see within the painting; the lines, values, and shadows can create an implied texture. An example within the print would be the tips of the wave, Hokusai uses shadows and rigid lines to create texture of the waves turning into mist. The bottom of the wave is a smooth line, creating the texture of slick water being sucked up to the top of the giant wave.

In Square at La Trinité there are very prominent vertical lines. The two figures in the right corner of the painting are vertical figures and are what the viewer is initially drawn to when first looking at the image. Another really distinct vertical line is the tree on the left hand side of the painting. That tree stands out in particular because of its dark color compared to the right side of the painting. The buildings in the background are made up of both horizontal and vertical lines. The roof and windows in particular are examples of horizontal lines. The

As indicated by the shape in the foreground, the lines that signify the contour of the rocks and freestanding structure merge. The lines lead the eye vertically as it meets the center. When looking at the painting as a whole, the viewer can see how the artist uses straight

Like most of his artwork, his value structure of this piece the characters have a black and gray tone to them. The background also has a black and gray tone as well. The color intensity of this drawing is dull and muted hues instead of pure and vivid hues. The art doesn't have a linear perspective due to it being framed in a tilt and not a flat surface. Due to this, the artwork has a asymmetric balance as nothing is even.

The Art Institute of Chicago is located at 111 South Michigan Avenue, Chicago Illinois. There are two bronze lions, created by Edward Kerneys wearing evergreen wreaths for the Holidays that flank the main entrance on Michigan Avenue. It is the second largest museum in the United States. The Art Institute of Chicago’s collection contains more than 260,000 works of art from cultures around the world. The permanent collection is so extensive that it would take one several hours to explore the whole thing. The museum is most noted for its collection of Impressionist, Post-Impressionist, and American paintings.

To begin, for my fieldwork project I decided to visit the Milwaukee Public Museum. The cross-cultural topic that I chose is “Tools of all Kinds” and I focused on weapons. I decided to choose weapons because I believe they can tell us a lot about the culture of different people from different parts of the world. The types of weapons and what they are made of represent different cultural views and even the surrounding areas of these places, because weapons are made from what is available to people. Weapons from different places in the world can lead to inferences of that specific culture’s religious beliefs, their surrounding availability of resources, and even their traditions. While conducting my research I was highly intrigued by my findings and I was previously unaware of the different weapons that have developed over time in different parts of the world. Some of the finesse and delicacy in design of specific weapons was so beautiful. As I was taking pictures of different weapons and noting the type of materials used to make these weapons, I was astonished by some of my findings. The styles of each weapon was unique in its’ design and material, as well as its purpose. Most of the weapons served a purpose in war or territorial fights. However, there were also different purposes for some of the weapons I observed.