Visual Analysis : Jan Van Huysum

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

Still Life: Flowers is a 17th century painting by Jean-Baptiste Monnoyer. It is an oil on canvas, and presently resides in the Art Gallery of Ontario, in Toronto. The piece is a traditional still life. It is vertical in its organization; the viewer’s eye lands on the bright flowers and scans from top to bottom. There are indicated lines, where the flowers grow upwards and where they drape over the sides of the pedestal. This formation of flowers creates a triangular like shape. At the same time, the draping flowers direct the viewer’s eye down to the carved relief sculptures on the ledge, concealed in the shadows and break this triangular formality. The emphasis

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.

I gazed at the little girl in the foreground; the reflecting glass in the mid-ground, and the evening sky in the background. The painting is sized at about 24 inches by 30 inches.

First thing that I noticed about this gorgeous oil and tempera on panel painting was the precise emotional aspect: romantic and simple, yet so exceptionally lifelike. This work surely shows a development from the powerfully

This is an anti-smoking advertisement geared towards parents of young children. The advertisement is overall plain and simple; it gets straight to the point when you look at it and utilizes a dark theme. This anti-smoking advertisement is trying to evoke a sense of “parental guilt” into parents who smoke. The way the advertisement is able to do this is through the use of an optical illusion, use of text and the use of negative space.

Further more, in the painting, “the Gleaners”, the entire screen is filled with contrast elements. First of all, the main figures in the front labor scene are full of rich vigor, contrasting to the background with silent objects such as hay, trees and farmhouse. Secondly, the color brightness of the front contrast to the back, as well as the comparison of relative sizes between figures and scenery, applying the principle of perspective. What’s more, the most classic is the horizontal line, the intersection of the sky and the ground, contrasting with the light source, from the top left. Consequently, 2D and 3D spatial effects are combined precisely. Meanwhile, the sense of space of the image is strengthened as well.

The picture I drew represents the scene in Part III of 1984 where O’Brien is torturing Winston and trying to get Winston to see and believe he sees five fingers instead of four. For Winston’s appearance, I decided to have his eyes droop and also emphasize on his wrinkles, so the exhaustion of the constant torture is conveyed on his face. Additionally, the letters ‘BB’ (Big Brother) and the number five are shown in his eyes because he finally believes he sees five fingers instead of the four O’Brien is holding up. The letters, ‘BB’, are drawn in his eye to signify that Winston is finally capable of serving Big Brother the way the party deems fit since all his individual thoughts are starting to decay. Furthermore, the letters ‘BB’ are also

From what can be understood by the viewer, West has created the piece with a head-on perspective. Through the use of many imaginative sharp diagonal lines, that can be drawn from either the more centralized figures whose hand rest atop his head and back is turned toward the viewer or the figure from the far left corner who learns at an angle and holds a spear across his body, towards the very last beast that is placed near the far upper right corner, West is able to create space and distance. The pyramidal construction of figures, foreshortening, and atmospheric perspective also work collectively to draw the viewer into the painting more closely.

The first painting depicts a young woman lying in a field on a farm in what appears to be an awkward position. She may be experiencing some type of internal or emotional pain which may have temporarily halted her ability to move. The field is very close to what one might assume is her home. The painting appears very somber and melancholy and I would hypothesize the young woman is longing for something she might have recently loss; possibly a relationship or significant material possession. The woman gazes towards the house as if she is waiting for something. The colors in the painting are very neutral and the feelings provoked are those of sadness. Another hypothesis could be she is pondering her life path and struggling to

Nguyen Ngoc Loan was photographed in the act of executing Nguyen Van Lem in the Vietnam War 1968. This Photograph developed a discussion about the horrifying truth and violence in Vietnam. Moreover, the image portrays the inhumane nature of war and it also reveals the brutality of human nature. The lasting image of Nguyen Loan shows how he lacks any emotion as he executes Lem without hesitation. Alternatively, the image poses a question as to the thoughts of Lem at the very moment of his execution. Additionally, the photo shows the decay of human nature and compassion towards fellow human beings. Noticing the soldier to the left of the executor shows an indifferent attitude at the taking of a life. As one looks further into the photograph the

It is similarly large in scale measuring 100 x 84” in dimension. Lucas dwells away from a hyperrealistic portrait. This painting focuses more-so, as inferred, on an abstract sentiment that draws an individual inward due to its massive size to inspect the articulate process that went into creating the piece. When viewed up close, the various elements that formulate the picture are seen as merely colored blobs, streaks, and markings brushed together in their individual square grids; however, from a distance the colors illustrate an illusionistic portrait of the man Lucas. The lower right pictures a segment of Lucas’s eye zoomed in to show the abstract painting on

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,

Flowers In a Vase was a painting that Ruysch painted after 1700. This composition balances a swirl of twisting blossoms along a diagonal axis (Chadwick 138). The variety of blooms and colors, and the painter’s subtle touch and impeccable surface treatment distinguish her work (Chadwick 138). Flowers lavishly spill out of the vase, filling the entire picture space. Some are in full bloom, others droop and wilt, as leaves and curving stems entwine throughout (Robinson). The lighting in this painting falls on the flowers from the bottoms left to top right, leaving the closed peonies at the edge in shadow. Complementary colors create harmony, as warm yellows and rose balance cool blues and greens. Against the dark background, her sophisticated palette creates a flawless sense of depth and three-dimensionality (Wieseman). And looking more closely, the viewer and depict several insects in the painting- caterpillars, ants, and a grasshopper are

One of Vincent Van Gogh’s most world renowned paintings is his landscape oil painting Starry Night. The painting displays a small town underneath an unusual yet still extremely beautiful night sky. In this night sky, Van Gogh utilizes an array of colors that blend well together in order to enhance the sky as a whole. The town is clearly a small one due to the amount of buildings that are present in the painting itself. In this small town most of the buildings have lights on which symbolize life in a community. Another visual in Starry Night is the mountain like figures that appear in the background of the illustrious painting. Several things contribute to the beauty of Van Gogh’s painting which are the painting’s function, context, style, and design. Van Gogh’s utilization of these elements help bring further emphasis to his work in Starry Night.