Willem Van Aelst

Whereas, in the foreground and middle ground the artist creates variety using several different analogous color inside the angel and other figures. One focal point is the largest figure in the center of the painting, the angel, its location and large size show that it’s a focal point. In the lower tip of the angels right wing are swerving, dancing lines, that our eye naturally follow taking us on a gracefully curving visual ride that draws the eye to the next part of the painting showing rhythm. On the top right corner under the grey area, is a set of black incomplete half squares that resemble shelves on a wall, this is an example of pattern. Basquiat creates contrast by using complementary colors orange and blue, the orange above the right wing in the lines of the crown and the blue in the

The three most significant art principles I found in this painting are the contrast of the light and dark areas, the focal point being his aunt, and the sense of unity conveyed. The contrast of colors shows the natural cast of shadows within an

One of the aspects I believe unifies this painting is, as I talked about above, the continuation of the blue of the woman’s clothing continuing up into her hair, which gives the piece a sense of wholeness and relativity. There is also balance in this piece, for while the woman’s head is offset, this is balanced out by the elongation of her shoulder and arm in the right side of the image. Variety is also achieved in this piece through the use of a variation of hues and a lot of tonal difference. Emphasis is placed upon the hair with the use of an unnatural hair colour, as well as the face where light colours are used to highlight and pull the attention. Space is not so much of an active principle in this piece, but is still present nonetheless. Beryl is placed in the middle of the painting, with her taking up roughly 50% of the space, and the rest taken up by background.

In order to demonstrate these specific characteristics, Leger incorporates many different types of elements into this piece. In this painting, color plays an important role. The shapes of the blue squares contrast altogether with the other shapes and also, with the mutated beige background. Leger uses numerous colors such as the neon yellow, red, blue, black, and green in order to reveal that the colors are free and therefore, these colors exist in space. As mentioned earlier, this painting included a variety of different shapes; there are two different types of shape that can be seen in this painting. The first type is geometric or regular shapes such as the squares, circles, and rectangles. The second, on the other hand, are organic and freeform shapes such as the feet, hands, and face. Next, Leger incorporates many lines throughout this portrait. From curved lines to a single horizontal line, Leger includes each different type to develop a sense of movement, or rhythm. The curved lines makes the viewer’s eyes circle around the piece to further realize the symbolism. For space, Leger leaves many of the corner as negative space. However, the corners of this painting are not the only ones Leger leaves as space. Because the shapes and colors are kept simple, there’s also quite a series of distance between the shapes even throughout the whole entire painting. Again, because of the simplicity of the shapes, even the texture of this painting can be seen as smooth. The painting does not involve any harsh or rugged lines, and is

The foreground of the painting displays quite a few important formal quality details. The lower right quadrant exhibits a comparatively focused escalation in the chiaroscuro of the tree trunks. The crustiness of the deep earthy tones and the lushness make the lower right quadrant appear darker and more jungle-like. In opposition, there are some blue hydrangeas in the same vicinity that provide for a visually appealing contrast to the darker tones that surround them. The blue hydrangeas manifest themselves as wild and uncultivated.

Without a doubt, the story of Georges van Haardt is an intriguing one. He was born in 1907 in Poznań as Kazimierz Jerzy Brodnicki, and died in 1980 in Paris. Brodnicki obtained an education in philosophy at the University of Poznań, and later worked as a judge and administrative officer until 1939. In 1937, Brodnicki married Egga van Haardt, a Polish-Jewish painter associated with the Warsaw's bohème, well-known both as an artist and persona, in her art driving upon Jewish and oriental traditions, also baroque, mannerism, and secession. Profitting from Egga's critical recognition, Brodnicki started to sign and exhibit his pieces under her name. With the outbreak of the war, they both moved to France, and after Egga's death in 1944, the artist

While looking at this engraving there are a few faces that stick out the most. One being the woman towards the bottom of the painting near the woman feeding a

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

The painting depicts a single female figure as the centerpiece of the composition. The female figure is nude and holds a vase with water pouring out to the right side of it. The water around the figure is symbolic of the birth of the goddess Aphrodite

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 use of color is very important in this piece as it is one of the formal features that has been used the most and strikes the viewer upon seeing the work of art for the first time. At first glance, it seems as if the color has been randomly placed in the

Have you ever known someone who was on dialysis? If so, have you ever wondered who made it possible? Well, it was none other than Willem Kolff. Willem Kolff was one of the most essential scientists of the 20th Century. The past of this scientist, as well as his discoveries, and their importance in the science world today have contributed to his popularity in the scientific community.

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

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

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