The Mountain Balthasar Klossowski de Rola also known as Balthus work The Mountain was completed in 1937 and was acquired by The Metropolitan Museum of Art in New York in 2008. Balthus oil painting is representational illustration of the imaginary plateau near the top of the Niederhorn, in the Bernese Oberland, a landscape familiar to Balthus since childhood, during his summer as a teenager his mother took him to the Swiss Alps, where he became an assistant to the Swiss Sculptor, Margit Bay, who was a member of an art-and- crafts with anthroposophical leaning and one of Balthus first commission was to paint an altarpiece and ceiling decorations for Bay’s Anthroposophical Chapel. Balthus’ 1935 landscape Summertime is unlikely to be a simple representation …show more content…
There is a mix of regular lines, implied lines, directional lines, contours lines, outline and expressive lines. Using regular lines to create movement and a restful moment in the painting. Balthus uses implied lines to create closure and openness to the painting by making it look like it looks continuous. Balthus uses directions lines drawing attention to the mountains and hills in the background and the activities done by the hikers. He uses Contour lines on the top of the mountains to show the tops of Poussins head. Balthus uses outlines o show the mountains and the hikers. He uses expressive line to show the calmness, happiness, tension and tiredness of the hikers and the mountain. He shows how peaceful the top of the mountains and the day is, he also shows show happy the hikers and are exploring their new environment and showing how weak and tired by having them rest and stretch to release the tension in their body and …show more content…
The organic shape of the plateaus shows a naturalistic view at the top of the mountain. On-lookers would interact with this painting and have a sense of what it would be like to be on the top of the mountain with the fellow hikers, they can feel the wind cooling them, feel the tension slowly leaving their bodies and calmness by the look and feel of the day. Balthus used oil paint to create a realistic and representation painting of the Swiss Alps for his viewers. He used implied texture so the spectators have the ability have a familiar feeling of what he felt when he went with his mother during his teenage years and every time he went back and
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
Starting with visual elements I saw lines, implied depth, and texture. I see lines by him using lines created by an edge. Each line is curved not straight but it works with the piece. By using this he creates the piece to make it whole. He uses many curved lines within the painting I don’t know if there is a straight line in the whole thing. The next element I saw was implied depth. Using linear perspective you can see the mountains but they look smaller than the rest of the piece. They are the vanishing point in the back making it look as if you can walk down and they will get closer and closer to you. The last element that I saw was texture. They talk about Van Gogh’s painting, The Starry Night having texture through a two- dimensional surface, in which this painting has that similar feel. Van Gogh uses thick brush stokes on his paintings to show his feelings. There is actually a name for this called, Impasto,
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
We can see a clear representation of the impressionist that tended to completely avoid historical or allegorical subjects. In this painting, Monet’s painted very rapidly and used bold brushwork in order to capture the light and the color; include relatively small, thin, yet visible brush strokes. An insistence on what Monet called “a spontaneous work rather than a calculated one” – this in particular accounts for the sketchy and seemingly unfinished quality of the Impressionist paintings. In the texture, he played with the shadow and light and created variation in tone, he employs patches of depth and surface. The light in the painting come from back to the windmill, it is a light shines softly behind the houses and the windmill. He was shown each brushstroke in the painting. Balance is achieved through an asymmetrical placement of the houses and the most important the
Cassatt uses implied to create organic shapes such as the wide boat, and the oar the man is using. The dress the woman is wearing and the child’s attire are both covered in patterns of implied lines. Lines are implied where areas of color meet, such as the white border of the boat touching the blue water and the figures sitting on the yellow benches of the boat. Cassatt and Fragonard both used implied lines to draw the people, which create an implied mass of the figures; this in my eyes brings the people to life. The boat in Cassatt’s painting has an implied mass and this makes the viewer feel as if they can jump right into the boat; it gives the painting a sense of reality. Fragonard uses implied lines to draw all the bushes, trees and statues. We can also see implies lines in Fragonard painting where areas of color meet, for example as the man on the bottom left corner is laying on the green bush and also as the man in the back is blending in with the dark shadows of the
Graeme Base uses lines of different thicknesses to make the drawing look more realistic. He also uses different tones of colours. An example would be from ‘Six Slithering Snakes Sliding Silently Southward’, the main snake’s body and tail contains at least four different colours. He also repeats the way the books are place in the library.
Claude-Joseph Vernet’s oil on canvas painting titled Mountain Landscape with an Approaching Storm was created in 1775, and it is currently located in the European Art Galleries (18th- 19th Century North) 2nd Floor at the Dallas Museum of Art. It is a large-scale painting with overall dimensions of 64 1/2 x 103 1/4 in. (1 m 63.83 cm x 2 m 62.26 cm) and frame dimensions of 76 1/8 x 115 1/4 x 4 3/4 in. (1 m 93.36 cm x 2 m 92.74 cm x 12.07 cm). Vernet creates this piece by painting elements from nature and using organic shapes in order to create atmospheric effects, weather and different moods. This piece primarily depicts a landscape with a rocky mountainous terrain and villagers scrambling to an upcoming storm.
This painting consists of regular lines as well as implied lines. Some of the regular lines that have been included are flowing, curved lines, such as the Earth that the woman is sitting on top of. Additionally, the background is made of small scenes that have been outlined by a dotted line, which places emphasis on the scenes. Besides regular and visible lines, there are a few implied lines in this painting. For instance, the woman's eyes are looking forward, so there is an implied line to the audience. Additionally, another implied line would be the woman's right arm, which is pointed towards her headpiece, while her left arm is pointed towards the earth. Nonetheless, this painting is not intense; although it does have splashes of color, this painting does not have a bright saturation. Instead, this painting is slightly dull, which makes this painting appear vintage. Additionally, since this background is a dark color, it makes the rest of painting, especially the headpiece, stand out. Besides colors and lines, even though this is a painting and there is no physical texture, there is invented texture. Upon viewing this painting, underneath the earth where the woman is sitting on, there are roots as well as grass, which give texture and feeling to the painting. In the end, this painting consists of several elements of composition, which Heffernan has done a wonderful job
All the little lines, and all the bold lines, come together to form a masterful piece, foreshadowing the history of the fish in the lake. Both of the pictures above help to explain visually big, and important scenes throughout the book.
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
-Scott McCloud examines lines and the way they are formed. Then he translates them into feelings and actions. The type of line used to draw a character, especially their face, also holds meaning in V.
The Lascaux cave paintings is a series of caves that are decorated with ancient cave paintings, near the village of Montignac, France. The cave’s interior walls and ceilings are
Lines are paths or marks left by moving points and they can be outlines or edges of shapes and forms. Lines have qualities which can help communicate ideas and feelings such as straight or curved, thick or thin, dark or light, and continuous or broken. Implied lines suggest motion or organize an artwork and they are not actually seen, but they are present in the way edges of shapes are lined up.