Marisela Esteves creates a work of art directly influenced by silk garment and fabric dyeing. Her, Hollywood Home painting, essentially promotes the use of fiber, textiles, and color theory. Displayed at the top of the silk garment is a vibrant, bright color which represents saturation, it displays a background that is meant to stand out and create a dimension that is pulsing with energy and enthusiasm. The rusted, chipped, latte tan house that is centered in the middle of the silk fabric has distinguish features which embody the representational work. Starting, with the alloy orange angular tilted roof, that appear distorted, but is really an allusion of deception of depth is centered at the top of the house. Then, there is the latte tan house …show more content…
Her use of primary colors and complementary colors are illustrated in the background, at the top of the fabric and in the outer view of the house and in the front yard. There is shading being shown in the two geometric windows. The entire work presents lines and implied lines as a focal point or as a means to describe a scenery. The texture of the garment is silky and very smooth like bed sheets. Post and lintel are crafted on the rectangular door frame and in the small window inside the door frame. Fine art is depicting in the background of the house; the painting is going in its own direction but still have a meaning behind it. The grass, tulips, and the weeds in the foreground appear naturalistic and lifelike which give the painting a multiple use of variety. The composition of the house is centered and upright. Marisela Esteves uses asymmetrical balance in the pathway and on the walkway to the flower garden. On the left side of the house there is a lot of variety elements and implied lines been demonstrating. Also, there is a lot of space in the background which grabs my attention because the line portrays a billboard in my mind that is covered by the vibrant, bright colors. The material that Marisela Esteves use was probably a knife or paint brush to mix, dye, and print on the fabric …show more content…
Her art gives you the value of color and dimension. Esteves use different prospect to create her image of her style of house she imagines. However, this painting make me feel as if I can interpret her viewpoint with my own perspective and have that owe it’s not just a house feeling. But, what I value most about this piece is that Esteves painting is just not a house, she paints an unusual house that has very rare distinguish features that if you don’t analyze it properly you would miss some of the astonishing details she tries to incorporate. Also, I like that this painting because of the tulips, the arrangement of the tulips appears to be very distinctive. All in all, what I learn is how to print and dye on silk, and how when you put all form of art together it becomes this beautiful
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
The work depicts a family in plain clothing enclosed in a simple solitary room with a fading fire amidst the dark shadows of the background and another light source that extends from beyond the scope of the canvas. At first glance the influences of Caravaggio and Rembrandt are apparent. Their faces are neither, sad, sullen, angry, or joyful, but rather their emotional expression is plain and uncomplicated, adding a sense of timelessness to the painting. As in the description (20-34) of the piece which states; “It reflects 17th Century social theory, which celebrated the natural virtue of those that worked the soil”, (p. 609). The idea of portraying a classic simple lifestyle is a refreshing one and a concept which will reoccur in other works of the Baroque period.
...re because it is a sad picture. An elderly woman is peeling the potatoes and she is sitting on the floor and a young woman reading a romantic story. This painting also shows the dominant power of rich over poor. The lightings are good in that floor. The bulbs are turned to the area were the picture is exhibited so that the viewers can see the picture more clearly and better. The exhibition space is navigable by the visitors.
The artist’s use of line to create movement in the painting is very obvious. Lucretia’s body creates an implied diagonal line which shows action and movement. Additionally, the cloak is also very curvy, appearing “fanned out”, as if she is in the midst of backing away. As well, the curtains are implied curves, and the furniture is an implied diagonal. These lines leave the viewer wondering what will happen next. With these repeated curves and diagonals, the artist creates a sense of unity and rhythm, helping the viewer “read” the composition, or move their eyes through it. The dominant shape repeated in the composition is organic, which also adds unity to the piece. Evidently, there are no horizontal lines in the painting, but the subordinate columns bring variety to the painting in that they are both vertical and geometric, in addition to symbolizing power. Furthermore, the primary color red dominates, creating unity; it appears in Lucretia’s outfit, the furniture, and the curtains. Interestingly, red is the color of danger, since it is the color of blood, and therefore, death; it is also the first color noticed by the human eye. Her gown is also has some white, a neutral, which represents purity and surrender. The artist did not use a warm, nor a cool color scheme in the
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
These assemblages of work mirrror a reflection of glimpses of landscape beauty, a particular solace found in the nature surrounding us during her time in the outback, elegance, simplicity and the lifestyle of the physical world around us. Gascoigne has an essential curiousity displayed in her work exploring the physical word that is captured in an essence of this rural home which brings evocate depictions, subject to the arrangement of these simple remnants that offer so much more. The assemblages focus us on viewing the universe from a unique turnpoint, compromising of corrugated iron, feathers, worn linoleum, weathered fence palings, wooden bottle crates, shells and dried plant matter. The art works offer a poetic expression that traces remnants around the world that individually hold meaning to their placement in the
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
... though employing a familiar subject (the female form), shows the transformation from busy mosaics with gold embellishments to a brighter palate of colors and the use of stronger, bolder lines. The piece exemplifies his versatility as an artist.
...milar to its aspect of the 1930s. In many of his paintings Botero recalls both the mundane and the extraordinary events of life in such a town. In a painting such as the 1995 House, a woman stands in her doorway observing the passing scene. Nothing seems to change, but we know that any instant something amazing - wonderful or horrifying - could happen. In a 1994 composition we observe just such an occurrence. The Woman Falling from a Balcony portrays a young woman, dressed only in a green slip and green highheeled shoes, flying through the air as she is observed by a man standing below. Does this represent a terrible accident, a suicide or a vision of the observer? We can only know the ultimate outcome in our imaginations. In paintings such as this Botero seems to be creating visual analogues to the extraordinary imagination of Gabriel García Márquez who, in his novels and short stories, has created a world that may be described as both banal and wondrous. The imagination of the painter, like that of the writer, conjures up fantastical happenings in village settings in which, seemingly, little or nothing changes throughout the years.
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
The wing of angel Garbriel reflects through the light. The round glass window reflected the grass, the curtain in front of the Virgin Mary looks into the mirror. The architectural interior constructed in the painting makes the vivid images, the closet in the back of the Virgin Mary was old, and well- constructed. The painting was simple used of rough brushes to make the painting smoother, the way they stand as they looked into the mirror are the same, the complex composition, as well as the lyric quality of the drawing and transparency of the colors, are the characteristics of the painting. As shown in the painting, angel was try to look at the mirror carefully, this painting portrayed the scene angel give a seriously look, and the clothes she wears shows the status during that time. The rectangle shape of the parcel was old, they are all stare at the one places. The carpet was very different, and the triangle shape on the ceiling paint very
Working at her father’s clothing shop, she became very knowledgeable about expensive textiles and embellishments, which were captured in her works later in career. She was able to capture the beauty and lavishness of fabrics in portraits of aristocratic women.
...epth perception, and clear lines make Sebastians Still Life with Glasses seem real. Brushstrokes, unclear lines on the table, and distance not visible to the viewer but symbolic, make Jeans’ Still Life with Kitchen Utensils more of a work of art, than a depiction of what is real.Jean portrays a table in a house of a commoner and Sebastian, a table in the house of the wealthy. The viewer of both of these paintings, is himself of nobility. On the one hand he sees this lush kitchen table of Sebastians’ and relishes in his own wealth, but on the other, he seems separated from the poverty of Jeans table. The wealthy man has the grapes, but not the onions, not the wisdom of the poor that leads them to seek virtuous things rather than material objects.He is inevitably separated from both the pain of poverty, and the wisdom of the righteous not self seeking but humble man.
The gestural and heavy working of the paint and the contrasting colors make the painting appear active yet are arduous to follow. The defining element of Woman and Bicycle is the presence of the black lines that do most of the work in terms of identifying the figure. Through the wild nature of the brushwork, color, and composition of the painting, it can be implied that the artist is making an implication towards the wild nature of even the most proper of women.