It is oil on Canvas and again there is a plethora of colours used in the composition, except the colours are a lot more vibrant than in ‘Le Forze di una Strada’. The colours are all fragmented, but contrast between other objects in the painting so that the viewer looking at the art can tell what is what, and differentiate the horse from the man riding it. Within’ the image you can find a lot of shapes and forms, the main shapes used are curved and then next is sharp and angular shapes, working in a deliberate vigorous and sequential movement. The surface of the image seems quite jagged and rough because of the sharp angularities and there is build-up of texture creating a slightly coarse surface.
The composition was made again with Futurist
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In the painting the audience can infer that the artist wanted to portray the new age through traditional means by placing the man and horse in front of the heavily industrialised background. The contrast in the two main focal points of the image is what the artist intended to highlight, and all done through the medium of oil and the Futurism movement. The painting is called Elasticity, and from this the audience can infer a few things the artist may have intended. The style of the painting is very flowing and smoothly curved in places which can symbolise the ‘elasticity’ of war and time, or how things can change and adapt in time. What he actually meant through this is ‘the title of the painting is represented by the powerful muscular movements of the horse, the protagonist of the scene. The energy gushing from the canvas reflects Italian attitude of being present with its tireless and vital energy on an international scenario. In the background we see the skyline of a city in continuous growth and expansion, reaching out for
The painting that captivated my eyes was “La Buena Ventura”. As I was walking through the hallway my eyes were drawn to this beautiful young woman wearing a bluish greenish dress and what seems to be pink hearts. She is sitting down with a sad look on her face staring at her cards. I tried distinguishing the type of cards and to me they look a little like tarot cards. So I interpreted this as her not happy with what her fortune has in store for her. Maybe she is waiting for her love or she might have found out that tragedy is going to strike her way. I noticed the guitar at the far left corner so she could be a musician who is having a hard time making money. This oil painting is done so beautifully, the artist used a lot of texture and a mixture of dark colors to bring out the shadows and accentuate
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
The brush strokes are similar to Leonardo’s sfumato technique, but reminiscent of Rapheal’s color usage. The strokes are soft along the edges giving them a hazy appearan...
...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
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...
The sunrise in this painting is considered the vanishing point; there is no reference to clouds, sky or land. Even though there isn't any man made objects the giant rocks or mountains have parallel lines that exceed to the sunrise. There is also two focal points in this work of art. To emphasize the focal points Bartolo uses elements of design. One of the focal points is the horse which is located in the center of the picture plane. The horse does not gasp all the attention it also permits the viewers to focus on the second focal point, which is the man in red kneeling down in front of St. Dominic. The color red attracts our attention to this man. There are also line of sight directed to him by St.
The Horse is represented in full profile as to show off it’s perfect proportions; it is forcefully modeled so as to give its perfect anatomy and it moves with regulated step of the riding school so as to give demonstration of perfect rhythm. The fact that a beautiful setter is running by the side of the horse completes the picture of the Christian man as known to the Late Middle Ages – the man who armed with faith and accompanied by religious zeal, symbolized by the faithful hound goes on his way along the narrow path of earthly life menaced by Death and the Devil.
The painting has realistic 3 dimensional space by the use of linear perspective and chiaroscuro. It also looks to be 2 dimensional as well, because it almost looks like some influence on the Japanese print, like flat patches of paint. The lines converge from the edges of the paint to the center letting off the effect of a background and a foreground. It looks as though the trash is in the foreground and the man is in the background. In the back of the painting, it is darker which also adds to the effect of the 3 dimensional space.
..., the broader feel of the scene. He wants us to take in the entirety of the painting but have a moment to catch the individual scenes within it, like the couple dancing, the man in the corner rolling his cigar, or the women in the front talking to the man. We do get places where our eyes can rest, but in general your eye takes in the swirl of modern life and pleasure.
During the Renaissance the subject of paintings was shifting from religious scenes to depictions of everyday life. The first genre scenes were produce...
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
The Museum of Modern Art holds Umberto Boccioni’s Dynamism of a Soccer Player, 1913, a fine example of the Futurist vision. In his Futurist Painting: A Technical Manifesto, Boccioni tells us that the “growing need of truth is no longer satisfied with Form and Colour as they have been understood hitherto. The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall be the “dynamic sensation itself” (Apollonio 27). This goal of creating the dynamic sensation itself, rather than simply a fixed moment within a dynamic action is exemplified, among other ideas of the Futurist movement in Boccioni’s Dynamism of a Soccer Player. Before going further however, it is necessary to discuss some of the principles of Futurism as created by Marinetti.
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...
It was made with oil and a canvas. This painting is believed to display fridas feelings at the time of the divorce. It looks like one is traditionally dressed and the other is not. It is a representation of loss and it just gives off a very lonesome feeling. This painting uses the element of art called texture to create an attraction to the piece. Contrast is a principle of design and that is exactly what is used here. Her two figures become the center of attention. These stand out because of the dark cloudy background which is mostly contrasted with the white figures. There is also balance and symmetry in Kahlo’s painting too. She chooses to put the two figures side by side to create symmetry by repeating the figures. She uses these elements help convey a mood. She uses them to create a mood by instead of just one element working by itself she uses them all so that they all could work together. I think the purpose of this piece was to show the sorrow and despair she felt when her husband diego had an affair and they had to file a divorce. I truly think the artist was trying to say that she was know truly alone and that she did not have anyone. This painting feels as if two worlds have crashed. The one who was loved by Diego and the one who was not. I choose this artist because I knew that she could make magnificent things like this actually
This oil painting is set in the 1800’s according to the author’s time period that he was alive. The context of the painting has the setting take place on a train with three people in the viewer’s perspective: a seated lady