The Artwork
Between all the Painting showed in the two slides of Principles and Elements of Design, I decide to describe “The Scream”, painted by Edward Munch.
Painted during the year 1893, this artwork is located at the National gallery in Oslo, Norway.
Personal objective description
Starting from the sky, coloured in red, orange and yellow with a few lines of blue/green, it seems static. The yellow lake reflects the light from the sky and the surrounding (on the right I can see a small village if I am not wrong) and it seems lifeless. There are also two boats in the lake made out with straight lines in an “ocean” of curves, and for colouring mountains, the artist used cold colours. Looking at the bottom part, the hand railing is made with red and black and it gives a wooden effect to the viewer. Meanwhile the street is painted with a mix of
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This person also is coloured in blue, giving the impression of fear, depression and sadness.
ELEMENTS OF DESIGN
Line
The bottom part of Munch’s Painting is made with straight lines to draw the dock and the hand railing in order to create depth, and the rest of the painting (mountains, sky, lake, town) is made out with all curved lines.
Shape
This Artwork has a bi-dimensional aspect and I can’t see depth in it (of course it’s my personal thought and I can be wrong). The shape of the screamer and the background are organic, in fact his/her body looks like a tree that is moved by the wind. The hand railing and the floor instead, have a geometric shape.
Form
There is a lack of a combination between the shape and the value in order to give a three dimensional effect to the painting. Also, is not very clear how far are the lake or the mountains and vice
Large and medium sizes of the forms dominate over small in the painting. The arrangement of the objects in this art piece is mostly centric. However, even though it is central, it is not symmetrical. The painter also touched the left edge of the burlap and the right bottom corner of it; this helps viewer’s eye to enter the painting smoothly, move around and escape from it. The asymmetry of the arrangement creates the sense of imbalance. Lam uses basic lines and shapes in the composition. Nevertheless, the painter creates wonderful light movement inside the figure with wavy shapes, which directs viewer’s eye from the top to the
For example, he uses texture, color and organic forms to make the landscape look as real as possible. Most of the shapes are formed by shifts in colors and line because the canvas are two-dimensional. The viewer can observe that the painting is dominated by greys, browns, ochers, and other natural colors such as green and yellow to give the scene a more nature-like look. All the components and objects painted in this piece appear to have the same texture and color as the ones found in real life, such as rocks suggesting a rough hard texture and clouds being soft, which probably means that Vernet took in consideration real landscapes and places he might have seen in real life. While using different shades of grey, and painting dark clouds, Vernet was able to convince that a storm was approaching but he also decided to add source of light coming from the upper left corner by using a golden yellow color to create a sense of warmth, which creates a nice contrast between the light and the coldness from the overall shadows that seem to dominate the artwork, creating variety; however, the repetition of colors such as greys gave the whole piece a sense of unity and they also express the shadows of a stormy day. We
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
...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.
He used heavy brush strokes. Canal’s attention to detail is phenomenal, the building is true to life, the people walking, men working on their boats. Dogs playing. A man on the rail on the second floor of the building. In the distance one can see the double domed church. Canal used colors of his day. This piece of artwork is asymmetrical balance. The “View of the Molo” has rhythm since it has two focal points that pulls your eye to the foreground and to the background.
The painting has an order and there are different shapes and angles. Rectangular shape is main trend around this piece, including the wooden chest, the leg rest and the canvass. Also things overlap, creating the illusion of the shape look closer to viewer than the shape behind it. The example in this piece would be the chair on which Adelaide Labille Guiard sits be close to viewer than the girls behind it. This adds depth to the space. Also due to linear perspective girls behind the chair are smaller due to being farther away.
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...
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.
Drug addiction is on the largest contributing factors for the deaths of millions of people throughout out the ages. Todays day in age drugs have become more dangerously more potent than they were a decade back. The majority of the population believe that the reason addicts become hooked on drugs because the the chemical triggers found in the drug. This has caused many society as a whole to look down on drug addicts and treat them with less respect than anyone who is not a drug addict. Johann Hari is an english author and journalist who was published articles in newspapers like the New York times, Huffington post and the Guardian, Hari has published his own book Chasing the Scream were he goes into a three year journey on the war on drugs.
The colours used in the artwork are earthy tones with various browns, greens, yellows, blues and some violet. These colours create a sense of harmony on the...
I can identify mostly organic shapes in the work and don’t seem to find any geometric shapes. The drops of paint in the bottom left corner and at the top have no visible shape to them, neither do any of the stains. I believe the artist was more about the flat shapes specifically on the canvas, because the canvas itself appeals to the three-dimensional mass. I see a strong figure-ground relationship between the paint splatters and the color stained background. I think the artist did this for a certain effect on the painting.
...technique of fluid in the brush strokes, which lead to an impression of blurry. The spots of soft color combine with the color of the figures, which shows bright light of beams through the trees. He blends colors in the background that appear to be people dancing. The lack of outlines is a traditional Impressionist technique.
The composition concentrates mainly on the foreground .It has three main points of interest, the small rowing boats, the artificial island and the floating barge .It also has a stretch of trees and foliage in the background painted in a much lighter fashion. Monet?s painting has a very different composition from Renoir?s painting of Grenouillere, which was done at the same time; Renoir?s painting is focussed much more on the artificial island and the people on it. Monet uses a combination of thick bold brushstrokes and small short soft brushstrokes; this creates a nice varied look and helps give a good impression of perspective. The tone is also very varied as it is Very light in some areas, but it is also quite dark in others, such as the shades on the barge. The use of dark shades in the foreground makes the boat look so realistic and quite 3D. Although the middle ground is flatter this helps add to the perspective. The water ho...
...rivers of paint rush across the dark black ground, creating writhing intertwining shapes that suggest figures in a landscape setting, but without any specificity whatsoever.
...f the shadows is sprinkled with the orange of the ground, and the blue-violet of the mountains is both mixed with and adjacent to the yellow of the sky. The brushstrokes that carry this out are inspired by the Impressionists, but are more abundant and blunter than those an Impressionist would use.