Le Reflet is a medium-sized, vertical painting that is made on canvas with oil. It resembles a French boudoir scene by its subtle use of line on the subject and her surroundings. The line is clearer on the woman’s nude body as there are definite outlines along her upper body, back, and lower body. Line is also visible because of the draping on the bed cover, which suggests movement. The curved line and harsher shadows on the left side of the cover are seen as making a shape that resembles the women’s derrière. The line that splits the painting in two quadrants begins at the edge of the women’s left elbow and ends at the tip of her left toes. Line makes an appearance in the background of the reflection in the slight bunching of material hanging behind her. The artist uses shadow to emphasize line on the women’s back and her bottom. The shadows are also noticeable along her arms, chest, and side, in her refection. The shadows are not distractingly dark, but …show more content…
The piece is entirely made up of visible and heavy brush strokes as the artist intermingles his opaque colors. The impasto strokes alternate between creamy thick and thicker as the paint collects on top of the canvas. The artist switches between short quick daubs and long strokes, which is shown on the fabric hanging in the back and the far right wall. The texture is rough because it has dense drips of paint and has minor scratches that allow the colors underneath to bleed through. The texture in the painting supports and enhances the rushed brush strokes because it balances the layers. The balance of layers from the colors gives the painting an abstract touch and draws the eyes down to the foreground where most of the texture is found on the ground and cover. The artist does a terrific job of introducing texture in concentrated areas of the painting. The choppy brush strokes on the fabric hanging tie the lumpier ground
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...
The most emphasized part of this image is the man lying on top of the child and leaning against the bed, part of the body being directly in the center and seems to take up the most space, this is where the eye tends to linger. The negative space is made interesting by including a turned over chair, and rumpled sheets on a bed and other homely objects, which indicates that this is set in a home. The contrast that is shown in this artwork is through the use of value since Daumier used implied light, the brighter and darker areas create a contrast against each other. While this piece is not symmetrically balanced, it is balanced asymmetrically. It is asymmetrically balanced through a man and most of a bed being placed in the center, on the right is a small child, the upper torso of an older looking man, a chair next to him, and the rest of the bed; on the left of the man is most of what seems to be a woman, and other less detailed furniture. There is a sense of repetition through the positive shapes of the people lying on the floor, this is also shown through the use of line that creates the entire lithograph. This provides a sense of cohesiveness and unity throughout the
My initial thought about this painting is that it seems to be incorrect. The reflection in the mirror shows that the lady is looking in the direction of the man standing in front of her. If the lady is looking at the man their reflections should not be off to the side. The second observation is the lady is sad or disappointed and is looking past the man standing in front of her. My last observation is there are three sections from left to right; bottles and the audience, the lady, and the reflections of the lady and man. The most interesting concept about this artwork is how the reflections seem to be inaccurate. If the bottles and the reflections of the lady and the man standing in front of her are at an angle, then why are the vertical lines perpendicular to each other?
The paint is spread thinly along the surface showing no raised areas for texture. The objects within the painting have similar line weights. There are different directional lines as well
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 right side is almost purely white, with blue and gray shadows; the rest of the body is black, dark brown, and navy. The profile of a white woman obscures the left half of the black face, facing to the right of the piece; her hair is in a large braid and she wears a simple pearl earring. The black woman has long, flowing, bright blue hair, as well as full red lips. The black woman’s body has a rose over it, and the white woman is wearing what looks like a straw bikini; the figure is wrapped in a thick rope from the waist down. The stark contrast between the white and black meet with a definitive line; there is no blending between the two colors, which amplifies the feelings of separation and difference between the two halves of the woman’s
The obvious formal elements in this piece are line and form. The lines in this paint show a clear technique without heave and deep shadows, this can follow the clean contour of the face. Further, the lines in the macaroons are smooth, this are combine with the colors, shadows and lights of the paint showing a small and thing lines in a more solid forms. The girl and macaroons in
In his painting/collage, line is emphasized in the floor and moves up into the line of his pants which forces you to focus in on the texture of his pants because they are real jeans. It makes you want to reach out and touch it and feel it for yourself. The line continues up to the rest of his body only to notice that his collar too is a piece of fabric which sticks out a few inches from the painting. The line also forces you to look over to the paining that he is creating and notice once again his use of fabric in the collage he is creating and then down to the box of rags at his feet. His use of fabrics throughout the paintin...
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.
Gainsborough achieved the sumptuous nature of this painting by using paint so thin that it dripped off his palette if the palette was not held level. With this thin paint, he added layers of fine, translucent strokes to create the exquisite textures and rich vibrant colors that had become his trademarks.’
From its physical characteristics, the form of its shape is three-dimensional constructed with organic and curvaceous stroke of lines. The composition of the painting has consistent patterns of triangular shape, such as from the top of her head to her shoulders and an hourglass pattern of her dress, which made the painting stable. Additionally, circular patterns are present as well like the colouring of the background, the accessories she’s wearing and the brown circular patches on her clothes. Including the attention to details, the dress itself steals the spotlight due to the scale of it and that it is directly at the center of the painting. The colours are split-complementary as it is consistent of having hues of blues, violets, and yellows accompanied by classic black and antique white for elegance as well a tiny bit of shaded red. Under those circumstances, the value of the painting is balanced because of the contrasting shades and tints being split open by Eleanor and the attention slides slowly to her son. With a subtle lighting, it highlighted the shiny and smooth texture of her clothing and her jewellery. In essence, the iconography of this painting revolves around the ideal look of the Renaissance with a mix of religious context as the colouring behind her head makes her look like she has a halo. Not only that, the connection between her and her son is portrayed minimally as her appearance overwhelms it greatly and there’s less physical interaction with one another, which is the total opposite of the artwork that been previously talked
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.
In this painting, the eye is immediately drawn to the woman’s face in the center. Her face is framed with a red bonnet, and her brown hair extends underneath. She is in the arms of a man, whose eyes are covered by his hat. Her eyes are aimed downward, and she is smiling very softly. They are dancing, him pulling her close while leaning his face closer to hers. She is wearing a light pink dress, with sleeves down to her elbow and the skirt of the dress down to the ground. He is wearing a dark blue, navy suit with a tan hat and shoes. The only part of his face that is visible is his beard, and the viewer can tell his eyes are locked on her. They are twirling around outside, and the rest of the painting is blurred to illustrate that. Behind them are people sitting at a table talking, with cups on the table. The trees are a nice shade of green, and there are a lot of blues in the background. This allows the woman to be the center of attention, as well as a pop of color in her pink and red.
...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.
The composition of this particular piece of work is very crowded and the only space that is apparent is where the geometrical shapes overlap creating some small gaps between them. Perhaps the distressed society of the time explains the chaotic feeling of this piece. The war had created complete upheaval and had ruined many people’s lives and societies. The combination of torn edges and sharp edges encourages the viewer to feel erratic and unordered yet everything is arranged and given a particular place. I think that Schwitters wanted to create some kind of order within his work as well as having an undertone of chaos. I feel that the layers of paint t...