Vincent Van Gogh is a well known artist from the 1800's and most people know him for his painting “Starry Night” which in my opinion is one of his best pieces but I think Van Gogh's “At Eternity's Gate” could possibly rival “Starry Night” for one of his best pieces of art. “At Eternity's Gate” is a portrait of a man that appears to be distressed and mournful. He wears all blue while sitting on a chair in front of a fireplace. He is in a room which is seems empty. The man in the picture seems to be distraught with his hand covering his face, he is also hunched forward with his elbows on his thighs. The man is wearing all blue with brown shoes. The man has a receding hairline and what seem to be wrinkle on his head probably meaning he is very old. Van Gogh's use of color in his “At Eternity's Gate” is what will be …show more content…
Van Gogh used form in “At Eternity's Gate” to show the depth of the room. The objects that use form in the painting is the man, the chair, and the fireplace. The ends of the chairs legs are at different heights with the farthest leg higher up and the closest leg farther down. The chair also shows form through the use of overlapping of the supports for the legs, which runs in between each leg. The man shows form through the overlapping of his arm and his torso with his arm in the front. The technique of shading also creates a sense of depth with the mans torso being a darker shade of blue than his arms or legs. Van Gogh's use of shape is the focus of this paragraph. In Van Gogh's “At Eternity's Gate” most of the shapes he uses are not geometric but in fact organic. The use of slightly curved or wiggly lines creates natural shapes for the cracks in the floorboards or the fire in the fireplace and even in the wrinkles in the mans shirt and pants. He does use some geometric shapes like the square opening of the fireplace and the rectangular shapes of the floorboards and the closest chair
...o identify any geometric shapes someone would recognize. We see trees, people, and clouds. As a matter of fact, not even the staff the man in the focal point is holding is geometrical in shape, but crooked, as if it had been used for years. It is amazing how both geometric and organic shapes can create something that looks almost as authentic as a picture.
In the painting Albright took a literal approach, in the rendering of the shapes he used throughout the canvas. This gives the viewer a realistic perception of what the artist was studying. Because, Albright painted this in a realism fashion he must have an adequate knowledge of the antimony of the human form as well as how the muscles would react to the pose he has chosen for his model. Since this is in fact a piece done by Albright some abnormalities can be founds. The most noticeable irregularity is how the artist betrayed the light source. When you first examine the painting your eye is instantly drawn to the man’s face, than the eyes move down the canvas with the left arm acting as a guide. From there your eyes move down to the man’s legs and feet, after that your eye will move around the wheel back to the face.
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.
The major structures in the painting consist of an umber colored cross and three ladders. Starting from the top of the image, there is an old man with a scraggly, white beard holding onto and leaning over the top beam of the cross. He is set off by color, wearing a bright red gown and azure head wrap. The majority of his body rests atop the cross while he stands on the ladder that is leaning on the back of the cross.
When first viewing this piece, the viewer is confronted by a hellish image painted on a delicate porcelain bowl. It is painted in grotesque colors that could be potentially representing human anatomy, an idea of being within oneself. The scene consists of abstracted and deformed figures that appear to be exerting themselves toward demonic forms. These archaic forms were believed to have been developed from Pollock’s own haunting subconscious. Located in the center of these demons stands a small, glowing figure that appears to be surrounded by a halo of bright light. This figure could be interpreted as Pollock’s attempt to fight off his own inner demons. Naturally, the viewer’s eye is drawn to this moment first, as it is located in the center of the piece. It is a powerful moment, that leaves the viewer wondering where exactly the figure is headed in the bright
...retation of the painting some aspects were surprising to how dark and heavy hearted she could speak, she took an interesting perspective. However in her interpretative poem she found a perspective of the painting that connected with her. As she used every stroke of darkness painted into the canvas an opportunity to have it symbolize this darkness and evil that resides in the world. It told her story and her experience of a starry night. Similarly Van Gogh had used every stroke of light painted into the canvas to be a symbol of beauty, and a symbol of his fascination of the night sky and its illuminating lights. He uses swift movements of his brush to depict a sky that seem to be able to sweep the mind away from the frustrations of this world in to the dreamy night light. A single painting worth a million words tells many stories through every perspective.
In conclusion, Van Gogh used the elements above to create a man by himself in a field. He used color to represent feeling rather than represent realism of an event. The cool colors represent the field and happiness in his work. The warm colors represent the harshness of the day and could be a metaphor for life. He used scale and proportion to emphasis the overbearing sun. He also used proportion and scale to represent literally and figuratively how far away home was. The linear perspective was only evident to me after I really studied the used of lines. I followed the lines to the horizon and left side of the painting.
Van Gogh felt inspired by this depiction of human that gave a sentimental quality and began to draw replicas of Millet’s work, he held his work in the highest regard, even to the point of holiness.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
Perspective is based on Jesus in this painting due to his outward “radiant glow of divine light” (1) extending to the other people in the painting. The main focus is on Jesus and the rest of the figures are diffused in an outward fashion from Jesus himself. The artist himself expresses an emphasis on individualism by implementing himself within the painting by appearing “twice in the Last Judgement: in the flayed skin which Saint Bartholomew is carrying in his left hand, and the figure… who is looking encouragingly at those rising from their graves” (2). This is an action that only a Renaissance painter would do, which is displaying individuality through a self-portrait because of the possibility of being judged for selfishness. Light and shadowing is prominent within the art which is shown in the painting when the lighter, more brighter colors are focused in the middle and then fade into darker tones while moving outward into the
The appearance of 3D chaos and objects full of motion on the frame is all of the things running through the viewer’s mind. Then they “look outside the window” or into the frame at the dark illusion of a stormy sea with the lightning bolt seeming to be frozen in time. At that moment they realize the perspective Green is trying to get across; the grass is not always greener on the other side. The other side, or the “outside” in this case, also has many issues to deal with despite its beautiful and mysterious appearance. The audience realizes they are not the only one withholding chaos and issues in their mind. The world outside is sometimes just as chaotic and beautiful as the world withheld inside the viewer’s mind. All of these art elements and principles help this painting have meaning and bring it together to make the painting work very
André Derain creates his paintings with vibrant colors that give the illusion of movement. Derain takes these colors and brushes them onto the canvas in a loose manner. Much like Surrealism, the brush strokes in Derain’s paintings are often visible. When I recreated “Three Figures Sitting on the Grass”, I stayed as close as possible
’’ Starry Night” by Edvard Munch, an expressionist painting that represents a landscape during the night time in a city off Norway where he spent one of his summers. The artist was often inspired by Paul Gaugin style. The painting describes a single moment where everyone can lose
Vincent Van Gogh’s strive towards new and interesting compositions of the same object is something relevant to my own work. Though, the same object repeated has been done before, the current work is set on solving the problem of what is seen inside of another object. The relationship from the viewer to the object to the object within the object creates a new sense of direction, an opportunity to explore. This is also seen with pumpkins in a previous series, which worked more from the view of the same object various ways. My paintings relate to the observations of Vincent Van Gogh and Philip Guston.
Pointillism clearly influenced this painting, even though, unlike Seurat, Klimt never expressed an interest in utilizing optics in his work. Nine-tenths of this piece is a solid mass of foliage, thus if not for the tree trunks and strips of grass at the bottom, this composition would be completely abstract. The naturalistic elements of this piece are offset by Klimt’s decorative mosaic of green, blue and yellow dots, which are rendered representational only with the aid of the piece’s lower