When viewing Georges Seurat’s, A Sunday on La Grande Jatte (Fig. 31-37), perception is changed vastly depending on the viewer 's proximity to the piece. At close range, all that is visible is a mass array of countless circular dots and tiny lines in a vast range of colors. Greens, blues, reds, oranges, yellows, white, browns, black and purples are all visible in a multitude of intensities. The Divisionism technique utilized causes this piece to appear as an abstract collection of colors when viewed at close range. Yet when distance is between the piece and the viewer, these seemingly sporadic dots come together to create a complete and detailed scene. Primarily consisting of biomorphic shapes, Seurat’s incorporates in every inch of the canvas …show more content…
31-40), there is a vast difference between his piece and Georges Seurat’s. Instead of using dots to create the effect for his piece, Van Gogh primarily uses small lined brush strokes heavy with paint giving a palpable appearance. Most visible is the predominant use of the color blue, ranging in different levels of intensity from a color so deep it appears to almost be black to the palest of blues, bordering on being white. Among these many shades of blues, yellow, white, black and a reddish brown are also visible. To balance the extravagant whirling skyscape located above the small village, Van Gogh includes in the foreground a large, gnarled looking tree, opposite side of the canvas to the imposing, glowing moon. Motion is noticeable within the sky, wherein the clouds and stars carry similar appearance to large waves. As though mimicking the movement from above, the mountains below follow along similar curvature as the clouds and stars, making it challenging for the viewer to determine where precisely the sky starts and the earth …show more content…
32-81), presents itself as a wild array of freeform shapes. Arches and crescents, lines and circles, all splattered across the canvas. Free flowing unstructured geometric and biomorphic shapes alike can be found in black, white, gray and brown. Though covered from edge to edge in what looks to be an unrestrained painting free-for-all, a distinct bordering edge is undeniably visible. Within the piece, the dripping, and splattered lines seem to thin and become increasingly sparse as they come closer to the edge of the canvas. Further balance is achieved within the composition with the accumulation of the densest points coming together towards the center of the canvas. The entire piece strikes one as almost being alive with its nonstop motion. It creates a sense of organized chaos. When viewing Autumn Rhythm (Number 30) (Fig. 32-81), I feel as though it has captured the view of the world while in motion, more particularly the view of the world while dancing. The rhythmic movement from one side to the next, sweeping across the floor, the freedom of movement as the body turns and spins and the world blurs around. The title suits the piece perfectly as it is easy to envision how the winds carry the autumn leaves, similarly as though they are dancing in the air. Wild and free, yet contained and controlled by the gusting of the wind. The movement within this piece evokes the feeling of being energized and alive. Not necessarily a
The American artist Fred Tomaselli arranges pills, leaves, insects and cutouts of animals and body parts to create his pieces of art. His incorporation of items are arranged to suggest a level of perception along with a heightened visual experience. This gives me, the viewer, a sense of Energy. The perception of color that Fred uses gives a gravitating feel. If you take a look at the heart of this piece you can instantly visualize the different items Fred incorporates into the piece.
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
Starting with visual elements I saw lines, implied depth, and texture. I see lines by him using lines created by an edge. Each line is curved not straight but it works with the piece. By using this he creates the piece to make it whole. He uses many curved lines within the painting I don’t know if there is a straight line in the whole thing. The next element I saw was implied depth. Using linear perspective you can see the mountains but they look smaller than the rest of the piece. They are the vanishing point in the back making it look as if you can walk down and they will get closer and closer to you. The last element that I saw was texture. They talk about Van Gogh’s painting, The Starry Night having texture through a two- dimensional surface, in which this painting has that similar feel. Van Gogh uses thick brush stokes on his paintings to show his feelings. There is actually a name for this called, Impasto,
Spending time looking at art is a way of trying to get into an artists’ mind and understand what he is trying to tell you through his work. The feeling is rewarding in two distinctive ways; one notices the differences in the style of painting and the common features that dominate the art world. When comparing the two paintings, The Kneeling Woman by Fernand Leger and Two Women on a Wharf by Willem de Kooning, one can see the similarities and differences in the subjects of the paintings, the use of colors, and the layout
At the very top of the painting running the entire length across, there is a three millimeter width of congested brown, gray, and green colored leaves and vines. However, because of the convolutedness, smoothness, and lack of space between these vines and leaves, my attention was drawn to t...
A Sunday Afternoon on the Island of La Grande Jatte, located in the Art Institute of Chicago, is one of the most recognizable paintings of the 19th century, a painting made by Frenchman Georges Seurat. Finished in 1886, it has gained much of its recognition over the time of its completion; the pop culture of today has played a pivotal role into the popularity of it. An example of that is being apart in one of the most recognizable scene in Ferris Bueller's Day Off, where one of the main characters is solely staring at the painting until he can’t even recognize the artwork. This painting also gets much attention because it was an early example of the style of pointillism, at the time; pointillism was becoming a new way of expressing one self with the new technique. It also brought upon about the way we saw paintings, and what we gained from the artwork as whole. In all this painting has become an icon in the art scene, due to the technique it used, and how much of an impact it has had in today culture.
We can see a clear representation of the impressionist that tended to completely avoid historical or allegorical subjects. In this painting, Monet’s painted very rapidly and used bold brushwork in order to capture the light and the color; include relatively small, thin, yet visible brush strokes. An insistence on what Monet called “a spontaneous work rather than a calculated one” – this in particular accounts for the sketchy and seemingly unfinished quality of the Impressionist paintings. In the texture, he played with the shadow and light and created variation in tone, he employs patches of depth and surface. The light in the painting come from back to the windmill, it is a light shines softly behind the houses and the windmill. He was shown each brushstroke in the painting. Balance is achieved through an asymmetrical placement of the houses and the most important the
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
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 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.
There are not many different colors to this painting. The main color of this painting is green which helps exemplify nature at its best. The green leaves from the trees as well as from the city below help capture the beauty of this view. The shades of blue of the sky provide the painting with a bright glorious day that would be perfect to paint. The colors of the mountain help blend in with the sky as the only thing that helps to divulge them from one another are the mountain ridges.
Claude never stopped painting until the day he died and will always be remembered as an extraordinary artist, who had doubts, but still never gave up. In this art piece what I can visually see is; A beautiful day, with blue skies and puffy clouds in between the blue parts of the sky. In the distance I see a cliff that overlooks the beautiful, clear different shades
The surreal scene takes place in the early morning while the moon is still out. Heavy brush strokes and a limited color palette gives the painting a more abstract feel rather than a realistic one. The vastness of the early morning sky depicts a sense of grandeur and remarkable beauty. The light of the sun is just starting to creep over the mountain range in the distance. At the foot of those mountains is a sleepy little town. There is a little white chapel on the edge of town. You can almost hear the church bells ringing telling the townspeople it’s time to wake up. A few townspeople must have heard the bells because some of the little houses have candles burning
An assortment of different elements can be employed to convey rhythm. In Frosty Morning lines and shading are used to show this. One aspect of the painting that implements these elements is the grass throughout the fields. The use of lines tracking towards the same direction is one aspect of showing movement in the grass. The second aspect is the shading of grass. The lighter portions of the grass portray that it is facing more towards the sun, while the darker portions are facing away from it. This gives notion as to which direction the grass is moving as well. The element of shading to illustrate rhythm is also used in the smoke billowing from the chimney of the country home in the distance. The use of shading the smoke in darker and lighter sections allows an observer to distinguish which direction it is moving. This is based on the fact that the lighter portions of smoke have dissipated more than the darker portions, thus showing the direction based on where the concentration is greatest. The title of the piece of art is Frosty Morning, which tells that it is cold. Together, the movement of the grass and smoke also aids in further implementing the weather setting. By showing movement in the grass and smoke, it portrays wind blowing, which is often associated with cold weather. Combined, these two elements of movement are a major component of setting the overall tone of this work of
...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.