Compare and Contrast Essay 2
Exhibit 84: Frans Hals; “Buffoon Playing a Lute”, 1623, oil on canvas
Exhibit 85: Judith Leyster, “Young Flute player”, 1635, oil on canvas
Frans Hals born in Antwerp, painted both portraiture and genre painting, but he was mostly known for being a portraitist. His painting was one of loose brushwork and animating his portraits. The “Buffoon Playing a Lute” is a genre portrait that is realistic yet the painting has hidden meaning. Hals’ lutist is seen looking upwards and smiling normally at someone whom we can not see. The lutists smile which is wide and seemly mischievous, seems to light up the face, and also seeming to give the painting life. The realisticness of this painting is, “due to the fact that the artist studied a real man, the same model who is found in several other of his pictures.” (www.louvre.com) So not only does the smile give the portrait life but painting the man realistically also helps it give a new definition of real. Overall looking at this painting, it looks to have
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Leyster was a student of Frans Hals who seemingly was able to mimic some of his ability for loose brushwork. Her painting used vertical and diagonal lines and she used earthy colored browns and greys. The painting, “Young Flute Player” is a realistic painting. The boy is sitting in his chair lost in his music and behind him are other instruments, the violin and a recorder. “Leyster takes us to a blank background to reinforce all the details within.” (www.kweiseye.com) She does this in order for us to take in the full view, for example, his clothes that billow out from him or the patterns on the top of the chair. With the background not bustling with activity but being a simple brown background, your attention gets drawn to the boy playing the music. And with your attention on the boy you look and stare to try to “hear” what has him so intensely focused
The black background contrast with the predominate colors of blue and red gives these colors intensity. The red and green are complementary colors that give the painting visual appeal. The green juxtapose above the blue and red gives the artwork color balance as well as implies a triangular shape. The triangular shape and pattern is repeated throughout the painting by; the bend of the flute player's elbow, the head and shoulders of the guitar player, the head and shoulders of the lady whose back is to the viewer, the body of the guitars and the location of the three right-most musicians
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...
That form of representation or sketching involves the drawing of the skeletal structures in thick black lines, and in the case of Morrisseau’s "Astral Planes" painting, humans and animals. Lines drawn in the "Astral Planes" painting are smooth, unbroken, and with no sharp edges; mainly forming the outline of different objects on the painting. Lines get thickened in some shapes creating a volume to certain parts of the objects, such as the head and the arms of creatures. Lines and shapes integrate to produce an eye-pleasing piece of art to look at. The “x-ray” effect provides a feeling of animation to the painting observer.
His brush stokes are small and careful in the portrayal of grass to create the illusion of wind flowing through it. What also gives the grass a sense of “softness” is that the man looks comfortable enough to take off his shoes comfortably walk through it. Even though the brush stokes look small and soft he is still able to create the texture of stone on the house chimney, the bark on the tree, and the wood on the wheel barrel with these small careful strokes. The painting almost looks as if it would be soft to the touch and the mediums used have a lot to do with it. The gesso panel on wood makes the surface of the painting even and the paint glide easier across the surface, leaving no clumps of painting anywhere.
Who discovered America? The common answer to this question would most likely be Christopher Columbus. However, many explorers and adventurers came to America before Columbus. Viking Leif Ericsson was one of these explorers. Ericsson visited, and may have even discovered, the land that became America on one of his many adventures away from his native Greenland. The life, discoveries, and legacy of Leif Erikson are an important piece of history that not many are familiar with.
Other colors used in this painting include green, black and white. Several shades of green are used on the grass and bushes. The use of green adds contrast to the painting specially with the pink tones. A single shade of white is also used in this painting. It plays a role on the shadow parts of the flamingo adding dimension and depth, showing which flamingos are closer or farther within the picture plane. The use of green, black and white in the painting help the red, and different shades of pink stand out to the viewer and making the flamingos the focal point of this painting. The use of several shades and tones make the piece appear more realistic creating the illusion of depth. Each object on the painting has its own unique brush stroke, pattern and mixture of colors adding a more detailed look to the painting. When moving closer to the painting, many details become clear. One can see how organic and loose the brushstrokes are, with the use of a wide range of line weight on the different strokes. Bas started with thicker and bigger lines in the background. And in the middle ground of the picture plane Bas used more detailed and thinner lines with a horizontal movement making the flamingos look
The artist’s use of line to create movement in the painting is very obvious. Lucretia’s body creates an implied diagonal line which shows action and movement. Additionally, the cloak is also very curvy, appearing “fanned out”, as if she is in the midst of backing away. As well, the curtains are implied curves, and the furniture is an implied diagonal. These lines leave the viewer wondering what will happen next. With these repeated curves and diagonals, the artist creates a sense of unity and rhythm, helping the viewer “read” the composition, or move their eyes through it. The dominant shape repeated in the composition is organic, which also adds unity to the piece. Evidently, there are no horizontal lines in the painting, but the subordinate columns bring variety to the painting in that they are both vertical and geometric, in addition to symbolizing power. Furthermore, the primary color red dominates, creating unity; it appears in Lucretia’s outfit, the furniture, and the curtains. Interestingly, red is the color of danger, since it is the color of blood, and therefore, death; it is also the first color noticed by the human eye. Her gown is also has some white, a neutral, which represents purity and surrender. The artist did not use a warm, nor a cool color scheme in the
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
The work features three rectangular shapes placed on a tea-rose orange background. A large red square with a yellow stripe was placed at the top of the painting with an equally sized green rectangle and dark brown rectangle. These rectangular bands of color stretched across the canvas create a vibrant, yet calming emotion for the individual viewer. In the abstract expressionism movement, bands, such as those use by Rothko, were used to define color as a powerful tool for emotional communication. The lushness of the textured brush-strokes encapsulated my
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
When inspected, Ernst covered much of the wooden board with opaque paint, we are unable to see the color or underlying texture of the wood he had painted on. The piece contains a sky that proportionally takes up the majority of the background and gradually flows from a deep Capri blue to a bright yellow with a tint of lime. Ernst used the general rules of complementary colors to enhance the colors the viewers see, creating a composition that appears more vivid. The blue gradient gradually turns into a bright yellow accentuating both colors and the wooden pieces that he placed on top are a orange-red and red, which exagerates the dimensionality of the red wooden fence and house as it is against the blue and green of the sky and grass. Ernst chooses to paint this piece with different techniques that create a variety of aesthetics and textures. The sky, unlike the wall that is running into the distance, contains a gradient that is more jagged and less smoothed. One can distinguish each separate color that leads the viewers eyes from the blue to the yellow near the horizon, while on the wall there is a smooth transition from orange to white fading into the distance. Furthermore, as blue becomes yellow, the paint is applied more with blotches, creating a cloud like atmosphere and haze surrounding the setting of the image.
The painting under analysis is Alfred Bryan Wall’s Shepherdess with Sheep and Child from the permanent collection of the Westmoreland Museum of American Art at the temporary location, Westmoreland @rt 30. The painting depicts a pastoral scene of a woman, presumably the shepherdess holding a small child, while surrounded by sheep, with a small cottage visible in the background as well as a small forest. The medium being used is oil on canvas , with what appears to be a more rounded application of paint in layers. This technique is realistic in creating an image that demonstrates the shape of the sheep in particular and the fluffy quality of their wool. This is because of the contour lines or the outlines of shapes that are used. The more rounded quality and layering of these lines makes them somewhat indistinct, but this adds to the element of the sheep looking quite realistic as if one could almost fluff or touch the wool.
The strong horizontal of the table gives depth to the objects spilling over into the foreground. The plain, dark space of the background doesn’t distract from the main focus of the spread which contains further strong verticals in the gauntlets and wine glasses. The diagonals leading backward in the window and curtain allow the room to have space and depth. The background in “Basket of Grapes” is presumably a table, but lacks any real distinction, continuing past the picture plane in all directions. The texture of the surface matches the short, defined brushstrokes of the rest of the painting. This consistent texture flattens the work, as though what is not immediately perceptible to the artist in two dimensions does not continue into a third. Monet does not emphasis distract from the interactions of light and artist by forcing a restrictive perspective, but rather he perpetuates the interaction through loose shadows defined by color. Monet clearly finds beauty in perception and translation, not in mere replication. Luyckx, however, finds beauty in the gravity of spacious, man-made interiors and the wealth cultivated within them. Overall, the paint is dematerialized in the work, but the presence of the artist and visible brushwork can be seen more prevalently when depicted manmade creations. The gauntlets and glasses show visible brushwork as though reminding the audience they were made by
The first of these literal works were Stella’s now-famous “black paintings” done in 1959. By using elements of pattern and repetition while denying any sense of painterly touch, Stella forced the viewer
It was produced using silk screen technique. This in turn created an almost “mass produced” appeal to the piece. Many critics of this painting point out that the piece is cold, sterile, and expressionless However, at closer look, it is evident that Warhol paid a great attention to each canvass. While each canvass seems as if they were simply reproduced mechanically, it is crucial to point that Warhol in fact, sought such technique to systematically recreate imperfection. A closer look at the canvasses will reveal a slight variation and inconsistency. This again is done in order to properly convey his message of banality. Alternately, a closer examination of the piece shows although it was created using mechanical equipment, that the details appear almost handmade. It displays aggressive traits of enlargement, bright colors, and isolation which are known characteristics of pop. This shows how the artist is reasserting his own feelings, emotions, and creativity (Moorhead