The oil on canvas painting by Thomas Cole named The Fountain of Vaucluse is a painting that is best appreciated in person. The painting is something that can’t be seen in just a few minutes to really take in all that it has to offer. The different emphasis on colors, and the use of 2D and 3D visual illustrations can be over-welling to the viewer. As I gazed upon the painting I found my viewpoint of interest change do to the altered landscape illusion that came into focus.
The artist Thomas Cole was born in Bolton, Lancashire Northwestern England in 1801. At the age of seventeen he immigrated with his family to the United State in 1818. Young Mr. Cole was fundamentally a self-taught artist but when he and his family moved to Philadelphia, Ohio and Pittsburg he did attend the Philadelphia Academy. While attending the academy his first canvases works were included in the Academy’s exhibitions.
When Thomas Cole returned to Great Britain and also traveled to France and Italy he meet wealthy Americans traveling abroad and received numerous commissions, which made him
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quite wealthy. During this time he spent a great deal to time out doors sketching and homing his highly romanticized version of nature, landscape and the all-powerful forces of nature, which is depicted in his body of works. One of those sketches was of the home of Italian poet Francesco Petrarch, one of the great Renaissance writers.
The painting has become know as The Fountain of Vaucluse, which is oil on canvas painting. I had the pleasure of viewing his painting in the Dallas Museum of Art. The shire massive scale 86 ¼ X 66 ½ inch painting has 2D, 3D flat surface visual elements, fore, middle and backgrounds that shows the arts use of space and overlapping perspectives. The painting organic feel and emphasis on nature shows Thomas Cole eye for detail without over doing it with to many colors choices. Cole used dark shading and deep warm colors to draw his audience into the art piece. The uses of deep shaded hunter green colors for the trees and hills side, hints of red for the mountain flowers and roof top, turquoise blue is used for the river. Warm caramel and brown tinting is used on the towering
mountainside. As I reached Thomas Cole and body of work he left behind I came to have a deeper appreciation for his artwork. When I signed up for this class I really didn’t think much of what art really means. What I mean by that is that the hundreds of nicked painting done by arts before this class I wouldn’t have know the true meaning behind the images. I know find myself critiquing art and respecting the time and effort that went into artwork. I know this may be a cliché but I do have a renewed appreciation for the arts.
The colors used in the painting are dark and some parts bright illustrating a focal point being the skull in the center as well as the quill, both surrounded by darker colors in comparison.
In the era where Thomas Cole first established the Hudson River School, other artist that is not from the United State such as John Constable, has the same taste in nature and outdoors. John Constable who is from England, created many painting from the surrounding area from his backyard to the countryside. For Cole’s painting, his work of art has been throughout the Hudson River, therefore, his painting consist of vast amount of forest, river, and mountains. He also travels in many locations in America and even done some painting in Europe. Both painter love nature, for this example, landscape will be the primary focus.
There are also a bunch of children that are portrayed playing inside and on top of the stagecoach. The colors that are used in this painting are all realistic, this is very important because it portrays what a warm summer day would be like on a farm. There are a lot of different colors such as bright green grass and bright colors for the clothes that the children are wearing. There are quite a few principles and elements that are used in the painting. One of the first principles that I noticed was the emphasis on the stagecoach.
An artwork will consist of different elements that artists bring together to create different forms of art from paintings, sculptures, movies and more. These elements make up what a viewer sees and to help them understand. In the painting Twilight in the Wilderness created by Frederic Edwin Church in 1860 on page 106, a landscape depicting a sun setting behind rows of mountains is seen. In this painting, Church used specific elements to draw the viewer’s attention directly to the middle of the painting that consisted of the sun. Church primarily uses contrast to attract attention, but it is the different aspects of contrast that he uses that makes the painting come together. In Twilight in the Wilderness, Church uses color, rhythm, and focal
When looking at the painting it gives us a glimpse of the past. It looks almost like a photograph. The fine detail from the building on the right with the statue on top. The citizens walking around.
The mixed reaction I have towards the painting is because, first off, I still wouldn’t know what is really behind it or what it’s trying to tell us without looking at it from a distance. When I looked at it from a computer desktop I could see a shoe, a mountai...
The naissance of the Hudson River School style launched a new era of artwork. Thomas Cole started this school and it was because of him American landscape painting came of age with the success. This was the first school of painting in the United States. Located in Northern New York by the Hudson River, the paintings focused on the nature and wilderness of the surrounding area. The Hudson River Painters believed that nature was a direct manifestation of God. As such, nature was to be depicted as accurately and as detailed as possible. If a man was included in a painting at all, he was painted small in stature to emphasize his relationship to nature (God). Because nature was considered perfect, the Hudson River Painters attempted to draw and paint landscapes directly, not from memory or imagination, and without embellishments or contrivances. The American landscape, wild and unspoiled, became a great source of national pride. The museums and galleries now focused on American art rather than European art for the first time. Importantly, the school helped make Manifest Destiny a popular idea, and thus contributed to western expansion.
painting even though the event represented in the painting took place long before the Roman Empire. The center temple that occupies the background has a vanishing point running through its doorway and if it weren’t for this illusionistic technique, the painting would be very two-dimensional.
Georges Seurat used the pointillism approach and the use of color to make his painting, A Sunday Afternoon on the Island of La Grande Jatte, be as lifelike as possible. Seurat worked two years on this painting, preparing it woth at least twenty drawings and forty color sketched. In these preliminary drawings he analyzed, in detail every color relationship and every aspect of pictorial space. La Grande Jatte was like an experiment that involved perspective depth, the broad landscape planes of color and light, and the way shadows were used. Everything tends to come back to the surface of the picture, to emphasize and reiterate the two dimensional plane of which it was painted on. Also important worth mentioning is the way Seurat used and created the figures in the painting.
Thomas Cole was born on February 1, 1801 in Bolton, Lancashire, England. Due to financial problems his family endured, Cole, at the ripe old age of just fourteen, had to find work to assist with the family needs. He entered the work force as a textile printer and wood engraver in Philadelphia. In 1819, Cole returned to Ohio where his parents resided. Here, a portrait painter by the name of Stein, would become Cole’s primary teaching vehicle and inspiration for his oil techniques we’ve come to be familiar with. During this time, Cole was extremely impressed by what he saw in the landscapes of the New World and how different they were from the small town of England from whence he hailed. Self taught, art came naturally to Cole.
Born in Bolton, Lancashire, England in 1837, Thomas was taken to the United States at the age of 7. (Ency. Bio. Vol. 11). He was educated in Philadelphia public schools for his elementary years and then indentured to a wood engraving firm in 1853-1856. (Am.Nat.Bio.Vol 15). He had three brothers who were artist, but he learned to paint from his brother Edward Moran. He did do some watercolors during his apprentictionship and in 1856, he painted his first oil painting titled, Among the Ruins There He Lingered. (Vol.11). Moran still working closely with his brother became an informer student of Philadelphia marine artist James Hamilton. Hamilton may have introduced him to the work of J.M.W, turner and a belief in close study of nature in his foundation of panting. (Vol.15) Moran exhibited landscapes at the Pennsylvania Academy of the fine arts for the first time in 1856 and then later elected academician in 1861. He continued to exhibit there through 1905. (Vol.15). 1862 Thomas married Mary Nimmo who had always thought to be her husbands student. (Vol.15). The beginning of his life had just started and didn't know that he would accomplish so many feats with his artwork of nature.
During my trip to the Art Gallery of Ontario, I found there to be one painting that surely stood out and made an unique impression on me, it was certainly a painting unlike the rest of the in the gallery. When my eyes met those of the portrait of Dr. Heinrich by Otto Dix, I was deeply intrigued and found myself to be drawn to the piece and inspecting it the longest out of the all the options of paintings that I saw at the AGO.
own painting. He sees some figures, along with a castle and somewhat of a landscape. The artist
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Archibald Motley Jr. was born in 1891 in New Orleans. Ever since, Archibald was a child he had the desire to be an artist. His family moved to a Chicago neighborhood in the 1890’s, but the family would take frequent trips back to New Orleans in the summer. Later we find out that these two similar settings were the determining factor for Archibald’s paintings. He decided to study art at the Institute of Chicago and was recognized by being one of the few African American artists during that time.