At first glance, this piece of art bewildered me. I didn’t perceive it well but it intrigued me. The painting could almost be described as a abstract portrait. The vivid colors and bold lines draw in the audience as well as the other compositional devices. The purpose of this illustration was unknown at first glance which raised my curiosity for this piece. Throughout the art gallery many pieces are being displayed, but Woman with a Large Hat almost gravitates you towards it. The combination of vivid and dull colors make the piece interesting. White is a prominent color in the painting while red, brown, blue, green, and yellow appear throughout the canvas. Red and green serve as a complementary color while blue tones recede into the background. …show more content…
A thick green line divides the woman’s face in half. The colors contrast each other, but they also compliment and balance each other out. White most likely represents her initially, while the different color splotches suggest the changes over time. Her hat is the only object that is patterned and colored the same way. The hat is white with brown dots which could further suggest conformity and the shape echoes the curves of the figure’s torso. Dots are also seen throughout the woman’s face, hair, and body. Picasso most likely uses oil on the canvas to get the translucent and shiny portrayal of the bold colors that he used. The colors contribute and set up a strong visual rhythm across the canvas. The rhythm is created by the multiple colors distributed through the painting. The photo is asymmetrical but it is still balanced due to the visual weight on both sides being similar. The …show more content…
The lines on the woman’s face imply two different views. From one direction, the woman’s face is profile while the woman’s face is more of a frontal view from another direction. The diagonal line used around the woman’s chest add to the dynamic sense in this illustration. They create the depth and add to the multiple perspectives in this painting. In this case the diagonal lines cut across the image and add to the tension throughout the painting. In this piece, there is unity and variety.The warm colors are distributed throughout the entire painting which creates unity in our eyes when all of the colors come together. The opposite of unity is variety and the painting demonstrates that too. There are various colors and hues to go along with all of the different line segments. Harmony is seen in this work of art. All of the colors, lines, and shapes work together and appeal to the audience’s
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
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
Large and medium sizes of the forms dominate over small in the painting. The arrangement of the objects in this art piece is mostly centric. However, even though it is central, it is not symmetrical. The painter also touched the left edge of the burlap and the right bottom corner of it; this helps viewer’s eye to enter the painting smoothly, move around and escape from it. The asymmetry of the arrangement creates the sense of imbalance. Lam uses basic lines and shapes in the composition. Nevertheless, the painter creates wonderful light movement inside the figure with wavy shapes, which directs viewer’s eye from the top to the
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
They might not be very prominent, but they exist the painting and serve as the base for creation. For starters, the window pane contains lines that highlight its simple design. Simplicity remains as the core of this work. Moreover, sill is roughly represented by a thick brown line underneath the window as a boundary in a quietly brilliant fashion. The work has a wonderful color allocation to express the mood. The color is limited within the muted palette color range. Grey—the intermediate color of black and white, is the dominate color for both exterior view and the interior part, as a matter of fact, the observer notices that nearly all colors are mixed instead of natural this work. The cloudy sky corresponds to the grey color of the wall, yet the brightness is not influenced. However, this consistency has successfully created a cold, grave and silent environment for a crowded place such as New York. The whole environment of this painting seems to be surrounded by the negative and depressive
The visual elements in this painting are shape, color and light. The shapes and contours of the mother and child are life like.
This painting consists of regular lines as well as implied lines. Some of the regular lines that have been included are flowing, curved lines, such as the Earth that the woman is sitting on top of. Additionally, the background is made of small scenes that have been outlined by a dotted line, which places emphasis on the scenes. Besides regular and visible lines, there are a few implied lines in this painting. For instance, the woman's eyes are looking forward, so there is an implied line to the audience. Additionally, another implied line would be the woman's right arm, which is pointed towards her headpiece, while her left arm is pointed towards the earth. Nonetheless, this painting is not intense; although it does have splashes of color, this painting does not have a bright saturation. Instead, this painting is slightly dull, which makes this painting appear vintage. Additionally, since this background is a dark color, it makes the rest of painting, especially the headpiece, stand out. Besides colors and lines, even though this is a painting and there is no physical texture, there is invented texture. Upon viewing this painting, underneath the earth where the woman is sitting on, there are roots as well as grass, which give texture and feeling to the painting. In the end, this painting consists of several elements of composition, which Heffernan has done a wonderful job
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
In this work, the colors and shapes come together to form the depiction of a woman in a chair gazing out at the landscape beyond a window. This subject matter relates to Picasso’s infamous relationship with women and may serve as a depiction of one of the many women he was linked with. The painting depicts the woman with a dual omniscient and introspective vision. Picasso develops this dichotomy through the depiction of a wayward eye gazing out the window and a larger ubiquitous eye glaring directly at the viewers. In constructing such a contrast, the painter is able to convey the personality...
The two focal figures are illustrated with complementary colors, the woman 's dress being orange, and the man’s pants being blue. Benton uses these colors to bring life into the painting. The background is made up mostly of earthy colors like, greens, browns, and greys and a light blue for the sky. Benton seems to add white to every color he uses, which gives the painting an opaque look. The deepest hues found in this painting are the blue one the man’s pants and the orange on the woman’s dress, everything else around them looks washed out and Benton does this to emphasize his focal points
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
The most prominent color in this painting is blue; it is used in the walls, the doors the articles of clothing hanging on the wall hook and some of the items resting on the nightstand. The other prominent color is green, used on parts of floorboards, the window, a part of one of the doorframes, parts of the hanging paintings and the empty vase on the nightstand. Brown is the only ...