Plum Garden at Kameido In this paper I will discuss the print called Plum Garden at Kameido. This print was created by Ando Hiroshige in 1857. It is a woodblock print. In the front of the print is a close up of a tree. It is an image of a plum tree in a plum garden. The tree has pretty white blooms on it. For this reason it is logical to assume that it must be springtime. Working back, I see two more plum trees. None of the trees have much detail of the bark texture. I can see that if these trees are true to life, Plum trees are not very shapely trees. Behind the second row of trees is what appears to be an iron fence with people standing at various points along the fence. The fence line angles back to show a third row of trees in the distance. Green grass can be seen in much of the fenced in area highlighting the fact that it is a garden. This work uses diagonal and zigzag lines on the limbs and branches of the trees. These are good line types to use since they resemble nature. Curved lines are …show more content…
used in the trunk and main limbs of the trees. The curved lines are longer than the other line types since they are used in the tree trunks and limbs. The trunk looks like a variation in the width of the curved lines. The curved lines use a varied texture to show the bark on the trees. The fence uses straight vertical and horizontal lines in the back ground of the print. I believe that curved lines dominate this print since the majority of the objects in it are tree trunks and limbs. Since this is a flat print on a picture plane, the painter gave it an illusion of depth by using different sized trees with the largest in the foreground and the smallest in the background. He did a similar thing with the fence, people, and building. He used value on the trunk of the tree by using light colors in part of the limb and trunk and darker colors on the edges. By doing this, he also gave the illusion of shadows. The sky is another notable object since he uses variations of two colors to mimic the natural appearance of the horizon at a certain time of day. This scene appears to be late in the day just before nighttime. This print is soothing to me. It communicates a time of day when the air temperature is pleasant and the day is winding down. The sky is a beautiful shade which is typical of a spring evening. It presents a relaxed setting. People are out at this time of day to enjoy the outdoors. The people are small because they are a distanced away from the vantage point of the painter. They are likely behind the fence because this is a garden. We think of settings like this as though they were parks but it is apparent that the trees and items in this garden are not to be disturbed or trampled underfoot. People and nature can and should coexist but people must allow nature room and time enough to grow and regenerate. All life requires this. Nature can be enjoyed but it must live as well as humans or it will suffer and cease to exist in its natural beauty. I think this print is an excellent representation of a certain time period and traditional Japanese setting.
This is an image that I think of when I consider Japanese culture. They love gardens like this and you see similar images often when considering their culture. It is difficult to tell for sure, but the people in the distance appear to be dressed up. It is as though they have put on their best clothes to step out and enjoy this relaxing setting. I believe that this print is successful at capturing a moment in the mid 1800’s very well. It causes me to sense and experience what the artist was trying to capture. This print seems to conform to the formal theory of art. The print has only images of each object. None of them are particularly detailed or real to life but they do a very good job of organizing and describing the basic elements of the scene. It uses similar colors, shapes, and lines to those one might find in this garden in
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October/ Octubre by Patssi Valdez (1995: fig.1) gives the viewer an inside look into this brightly colored world similar to magical realism as we stare at a table with item and a window view that looks outside at swirls of frosty cold air. This large scale acrylic painting on canvas measures to 78 1/16" x 26 3/8" x 1". At first glance we, the audience, are faced looking at a table with blue patterned table cloth and three objects on top; a book of Sor Juana, a golden pear, and a potted plant holding two yellow tiger lilies. At the bottom foreground of the painting, we can see a red and blue circular rug underneath the table with a pair of pointed black shoes, suggesting that this is a female’s home. The background of this painting, depicts
The pictorial space divides the plum tree into several dynamic shapes. The main plum tree shows a vertical line and foreground through the plum tree branch to make it appear to be closer and bigger than the other trees. Both the main plum tree and the other small branches have a wide width and curved lines. In the background, each tree has its own space for growth. The fence has a form of the zigzag line around the garden separating the trees from the people. The people walking in the garden make it seem like they are overlapping in a hue color and having a proportion way from the plum trees. The color schemes of this print is complementary colors the reddish and greenish change from warm to cool
This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
Growing from its humble beginnings as an ash dump in the late 1800's, the Brooklyn Botanic Garden has come to represent today the very best in urban gardening and horticultural display. The Brooklyn Botanical Garden blooms in the middle of one of the largest cities in the world. Each year more than 750,000 people visit the well-manicured formal and informal gardens that are a testament to nature's vitality amidst urban brick and concrete. More than 12,000 kinds of plants from around the globe are displayed on 52 acres and in the acclaimed Steinhardt Conservatory. There's always something new to see. The Brooklyn Botanic Garden offers a variety of public programs all year long. Tours, concerts, dance performances and symposia are always on the roster, as well as special one-time events that feature elements of the Garden at their peak. Each spring the Brooklyn Botanic Garden celebrates the flowering of the Japanese Cherry Trees with our annual Sakura Matsuri (Cherry Blossom Festival), and each fall is spiced up with our multicultural Chili Pepper FiestaA few of the "Many Gardens within a Garden" include the Children's Garden, tended each year by about 450 kids, ages 3 through 18; The Cranford Rose Garden, exhibiting more than 5,000 bushes of nearly 1,200 varieties; The Herb Garden, with more than 300 varieties -- "herbing" is apparently taking the country by storm as people rediscover medicinal, culinary, and other uses; and The Japanese Hill-and-Pond Garden, a beautiful creation featuring a Viewing Pavilion, Waiting House, Torri, shrines, bridges, stone lanterns, waterfalls, pond, and miniaturized landscape.
The texture of the canvas works very well with the subject matter portrayed in the painting. The grassy hill side and the leaves of the trees are especially complimented by the canvas. It makes the leaves feel like they are slightly moving, this combined with the lack of detail itself the leaves. This is contrasted nicely with the very detailed renderings of the trunks and branches of the trees, the conscious decision to put so much effort into the tree itself and then to use obvious brushwork in the leaves makes the trees much more firm and immovable in the landscape. The brushstrokes are very clean and precise on the trees in the background.
There is, however, a slight opposition to this intense realism. It can be seen in Wood’s representation of foliage. The trees that appear in the upper left corner look like large green lollipops peeking over the roof of the house. The viewer knows that trees do not naturally look like that. Wood has depicted them as stylized and modern, similar to the trees seen is Seurat’s Sunday Afternoon on the island of La Grand Jatte. After viewing other works by Wood, it is clear that he has adopted this representation for the trees in many of his paintings.
The name of this artwork is Christina's World. This artwork was made in 1948. The name of the artist is Andrew Wyeth. It was done on a wood panel with paint! (Tempera paint to be exact). There is a girl in a pink dress, brown hair, and brown shoes (I think there boots but I'm not sure). She looks like she's on a farm of some sort. There is wheat she is sitting on. There is a brown house in the background. She's far from the house. I see dull colors in the painting. The shapes I see are squares. I believe the artist did attempt to make the painting 3-D. The lines that are used are vertical and horizontal. I can’t really tell what textures there is, but they I bet it feels like a painting. I believe what creates unity is that there is a color
This piece is acrylic, oilstick, and spray paint on wood panel that is 186.1 centimeters in height and 125.1 centimeters in width. This piece features a human-like figure in the center that is mostly half red and half black. This figure has a gray head with one yellow eye and one light gray eye and above its head is a black halo. The background consists of patches of various colors such as light blue, black, dark red, light green, beige, turquoise, pink, and yellow. On the bottle left corner there is a figure drawn that looks like a fish and has a strip of mustard yellow painted through it. Also towards the bottom right of the artwork, there is some drawn on letters that almost look like words but are messily painted over with a desert sand color. This piece is my favorite because I find it aesthetically pleasing. There is a lot going on in this piece that makes looking at it genuinely interesting. The colors that Basquiat choses for the background go very well together and overall compliment the figure in the center. I like how incredibly expressive this piece is and it makes me want to buy a canvas and start painting that I desire. I also like how the human-like figure is drawn. One could see what looks like an outlined ribcage on the figure, which makes me believe that the head is actually a skull. Upon further research I learned that Basquiat was
The Leaning Pine Arboretum, named for a tree which blew down during a storm several years ago, is a tranquil horticultural display garden on the outskirts of the Cal Poly campus. The main purpose of the five-acre arboretum is to educate students about different species of plants in their natural settings. This arboretum emphasizes Cal Poly’s motto of “Learn by doing.” Students in the Horticulture and Crop Science Department are the force behind the garden and keep it functioning year-round.
The analysis of a work of art can help the viewer, and the reader of the analysis for that matter, to better understand the relationships of the physical elements of the piece. This kind of analysis can then lead the viewer or reader on the pathway of comprising a richer understanding and appreciation of the mood created through the physical criteria of form. Analyzing two works that both embody a few common characteristics can help one to understand more thoroughly not only each of the two pieces independently, but the two together, comparatively. The two pieces in discussion here are comparable in very few categories of elements, however can be analyzed in comparison to each other. A Japanese woodblock print entitled Kusano Kanpei at Totsuka and a tempera panel painting from Italy called Madonna and Child and Crucifixion are the two highly distinctive, yet surprisingly similar pieces. Although these two works range in time period, process, visual form, and individual style, they can be compared through their few common aspects; each of the two pieces is recognizably stylized to it's own highly specific time period, and both of the works create, through form, an intimate space between the piece's images and the viewer.
While at the Museum of Modern Art, one might as well busk in Mito's serene and serendipitous scenery and drop by the Kairakuen Park. Nationally famous as a plum park, Kairakuen Park is one of the three great parks of Japan. This park was created in 1841 by the ninth Mito Clan Lord Nariaki Tokugawa. Its name means that the park is not only for the enjoyment of the Clan lord but also for the common people. This 13-hectare park has 3,000 plum trees of 100 varieties and with the coming of Spring, attracts crowds of plum blossom viewers. The park also flowers in Summer with azaleas and in Autumn with Japanese bush clover. The Kobuntei Villa nestled among the cedars and bamboos on the west side of the park were used for the clan lord's relaxation and for poetry meetings to which writers and artists were invited. It has a plain but distinctive atmosphere.
The role of gardens play a much more important role in Japan than here in the United States. This is due primarily to the fact the Japanese garden embodies native values, cultural beliefs and religious principles. Perhaps this is why there is no one prototype for the Japanese garden, just as there is no one native philosophy or aesthetic. In this way, similar to other forms of Japanese art, landscape design is constantly evolving due to exposure to outside influences, mainly Chinese, that effect not only changing aesthetic tastes but also the values of patrons. In observing a Japanese garden, it is important to remember that the line between the garden and the landscape that surrounds it is not separate. Instead, the two are forever merged, serving as the total embodiment of the one another. Every aspect of the landscape is in itself a garden. Also when observing the garden, the visitor is not supposed to distinguish the garden from its architecture. Gardens in Japan incorporate both natural and artificial elements, therefor uniting nature and architecture into one entity. Japanese gardens also express the ultimate connection between humankind and nature, for these gardens are not only decorative, but are a clear expression of Japanese culture.
The artist is unknown as most Chinese ceramics of the finest quality are industrially made and very few names of artists are known or recorded. The piece has a fairly large size (18 in. x 19 in.) compared to other Chinese porcelain. The upper part of the piece is curved inwards, creating a thin and elegantly constructed “lip”. The downward length of the neck takes slightly less than half of the whole size of the piece, as it connects to a “body” characterized by a strong curvature in the “shoulder” area of the piece. The shoulders connect to the “foot” with an inward curve. This particular vase does not have handles. The foot of the vase is thin and elegantly made, like the lips. The size of the figures painted on the vase varies and, relative to the size of the trees, the scale used to make the images smaller is not realistic. The artist has painted a horizontal line that starts from the lips of the vase and ends at the foot, marking the start of the panorama view that the audience should follow when observing the
In this report I’ll be exploring the Persian Garden style and its common features, why the ideas developed. I’ll then look at the common types of Persian Garden, and conclude by comparing a historical and modern example of a Persian Garden.
Image of Richard Hamiltona Fri. \ "Ladies Home Journal\" is an image (with collage) pop-artowym.