Autumn Night, painted by Sergei Trukham, draws you into a dark, drizzly, autumn night. In this piece of artwork, a pathway is lightly covered with fallen autumn leaves from the overhanging trees, and a black, wooden, park bench sits to the left. The scene is illuminated by various streetlights that give off the indulging Kinkade light effect, which reflects off the wet park bench and puddles that flow throughout the walkway. When you shine additional light on the painting, the streetlights and reflections of the streetlights become brighter and vice-versa. Sergei uses warm fall colors and puddles emanate the cold, rainy, fall, climate outside. Sergei’s painting is partly printed onto the canvas, then the lighting and other aspects of the painting are hand painted and perfected. Autumn Night, is intelligently painted, giving the painting many artistic elements.
Analysis
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He creates focal points through lights and shadows, drawing the observer’s attention to various parts of the painting with the skillful Kincaid technique that is used. The use of the Kincaid effect, allows the viewers to have a different emotional reaction to the painting, in different light aspects. Line and shape are seen throughout the trees, light poles, walkway, leaves, and the park bench. The artistic element texture is seen in the leaves, trunks of the trees, bench, water puddle, and sidewalk. The water puddles, park bench, and sidewalk gleam, due to the streetlights refection off the fresh rain, giving it a gloss-like texture. The leaves and truck of the trees are painted with an illusion of a rough texture. Autumn Night uses naturalistic colors that show it is fall due to the yellow and brown colors of the leaves. The painting emits an emotional and dramatic ambiance, while also exuding a calm and cozy feeling. Each of the artistic elements combined, aid in the emotional reaction the viewers
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
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
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
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.
With an admiration for the unconventional, I am moved by Jackson Pollock’s Autumn Rhythm (number 30). If I could see any art piece in person, this would be my choice. I believe that Pollock’s radical painting style and the way in which he lay the canvas flat on the floor to work, gives this piece a deepened perspective. There is a visible control in the chaos to which Pollock has said "I can control the flow of paint: there is no accident." Seeing this piece in person would awaken my unconsciousness, and convey the feeling of spontaneity that I wish society will still embrace.
Igor Stravinsky was a Russian composer who reformed 20th-century music, and incited disturbances with The Rite of Spring. Stravinsky composed masterpieces in every genre. Russian-born American composer Igor Stravinsky is widely considered one of the great geniuses of modern music. His innovations in tone, rhythm, and harmony were revolutionary in their day, and his compositions have been universally acclaimed. Stravinsky's was known for his stylistic diversity. He changed the way composers thought about rhythmic structure. Stravinsky pushed the boundaries of musical design.
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 painting Hunters in the Snow, also known as The Return of the Hunters, by Pieter Bruegel the Elder is an oil on wood painting. This Netherlandish Renaissance work is one of five of the series of works that survived. Some of the series include; Gloomy Day in early spring, The Harvesters in late summer and a couple others. The purpose of this painting is to portray what country life used to be or what they wished it to be.
Henri's Snow in New York depicts ordinary brownstone apartments hemmed in by city blocks of humdrum office buildings. This calm, stable geometry adds to the hush of new-fallen snow. The exact date inscribed—March 5, 1902—implies the canvas was painted in a single session. Its on-the-spot observations and spontaneous sketchiness reveal gray slush in the traffic ruts and yellow mud on the horsecart's
From the piece of artwork “Rain at the Auvers”. I can see roofs of houses that are tucked into a valley, trees hiding the town, black birds, clouds upon the horizon, hills, vegetation, a dark stormy sky and rain.
As general overview, this picture displays a rural scene on the River Stour in the English countryside. Here Constable uses dark, soft colors in order to reflect the painting’s pastoral tone. The dark green, blue and white are used to create the nature scene. He uses soft, rounded, smooth brushstrokes which help to depict the mildness of nature. The painter also utilizes broken, curves lines, and dots in the painting. The most definite lines in the painting are used to create the trunks of trees and in the houses. Constable uses very few definite shapes in this painting, though there are some circles and triangles used to makeup solid objects like the carriage and the house. The foreground of this painting shows the ground and dirt leading up to the river. On the ground next to river a dog and debris can be seen along with some patches of grass. The middle-ground of the picture shows a carriage carrying a few people in the middle of the river pointed toward the cottage on the edge of the river. Finally, the background depicts many trees by the river side leading past the back of the house on towards the left, while the right side of the painting leadoff into the rest of the countryside with more trees and clouds overhead. This arrangement clearly reflects this style of painting and the era of the
The French 1884 oil on canvas painting The Song of the Lark by Jules-Adolphe Breton draws grasps a viewer’s attention. It draws an observer in by its intense but subtle subject matter and by the luminous sun in the background. Without the incandescent sun and the thoughtful look of the young woman, it would just be a bland earth-toned farm landscape. However, Breton understood what to add to his painting in order to give it drama that would instantly grab an onlooker’s interest.
John Sloan’s painting depicts a dismal view of municipal life. The painting’s gloominess is achieved most effectively through Sloan’s use of color. He uses deep shades of purple with the contrasting color green in the background. This color scheme provides an eerie fog throughout the painting.
autumn ‘oak and maple and birch set up a blaze of colour’ and then to
...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.