Ivan Eyre’s landscape painting, Tanglewood is an exceptional piece of artwork. This beautiful acrylic painting on canvas is currently being displayed at the Winnipeg Art Gallery’s Landscape and Still Life exhibit. It strengthens the cultural prospects of Winnipeg, where it is displayed in. There are various attributes to it that makes it an impressive piece. Its display and composition in the museum being one of the contributing factors to its aesthetic appeal. I believe that this particular painting is incredibly appealing because of its spectacular use of colour, various shades being used skillfully. The technique implemented by Eyre is obvious as being create from an experienced artist, bringing the piece together in harmony. These three aspects are what makes Tanglewood a notable work of art. Tanglewood is a grandiose piece that influences a strong presence. Standing at 157.8 by 363.7 centimeters in size, it is a piece that is hard to miss. I was fascinated by its formidable presence in the room. The museum did an excellent job of accentuating the painting, directing delicate …show more content…
His approach enables Tanglewood to be successful. He is able to produce a piece that has a lot of personality, given that the majority of the canvas was painted in shades of green. His brilliant use of shadows and contrasting the shades permitted him to bring harmony to the painting. There is a discernable unification through the entirety of the canvas. Eyre’s use of a bird’s eye view is ingenious as it enables an ample view on the landscape, permitting the visualization of a large expanse of land without making it feel crowded. This makes it easier to make the distinction as to where Eyre wanted the focal point of the painting to be. I did not have difficulty with being guided to the painting’s focus, with the excellent use of lighter shading bringing my attention towards the
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.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
Besides bright or dim colors, and fine or rough brush strokes, artists use centralized composition to convey their interpretations in "The Acrobat's Family with a Monkey," "Amercian Gothic," "The Water-Seller," and "The Third of May,1808.”
“New Field” by Theodoros Stamos is part of the “Edward Joseph Gallagher III Memorial Collection of the University of Arizona” exhibition at the University of Arizona Museum of Art. The artwork is part of this exhibition because Mr. Gallagher donated it. The exhibition featured several pieces of work that all used color and lines to produce the essence of scenery. The artwork depicts Theodoros Stamos’ abstract expressionist style, where he uses a distinguished set of colors on a large flat canvas.
... 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.
I believe that the Norman Rockwell painting induces his audience to become visible to themselves as white in a politically progressive way by displaying nostalgic concepts that his audience can identify with as they relate to the white boy more than the black man.
The main driving element in William Morris’s life has been the nature around him and the houses he lived in. The most prominent influence was the Kelmscott Manor. Therefore, I chose to go with Kelmscott Manor’s layout plan that exhibits the “inspirational garden “ that led to most of his design decisions, a map that depicts the pockets in the manor and how Morris was inspired by it. In addition to this, an original drawing of the Kelmscott Manor’s exterior that depicts how the manor amalgamated within the garden. To reinforce this, I picked a watercolor of the Kelmscott Manor and a photo that captivates the various perspectives of the garden in the manor. Moving on to his designs that interprets his love for nature I picked up the very first of his wallpaper design of the trellis that has a very naturalistic touch to it with the vines which seemed to be an extension of the “inspiration garden” on to the paper. Also chose one of the wallpapers he designed during the middle of his lifetime and one of his last designs as well. The underlying concept behind picking those was to outline the consistency in his design concept throughout his life. William Morris was a poet , whose poetry and compositions were also inspired by nature, and to depict his poetry in form of naturalism concept I picked a stance from one of his compositions that talks about forest, flora and fauna which directly ties to his underlying concept. Also the compositions he wrote always had engraved borders which was ...
The colours used in the artwork are earthy tones with various browns, greens, yellows, blues and some violet. These colours create a sense of harmony on the...
At first glance, in Grant Wood’s Stone City you see a wide variety of visual elements. As you look longer you see the pieces come into focus. The eight terms that help me analyze the visual experience of Wood’s painting are line, shape, mass, light, value, color, texture, and space. This picture is in landscape view, and is three-dimensional.
Romanticism can be described as the overwhelming flood of powerful emotions recollected in tranquility. This painting evokes feelings of accomplishment, individualism, loyalty, and an awe for nature. All of these feelings were clearly felt by Sanford Robinson Gifford while he created this piece. The feeling of accomplishment comes from the man who now turns back to look over the vast mountain range that he has now summated. He shares this pride with both his peers and his loyal companion. A strong sense of individualism is also portrayed by the group's remote location and independence from society as represented by the kindling of their own fire. This is a difficult task which requires mastery of the elements and represents power in the hands of those who wield it. Finally, the awe for nature comes in with the man's obvious respect for what lies in front of him (Gifford, Sanford R). He stands, head tilted back, tracking the progress of the sun as it approaches the blanket of hills where the land and sky blur together. One cannot help but share in this wonder for the beauty of the
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
The middle is the couple pushing their child and they are surrounded my much activity as they walk in the neighborhood. One of the girls that are jumping rope has her back towards the viewer with the thin but extra-long lines of rope they jump through. Lawrence use sharp and round lines throughout the painting to indicate the shapes that are seen in everyday life a Harlem resident. The lines also represent the movement of each of the people shown. Shadows created depth that is splattered across the painting and also how each of the people in the painting is positioned gave a realistic type of feeling to the painting. The showdowns provided in the painting also give off the time of the day those activities such like these could have been happening. Lawrence used repetition and patterns to create the rhythm of this city scene (“Jacob Lawrence: Exploring Stories”). The repetition and patterning in the painting tells how the activity is daily not only that particular day. The use of complementary colors which was both primary (yellow, blue, and red) and secondary (green and orange) brought the life to the painting. The colors or hues made negative spaces
Claude-Joseph Vernet’s oil on canvas painting titled Mountain Landscape with an Approaching Storm was created in 1775, and it is currently located in the European Art Galleries (18th- 19th Century North) 2nd Floor at the Dallas Museum of Art. It is a large-scale painting with overall dimensions of 64 1/2 x 103 1/4 in. (1 m 63.83 cm x 2 m 62.26 cm) and frame dimensions of 76 1/8 x 115 1/4 x 4 3/4 in. (1 m 93.36 cm x 2 m 92.74 cm x 12.07 cm). Vernet creates this piece by painting elements from nature and using organic shapes in order to create atmospheric effects, weather and different moods. This piece primarily depicts a landscape with a rocky mountainous terrain and villagers scrambling to an upcoming storm.
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