The use of space in The Milkmaid is unequal. There is a lot of empty space on the right side of the picture. There is only a foot warmer on the right lower side; I do see a little bit of the loneliness that the maid is feeling in this paint. In contrast, on the left side, there are a lot of objects; it tells me that the maid is busy with her daily jobs. The opposite of the dark and light left the right side of the picture even more empty spaces. I think that Vermeer painted a foot warmer on the right side with a reason. The warmer warms up the empty space on the right side, or it warms up the loneliness behind the maid. The milkmaid is applied with the utmost economy, Vermeer brushstrokes being judicious and almost calligraphic. The focal point is the action that the maid is doing: the pouring milk, or the white milk. This painting meet on the eye level which is just above the kitchen maid's hand and their vanishing point, for example the daylights from the window, the maid’s face, also leads us directly into to the motion of the pouring milk. …show more content…
These cool colors make the painting seem peaceful and are calming. These colors make the art become closer to our daily lives. There isn’t really pattern in this work. Rhythm is not prevalent.
This painting is in scale and is proportional. Nothing in this painting feels overbearing like it is bigger than it should be, neither is there a feeling of something being too small. The amount of the milk that she is pouring out tells us that she is care about what she is
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
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
The focal point of being the mother and appear to be true to size. In comparison, the apple, the trees and landscape in the in the distance are all represented to be true to size based on this perspective. The women being bare foot along with the child who is naked provides unity to painting as they are part of the natural landscape. All of this, gives the viewer the impression that this is a realistic picture.
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...
The painting depicts a mother and her four children, who are all leaning on her as she looks down solemnly, her tired, despondent expression suggests she felt trapped in her roles as being a mother and a wife. The woman and her children are clearly the focal point of the artwork as the bright colours used to paint them stand out impeccably against the dull, lifeless colours of the background. This painting appears to be centred around the ideology that women are home-keepers, whose main role is to satisfy and assist her husband while simultaneously minding the children and keeping the home tidy and ready for his return. The social consequences of this artwork could have been that the woman could have been berated for not taking pleasure out of being a mother and raising her children, as a woman should. She could have been made redundant as her husband may have felt as though she is no longer useful if she couldn’t adequately adhere to her roles as a mother and a
The sunrise in this painting is considered the vanishing point; there is no reference to clouds, sky or land. Even though there isn't any man made objects the giant rocks or mountains have parallel lines that exceed to the sunrise. There is also two focal points in this work of art. To emphasize the focal points Bartolo uses elements of design. One of the focal points is the horse which is located in the center of the picture plane. The horse does not gasp all the attention it also permits the viewers to focus on the second focal point, which is the man in red kneeling down in front of St. Dominic. The color red attracts our attention to this man. There are also line of sight directed to him by St.
The piece shows Marie posing with her three children, the reason for this painting was to create a public message depicting her as more than just elegance and put her on the same level as the general public. Because the painting was meant for the eyes of the general public the painting is rather bland and lacks detail. Instead of Marie looking down on the population showing off her lavish and extravagant items she has just her children attempting to depict herself as a regular mother just like every other female raising children. There is very little details in the paint except for the empty baby carriage which was most likely only included to honor the death of one of her children at a young
It differs greatly, in its portrayal of mothers, from Le Brun’s Self-portrait with her Daughter and Cassatt’s artworks. Behind Marie Antoinette, you see a jewelry cabinet, off to the right of the canvas. This illustrates that, although she is with her children, she finds treasure within her own materialistic objects. Furthermore, her expression lacks emotion as she holds the child loosely within her arms. The child looks off, barely acknowledging its mother, who is holding him. Next, the child, on the far right of the canvas, reveals an empty cradle, alluding to a child who has died. Again, Marie seems unfazed or simply chooses not to acknowledge the boy’s actions. Furthermore, the young girl, on the right of the canvas, clings on to her mother as she lovingly looks up to her mother. Marie holds a wry smile, appearing somewhat annoyed or displeased. The color scheme is dark, but Le Brun utilizes contrast to emphasize the royal family. However, it only works to further expose the detached relationship between a Marie and her children. According to the lecture, “To counter people’s hatred of the queen and their criticisms of her as a bad (even a degenerate) mother, Vigée Le Brun was commissioned to paint this portrait of Marie Antoinette and her children” (Gartrell). Sadly, the painting was
Eric Fishl’s Scarsdale is a painting that is done on three canvases. When placed together, they appear to make one whole picture. The focal point of the painting is the woman, dressed in a white gown and veil. It appears that she is wearing a wedding dress, since the dress is white and includes a veil. To the left is a cat and to the right is a dog. The woman represents the focal point, not only because she is the largest figure in the painting, but also because everything else is slightly in darkness. Fischl’s cat and dog can only be made out if one looks at the painting carefully. Fischl also paints the woman so that she almost appears to be floating in air. One can see that she is sitting on a chair, but the dog is directly under her, and he does not really use perspective to make it clear that the woman is not floating in midair.
When you put all these aspects put together with my interpretation of what is happening in the painting, a sense of calmness and security was constructed for me. No matter what this couple may be going through at the end of the day they still lean on each other for support. The complementary colors symbolized a sensation of strength between them, the balance of the composition created a stability characteristic, and the smooth and fluid brush strokes created a tranquil energy between the
Many viewers from Cassatt’s time would expect that not only is she painting an everyday scene (as did many other impressionists), but that she is also painting from her experience – the female artist as mother. However, the gaze Cassatt casts on her subject is not nurturing, as a result of her color and compositional choices. Instead, her lens is cold, frank and straight to the point. Cassatt’s Little Girl lives on to explicitly oppose her era’s principles on how a female artist sees and treats their subject. If this piece were painted by a male, with his gaze, it would be completely different – more idyllic. How does he interpret what she sees? The child would be curled up with a smile on her face and the dog in her arms. He would illuminate the child through bright, warm colors. He would emphasize the domesticity of the moment. But Cassatt throws those images away and provides the viewer with her fresh take on a familiar scene. She renders the slack little girl with lots of blue, taking away from the painting’s potential homeliness, but makes up for it with her skill and talent. By projecting her gaze onto the subject, Cassatt articulates and asserts her own ideology: images of domesticity, the woman’s maternal role and beauty are not interdependent. Little Girl shows the viewer just how. The
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...
This specific work, unframed, is 28 7/8 x 36 7/8 in. It is a horizontal work. This painting looks as if it were a photograph, so the relation to the shapes on the edges appear to be unaffected and seem to go past the edges, therefor, looks uninterrupted. To me, the colors look harmonious, because they all look like they are “cool” colors, meaning shades relating to the color blue. In contrast, they could also be debated as discordant in some areas, for instance, in the upper right corner, where you would guess the artist tried to make the colors resemble some sort of forest-like background, you cannot specifically distinguish exactly what the colors and brush strokes are trying to express. It is unclear whe...
In this painting, Jean-François Millet layered the women on top of the background. This could be another representation of them being a different class than the rest of the people depicted in the background. It shows they are separate and do not have any connections with the higher classed. It may also represent their inability to eventually join the higher class. Once a peasant it will be very difficult to grow out of the