Looking at different pieces of art work at the art museum and one-piece in particular impressed me. It’s called “View of Molo”, painted by Giovanni Antonio Canal. Giovanni Canal was born in Venice, Italy in 1697. This particular piece was painted circa 1730-1735. The piece hangs at the El Paso Museum of Art in El Paso, Texas. The painting is part of the permanent collection donated by the Samuel H. Kress Foundation in 1961. The art work was done on canvas using oil. The painting can be found in the Baroque and Rococo Period Gallery. When looking at the painting it gives us a glimpse of the past. It looks almost like a photograph. The fine detail from the building on the right with the statue on top. The citizens walking around. …show more content…
Canal is heavy on the use of values. The piece of art work has heavy contrasts and deep shadows. This can be seen with the building on the right’s corridor. In the middle left he uses high light to show the sun light in the horizon. On the right bottom in the building’s outer corridor Canal uses cast shadow and core shadow. The shadows of the individuals walking are consistent in not only in direction, but in length. Canal used planes to divide the surroundings with the building and lines to divide the building to the sky. He also uses lines to create movement and direction as you can see the citizens heading toward the middle of the art work. The “View of the Molo” also gives the building a sense of texture on the surface. The building does not look flat. The windows protrude a bit. One can see depth on the window sills and the bottom corridors. Canal uses one-line perspective and the vanishing point is the building in the bottom middle. Canal’s use of color is minimal. The colors are not vibrant at the same time not dull. The art work uses colors minimally. The temperature of Canal’s art work is …show more content…
He used heavy brush strokes. Canal’s attention to detail is phenomenal, the building is true to life, the people walking, men working on their boats. Dogs playing. A man on the rail on the second floor of the building. In the distance one can see the double domed church. Canal used colors of his day. This piece of artwork is asymmetrical balance. The “View of the Molo” has rhythm since it has two focal points that pulls your eye to the foreground and to the background. The meaning of The “View of the Molo” is what we would say of a picture taken with a digital camera of the same scene. It’s to take a snapshot of what was going on at that moment in time. Freezing time and motion into a painting. It captures Italian citizens going about their business be it on the street or on the dock or in and around the building.
This piece of art really impressed me. I can’t stress enough how realistic the painting is. One can see what was going on that day in Venice. Like is said that a photograph is worth a 1,000 words this painting is a photograph for its time. My interpretation of the art work was for Canal to show daily life in his city of Venice, Italy. Using the building in the foreground to the right still stands in Venice, Italy and is called the Palazzo Ducale. Giovanni Antonio Canal responded to his historical context by taking a “picture” for future generations to view, look at, admire and ponder upon
...is the focal point with the orthogonal of the gestures of the apostles lining up towards it. Masaccio makes good use of chiaroscuro, since his figures have soft, round edges and their bodies are apparent under their drapery. The drapery shows creases and edges which allow for that to happen. Masaccio also employs directed lighting in which the sun comes from the right and all the figures’ shadows are to the left, which is what would happen in real life. Furthermore, Masaccio uses soft, subdued colors, such as green, blue, and pink. The mood of Massacio’s painting is static with all the figures standing in contrapposto with their one knee sticking out and the individuals in Classical and naturalistic proportions. Masaccio placed his scene in the recognizable Arno Valley. Also, Masaccio’s story has no disguised symbolism and rather depicts a straightforward story.
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 most first feature noticed on this oil painting are the shapes and lines in the buildings and small city section. Roger Brown uses lines to give the painting more depth and make it more realistic. Another method he uses to portray depth is by implementing chiaroscuro and sfumato. Throughout the artwork, Brown blurs the sky behind the fire; this is used to give the piece of art more depth. This makes
The View of Toledo, painted by El Greco, is a landscape painting that was worked on from 1598-99. This piece of art work depicts the city of Toledo, located in Spain. The portrait has an ominous feel to it, with the basis of the portrait having been painted with dark colors. Half of the portrait is the dark sky looming in on the city, and the other half consists of the city on top of a hill. The sky takes over the painting, looking as if there was about to be a storm. Many buildings in the View of Toledo were moved around to El Greco’s liking. (Sedef Piker, 2012)
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
With the subject of the print being so easily given, the composition of the print is one that is not so easily seen. There is a lot that is going on in the print which at first conveys a sense of chaos, theres maybe a bridge, a shoreline with buildings, boats and a ladder of some sort right in the middle ...
I chose this particular piece of art to critique because of the fact that I walk past it six times a week. The composition and its contents spoke to me, making me want to study it further. After all, North Bay is the city in which I grew up in and this painting contains some of North Bay’s history.
This piece was made to represent likeness it also was to create an make believe vision where all artist could share a more direct land scape was used giving it was painted with a fluttering hand stroke the colors consisted of bright pigments to dots. The painting gives calm to its surrounding space it resembled some other works which were done by others.
The first painting I am choosing to write about is Jean-Baptiste-Camille-Corot’s painting that was created in 1827 called, Trinita dei Monti. This painting has an old rustic/vintage look to it. This looks like an old Roman city on the coast. The colors in this painting are faded which I think make this painting more appealing and brings this painting to life. The old white building stands out right away which is in the center of this painting which looks like a church. You can see a bunch of other buildings around the harbor near the church and those buildings get smaller the further you go, as they would in pictures taken with cameras or in person. There is also what appears to be a little trail or a courtyard with a bunch of trees lined up
Along with the towering buildings, the sky, which consumes about fifty percent of the painting, further adds to the mood and beauty of the environment in this landscape portrait. The calm blue sky, gives a sense of calmness to the portrait and adds a relaxed demeanor to a subtle day along The Grand Canal. This feeling of a relaxed and calm environment, are further reflected in the calm water of the canal. Bonington depicts the canal lacking waves or ripples to show it as ease and allow the viewers gaze to flow smoothly down the canal to the center of the painting. The building alongside the canal are large and pierce the sky with their height and vertical dominance, and are positioned in a narrowing, three-dimensional way so as to also move the viewer down to the center of the painting. As the viewer is pulled into this painting, their view rests down the canal and on the bridge at the center of the painting. The bridge lies at the end of the canal right before it seems to bank off and to the left. It allows both clusters of the buildings, the East and West, to finally converge as one and add depth and volume to the city of Venice. BY doing so, Bonington allows the viewer to be pulled into the city
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
This art, like most, can be applied to the viewer in any way they wish. A person may look at one of the sculptures and see themselves. They may see a man who is going through challenges similar to their own; someone who is trying to free himself from these bounds. Such challenges may include an attempt to escape financial bounds or personal weaknesses. The interpretations are only limited to the comparisons a viewer
Looking at the picture from a distance, we can see that the painting is a collection of stories from the past before the time of Jesus to the suffering and enduring of Christ, while spreading the words of God to the time where he was passing his legacy to St.Peter. Perugino showed an impressive skill in moving through all the events in harmonized and most natural way. The utilization of color, space and correct proportion created the most beautiful fresco that echoed greatness either from a close view or from a distant
It is oil on Canvas and again there is a plethora of colours used in the composition, except the colours are a lot more vibrant than in ‘Le Forze di una Strada’. The colours are all fragmented, but contrast between other objects in the painting so that the viewer looking at the art can tell what is what, and differentiate the horse from the man riding it. Within’ the image you can find a lot of shapes and forms, the main shapes used are curved and then next is sharp and angular shapes, working in a deliberate vigorous and sequential movement. The surface of the image seems quite jagged and rough because of the sharp angularities and there is build-up of texture creating a slightly coarse surface.
To me the painting is a way of showing you what everyone else is seeing. That the painter had the men looking right at each other so they can see themselves running away. In turn I got to see myself doing the same thing and was able to change because of it. When other people look at the painting they probably see something else. That is why I choose to do the painting, it gives you the choice too interpret it any way you see fit. Or it can just be a beautiful painting to look at, but the painting was so much more to me. It painted a thousand words for me.