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Psychological effect in art
How does color affect mood
How does color affect mood
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The painting ‘Self Portrait with Bandaged Ear’ by Vincent Van Gogh was created in January 1889. Its dimensions are 60 cm x 49 cm. Van Gogh’s portrait is oil on canvas, and is in a post-impressionist style. In this painting I can see the artist in the foreground in a three-quarter profile, with his head and shoulders visible. The artist is not smiling; rather, he looks quite concerned or worried, and he looks quite gaunt and old, not through age but through experienced (the classic ‘tortured soul’). The work is painted in sickly hues, such as blue-greens and yellow-greens, and the brush work is quite free and wavy, as is the signature style of van Gogh. The subject is wearing a large, heavy green winter overcoat with only the top button done up, over a plain brown shirt (and white undershirt?) and a blue hat with black fur. He also sports a white bandage on his right (being a mirror image, the bandage was actually on his left) ear. The bandage goes up to under the hat, and around to below the subject’s long chin. Behind the subject, in the background, there is an easel, with a blank or white-painted canvas sitting on it. On the right is a painting in the style of a Japanese woodblock print, painted in quite colourful, vibrant hues, (featuring the only red in the work), and …show more content…
The hues used, as well, provoke many feelings. His use of greenish tinges in nearly all of his chosen hues seems to represent his sickness, and indeed the fact that he knew he was sick, which is a trait uncommon in the (allegedly) insane or mentally ill. This idea is supported by the fact that, after suffering a particularly bad delusional episode, van Gogh reported admitted himself to a mental institute. This artwork tells of many things, and indeed speaks to me in many voices. However, what exactly it is saying is a long and complicated subject, and is discussed clearly in the
The print of art is a Hiroshige, Plum Garden at Kameido, 1857, woodblock print. The print shows a calm and peaceful color of a regular day. The background consists of wash colors like reddish-pink that fades into white, and transfers once more in a green hue of the greenish ground. The image is showing a view of a several plum trees, with the stems, the flower, and the people on the other side of the fence. This work has a light pink background symbolizing the sunset and warm colors of the spring. The middle ground in the light white color shows the piece where there are people on the other side of the fence and appears to be walking around the garden or going throughout their daily business. The middle ground also has a view of several plum trees, which all of them seem to be inside of the fence. The focal point of the piece is the main plum tree with its branches swinging from the left at a sharp angle and moving to the right.
"Portrait of a Man (Self Portrait?)." Jan Van Eyck. N.p., n.d. Web. 20 Apr. 2014.
To create this oil on canvas portrait, an observer can determine that the artist used a wet onto dry technique where certain parts of the picture needed to dry before more paint could be added. Because of this, the artist would not have completed the painting in one setting with what is known as a direct painting method. For example, the wrinkles in her dress have white highlights. In order to keep the white oil paint from blending too much with the black paint on the dress, the black would need to be dry. This artist did not leave visible signs of the texture of the canvas and does not appear to have built up layers of paint (Frank 123-124). The paint in the background and on the floor appears to use a technique of gradient blending where one color transitions gradually into another color. On the floor, the dark brown on the edge of the wall blends into a lighter brown towards the part of the floor in front of the dog and artist. On the wall, the gray color blends into white (Burke). The artist used vertical brush strokes to create the effect of a large ruffle on the bottom of the dress. Circular arc strokes were used to create layers of material on the dress skirt. Small brush strokes were used on the top part of the dress to create
The painting has realistic 3 dimensional space by the use of linear perspective and chiaroscuro. It also looks to be 2 dimensional as well, because it almost looks like some influence on the Japanese print, like flat patches of paint. The lines converge from the edges of the paint to the center letting off the effect of a background and a foreground. It looks as though the trash is in the foreground and the man is in the background. In the back of the painting, it is darker which also adds to the effect of the 3 dimensional space.
1.Van Gogh attended a boarding school in Zevenbergen from when he was ten to twelve.
The life span of 37 years saw Vincent Willem van Gogh (Vincent) in creating beautiful works he dearly loved. Painting was an avenue, which allowed him to express his inner thoughts or vent his struggles. My decision to research on Vincent’s painting, Starry Night (1889) came with the inspiration from Don Mclean’s Song, Starry Starry Night where his lyrics spoke about Vincent’s life that further intrigued me in writing this paper.
In conclusion, Van Gogh used the elements above to create a man by himself in a field. He used color to represent feeling rather than represent realism of an event. The cool colors represent the field and happiness in his work. The warm colors represent the harshness of the day and could be a metaphor for life. He used scale and proportion to emphasis the overbearing sun. He also used proportion and scale to represent literally and figuratively how far away home was. The linear perspective was only evident to me after I really studied the used of lines. I followed the lines to the horizon and left side of the painting.
He used rich naturalistic color to create gently, winding forms and silhouettes creating a picturesque scene on the left, and local color creates a hazy unifying blanket of light in the scene on the right and delivers a beautiful, peaceful mood. His harmoniously balanced compositions evoke the tranquil, undisturbed celebration of sublime nature. Van Gogh used color to express feelings and spirituality, and this coloristic composition creates a joyful, yet peaceful mood. The omnipresent strokes of yellow flowing from the sun provides the feeling of continuous energy and warmth. Van Gogh’s vibrant colors in the painting range from cool blues and greens to singed reds and bright yellows, a hue that he used to great effect. There is an inherent variety of colors in the dense green foliage. In the shade, the bark and leaves appear to have bluish-grey
The genre of this painting would be landscapes because this is an outdoor setting that has trees and other things you would commonly see outside. This painting was lent to the New Orleans Museum of Art in City Park by the Collection of Henri Schindler.
Painted by Vincent Van Gogh during a final burst of activity in Auvers before his suicide in July, Houses at Auvers features many of the characteristic elements typical of Van Gogh; the experimentation with color, texture, and thick brush strokes. This painting depicts the view and landscape in early summer, highlighting the patchwork of houses and the rolling greenery. Van Gogh’s unique, thick brush strokes lead the eyes through the painting, create texture and patterns and also highlight and shadow objects in the early summer sun, while his experimentation with color creates contrast and a bright, vibrant image.
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
Van Gogh had sympathy for the peasants and furthered his passion for humanity. He studied them non-stop to explore their world. The color palette he chose was dark and crudely painted on, almost grungy. It’s a low-lit kitchen area, with the look and feel of exhaustion that the dark color palette engages the viewer to feel what is going on.
The Arnolfini Portrait by Jan van Eyck is a 1434 oil painting on oak panel. It a full length dual portrait, of the Italian merchant Giovanni di Nicolao Arnolfini and his wife, in their home in the Flemish city of Bruges. It is one of the most original and intricate paintings in Western art, because of its beauty, and allowance of the picture space with the use of a mirror. His wife is not pregnant but holding up her skirted dress in the present-day fashion.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
In art, color is a very vivid element that attracts the audience’s attention, and allow us to think deeply about our innermost feelings. Van Gogh’s use of light and dark colors used in the night sky provide great contrast in order to capture our attention. The darker blue gives the art a gloomy feeling and could perhaps represent isolation. The lighter blue helps to draw attention to the swirls that Van Gogh made in the sky. The yellow accentuates the swirls even more because it is the brightest color found in the art piece. Blue and