The River Severn, Alfred H. Vickers, Oil on Canvas, owned by they Amarillo Museum of Art given by Marilyn Seven and Ray Matney. The painting uses a luminism artistic style that is defined by “a 19th-century painting style emphasizing a unique clarity of light. . . . almost always landscapes or seascapes. . .” After reviewing Mr. Vickers’ other work, he is definitely a realist artist with many works that portray accurate size, color, and depictions of landscapes.
Mr. Vickers created this work by using oil paint on a canvas. His strokes follow the luminist style of hidden strokes with mixed hues. The subject is stated obviously in the title as the work is about the serene and beautiful view of the River Severn as it continues towards a mountainous backdrop and eventually disappears.
Along the far left bank you see a single brick red chimney with a low roof as light wafts of smoke drift toward the left. In the bottom right corner, we see a bit of the bank the perspective is from and bits of grass are also leaning to the left, so one is given the picture of a nice day with at least slight breeze. Towards the center of the painting, you can see large boulders, smoothed, rising out of the river. Far into the distance, past the bank of the river, onto a higher level of the valley area, you see small gathers specks and shapes that represents a small mountain village.
The structure of the painting fits the example given on page 58 of open composition “in which the eye can wander off the canvas or escape the frame, as disunified.” perfectly. The line structure deals with curved lines only, the focus being the center of the water. If focus is shifted from the water to the surrounding area, it is not without effort. The subject of th...
... middle of paper ...
...as the mountains appear less detailed but accurate size across the back. Sizes of objects definitely lends itself to the perspective with larger objects being close and smaller less detailed objects in the distance.
Very little information is available on the English artist, but compared to his other works, one would assume that the intent was delivered every time. Alfred H. Vickers continued painting landscapes and waterscapes with the same luminism technique and it took him quite far.
Works Cited
"Heilbrunn Timeline of Art History." John Frederick Kensett: Hudson River Scene (07.162). N.p., n.d. Web. 31 Mar. 2014.
The Editors of Encyclopædia Britannica. "Luminism (painting)." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 31 Mar. 2014.
Sporre, Dennis J. Reality through the Arts. Upper Saddle River, NJ: Pearson Prentice Hall, 2013. Print.
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
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.
To inspire the visualization of the idyllic Florida’s fields, this canvas is sized to produce that impression of your presence in the coast. With a sense of solitude that is accompany by the magic of the discovery of a beautiful romantic peace, this canvas transmits you the desire to be there. The scene makes you feel that you have found that special site where you want to be for the rest of your life in concordance with nature. It is easy to spot in this paint how diverse and unreceptive subtropical locality in early Florida define the subjective state of being. In this art he totally complies with one of the most delightful characterizations of Romanticism, he puts together the heart and the mind to idealize the authenticity of the wilderness in the scene according to what the artist considered relevant to present.
... 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.
The first thing to notice about this painting is how incredibly involved and realistic the brushwork is. The couple’s faces are so delicately rendered. Every wrinkle is visible and every hair strand is in it’s place. The soft folds and patterns of their clothing, and the grain of the vertical boards on the house, are highly developed and reveal Wood’s incredible attention to detail. The man, especially, appears to be nearly photorealistic.
The representation of the new age of exploration, which serves as an allusion to man’s potential, is starkly contrasted with the depiction of Icarus that serves as an allegory for man’s limits, indicating the shift from a euro-centric universe. This painting is an oil canvas landscape of the sun setting on the horizon of the ocean sea, while the ships were sailing through the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman, showing the increasing artistic methods that begin to be utilized.
...retation of the painting some aspects were surprising to how dark and heavy hearted she could speak, she took an interesting perspective. However in her interpretative poem she found a perspective of the painting that connected with her. As she used every stroke of darkness painted into the canvas an opportunity to have it symbolize this darkness and evil that resides in the world. It told her story and her experience of a starry night. Similarly Van Gogh had used every stroke of light painted into the canvas to be a symbol of beauty, and a symbol of his fascination of the night sky and its illuminating lights. He uses swift movements of his brush to depict a sky that seem to be able to sweep the mind away from the frustrations of this world in to the dreamy night light. A single painting worth a million words tells many stories through every perspective.
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’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.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
Twain's detailed images of the "gold," (1) "tinted... opal," (1) and "silver" (1) river, paint the beauty he finds in the surroundings. The "graceful curves, reflected images, woody heights, soft distances; and... marvels of coloring" (1) depict the opinion Twain has of the river. This beauty has been learned and appreciated through the years of living along the river and is revealed through his images.
The second painting was by George W. Bellows and named Shoghead. This painting brought a sense of ease and relaxation. I can picture myself on the top of the mountain listening to the waves crash on the sides. The open countryside topped by the clouds give the painting a sense of realism. The extremely bright blue water stands out the most, though the focal point is not clear. There is not an excessive use of paint. It is as if Bellows caked it on his brush and made quick short strokes. The use of such dark colors on the hill is a mystery. The terrain has a roughness that makes the painting come to life. The artist did a great job of showing the depth. If I had to guess, he was influenced by Picasso’s work because of the extensive use of thick point.
Kleiner, Fred S. Gardner’s Art through the Ages: The Western Perspective. Vol 2.13th ed. Boston: Wadsworth/ Cengage Learning, 2010.
This composition titled Rocky Mountain, Lander‘s Peak was created by Albert Bierstadt. The dimension of this painting is 73 1/2 x 120 3/4 inches. His composition is 2-D, it is 2-D because you can‘t walk around this or feel it. The texture of this composition is visual. It is visual because they used oil instead of paint , therefore you can only feel the flat paper. In the middle ground of his painting he used lighting from the mountains. Which he used cool colors to give light to the water fall. The water fall is where it bring the focus of the eye of the person. Albert Bierstadt used vertical lines on the mountains, some trees trunks. His mood for this composition is it is filled with energy, full of motion, and life. His composition has analogous
The painting was of a river flowing from a lake, surrounded by very tall grass. On each side of the river there are people standing. What was interesting is they were painted all black. They looked like shaded figures. They were all shaped differently but you can tell they were all men. On the top left side of the river there were five men. On the right bottom side of the river there were four men. On each side it looked as though the men were trying to cross over to the other side. They looked tired and scared. It looked as though they were hiding, and getting across the river was the only way to get to that safe haven.