Portrait of Queen Charlotte
Thomas Gainsborough
Medium: oil on canvas
Date: 1781
Location: Royal Collection, London
Catalog entry:
Thomas Gainsborough was the leading landscape and painter and one of the most important portraitists of the 18th-Century Britain. His style is characterized by a sense of immediacy, resulting from diffused light and fluid brushwork. “Gainsborough’s overall, fluid brushwork, in combination with his unique layering of translucent colors, resulted in complete compositional unity and textures unlike anything produced by his contemporaries. Gainsborough also used light as another unifying factor that created specific emphasis within each painting; these “spotlight” highlighted effects were perhaps his greatest
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Gainsborough achieved the sumptuous nature of this painting by using paint so thin that it dripped off his palette if the palette was not held level. With this thin paint, he added layers of fine, translucent strokes to create the exquisite textures and rich vibrant colors that had become his trademarks.’
This painting is an example of the artist’s mature style. He innovatively placed the elegant couple within the natural setting of a park with a dog, a symbol of fidelity. This romantic portrait of the couple glows in subtle light that focuses on them. Again, the elegance of the drapery is very transparent and beautifully crafted. The way each fold holds value, portrays organic fluidity. Its crafted so realistically, almost like a photograph.
“Despite the complexity of brushwork and details, there still remains a pleasant softness and calming effect that have been created with unified textures and compositional balance. Note that there are two visual diagonals in this composition: the Spitz dog’s head and upward gaze create one diagonal that is then crossed by a second diagonal beginning with Mr. Hallett’s foot and
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He was famous for creating his dramatic scenes. Mainly all moody and highly combusted with emotions. His paintings were very rustic and used a lot of warm hues including some greens. The characteristics of lighting seems most influenced by that of Caravaggio. “Although his portraits of people were admired in England, Wright was more recognized for his use of light, his contrasting technique, and portraying the Industrial Revolution through his paintings. Joseph’s wife died in 1790, and although his health was failing, he continued to paint until the year before he died, in
The colors used in this painting are a combination of bright and dark, giving a sense of professionalism and unconventional feel to the ambassadors and their backdrop. Their clothing is brittle and complete. The composition of this painting is mainly “stuffed” into the center column of the image with the ambassadors substituting walls marking the end of the items in the composition as well as forming an area that our eyes are tensed
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.
In this work, the colors and shapes come together to form the depiction of a woman in a chair gazing out at the landscape beyond a window. This subject matter relates to Picasso’s infamous relationship with women and may serve as a depiction of one of the many women he was linked with. The painting depicts the woman with a dual omniscient and introspective vision. Picasso develops this dichotomy through the depiction of a wayward eye gazing out the window and a larger ubiquitous eye glaring directly at the viewers. In constructing such a contrast, the painter is able to convey the personality...
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.
At the very top of the painting running the entire length across, there is a three millimeter width of congested brown, gray, and green colored leaves and vines. However, because of the convolutedness, smoothness, and lack of space between these vines and leaves, my attention was drawn to t...
Grineva says, “I’m inspired by the scenes and movements of everyday life- a morning on a city street, an autumn day in the countryside, a fresh bouquet of flowers placed on a table. The creative act begins with seeing the unique beauty in what is assumed to be ordinary. My work is an effort to discover and convey the beauty of everyday life.” (Grineva) In this work of art, a countryside landscape is portrayed.
Janet Fish is an American still life artist who works in a variety of mediums. She can be considered a realist, though by no means photorealist. However, the artistic liberties she frequently takes regarding color and light, as well as her individual style, negate this description. Her art is more full of life with these fun elements than a still life is typically considered to be. Janet Fish’s oil painting, Provence, manipulates the effects of light, the vividness and lucidity of color, and the implied texture of glass to create a sense of movement, vivacity, and unity.
Although much of the life history of John William Waterhouse is unaccounted for, it is comforting that we do have such a large and undeniable selection of his masterpieces. It is hard to stop looking at his work once you have started, more so because the myths behind the paintings are so compelling and he retells these old-world stories as one would do who believed them. Waterhouse was truly a genius when it came to creating a ‘pictorial and emotional equilibrium (Trippi, 2000).
Yuny and Renenutet is a two figure statue. It’s a double portrait with a frontal pose. It’s a relief sculpture with a male and female figure. Yuny and Renenutet are husband and wife. They are sitting down together on a bench. It’s a beach that highlights their bodies’ curves emphasizing their wealth. Both figures have nontraditional customs, but a more a fashionable custom. The chair that Yuny and Renenutet are seated is elegantly decorated. On the back of the chair, we see two scenes divided into two layers with inscription around it.
...ng particularly the way Rubens blends in the yellow streak of visible light while using other objects in the center of the scene. Rubens began with a thin layer of blue and a thick brush and made his painting on top of that layer additionally with thin layers with exclusion of the main objects in the center that receive a thicker coating of paint. Those objects were also painted with a much thinner brush than that of the first layer.
As I observed the painting, parts of the painting looked more rough and thick from the acrylics compared to other parts of the painting. However, I can see where somebody else could describe the painting as being smooth because of the white acrylic the artist used throughout the painting. Even though the colors used were bright, it still left more of a rough texture. However, the light provided the colors to be brighter and show more of a smooth texture. In this work of art, there was no positive or negative space. There was no specific shapes that stood out, it was just abstract. This painting was completely flat or two-dimensional. It showed no vanishing points because there was not a specific picture of an object. I realized there was not a pattern as well. However, there was many ovals or circle-like brush strokes in the painting, but nothing was painted in
Rocco combines baracco and rocaille to describe the refined and fanciful style. Rocco’s style can’t be fully appreciated through single objects, but is evident everywhere in the salon, with their profused decorated wall sand ceiling busting with exquite three dimensional embellishments in gold, silver and brilliant white paint; their intimate, sensual painting hung among rich ornaments crystal chandeliers, mirror walls and dedicated furniture. However the typical salon design would be having architectural elemants rendered in sculpted stucco, inclusing arabeaques, S-shapes, C-shapes, reverse C-shape, volute and naturalistic plan forms, would have boiseries and inlaid wood designs on furniture and floors. The painting were typically on classical love stories filled playful putti, lush foliage and fluffy cloud. Has atmosphere of sensuality and luxury.
The gestural and heavy working of the paint and the contrasting colors make the painting appear active yet are arduous to follow. The defining element of Woman and Bicycle is the presence of the black lines that do most of the work in terms of identifying the figure. Through the wild nature of the brushwork, color, and composition of the painting, it can be implied that the artist is making an implication towards the wild nature of even the most proper of women.
Watercolour is an artistic medium used In artworks for illustrative purposes. It is used for a range of different works from landscape images to fashion illustrations. There are many different techniques used when working with watercolour, like using watercolour paints or watercolour pencils which can both be used on wet or dry paper, and both harvest many smaller techniques within them for creating different visual effects. This essay will discuss these techniques in detail and compare the practices used, and will be supported with illustrative works by Gregory Conley and Tim Fisher.
During the early nineteenth century John Constable was known for his great artistry across Europe. His interest and love for paint began in 1799 when Constable convinced his father into letting him attend the Royal Academy School to pursue art - his passion as a romantic artist was in landscapes. His style, brushstroke techniques and eye for detail, progressed over the years but he remained true to his passion of capturing nature and the beautiful world that surrounded him. It is refreshing to see the freshness of light, touch, and colour carry on through his entire body of work. When studying the paintings and their compositions, one can note the similarities between Constable’s works of nature and landscapes and the written words of William Wordsworth, a poet during that time who was also an acquaintance of Constable. Both a painting and a poem can act as a memory. The way in which Constable uses very gestured like fluidity through his painting gives that feeling of a dream or blurred memory, luring you deeper into his work and into your thoughts, allowing you to create or see your own memories in his work. One can obtain the same kind of response when reading the poems of William Wordsworth, as one reads each stanza they become lost in thought and in the world of Wordswoth’s words. Constable’s paintings, Barges on the stour: Dedham Church in the distance, 1812 and Salisbury Cathedral from the Meadows, 1831 are extraordinary exemplifiers of his nature based work and highlight the link between his feelings about nature to those seen within Wordsworth’s poem, Tintern Abbey. After analyzing these three works and pinpointing their similarities, it can be noted that Constable and Wordsworth had much influence upon each other’s art,...