For my third and final painting, I decided to do a beautiful painting of birch trees named “Looking Up” by a Russian artist named Maya Eventov. This painting is on display and for sale at the Gallery Veronique. To create her work Maya uses a process of applying acrylic paint on canvas using different sized palette knives. This process gives the piece an interesting textured look. At first glance your eyes are immediately pulled to the beautiful orange-red leaves at the top of the painting. Small pieces of blue poke through, making the leaves appear less dense. Five grey, thin trunks run up the painting forming a triangle shape. Behind the trunks is a beautiful mosaic of green, blue and yellow. If you look at the painting closely, it appears
The texture of the paint is smooth and flows very nicely the paintings composition is primarily bundled into the bottom right half of the image. The wings and legs of the animals as well as and table help form an invisible sloping line across the painting.
Large and medium sizes of the forms dominate over small in the painting. The arrangement of the objects in this art piece is mostly centric. However, even though it is central, it is not symmetrical. The painter also touched the left edge of the burlap and the right bottom corner of it; this helps viewer’s eye to enter the painting smoothly, move around and escape from it. The asymmetry of the arrangement creates the sense of imbalance. Lam uses basic lines and shapes in the composition. Nevertheless, the painter creates wonderful light movement inside the figure with wavy shapes, which directs viewer’s eye from the top to the
Through her masterful usage of color and lighting, painter Alexis Rockman seeks to display the overwhelming beauty of the natural world and its inhabitants in her painting Kapok Tree. With a color scheme of bright colors that pops out and grab the attention of the viewer and an emphasis on lighting that divides the painting into two separate scenes, Rockman’s Kapok Tree delivers its timeless message with ease.
Additionally, Lie placed tall trees in the foreground of the painting to give a sense of the scale between the observer’s perspective and surrounding objects. Furthermore, Lie used dark, cold colors, such as purple, blue and black, to depict the feeling of a winter’s afternoon. Lie also used snow on the ground as an obvious indicator of the time frame in which the painting is occurring. However, in contrast to the dark cold colors used, Lie also used subtle hints of orange, yellow and red to show that there is some presence of light in the piece. The background of the painting is a sheen of yellow, suggesting the presence of light and the forming sunset.
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
The texture of the canvas works very well with the subject matter portrayed in the painting. The grassy hill side and the leaves of the trees are especially complimented by the canvas. It makes the leaves feel like they are slightly moving, this combined with the lack of detail itself the leaves. This is contrasted nicely with the very detailed renderings of the trunks and branches of the trees, the conscious decision to put so much effort into the tree itself and then to use obvious brushwork in the leaves makes the trees much more firm and immovable in the landscape. The brushstrokes are very clean and precise on the trees in the background.
The piece is entirely made up of visible and heavy brush strokes as the artist intermingles his opaque colors. The impasto strokes alternate between creamy thick and thicker as the paint collects on top of the canvas. The artist switches between short quick daubs and long strokes, which is shown on the fabric hanging in the back and the far right wall. The texture is rough because it has dense drips of paint and has minor scratches that allow the colors underneath to bleed through. The texture in the painting supports and enhances the rushed brush strokes because it balances the layers. The balance of layers from the colors gives the painting an abstract touch and draws the eyes down to the foreground where most of the texture is found on the ground and cover. The artist does a terrific job of introducing texture in concentrated areas of the painting. The choppy brush strokes on the fabric hanging tie the lumpier ground
Alexis Rockman traveled the world, and used his travels as inspiration for his paintings. He painted the Kapok Tree after visiting Guyana, a country in South America. This painting beautifully depicts a tree in the rainforest. He addresses the fact that there are so many problems in society that are being overlooked. People do not realize their importance in changing things for good. Not only do we have the ability to cause change, it is our responsibility because we are the root of all the problems. Alexis Rockman frames the Kapok Tree in such a way that the audience notices the vibrantly colored lifeforms at the bottom and then he draws a line, with the tree, up to the dark sky showing how there is so much more to this world than we first realize.
The painting does not have volume or mass therefore the painting is just a shape that is flat. This type of illusion may have not been used very often before, it is believed that Leonardo da Vinci was one of the first artist to use this type of illusion, the illusion is called a chiaroscuro. When first looking at the painting the face and the hands are the things that stand out, the yes and the smile and the most important thing. The focal point is the face, when looking at the back ground it is seen as if everything was focusing on the face. In my opinion the smile or the eyes are the specific focal point because for me the smile and the eyes are full of mystery. The landscape may appear if it were going towards the face, but, what part of the face? That is the question that everyone should be
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
closer to the bottom of the painting there is a heavier use of oranges, yellows
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...
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.
There is a silhouette of trees with the sun located in the middle behind the trees. The sky is blue and with a color of orange reflected from the sun. The river is flat with the reflection of the sun then where the sun is not touching the water, the sea is blue. When you get up close, you can see that the painting consists of dots and there are more colors to the painting than when you see from far away. For example, the sky contains the colors of pink, blue, light green, purple, yellow, and orange. The center of sun contains the colors of white, pink, blue, and yellow but the ray of the sun is mostly orange and little bit of yellow, blue, and pink. Below the sun, the dark trees contain the colors of red and orange. On each side of that one spot, the other trees on each side are dark blue, light blue, dark purple, light purple dots. The center of the river is the same color as the sun but as it spreads out, the sea is bluer. It consists of light blue, dark blue, blue-gray, dark purple, and few
To get an imaginary visual on the piece I will tell you that the painting is mostly a