Deferred Promise was created by Will Cotton in 2015 during the Contemporary Art Period. It was painted with15 color lithograph, edition 11 of 25, and has the dimensions of 37½ x 28 inches. In this painting is possible appreciate a young lady with a hat made of macaroons, this paint in my point of view is surrealisms. In the lady’s face is possible see peace and calm. The obvious formal elements in this piece are line and form. The lines in this paint show a clear technique without heave and deep shadows, this can follow the clean contour of the face. Further, the lines in the macaroons are smooth, this are combine with the colors, shadows and lights of the paint showing a small and thing lines in a more solid forms. The girl and macaroons in
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.
Thompson, Jennifer. Cotton, Ronald. “Picking Cotton.” Ferris State University. Williams Auditorium, Big Rapids, MI. 15 April 2014. Guest Lecture.
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
... 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 first artwork I chose for the formal analysis project is The Tiger by Ito Jakuchù originally painted in 1755. This painting is of a tiger licking its paw in the grass underneath a tree branch. There seems to be two diagonal planes as the tiger is leaning forward and sitting erect. There is a horizontal plane from what appear to be branches above the tiger. The painting has asymmetrical balance as the elements are equally distributed to balance the top and the bottom of the space. The artwork demonstrates several types of line. There are curved lines used in the tiger’s stripes. There are also diagonal, vertical and horizontal lines used in the background for the grass and the overhanging tree branch. The curved and wavy lines used in the tiger’s body, for example in the shoulder muscles, imply movement in addition to the curve in the tiger’s tail. The color scheme used in this painting seems to be complementary to one another as the artist used orange and brown tones with blue and red-orange accents for the tiger’s eyes and tongue. Black is used throughout the p...
...eatly affect the mood of the paintings. The Women Picking Olives painting is quite simple but it has ominous details such as the highest women on the ladder is looking to her right, the trees and the leaves all going in different directions making it hard to tell where the breeze is going. These details make me believe that the painting is much more complicated then it seems and creates a sense of cryptic from the painting. The Harvesters looks complex but it’s clear that the painting is about a relaxed group of people getting ready for harvest time.
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
Jennifer Thompson-Cannino was raped at knife point in her apartment. She was able to escape and identify Ronald Cotton as her attacker. The detective conducting the lineup told Jennifer that she had done great, confirming to her that she had chosen the right suspect. Eleven years later, DNA evidence proved that the man Jennifer Identified, Ronald Cotton was innocent and wrongfully convicted. Instead, Bobby Poole was the real perpetrator. Sadly, there are many other cases of erroneous convictions. Picking cotton is a must read for anybody because it educates readers about shortcomings of eyewitness identification, the police investigative process and the court system.
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...
The worst thing in life is paying for another man's mistake. Sadly, this is something that occurs frequently. After watching a video about the wrongful conviction and the imprisonment of Ronald Cotton, I was baffled. I find it absurd that an innocent person can lose their freedom for a crime that they were not involved in. Ronald Cotton is not the only unfortunate individual who has endured wrongful imprisonment. Bennet Barbour, James Bain, and many others have been convicted of crimes that they did not commit due to faulty eyewitness testimonies.
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
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.
He will then use implicit lines which are the strands of Virgin's hair that direct viewers’ eyes to the middle of the painting right above the rich tone of red in Mary's dress that highlights the natural beauty of the “Lady". Blocks of hair that are horizontal and vertical in certain places of her head echo the shape of her dress. Therefore, both lines and shift in color are used together in some places and separate in other places to create the shapes in the artwork. The light color of the empty space is visually light; therefore, it does not have as much weight as the darker, amber colors of the rest of the Virgin's dress. This visual lightness along with Virgin’s dress is strong enough to balance the multitude of the blue folding draper that fold down by her right solder and most part of the landscape that is on her back. In this piece, the light source is not seen. However, the natural light source coming from left of the artwork (if we face the Virgin) because Raphael uses a light ochre color on top of the brown color that is already present on the left side of Virgin’s face which makes it seem like a glow is cast upon her face. These warm colors make her stand out from the background. Also, the warm colors against a calming blue background give Virgin an ethereal quality. The other two figures in the artwork which happen to be in front of Virgin makes the viewer
Clive Bell theorizes art in terms of a theory known as Formalism. Formalism is based upon a relatively simple line of logic. All art produces in the viewer an emotion. This emotion is not different but the same for all people in that it is known as the Aesthetic Emotion. There must be a factor common to all works of art that produces in the viewer a state of Aesthetic Emotion thus defining the works as art. This common factor is form. Formalism defines artworks as that which has significant form. Significant form is a term used by Bell to describe forms that are arranged by some unknown and mysterious laws. Thus, all art must contain not merely form, but significant form. Under Formalism, art is appreciated not for its expression but instead for the forms of its components. Examples of these forms include lines, curves, shapes, and colors. Abstract art, twentieth century, or modern art such as color field painting or the works of Mondrian, are examples of art that are not representative and thus are most lik...