Joan Brown’s piece titled Girl Sitting 1962 depicts a nude figure of a female body sitting. This colorful piece was made in 1962 and it is located in the Oakland Museum of California. It is oil on canvas, and can be seen on a white wall within a thin black frame around five by four feet. It has a composition of a female nude sitting to the left, leaving a big empty space on the right. The colors are made from a thick application of oil paint known as Impasto, where the paint are like globs, and does not look smooth at all. Instead, it is textured and shows off the brush and palette knife marks. Overall, the composition, application elements, colors, and size contributes together to give this piece an effect to make an individual feel small …show more content…
If one came close to the figure’s stomach where there’s the seafoam green, one can see the strong mark makings of the paint brushes and knife strokes, making the paint come out of the canvas. Similarly, Brown also uses big paint strokes of different colors to direct viewer’s eyes around the artwork. For instance, on the left side of the figure, there is a big vertical downward motion of a brush stroke in maroon, that connects to a green streak that goes up and encompasses the figure’s head and then downward to the body of the figure, which outlines and pushes the figure to stand out. And to make our eyes go back to the figure, Brown paints a blue triangle on the chest, making it a focal point due to it’s dark color that stands out of the light colors. And if someone stood facing the side of the painting, one can see the thick globs of paint that would make the viewer take a double glance to see if it was either a painting or a sculpture, which reinforces the idea that the painting is coming alive and making one feel …show more content…
The colors in the figure’s face consist of warm colors of red, yellow, green while the rest of the body consist of primary colors of yellow, blue, red along with seafoam green, white, and pink. However, the colors are mixed from one to another to create depth. To illustrate this, a viewer would focus on the figure’s right leg because of the luminous yellow and then to the soft sea green foam, which makes the yellow closer to the viewer, whereas the sea foam green is in the back, creating depth. In addition, the simplified forms such as the red triangle on the bottom right also helps separate the yellow and the sea foam green, which reinforces that they split to show depth. In addition, the two red dots, the triangle, the red on the face, and red on the arm also reinforces the viewer to look at the whole piece. Overall, Brown use specific colors around the drawing to make sure the viewer look at it as a whole rather than just looking at one
Blue is used to represent the water as well as the sky and both similar and range in different tones. All of the colors in this piece are washed out but still have a bright quality to them. The colors aren’t brightly pigmented however; Hiroshige does a satisfying job of drawing in the viewer with the color choices used and the little details. The sun in the sky is simply the white of the paper and almost looks as if the color burns through. Pops of red, show in blocks on the right side of the work wit Japanese writing inside each one, which contrasts with the large amounts of blue and helps the writing stand out.
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.
The room was set up by having paintings on the walls with a sculpture directly in the center. This was the focal point of the room, Soundsuit, by Nick Cave. This piece was rich in color and character and I was immediately drawn to it. When I rounded the corner of the gallery there were many extravagant pieces such as Untitled #8 (2014) by Mickalene Thomas and Woman Under Willow (2014). Both pieces are inspired by Matisse, rich in color, and represent woman. The American gallery does a good job transitioning from one piece to another because each work is similar in some aspects. This gallery was less organized and different mediums were presented all throughout. There was a traditional quilt, Tar Beach 2 (1990) displayed in the same area as mediums such as wooden panels, oil pastel, and the metal hood of a car. This gallery and collection inspired by Matisse displayed many breathtaking works that I enjoyed seeing.
The two focal figures are illustrated with complementary colors, the woman 's dress being orange, and the man’s pants being blue. Benton uses these colors to bring life into the painting. The background is made up mostly of earthy colors like, greens, browns, and greys and a light blue for the sky. Benton seems to add white to every color he uses, which gives the painting an opaque look. The deepest hues found in this painting are the blue one the man’s pants and the orange on the woman’s dress, everything else around them looks washed out and Benton does this to emphasize his focal points
...s face. Masaccio's extrodinary focus on colors adds a new fundamental component to the painting.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
This piece is acrylic, oilstick, and spray paint on wood panel that is 186.1 centimeters in height and 125.1 centimeters in width. This piece features a human-like figure in the center that is mostly half red and half black. This figure has a gray head with one yellow eye and one light gray eye and above its head is a black halo. The background consists of patches of various colors such as light blue, black, dark red, light green, beige, turquoise, pink, and yellow. On the bottle left corner there is a figure drawn that looks like a fish and has a strip of mustard yellow painted through it. Also towards the bottom right of the artwork, there is some drawn on letters that almost look like words but are messily painted over with a desert sand color. This piece is my favorite because I find it aesthetically pleasing. There is a lot going on in this piece that makes looking at it genuinely interesting. The colors that Basquiat choses for the background go very well together and overall compliment the figure in the center. I like how incredibly expressive this piece is and it makes me want to buy a canvas and start painting that I desire. I also like how the human-like figure is drawn. One could see what looks like an outlined ribcage on the figure, which makes me believe that the head is actually a skull. Upon further research I learned that Basquiat was
Alice Neel’s painting Suzanne Moss was created in 1962 using oil paint on canvas. As the title suggests, the painting depicts a woman’s portrait. Now resigning in the Chazen Museum in Madison, WI, this portrait of a woman lunging is notable for the emotional intensity it provokes as well as her expressionistic use of brush strokes and color. The scene is set by a woman, presumably Suzanne Moss, dressed in dull back and blues lounging across a seat, staring off to the side, avoiding eye contact with the viewer. The unique style and technique of portraiture captures the woman’s piercing gaze and alludes to the interior emotions of the subject. In Suzanne Moss, Alice Neel uses desultory brush strokes combined with contrast of warm and cool shadows
The colours used in the artwork are earthy tones with various browns, greens, yellows, blues and some violet. These colours create a sense of harmony on the...
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...
In this piece Benny has depicted himself in the artwork creating another piece of artwork. He is standing at a 45° angle as if he has been interrupted by us, the viewer. This is how Benny engages us, the viewer into his painting. As if we are just as much a part of it as he is. When looking at his painting from a distance it seems as if it is just another oil painting but upon closer observation you can clearly see the different fabrics that he uses to create the collage and which gives the painting its textures. He shows space in the painting by leaving the wall on which the canvas hangs, bare, as is the floor with the exception of the box of rags that he uses in his collage.
The most prominent color in this painting is blue; it is used in the walls, the doors the articles of clothing hanging on the wall hook and some of the items resting on the nightstand. The other prominent color is green, used on parts of floorboards, the window, a part of one of the doorframes, parts of the hanging paintings and the empty vase on the nightstand. Brown is the only ...
Woman and Bicycle is an abstract expressionist painting created by Willem de Kooning in 1952-53 as part of his collection of Women paintings. It roughly measures 6ft. by 4ft. in size and is an oil painting on canvas. The image can be understood to be figurative, however the figure is difficult to decipher on account of the haphazard style in which it was created. It appears that the picture has been altered a great many times, as if it is just one picture deposited upon the remains of or intentions of ones prior. It is easy to decipher a pair of large jaunty eyes with their gaze intently directed back towards the viewer over a pair of particularly large breasts. The insinuation of a body remains just that, wildly gestural brushstrokes that only imply the presence of hips and thighs. De Kooning himself makes note of the illusive nature of his forms saying, “Content is a glimpse of something, and encounter like a flash. It’s very tiny—very tiny, content,” (Hess p.148). Another more distinguishable element in this painting is the pair of legs centered at the bottom of the canvas. Beyond this, the theory of content in this piece is at the discretion of the viewer’s imagination.
Cubism takes the opposite route for the same effect. Solid lines are drawn, but the painting itself is usually more abstract (as with Picasso). At times it can be difficult to discern what some paintings are supposed to represent. Bright, vivid colors infuse the pieces with more passion. The contrast between those not well defined objects and the punch of emotion gives cubism its personality and vitality.
When I first looked at the picture, it looked like there were only two colors green and blue. When I got closer to the picture I noticed there were many other colors used. I loved the way the colors were mixed into each other where you have to really look at the picture to see the colors. The other colors, other then green and blue, were pink, white, orange, red, and yellow. There were also different shades of green and blue. There was only one solid color in the picture; it was black.