The written description for Pablo Picasso’s oil on canvas is: Portrait of Sylvette is one of 40 portraits of Sylvette David that Picasso made in 1954 after meeting the young woman in the south of France. The portraits range from realistic to abstract and include paintings, sculpture, drawings, and ceramics. Since the early 1930s, Picasso frequently painted seated women in profile. As in other works, he has altered Sylvette’s face to show both sides. Fluid lines represent her face, hair, neck, hands, and rocking chair, while angular lines and triangles form her body in the background. This arrangement encourages the viewer to consider the entire composition, rather than to focus on the sitters face alone, as in many traditional portraits.
Portrait of Sylvette, was created in 1954 in Picasso’s studio, in Vallauris (Pablopicasso.org).
There are multiple elements as well as technical qualities within this work to include three main sections. First is: Color and Elements of Composition, second is: Shape, Form and Lines, and finally: Space and Texture. Portrait of Sylvette is about young
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Equally important, shape and form are used with highly delineated shapes that outlines and is clearly visible. You could say there is abstract present, or objects that are not easily recognizable, considering the manner in which Pablo Picasso has portrayed the woman. There are some stretch shapes or elongated shapes but mostly angular shapes with some circular objects found such as the ponytail holding her hair up, the front most part of her face and her finger tips. Most all of the figures within this painting are enclosed shapes rather they are closed shapes. Portrait of Sylvette has many distorted shapes that represent her as a whole turning her from a human into shapes, comprised of geometric forms that have well-defined edges, but with less organic identities. There are mostly hard edges that are clearly distinguished from the surrounding
The visual elements in this painting are shape, color and light. The shapes and contours of the mother and child are life like.
Many of these artists' works contain subtle hints to the author's opinion on the subject. By analyzing their central compositional effects, the viewer can obtain a greater appreciation and understanding for the art.
Art has been the reflection, interpretation and representation of artists' beliefs and morals eternally. Various artists stand for different matters that quite possibly affect their lives, or might be of an interest to them. Norval Morrisseau is an artist that I was intrigued by his portrayal and the techniques used in his paintings. In this paper, we are going to look at the implementation of Morrisseau's painting style used to expose his philosophies of different aspects in his life.
Starting with visual elements I saw lines, implied depth, and texture. I see lines by him using lines created by an edge. Each line is curved not straight but it works with the piece. By using this he creates the piece to make it whole. He uses many curved lines within the painting I don’t know if there is a straight line in the whole thing. The next element I saw was implied depth. Using linear perspective you can see the mountains but they look smaller than the rest of the piece. They are the vanishing point in the back making it look as if you can walk down and they will get closer and closer to you. The last element that I saw was texture. They talk about Van Gogh’s painting, The Starry Night having texture through a two- dimensional surface, in which this painting has that similar feel. Van Gogh uses thick brush stokes on his paintings to show his feelings. There is actually a name for this called, Impasto,
The purpose of this Essay is to discuss an example of design from the late 1800s, I will relate it to the social, economic, technical and cultural context of that time. . I intend on delivering details of the artist and his life experiences as well as his style and possible interests. I will also evaluate the subject with my own opinion, likes and dislikes, with comparisons of work and artists from within that period up to the present date
The Interpretation/Meaning (III) will be written without any guideline points, the aim of this part will be to determine what the painter wanted to express with his piece of work and what it tells us in a symbolic or not instantly clear way. This part will also handle why the artist drew the painting the way he did it and why he chose various techniques or tools.
... 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.
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.
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
Titian’s health, inherited from his mountain race, along with his tendencies toward order, balance, and determination, defined the dominant characteristics of the art that he created. He is credited for his being capable of expressing beauty which springs from the deepest happiness of life, and granted his art with that sort of expression. His art was important and has influenced artists after him. He is considered to be a magnificent creator of beauty, which is a well-suited consideration.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology
Picasso ignored the traditional aesthetic canons governing the representation of the female nude. The bodies are deformed. The woman sitting presents both his back and his face. The influence of African art, which replaces that of Orientalism of the nineteenth century, is very clear in the
I addition, the painter ability to convince portrays fabric of different types of the marks to make him a great painter. In a dimensional work of art, texture gives a visual sense of how an object depicted would feel in real life if touche...
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.