FORM The overall form of this artwork is very pleasing. The artwork is extremely high quality in all aspects of form, including the lines, time, motion, light, color, balance, scale, rhythm, emphasis, and unity. The artist, Roger Brown, is able to combine all of these together and create a wonderful work of art that is extremely magnificent. The most first feature noticed on this oil painting are the shapes and lines in the buildings and small city section. Roger Brown uses lines to give the painting more depth and make it more realistic. Another method he uses to portray depth is by implementing chiaroscuro and sfumato. Throughout the artwork, Brown blurs the sky behind the fire; this is used to give the piece of art more depth. This makes …show more content…
More accurately, it is an oil painting done using canvas as a support. When creating this work of art Roger Brown would need many different supplies and materials to complete this work while implying many techniques. There are a lot of important materials that are needed when starting an oil painting. The most important is your actual paint; oil paint is obviously required for this type of painting. Oil paint, most likely, uses a vegetable oil or linseed binder to hold the paint to the support. The support for this art piece was canvas. Canvas is used more often for painting because it is cheaper and easier to transport for the artist. The vehicle for the painting is thinner, usually turpentine. Using this as a vehicle allows the oil paints to be thinned off and allows it to be spread across the canvas. As for the colors of the oil paint needed he mostly used cool and dark colors like green blue and black. However, he used a small amount of warm colors for the fire and light. He used red, orange and yellow for the light in the setting. To move the paint from his palette to the canvas he would use paintbrushes. Roger would most likely be using sable brushes; they are the most expensive and highest quality types of brushes. Roger Brown would also need a charcoal pencil. Even though he is an expert, it is still beneficial to sketch your ideas and make sure they are going to be able to come together. The last material needed is the easel, this is needed because it holds the artwork securely and can be adjusted to the painter’s
Bob Ross’ techniques allow the student develop wet in wet techniques that are building blocks to learning the art of oil painting. His tried and true methods help the beginning artist gain confidence in their abilities to produce warm and inviting landscapes, florals and whimsical wildlife paintings. Let Bob’s happy world become a part of your life.
With an admiration for the unconventional, I am moved by Jackson Pollock’s Autumn Rhythm (number 30). If I could see any art piece in person, this would be my choice. I believe that Pollock’s radical painting style and the way in which he lay the canvas flat on the floor to work, gives this piece a deepened perspective. There is a visible control in the chaos to which Pollock has said "I can control the flow of paint: there is no accident." Seeing this piece in person would awaken my unconsciousness, and convey the feeling of spontaneity that I wish society will still embrace.
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
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.
...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.
Whether this comprises the completed work, or is a stage of the painting process, it is a valuable addition to the artist’s skill set. It is useful for crafts and home decorating, as well as fine art and paintings. With minimal tools and investment, it can add variety and interest to your work.
painting, to look at it from an artist’s perspective, one can see all of the little details that
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
...technique of fluid in the brush strokes, which lead to an impression of blurry. The spots of soft color combine with the color of the figures, which shows bright light of beams through the trees. He blends colors in the background that appear to be people dancing. The lack of outlines is a traditional Impressionist technique.
Overall, by analyzing The Starry Night I saw that it is more than just a simple painting
...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 first painting analyzed was North Country Idyll by Arthur Bowen Davis. The focal point was the white naked woman. The white was used to bring her out and focus on the four actual colored males surrounding her. The woman appears to be blowing a kiss. There is use of stumato along with atmospheric perspective. There is excellent use of color for the setting. It is almost a life like painting. This painting has smooth brush strokes. The sailing ship is the focal point because of the bright blue with extravagant large sails. The painting is a dry textured flat paint. The painting is evenly balanced. When I look at this painting, it reminds me of settlers coming to a new world that is be founded by its beauty. It seems as if they swam from the ship.
By using oil paints, Leonardo was able to successfully create a lifelike painting. Since the paints dried very slowly he had time to mix and change all his colors until everything was the correct hue to achieve perfection. The pallet of colors chosen by Leonardo gives a striking contrast between the light face, dark garments, and medium background. By having such strong contrast the viewer is first directed to the face and hands before moving through the whole painting. It also allows definition between areas of the painting (hair and forehead, sleeves and hands, chin and neck, etc…) without having a direct, harsh line.
...f the shadows is sprinkled with the orange of the ground, and the blue-violet of the mountains is both mixed with and adjacent to the yellow of the sky. The brushstrokes that carry this out are inspired by the Impressionists, but are more abundant and blunter than those an Impressionist would use.