The Oil Painting done by Hans Hoffman entitled Fruit Bowl, Version 6, was completed in 1950. The piece uses color, composition, scale, medium and style to visually represent the objects that are the focus of this piece as well as their surrounding space.
Color in this piece though vivid, is limited and applied in blocks, separating the foreground from the background and the fruit from the table. The left hand section of the background is largely made up of a bright, opaque yellow; a thick greenish colored line created by wide brush strokes separates this area from the foreground and table top which is depicted as a large cadmium red trapezoid. The right hand background is comprised of white sections of thick white paint possibly applied with a pallet knife, leaving sections of the canvas visible to the viewer. The artist chose to use a muddy green color to outline much of the red table top and pulled this line into the background and repeats the same type of line to show the fruit bowl on the table. The green is a cooler color than the warm, bright hue of the yellow and read sect...
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
Raul Ramirez is a very confident, creative student that is in Mr.Ward’s high school english class in The Bronx,New York, who loves to paint. Raul used to paint his sister by bribing her with whatever he could scunge up,but know his girlfriend just sits for him. He knows that painting will not give him much money and tells the readers by saying “People just don’t get it.Even if I never make a dime --which,by the way,ain’t gonna happen--I’d still have to paint.” Raul is also a very shy teenager that wants to be an artist and will be the first person in his family to be a painter if he becomes one. The thing is even though his “brothers” don’t support him--by laughing at him and saying he's loco-- he still wants to paint and says it by saying
The black background contrast with the predominate colors of blue and red gives these colors intensity. The red and green are complementary colors that give the painting visual appeal. The green juxtapose above the blue and red gives the artwork color balance as well as implies a triangular shape. The triangular shape and pattern is repeated throughout the painting by; the bend of the flute player's elbow, the head and shoulders of the guitar player, the head and shoulders of the lady whose back is to the viewer, the body of the guitars and the location of the three right-most musicians
Joseph Hirsch’s painting Daniel was painted in 1976-1977. In 1978 during the153rd Annual Exhibition of the National Academy of Design, it won the First Benjamin Altman (Figure) prize. It measures 38 inches by 45 inches (96.52 cm x 114.3 cm) with a five inch gold wood frame surrounding it. The medium is oil on canvas. Everything within the painting is centered to draw your eyes to the action of the turned head and the pointed finger. According to the placard next to the painting this is a modern day version of the biblical story of Belshazzar’s Feast following the sacking of Jesualism from the Book of Daniel. From this point on, each figure within the painting will be addressed as Hirsch intended. The painting depicts a seated king, a dozing courtesan and Daniel. The three figures are the focal point of the composition. Hirsch uses a strong color palette to give the painting a luxurious and wealthy feel. Although the detail is not miniscule, the composition as a whole is easily understood. The use of oil paint allowed Hirsch to play with the composition as it was created.
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...
...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 painting’s canvas has been exploited perfectly. All the space on the canvas had been used. However, space was not used to create depth, and there was no layering or recession present. The painting does not feel that it has motion, apart from what it looks like the creatures eating from the tree of life. The eating motion was depicted by the posture of the creatures, with arms extending towards the plants – in the case of creatures – or beaks being wide open – in the case of birds. All these factors 'accord' the painting with a unique
The painting “Summer” by Giuseppe Arcimboldo is a simplistic yet bizarre painting made up of fruits and vegetables. The style of painting represents an intellectual movements that was supposed to appeal to sophisticated patrons in the Late Renaissance. He offers different tones to the painting with a light center that transitions to a black.
... 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 artist used colors and light to draw one’s attention to the diner and the people in it and then to the only character not facing the viewer. This emphasis with the use of colors and light means “that our attention is drawn more to certain parts of a composition than to others” (Getlein 127); when the emphasis is on “a relatively small, clearly defined area” (Getlein 127) this is called a focal point. The focal point in this piece of art is not only the brightly lit diner sitting on the corner of an empty intersection, but also within the diner, where the eye is drawn to the individuals in the diner. In addition, the woman stands out in particular because of her red dress and the bright color of her
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...
Other colors used in this painting include green, black and white. Several shades of green are used on the grass and bushes. The use of green adds contrast to the painting specially with the pink tones. A single shade of white is also used in this painting. It plays a role on the shadow parts of the flamingo adding dimension and depth, showing which flamingos are closer or farther within the picture plane. The use of green, black and white in the painting help the red, and different shades of pink stand out to the viewer and making the flamingos the focal point of this painting. The use of several shades and tones make the piece appear more realistic creating the illusion of depth. Each object on the painting has its own unique brush stroke, pattern and mixture of colors adding a more detailed look to the painting. When moving closer to the painting, many details become clear. One can see how organic and loose the brushstrokes are, with the use of a wide range of line weight on the different strokes. Bas started with thicker and bigger lines in the background. And in the middle ground of the picture plane Bas used more detailed and thinner lines with a horizontal movement making the flamingos look
This assignment will provide an analysis of the Modernist artwork of Paul Cezanné's, Still-Life with Apples and Oranges (c.1899) within the art movement of Impressionism. The analysis will be based upon the aesthetic and ideological underpinnings of the avant-garde. This will be done with reference to the writings of Charles Harrison and Clement Greenberg. Firstly, Modernism and the avant-garde will be discussed as defined by Harrison and Greenberg as the introduction to the discussion of the chosen artwork of Cezanné, followed by the analysis of the artwork with reference to the writings and how Cezanné's artwork and artistic characteristics and personal views attribute to Still-Life with Apples and Oranges (c.1899) whilst being classified within the framework of Modernism.
The moss is a bright yellow-green color with a fuzzy texture. On the right side of the painting there are blueberries with random green and orange leaves throughout the fruit. Standing on the tree branch are two California quails. In the background it may be a blurred vision of some trees. The two plump birds have grey chests that become a brown color with white spots on their stomachs. The smaller bird on the left is a female with a tannish brown face. While the bigger bird on the right is a male. The male has a black face outlined in a bold white color. He also has reddish-orange hair on top of his head. Furthermore, both of the quails have a curved feather coming out of their foreheads. Observers can tell the bird on the right is a male because his feather is much longer than those of females. In addition, there is a transformation between the bold white spots on the stomachs that become bold white lines on the wings. The two quails creates contrast in the painting because they are so precise compared to everything else that is more hazy. In sum, the birds are so vivid they basically jump out of the
Matisse usually painted with thick brush marks, but in “The Dessert: Harmony in Red (The Red Room)” he uses flat areas of color. Matisse does not use one point perspective. He does not use perspective at all. “The Dessert: Harmony in Red (The Red Room)” portrays a maid that appears to be setting the table with fruits or perhaps she is clearing it. The wallpaper has the same pattern as the tablecloth. They tend to blind together making the painting