“Kitchen Chairs” Let me first start off by saying this is a beautiful piece! It amazes me how the artist, Carl Rice Embrey, incorporated different painting styles and techniques into this painting. he simply did not just paint two chairs in kitchen but put a lot of thought into his work. I do understand and see where people compare his work to other artist such as Andrew Wyeth. They both have the same idea when it comes to painting landscapes although, there is a big difference. Carl paints landscape more scenic, and realistic whereas Andrew’s looks more animated. Carl’s work is also compared to Franz Kline. Even though it is two totally opposite paintings Carl adopted the style that Franz uses in his paintings to the shadows of the chairs
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
The book which I chose to share called Peter’s Chair written by Ezra Jack Keats. In the story, there is a boy named Peter whose parents just have a new born baby. Peter notices many things have changed around his house. His parents paint his old cradle, high chair and crib in pink and give them to his baby sister. Peter knows he needs to do something to prevent giving away of his favorite chair. Therefore, Peter decides to run always with all his favorite things and his dog, Willie. While Peter is being outsides, he sits on his chair and realizes that he is too big to the chair. He goes back home and tells his father that he would like to paint the chair in pink and give it to his little sister.
The work depicts a family in plain clothing enclosed in a simple solitary room with a fading fire amidst the dark shadows of the background and another light source that extends from beyond the scope of the canvas. At first glance the influences of Caravaggio and Rembrandt are apparent. Their faces are neither, sad, sullen, angry, or joyful, but rather their emotional expression is plain and uncomplicated, adding a sense of timelessness to the painting. As in the description (20-34) of the piece which states; “It reflects 17th Century social theory, which celebrated the natural virtue of those that worked the soil”, (p. 609). The idea of portraying a classic simple lifestyle is a refreshing one and a concept which will reoccur in other works of the Baroque period.
Florian Maier-Aichen is a landscape photographer and drawer.With the computer he is able to alter photographs and make them a piece of artwork that not only pleases his thoughts, but also makes a statement.Since he takes real life images of a landscape and then constructs them in different modes that satisfy him , those images aren’t reality anymore.In Blum & Poe you can observe the strange colors he added to enrich myth-making.He fantasizes landscapes, making them open ended
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...
Kathy Harrison starts her personal story happily married to her childhood sweet heart Bruce. Kathy was living a simple life in her rural Massachusetts community home as the loving mother of three smart, kind, well-adjusted boys Bruce Jr., Nathan, and Ben. With the natural transitions of family life and the changes that come with career and moving, she went back to work as a Head Start teacher. Her life up until the acceptance of that job had been sheltered an idyllic. Interacting in a world of potluck suppers, cocktail parties, and traditional families had nothing in common with the life she would choose after she became a Head Start teacher.
The overall appearance of the table and chairs shows a rectangular shape with very definitive, sharp vertical and horizontal presence. The piece plays with your eyes as it takes you upward and then back horizontally. It is like its breathing up and then across. The thick lines of the table hang strongly over the edges at each end. These strong line reinforce the supports at each corner crossing pillars which appear to be holding up the tabletop. When you look below you see four base pedestals which also support the tabletop and they are placed at angles, which I believe is just to skew your eyes to the overall straight lines the piece eludes at first glance. But when you look at the details of the banding at the base of each leg and support you are tied together again visually by the base ribbon created about the bottom of the piece which ties it all together. Further, at the top of the piece the tops of the chairs equates to the tops of the square portion of the light fixtures at each corner. On purpose there is this line created visually to tie the piece together. It creates a visual circular pattern around the entire 'rectangular' table. You see this on the base and the top of the piece as well as at all angles you look at this table and chairs. There is a sense of unity that just brings you around and around the table and chairs. The unity of this band draws you into the intimacy of the piece. It envelopes a sense of security, drawing you in as if you are a part of the furniture itself
Garden is a captivating composition. There are many elements in this painting, that altogether, make it a complete, finished work of art. Although the painting is asymmetrical, the placement of the lines and shapes give the perception of a balanced work. The artist has utilized the space by placing the focal point in the center and creating implied and actual lines to draw your eye to it and across the painting. It is an abstract artwork, and is representational of a true
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.
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...
For example, he uses texture, color and organic forms to make the landscape look as real as possible. Most of the shapes are formed by shifts in colors and line because the canvas are two-dimensional. The viewer can observe that the painting is dominated by greys, browns, ochers, and other natural colors such as green and yellow to give the scene a more nature-like look. All the components and objects painted in this piece appear to have the same texture and color as the ones found in real life, such as rocks suggesting a rough hard texture and clouds being soft, which probably means that Vernet took in consideration real landscapes and places he might have seen in real life. While using different shades of grey, and painting dark clouds, Vernet was able to convince that a storm was approaching but he also decided to add source of light coming from the upper left corner by using a golden yellow color to create a sense of warmth, which creates a nice contrast between the light and the coldness from the overall shadows that seem to dominate the artwork, creating variety; however, the repetition of colors such as greys gave the whole piece a sense of unity and they also express the shadows of a stormy day. We
Overall, by analyzing The Starry Night I saw that it is more than just a simple painting
Looking at the piece at first you will see a bedroom and you might think ‘oh what a simple and modest accommodation’ it’s not much of a room but it is nice. You get the sense that the person who sleeps in this room doesn’t have a lot of money to spare, and might even be on the brink of going bankrupt. The walls might be decorated with paintings but if you assume that the artist is painting his own room, which he was, then you would think that he hung up his own paintings. With the exception of two Japanese prints he did just put up his own paintings (Brooks, The Paintings).
...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.
This organic painting has several principles of designs, which are unity, variety, emphasis, and balance. The w...