The dominant line in this piece of art would have to be a straight line. To be precise, the vertical straight line is a vivid piece to this art. Within the art, you can also see shapes such as squares and rectangles. These four sided shapes are found in many different aspects of the artwork. For example, the buildings in the background are rectangles, and the border is full of rectangles and squares. The form of this art is clearly 2D, considering it is on canvas. Although, Ringgold did an amazing job at portraying a sense of 3D degression. The texture of this art is considered to be rough and clothlike. This is due to the fact that “Ringgold’s vehicle is the story quilt” within this work of art. (Spector, Nancy.) The space of this art could be described as busy. There is something new in each square of the quilt. There is also a large value change if you compare the inner middle of the artwork to the surrounding edges of it. The core of this piece of art is dark while the outside is light. The type of balance would be considered asymmetrical. There is also not a distinct pattern in this piece. Another detail to this artwork is that everything is in proportion. The only rhythm and movement found is the young girl in the sky looks as if she is flying. A strong contrast found is, again, the bright floral border compared to the dark picture inside. The pieces of this piece are bold and do not work together because they highly
The paint is spread thinly along the surface showing no raised areas for texture. The objects within the painting have similar line weights. There are different directional lines as well
...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.
The painting has realistic 3 dimensional space by the use of linear perspective and chiaroscuro. It also looks to be 2 dimensional as well, because it almost looks like some influence on the Japanese print, like flat patches of paint. The lines converge from the edges of the paint to the center letting off the effect of a background and a foreground. It looks as though the trash is in the foreground and the man is in the background. In the back of the painting, it is darker which also adds to the effect of the 3 dimensional space.
In the Metropolitan Museum of Art in New York City the painting “Joan of Arc” by Jules Bastien-Lepage hangs in the B. Gerald Cantor Sculpture Gallery. This Piece is rather large and was done with oil paint on canvas, its dimensions being approximately eight feet tall with a width of ten feet. When walking toward Bastien-Lapage’s painting, it’s size and realism grabs one’s attention, and then holds it while this scene of Joan of Arc seems to take place right before one’s eyes.
Often artists can express complex emotions in a form of a single subject matter. For example, the movement of abstract expressionism originating in the middle of the twentieth century was an approach to modernism/ post-modernism accentuating the uninhibited expression of emotions. The products of this genre are characteristically free and loosely structured, stylistically. They tend to focus the emotions that could be derived from the artworks rather than clear representational imitation of reality. In this artwork, ‘Red, Brown and Black’ (1958) by Mark Rothko, all consist of soft, rectangular bands of color stretching horizontally across his canvas. The artist views color as the most powerful communication tool. Through his blocks of color, which are representative of the simple components in the artwork, are meant to provide a contemplative, meditative space in which to visually investigate one's own moods and affiliations with the chosen palette. ‘He sought to distill an essence, or true nature, out of codified hues’
...tal aspects to understand who the female subject is. Miller doesn’t used repetition; in fact, he doesn't use geometric or organic shapes at all. The lack of the use of shapes and repetition mimics the way a woman would put on makeup. Typically, makeup isn’t put on in perfect shapes, much less organically shaped patterns. The impressionist style reflects the message of this painting more accurately than a more classical style, like Cenni’s, could.
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...
The brush strokes are similar to Leonardo’s sfumato technique, but reminiscent of Rapheal’s color usage. The strokes are soft along the edges giving them a hazy appearan...
...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.