Magical, poetic, and awe-aspiring. This is what mere words at its best can accomplish when trying to capture the essence of the painting, The Glory of the Light Within, by the renowned artist, Dale Terbush. This specific masterpiece is representative of Terbush’s art and reveals much about his outlook towards nature. Viewers are presented with a breathtaking scenery and a natural beauty depicted in all its glory in this panoramic view (the painting is 4x5 feet). Indeed, because the well-defined foreground, distinct middle ground, and dim background compose characteristics of a magical scenery, this vista is transformed into an ideal utopia. Since the painting focuses on depth, the picture is read near to far, starting with the obvious painstaking details in the foreground, and ending with the massive background. Foreground- At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring. Middle-ground- The only part in the work that can be described as middle-ground lies at the bottom right, behind the land in the foreground. The middle-ground is entirely composed of a dark green pasture. It is designed in a slope-form, rising from the left and descending from the right. The reason why the pasture is colored in a dark tone is because it is framed by high trees which block the light from shining through.
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
They might not be very prominent, but they exist the painting and serve as the base for creation. For starters, the window pane contains lines that highlight its simple design. Simplicity remains as the core of this work. Moreover, sill is roughly represented by a thick brown line underneath the window as a boundary in a quietly brilliant fashion. The work has a wonderful color allocation to express the mood. The color is limited within the muted palette color range. Grey—the intermediate color of black and white, is the dominate color for both exterior view and the interior part, as a matter of fact, the observer notices that nearly all colors are mixed instead of natural this work. The cloudy sky corresponds to the grey color of the wall, yet the brightness is not influenced. However, this consistency has successfully created a cold, grave and silent environment for a crowded place such as New York. The whole environment of this painting seems to be surrounded by the negative and depressive
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.
Somehow I related to this painting at the moment. Looking back in the distance in the sky you see that there was a turbulent time. Saturday was such an awful morning. When backing up you see the bottom of the picture. The lush lively flowers show the bright side happy ending. This was my reminder that there is a calm after the storm just like in the picture.
The painting Light of Hope is a realistic painting of a light house on the coast of an American shore done by contemporary artist Thomas Kinkade. Thomas Kinkade started his career with his first lithograph, and after some time he realized he was inspired to paint not for the money but from his heart. His main goal became glorifying God and spreading His light. Kinkade grew up in Placerville, California and growing up to be a big family man. Often in his paintings he leaves little symbols representing his wife and children. Over the years he has donated his earned money to different charities and is al crediting God for his ability to paint. His purpose as a painter has been and will continue to share of the light of God (Thomaskinkade).
... 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 painting is of a large Brown chestnut tree with a mountain and sunrise view in the background. The chestnut tree is located in the center of the painting and starts at the bottom of the painting and starts to branch out on the top 1/3 of the painting. The tree is brown and has a deeper/darker brown on the edges and slightly lighter toward the middle. The tree is sitting on a red/brown clay surface, it looks as though the tree is on 1 mountain overlooking another mountain in the distance. The mountains in the background are grey toned and smooth and rounded. Above the mountains you can see the sun beginning to rise over the mountains, the sun rise has pink and peach tones that blend into the top of the painting where the blue sky begins. In the very center of the
It captures a calm scene during the winter. Looking at the painting, some of the things that jump right out are the paved side walk/ bike path, the evergreen trees, and the ground covered by clear fresh snow. The side walk starts on the right side of the painting, curves to the left and comes back to the right and fades into the evergreen tree, which is right in the middle, the emphasis of the painting. The other evergreen trees are painted behind the middle tree. They are evenly spaced and each tree is painted in different perspectives, which adds depth to the view of the nature/scene being captured. Since there is fresh snow on the ground and the time seems to be set in the morning or midafternoon, the whole painting has a snow white
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...
In this artwork the the majority of the painting is painted in middle tones, however there is also a dark contrast created by the Cypresses.Cool colors are dominant throughout the artwork except for the warm yellows of the wheat field. He uses the color scheme of green, blue with green, and yellow which is the analogous color scheme. These colors that are next to each other on the color wheel and white give the artwork a color harmony with using few colors. The mountain with the light blues that seem to be pushed back way in the distance is created due to the Arial perspective. On the lower third is where the horizon is and the elements are placed to lead the eye throughout the painting and straight to the vocal place which is the Cypress trees.The
...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.
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...
While the most significant amount of details are centered in the left part of the picture and the foreground, the background lacks elements. The main image which has been depicted in the background space is the sea along with the rock cliff. Probably, the sea symbolizes the time, spaceless and without boundaries. At the same time, the body in the center of the picture appears to be a focal point for the viewer, hence representing the idea of fadeless eternity.
“The Sun Rising” by John Donne is an aubade all about two lovers getting woken up by the sun when all they want to do is lay in bed all day. The entire poem is the speaker, presumably Donne himself, is talking to the sun and telling him to go away. This poem is broken into three stanzas with a rhyme scheme of ABBACDCDEE. Each of those stanzas represents what Donne is telling the sun to do, which is, to go away, I am stronger than you, and that he and his lover are the center of the world. Donne uses diction throughout all three stanzas to make his three points and to give the overall point of the poem, that love is not affected by time.