VSN1R Sunitra Sivabalan- 16712 Week 1 – CCS Notebook Lines Lines are the basic structures; they are one-dimensional and can be formed in any shape or size. Lines can convey specific emotions, as there are a variety of different line forms that make up a piece of artwork. One example would be a straight jagged line, which could give the notion in a piece of artwork as anger. Shapes Shapes are made out of lines that make edges, which forms 2D shapes and the volume of 2D shapes form three-dimensional shapes. There are two types of shapes, geometric shapes and organic shapes. Geometric shapes are more common and known; this includes shapes such as squares, triangles and pentagons. Organic shapes are freer in their form and can represent …show more content…
I dislike this painting as I personally feel there is no depth and feeling to the painting. The texture of the painting is quite smooth and consistent throughout the painting; I feel that without some texture, the painting becomes boring. Another reason for my dislike for the painting would be the fact that I feel there is no focal point and emphasis in the painting. The colour contrasts are the only thing that is eye catching, however it seems like they are all quite washed out and dull. Though it is classified as an abstract panting and he artist relied on the colours to convey emotion, I still feel that it has not been achieved and I find that this painting is …show more content…
She investigates the phenomenon of synthesis to make her exhibition interactive. To do so she set up test tubes with scents and music to go with it so, as you listen to the music you smell each test tube. This I believe was ingenious as her exhibition was able to evoke memories that were able to effect peoples emotions and it really emotionally moved some people. She used certain smells and music together as it reminded her of her past. I felt it was an incredible experience as some of the smells and music had really affected me, it brought back memories that I had forgotten about, the exhibition I feel was extremely powerful because of
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
...elationship between the people in the composition and their feelings in each other’s company. The viewer is forced to think critically about the people in the painting and their feelings and body language.
The pictures say a lot, however, with petite information. The artwork she displays are somehow complex, and one gets to understand their meaning over time as she uses vivid imagination to bring out facts and fiction together.
What do I see in her performance? Her art performance “The Artist is Present” is the first career exhibition the MoMA under took for a performan...
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.
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
many other emotions that the artist is trying to display in his painting. Although we can try and
“The Grafin von Schonfeld with her Daughter” is very interesting to look at. It shows history and context of the lives of the 1700’s. The textures of the dresses are beautiful and very alluring to the eye. The porcelain skin of the mother and daughter give the painting innocence and purity, along with the loving nature between the mother and the daughter. This is a very good piece of artwork because it draws you to it with you knowing why. Once looking at the painting you find yourself looking into the eyes of the subject being painted and seeing another life with in the portrait. The eyes can almost be eerie as well as breathtaking at the same time. The painting produces richness and a feeling of royalty that people in the 21st century do not understand but yearn just the same. I was very impressed of the classic style of the painting and my own yearning to have the same richness and “classiness” as the lives that were portrayed in Vigee-LeBrun’s painting.
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...
This painting consists of regular lines as well as implied lines. Some of the regular lines that have been included are flowing, curved lines, such as the Earth that the woman is sitting on top of. Additionally, the background is made of small scenes that have been outlined by a dotted line, which places emphasis on the scenes. Besides regular and visible lines, there are a few implied lines in this painting. For instance, the woman's eyes are looking forward, so there is an implied line to the audience. Additionally, another implied line would be the woman's right arm, which is pointed towards her headpiece, while her left arm is pointed towards the earth. Nonetheless, this painting is not intense; although it does have splashes of color, this painting does not have a bright saturation. Instead, this painting is slightly dull, which makes this painting appear vintage. Additionally, since this background is a dark color, it makes the rest of painting, especially the headpiece, stand out. Besides colors and lines, even though this is a painting and there is no physical texture, there is invented texture. Upon viewing this painting, underneath the earth where the woman is sitting on, there are roots as well as grass, which give texture and feeling to the painting. In the end, this painting consists of several elements of composition, which Heffernan has done a wonderful job
...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.
AA theory by Clive Bell suggests the pinpoints the exact characteristic which makes a work true art. According to Bell, an artwork must produce “aesthetic emotion” (365). This aesthetic emotion is drawn from the form and formality of an artwork rather than whether or not it is aesthetically pleasing or how well it imitates what it is trying to depict. The relation of objects to each other, the colors used, and the qualities of the lines are seemingly more important than what emotion or idea the artwork is trying to provoke. Regardless of whether or not the artwork is a true imitation of certain emotions, ideals, or images, it cannot be true art unless it conjures this aesthetic emotion related to formality (367).
Shapes are two- dimensional surfaces such as circles or squares, and forms are three-dimensional shapes like spheres or cubes. A concave form has a pushed-in surface like the inside of a bowl and a convex form has a raised surface like the outside of a bowl. When you are looking at shapes and forms, the shape that you see first is called a figure or positive shape and the area around it is called the ground or the negative shape. The natural curves in different objects, such as trees or clouds are called organic shapes. Geometric shapes and forms are precise and regular such as cubes, pyramids, and circles. A free-form is an irregular invented shape or form that has qualities of a geometric form or an organic form.
Cubism takes the opposite route for the same effect. Solid lines are drawn, but the painting itself is usually more abstract (as with Picasso). At times it can be difficult to discern what some paintings are supposed to represent. Bright, vivid colors infuse the pieces with more passion. The contrast between those not well defined objects and the punch of emotion gives cubism its personality and vitality.
To me the painting is a way of showing you what everyone else is seeing. That the painter had the men looking right at each other so they can see themselves running away. In turn I got to see myself doing the same thing and was able to change because of it. When other people look at the painting they probably see something else. That is why I choose to do the painting, it gives you the choice too interpret it any way you see fit. Or it can just be a beautiful painting to look at, but the painting was so much more to me. It painted a thousand words for me.