In 1857 Ando Hiroshige created a woodblock print titled Riverside Bamboo Market, Kyobashi representing a scene in Japan. The print is of a blue river, a bridge, and what looks like a mountain of bamboo. People are shown walking on the bridge as if they are entering the bamboo market. The colors in the artwork give off a calm feeling and the lines draw you into the details of the work. Calling the print Riverside Bamboo Market, Kyobashi, Ando Hiroshige presents the river as a market where people come to gain items to sustain focusing on the abundance of bamboo. A vanishing point is located about the middle of the page from the bottom and close to the right side of the work. What appears to be a mountain of bamboo run along this vanishing point …show more content…
These lines are regular and seem to come together and space out depending on the desired effect. Lines running vertically on the page represent the bamboo. Hiroshige makes heavy use of line in the bridge, which is architecturally semi-realistic. A technique used to create a shadow in this print is crosshatching where multiple lines are crossed over each other to create depth. In Riverside Bamboo Market, Kyobashi crosshatching can be seen on the items in the man’s boat helping to show shadow as well as texture. The structure of this print is almost like looking at an architectural …show more content…
Blue is used to represent the water as well as the sky and both similar and range in different tones. All of the colors in this piece are washed out but still have a bright quality to them. The colors aren’t brightly pigmented however; Hiroshige does a satisfying job of drawing in the viewer with the color choices used and the little details. The sun in the sky is simply the white of the paper and almost looks as if the color burns through. Pops of red, show in blocks on the right side of the work wit Japanese writing inside each one, which contrasts with the large amounts of blue and helps the writing stand out. Space is effectively used in Riverside Bamboo Market, Kyobashi successfully emphasizing the bridge and bamboo. All of the elements flow well even with the bridge cutting the print in half. All of the space is used but doesn’t feel cluttered or confusing. Starting at the left side following the river down everything gets smaller and helps the viewer understand the dynamic of the scene. Along with using the space effectively the size of the artwork is 15x10 3/8 which is not massive but gives some length allowing the bamboo and bridge to feel grander and
The house is surrounded by green grass which makes the image more realistic and the trees in the background and the tree in the foreground create a sense of depth. The image is quite well spaced out, due to a vast amount of area situated between objects. There is a visual equality in the symmetrical image. There is a contrast between the colours of the image to draw attention to the house. The image looks to be taken in the dusk of the afternoon, where there is not much natural light, which creates a darker tone. The main emphasis of the image is the house, which seems to be quite different when the image is first seen by a viewer. The texture helps emphasize the main focal point seeing though it is quite smooth, the colour also creates a mood towards the image and atmosphere in the image. The line helps develop structure due to the tone being a medium darkness. In some places (the area surrounding the house) is a degree lighter and shadows are present to help form the line throughout this part of the
Through her masterful usage of color and lighting, painter Alexis Rockman seeks to display the overwhelming beauty of the natural world and its inhabitants in her painting Kapok Tree. With a color scheme of bright colors that pops out and grab the attention of the viewer and an emphasis on lighting that divides the painting into two separate scenes, Rockman’s Kapok Tree delivers its timeless message with ease.
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.
Canal is heavy on the use of values. The piece of art work has heavy contrasts and deep shadows. This can be seen with the building on the right’s corridor. In the middle left he uses high light to show the sun light in the horizon. On the right bottom in the building’s outer corridor Canal uses cast shadow and core shadow. The shadows of the individuals walking are consistent in not only in direction, but in length. Canal used planes to divide the surroundings with the building and lines to divide the building to the sky. He also uses lines to create movement and direction as you can see the citizens heading toward the middle of the art work. The “View of the Molo” also gives the building a sense of texture on the surface. The building does not look flat. The windows protrude a bit. One can see depth on the window sills and the bottom corridors. Canal uses one-line perspective and the vanishing point is the building in the bottom middle. Canal’s use of color is minimal. The colors are not vibrant at the same time not dull. The art work uses colors minimally. The temperature of Canal’s art work is
The texture of the canvas works very well with the subject matter portrayed in the painting. The grassy hill side and the leaves of the trees are especially complimented by the canvas. It makes the leaves feel like they are slightly moving, this combined with the lack of detail itself the leaves. This is contrasted nicely with the very detailed renderings of the trunks and branches of the trees, the conscious decision to put so much effort into the tree itself and then to use obvious brushwork in the leaves makes the trees much more firm and immovable in the landscape. The brushstrokes are very clean and precise on the trees in the background.
To begin, he uses an array of colors that allows each color in the sky to blend and transition harmoniously. Church also uses primary and secondary colors within the sky that consists of teal-green, reds, and bright yellow next to each other. This creates a contrast between the darker red shades in the cloud and the lighter shades of bright yellow in the sun. Besides the different shades that are being used, Church uses both neutral values and saturation. The neutral scheme can be seen in the black and gray-brown values of the trees and shadows in the bottom part of the painting. This, in comparison to the high saturation levels of the colors in the sky create a contrast. The colors in the sky are in their purest hue which means they are bright, and this being next to the dull and dark colored mountains and trees creates a contrast and more of an emphasis on the brightly colored sky. Those different colors also fall under complementary and analogous colors. The red cloud complement the blue-green colors of the sky they are in. There is also a heavy use of reds, oranges and yellows, all falling next to each other on the color wheel shows Church’s use of analogous
The pictorial space divides the plum tree into several dynamic shapes. The main plum tree shows a vertical line and foreground through the plum tree branch to make it appear to be closer and bigger than the other trees. Both the main plum tree and the other small branches have a wide width and curved lines. In the background, each tree has its own space for growth. The fence has a form of the zigzag line around the garden separating the trees from the people. The people walking in the garden make it seem like they are overlapping in a hue color and having a proportion way from the plum trees. The color schemes of this print is complementary colors the reddish and greenish change from warm to cool
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 paper I will discuss the print called Plum Garden at Kameido. This print was created by Ando Hiroshige in 1857. It is a woodblock print. In the front of the print is a close up of a tree. It is an image of a plum tree in a plum garden. The tree has pretty white blooms on it. For this reason it is logical to assume that it must be springtime. Working back, I see two more plum trees. None of the trees have much detail of the bark texture. I can see that if these trees are true to life, Plum trees are not very shapely trees. Behind the second row of trees is what appears to be an iron fence with people standing at various points along the fence. The fence line angles back to show a third row of trees in the distance. Green grass can be seen in much of the fenced in area highlighting the fact that it is a garden.
Graeme Base uses lines of different thicknesses to make the drawing look more realistic. He also uses different tones of colours. An example would be from ‘Six Slithering Snakes Sliding Silently Southward’, the main snake’s body and tail contains at least four different colours. He also repeats the way the books are place in the library.
The most prominent color in this painting is blue; it is used in the walls, the doors the articles of clothing hanging on the wall hook and some of the items resting on the nightstand. The other prominent color is green, used on parts of floorboards, the window, a part of one of the doorframes, parts of the hanging paintings and the empty vase on the nightstand. Brown is the only ...
Majority of the lines are straight and the shapes rectangular, which is mostly because it is a city scene, and most structures are straight and rectangular. I do think this provides a bit of order and neatness though. There are a few curved lines, such as at the rounding of the restaurant that shows us the building is at a corner of a street. There is a lot of imaginary empty space in Nighthawks, especially outside the restaurant. The street is vacant, even though it appears to be in a city scene.
Color is used to draw attention to important characters and objects in the painting. The red of Mary’s shirt emphasizes her place as the main figure. A bright, yellow cloud floating above the room symbolizes the joy of the angelic figures. De Zurbaran uses warm colors in the foreground. The room, used as the background for the scene, is painted in dark colors utilizing different hues of gray and brown.
It takes a while to process everything that is going on, but once you see the whole picture, the smaller details come out and are noticeable, even within the visually assaulting Square. The tall buildings are the first things you recognize; just the sheer size of them makes you feel like a tiny, unremarkable speck of dust. Each has its own character and was created with a unique design. A uniting factor of the buildings is the windows. The glass surface reflects the afternoon sun’s light, making a giant mirror from the buildings’ sides. The mirrors create an enormous hall of other building’s distorted reflections. Hanging from the buildings are advertisements for everything under the sun. Many billboards are for the different musicals that are going to be shown at Broadway soon; the classics, like West Side Story, Phantom of the Opera, Annie, and Wicked, are always there. Others are announcing the release of a new HP laptop, or Samsung HDTV. Some unveil a high fashion store’s new fall line of sweaters and jeans. Of course, there is the obligatory Coke commercial, telling you to enjoy a refreshing bottle of ice cold Coke.
The sun illuminates the entire scene with a yellow-orange light that is reflected on each and every item in the picture except for the castle – represented as a dark figure in the background – thus giving a notable tint to the painting. The most eye-catching element in Turner’s painting is undeniably this overwhelming sunlight that appears to be everywhere even though the sun itself is not even completely visible yet above the horizon. The blue parts of sky mostly visible on the left and top edges of the frame look as if they were in the process of being gradually pushed away from the scene completely as the sun ascends higher and higher. Turner has most probably used a sponge or a cloth to dab the colours emanating from the sun, thus creating rays in a flower petal-like fashion. This meticulous work on colours is no surprise considering that Turner has often been called “the painter of light”, but it also [underlines] his romantic [side].