Artists such as Georgia O’Keeffe use the visual elements of art such as line, shape, and color to help create the variety of styles and shapes in an artwork. Georgia O’Keeffe’s, Radiator Building at Night, gives a great example of how the visual elements of art play a huge role in her painting. Radiator Building at Night is an example of iconography in which just by looking at the painting one can quickly interpret that the painting resembles a city at night such as New York City. It resembles a city because of its unique and bright lights and the way the buildings are right next to each other as if they were crowded as it is in New York City. The building that stands out the most would be the very tall one located in the middle of the painting. The windows give off a bright white rectangular color making it the focal point of the painting. These bright colors emphasize how tall the building is compared to its neighboring ones. Overall the colors used to make this artwork consist mainly of dark colors such as black to represent the time of day, in this case nighttime. There are parts where the light hits the walls of the building making the value of black go from dark to light. Adding this value from dark to light …show more content…
The colors in the background make the building stand out making it the first thing someone would see. The bright lights catches the attention of the viewer. The dark colors and the bright lights gives a mood of the city life. All the buildings are so close and packed together, yet they are not as bright as the one in the middle which grabs the attention from anything else. The implied lines and shapes of the building help make the artwork look very realistic as if one were looking at the painting from a vantage point. The bright white windows seem so real as if the canvas was actually using electricity to light them up. Everything about the canvas bleeds the city
The lighting for this picture was absolutely perfect because it was getting dark and in my opinion darkness defines the projects. The darkness represents the mystery of fear within the community since the projects is known for drugs and violence. The people living within the community possibly fear the fact that their children have to grow up in that specific environment. Darkness is substantial and compelling. The second images shows the different side within Bedford Stuyvesant that many do not get to see through media. I specifically took this picture because it is the complete opposite of the first image. The image shows beautiful brownstone houses of various colors. These bright cool colors represent warmth within the community. These colors say the neighborhood is not all about crime and violence but beauty within. This image gives a whole new perspective to people who have never visited within Bedford Stuyvesant and has only seen what the media portrays. The colors of the houses give life and a sense of personality to the neighborhood. Bedford Stuyvesant is truly one of the most beautiful neighborhoods I have ever
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
What I see in this piece is peacefulness. Stokes of the paintbrush are perfect to make it look whole. With the sun shinning down making the colors pop out even more. The olive trees glowing in the suns light with the mountains behind it. It is a piece I could look at for a long time with out getting bored. The colors of the piece just make it look so complete. With the lines of the
The visual devices used were concentric circles and rectangular buildings I stated the visual art elements were intertwined with the principles of design. The tall rectangular shapes portrayed skyscraper towers in New York City. Industry was portrayed through the smoke and the man with the suitcase stepping up the cog wheel. I saw a man figure in the middle playing a saxophone and assumed he was the subject matter. There was a use of gestural lines to create form of a 3-D effect with the buildings, as well as the smoke floating in the air, the people figures, the shadows, and the wheel of life. There were uses with the secondary hue green, which has value starting with a light green by the statue of liberty in the concentric circles darkening with each circle. The green cool color with a use of a neural color of brown for the buildings was how the picture was portrayed. Great space was used for overlapping objects, like the people and buildings. The buildings had a two-point perspective due to the angles they are pointing at. Symmetrical balance was achieved with the use of colors, line, and shapes (to take up space). There was a sense of movement with the man holding the briefcase, which looked like he was walking up stairs. Unity and Variety were accomplished using the use of color, shape, line, etc. The painting is
The back of the painting shows brick red buildings which are billowing smoke out of the top of them. The red in the buildings could be symbolizing the red
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.
In Office in a Small city, the viewer is looking through a side window of a plain utilitarian building of a solitary man in a corner office. The highrise the man currently occupies is unassuming. Its color a soft white. The only decorative feature of this highrise is the front. Two other buildings can be seen. Another highrise, with apparently no windows, is similar to the one that the man occupies. The other building that occupies the rest of the space, is reminiscent of a time before the rise of skyscrapers. It stands out as unique and more human when compared with the other structures in this painting. The office that man sits in is bare, nothing hangs on the walls and the interior is the same drab color of the outside building. The windows of this office aren't framed. The few things that occupy this corner office is a couple dull brown colored desks and chairs and the solitary man. The man, dressed in a white shirt and black vest, sits at one of the desks and looks across the way to another building, with o...
Unlike science, art is subjective. The artist leaves behind a part of himself in his work. Therefore, each piece has its own distinct perspective. Frida Kahlo’s self-portraits show her view on her life, on how she has faced so many struggles, yet managed to be a strong person. When we see or hear or read an artistic creation, it produces a mood such as calm or loud, fear or safety. For example, the Eiffel Tower gives Paris a majestic awe; everyone who passes by feels the strength of the 113-year-old grand structure. Art also has a texture. Photographs reveal much through their textures; grainy surfaces often make the picture more realistic while smooth ones seem softer. When we hear a piece of music or see a film, a rhythm carries us from one part to another. Not just true for these two genres, rhythm is present in any artistic work. These few properties are characteristic of everything we encounter in the world of art, the world of human expression. Most have other special features also. Most of the time, though, we do not think about these characteristics because we do not have enough time to pay attention to anything for more than a few seconds.
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
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
...taining the calm feel. The focus is obviously on the people inside. The much brighter light of the diner draws the eyes towards the right area of the painting as well, where the people sit. The street is dark and empty, while inside the diner's bright light and people provide contrast to it's outside. The abundance of straight lines and realistic shapes and forms make the painting very realistic and true to life. The bright light from inside the diner is flooding into the street, casting dark shadows not seen inside the diner. The viewer of the scene seems to be slightly at a distance from the diner, looking in at an angle from the darker street. The brushstrokes are used to provide miniscule details especially to the people and objects inside the diner. The paint is spread evenly, but not always thick and dark. All elements of the painting are smooth and realistic.
...just the physical features. This is the same way Gothic Architecture was design to overwhelm and make feel the individual inferior to the institution behind the building. Consequently, the conceptual aspect of the building came as a secondary element in the design of the building. Such as the experience and feeling of the people coming to this building and being inside. The same way Gothic Architecture did it.
The colors used in this painting are blue, white, yellow, brown, black, green, light blue. The colors Birch used seem dark in order to relate to the storm. By making it seem dark it really captures the mood of the composition. In general the quality of light in this painting is low.
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.
Today most art education programs are made up of four components. One of these components is art aesthetics. Aesthetics is the study of the nature of a piece of artwork. It analyzes the work by asking specific questions regarding the artist and the piece. The viewer becomes the judge in a sense. It tries to discover what the artwork might be representing. They could also ask what type of emotion the artist was trying to convey in their work. The viewer also takes part in analyzing the physical aspects and characteristics of the work. It focuses on the use of color, sequence and synchrony of an artwork. It notes the artist’s craftsmanship, artistic ability and proficiency in technique (Hoffman 1999).