per·spec·tive 1. The art of drawing solid objects on a two-dimensional surface so as to give the right impression of their height, width, depth, and position in relation to each other when viewed from a particular point. 2. A particular attitude toward or way of regarding something; a point of view. com·po·si·tion 1. The nature of something's ingredients or constituents; the way in which a whole or mixture is made up. Perspective and composition are very similar in the since that they can make or break an work of art. They also rely on each other to help lift the art up. If the perspective is bad than the composition isn’t working. If the composition is off than the perspective is worthless. I’ll talk about perspective first. Perspective is all about the relationship between the objects in the piece of art you’re trying to create. Once you start to truly understand how perspective works you’ll be able to move around the …show more content…
Opps my bad. Composition is the arrangement of visual elements in a work of art. It’s how color, lines, value, texture and form are organized together to create a piece of work. Good composition is important to any type of work. When you use good composition you can draw in viewer’s eyes to the focal point and organically move their eyes around the rest of the painting. Henri Matisse defined it this way: "Composition is the art of arranging in a decorative manner the diverse elements at the painter's command to express his feelings." The Elements of Composition in art are used to organize the visual components in a way that is visually pleasing to the creator and hopefully the viewer. The elements of composition are unity, balance, movement, rhythm, focus, contrast, pattern and proportion. Questions to ask yourself when creating art, using Composition: Unity: Do all the elements fit together? Do they flow? Is anything clashing? Balance: Does the painting feel right? Does it feel
The first framework that would be beneficial when working with this population is the Dual Perspective Framework. The Dual Perspective Framework is a model that charges the social worker with assessing and understanding the client’s world. While doing so, one must take into account the client’s relationship to not only their immediate family and community, but also to the larger societal system while considering and comparing values, attitudes, and behaviors (Prigoff, 2003, p. 80). Another way to explain the Dual Perspective was presented by Dr. Nimmagadda as part of the diversity section of this course (2015). The contrasting views are also known as the “Nurturing Environment” versus the “Sustaining Environment.” The “Nurturing Environment” can be identified as the individual’s family or immediate extended family, while the “Sustaining Environment” can be identified as how an individual feels other’s view them in the social environment (Nimmagadda, 2015). An individual can evolve and change according to their experiences and interactions in both environments.
Many of these artists' works contain subtle hints to the author's opinion on the subject. By analyzing their central compositional effects, the viewer can obtain a greater appreciation and understanding for the art.
Throughout the vast history of visual art, new movements and revolutions have been born as a result of breaking past conventions. This idea of moving past traditional styles was done by many artists in the 1950s and 1960s, including those artists who participated in the many different abstract movements. These artists decided to abandon old-fashioned techniques and ideas such as those of classical Renaissance, Baroque, or even Impressionist art. One of these new conventions, as discussed by art historian Leo Steinberg in his essay, “The Flatbed Picture Plane,” is the concept of a flat and horizontal type of plane in a work that does not have a typical fore, middle, or background like that of the traditional art from classical periods previously mentioned. The flatbed picture plane that Steinberg refers to is similar to that of a table in which items can be placed on top of, yet they are merely objects and do not represent any space. In his article, Steinberg explains that the opposite of this flatbed plane is the
That form of representation or sketching involves the drawing of the skeletal structures in thick black lines, and in the case of Morrisseau’s "Astral Planes" painting, humans and animals. Lines drawn in the "Astral Planes" painting are smooth, unbroken, and with no sharp edges; mainly forming the outline of different objects on the painting. Lines get thickened in some shapes creating a volume to certain parts of the objects, such as the head and the arms of creatures. Lines and shapes integrate to produce an eye-pleasing piece of art to look at. The “x-ray” effect provides a feeling of animation to the painting observer.
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.
...thin this painting is appealing to the eye. With regards to linear perspective, this painting has a diagonal in which the figures line up and converge to one point.
The painting has an order and there are different shapes and angles. Rectangular shape is main trend around this piece, including the wooden chest, the leg rest and the canvass. Also things overlap, creating the illusion of the shape look closer to viewer than the shape behind it. The example in this piece would be the chair on which Adelaide Labille Guiard sits be close to viewer than the girls behind it. This adds depth to the space. Also due to linear perspective girls behind the chair are smaller due to being farther away.
Atmospheric perspective is where “forms which are far in the distance lose their clarity and sharpness due to dust and moisture in the atmosphere” (Notes). In “The Death of Socrates” the women in the back ground are examples of atmospheric perspective. Even though you can tell they are women they are not clear like the men that are in the painting. In “The Death of Sardanapalus” the figure that are in the dark near the bed in also an example of atmospheric perspective. Even though they have common characteristics there are differences too. A difference between the two painting is that in “The Death of Socrates” painting there is a foreground, middle ground and background, but in “The Death of Sardanapalus” painting it is tipped up towards the viewer because of the use of dramatic
D. Space – Gogh uses linear and atmospheric perspective to give the illusion of depth. Linear perspective is created by the left border, diagonal lines of the field and the horizon. The vanishing point is the left part of the frame along the horizon line. Atmospheric perspective is created in a number of ways. Gogh uses color in...
William Sidney Mount and Francis Criss both used several elements and principles to capture the essence of each of their oil paintings. Each artist chose specific elements and principles in order to give the piece of art the effect that they wanted the viewer to see. While each artist painted a different setting and story, some of the same aspects were used to create both pieces of art. There are also differences that set them apart and make each painting a truly unique work of art. Each specific element and principle including linear aspects, focal point, value, and motion that is used by the artist in either The Card Players or City Landscape has the purpose of guiding the viewer through the artwork.
...ything fits together and disunity is the opposite, it’s a feeling of disorder. In art, unity is often achieved by the repetition of a shape, colour or another visual element. Simplicity is another method and it’s the use of one major colour, kind of shape or element to unify a work. Another technique is harmony where related colours, textures, and materials might be combined. Theme and variation is another method that allows artists to organize a work around one major element like a circle, and variations of circles. Works are sometimes unified by proximity or continuity. Proximity means that parts are grouped together, enclosed or clustered into sets. Continuity means that edges of forms are lined up so your eye moves from one part to another in a definite order. Variety is like a spice in art and it is the use of contrasting elements to make something interesting.
Aesthetics is the views of life through the arts. The best example of this is how an artist paints a picture.
When looking at an art piece such as a landscape oil painting by Albert Bierstadt—American artist who created Yosemite Valley. “In 1859, he traveled westward in the company of a land surveyor of the U.S. government, returning with sketches that would result in numerous finished paintings” (wikipedia). The artist shows incredible attention to detail throughout the landscape. The use of reflections is extremely effective and visually accurate; the reflections in the water—clarity of trees, shrubs, pebbles, and rocks—might be one of the most noticeable features in this piece. The relative brightness creates the warmth felt in this painting. The interposition as well as the allusion of three dimensions provides a high level of depth. Aerial perspective is correctly used, furnishing the effect of distortion—the...
Portraiture artwork includes painting, drawing, sculptures, medallions, and busts. Painting starts with painting the face, moves to the shoulders, then it includes hand gestures moving in different directions, the movement of eyes, communicating individual personalities and actions. The subject could wear clothes or not, be standing or sitting, and be individuals or a group, such as couple or a family. The painters can use oils, watercolor, pastel, or acrylic. Portraiture has different sizes; furthermore, creating a portrait normally spans about four sittings. However, according to (Simon, 1987, p. 129 & 131) some, such as Hans Holbein the Younger, one can make a drawing of the face, and then complete the rest of the painting without the sitter.
Subsequent to the study of different philosophies of art, as well as completing projects asking for personal preference in art as well as objective “fine art,” a personal philosophy may, by necessity, include subjective and objective facets. In determining what fine art is, the quality of universality is important. There also does not have to be a traditional presentation of beauty for a work of art to be fine art. Contrary to R. G. Collingwood’s philosophy, for fine art the culture and setting in which art is created should not matter, because if art is universal and timeless, meaning endures outside of where and when it was created. Evaluation of art can be subjective, but fine art is universally appreciated regardless of understanding background,