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Distinct characteristics of the artwork of Claude Monet
Essay on impressionism
Essay on impressionism
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Monet's use of color along with use of intricate brush strokes and composition is outstanding. The vast variations of brush strokes and color placement techniques are what make his work so unique and individual. Grand Canal,
Venice, 1908 is a prime example of Monet's talents in these areas. The structure of the painting is very loose. There are few hard lines in the composition that represents solid structure. The curves in conjunction with the shades of color as well as light usage give the piece a mirage-like effect. It is easy to imagine Monet's vantage point while he was painting the picture by the way the composition is set up. One can tell he was looking towards the buildings on the other side of water because it's obvious that the building are being reflected as well as the wooden poles sticking out of the water. It is quite evident that Monet is observing a sunset and that he is painting quickly to capture the full effect of light during this short period of the day with the study of light being the main focus in this work. Shadow also plays a large part in the make up the painting. Monet uses an even tonality of blues, lavenders, oranges and pinks to create the buildings across the water, thus showing the sunlight reflecting off the sides of them. It's quite amazing how he uses many different colors to create one large color. For instance, in the sky he uses a mixture of greens, pinks, oranges and blues to create the feeling of dusk as the sun slowly sets to the right of the picture. In the far edge of the water he uses greens and blues with a hint of lavender here and there to show the darkness of the water behind the buildings where the sunlight isn't reaching. When the water comes closer to the bottom of the painting there is a heavier use of oranges, yellows and pinks creating a golden mirror-like effect reflecting the light coming off of the buildings. At this point it is hard to determine if the sunlight is actually striking the surface of the water or if it is just the reflection of the sun off of the buildings alone. Once one looks at the poles sticking out of the water it's easier to determine if the sun is hitting the water or not. It must be hitting a good portion of the water because only the closest pole is dark, with no sun hitting it, but the poles which are farther away have light, then again it may just
has limited range of hues with mostly blues and red accents. There are some strong value
Next, Pellegrini uses a palette with complementary colors ranging bright to pastel tints to create emphasis in the painting. In the composition Pellegrini illustrates the figures with bold and vivid colors such as Crimson and coral reds, both bright and subtle golds, and deep dark olive greens. All of these colors used on the figures and their garments contrast against the soft pastel blues and whites used in painting the clouds. In doing this the artist Pellegrini separates the foreground from the background thus leading the eye of the viewer to direct their attention to the figures in the center of the painting. This attention is done through the patterns of energetic colors gradually progressing from bright lively colors at the top of the painting down to the dark and dull colors at t...
the cool water in the stream at the bottom of the lowest holler or any thing in
The two focal figures are illustrated with complementary colors, the woman 's dress being orange, and the man’s pants being blue. Benton uses these colors to bring life into the painting. The background is made up mostly of earthy colors like, greens, browns, and greys and a light blue for the sky. Benton seems to add white to every color he uses, which gives the painting an opaque look. The deepest hues found in this painting are the blue one the man’s pants and the orange on the woman’s dress, everything else around them looks washed out and Benton does this to emphasize his focal points
prospective, and the basics of light, shadow, and space, and the use of color(Moir 21) .
One focal point in Twilight in the Wilderness is the sun. To bring the attention to the sun, Church uses the contrast in the colors in the painting to his advantage. He uses broad contrast as well as a focused contrast that reveals the main focal point. The broad contrast deals with the colors in the sky and the lack of the color of in the lower half of the painting. The brighter colors in the sky in comparison to the dull colors in the lower half of the painting draws attention to the brighter sky. Within the sky itself, Church uses the different colors and different color temperatures to bring the viewer’s eyes to the main focal point. The warm yellow colors being next to the cool and dark teal and red-orange colors emphasizes the brighter, warmer yellow of the sun and brings attention to
654, line 1&2). The sunlight motion suggesting a “balance of upward and downward, rising and falling” (Harris, J. 2004), resplendent in nature and indirectly influences the reader spiritually and emotionally. Jane Kenyon’s Let Evening Come (1990), uses sunlight to project an image of a slow moving late afternoon sun, which will soon slip into the darkness of night. The light through the “chinks in the barn” (Kenyon, 1990, pg. 654, line 2), gives me the sense of an aging body and soul fading into the darkness.
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...
I spent some time on the pier observing the Rhode River. As I observed the water, I paid extra attention to the movement and speed of the waves. I noticed some capillary waves(figure 7), the wind wasn’t blowing very hard so the ripples were relatively small. As the day progressed and the wind slowed down, there weren’t as many ripples visible. This is due to wind being the generating force for capillary waves, if there isn’t any wind, there won’t be any capillary waves. I saw some rocks close to shore (figure 8) and I immediately wondered whether the water would reflect off the rocks. I waited for about 15 minutes to see what would happen, however there wasn’t enough wind to generate wave motion, so the water barely moved. Staring at the water
and can see just one color, and various shades of that color. This form is even
...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.
...ng particularly the way Rubens blends in the yellow streak of visible light while using other objects in the center of the scene. Rubens began with a thin layer of blue and a thick brush and made his painting on top of that layer additionally with thin layers with exclusion of the main objects in the center that receive a thicker coating of paint. Those objects were also painted with a much thinner brush than that of the first layer.
In their most famous paintings – The Scream and Starry Night respectively – bold strokes are clear. Munch’s use of vivid reds and blues—alongside pair mysterious dark figures who appear to get closer to the viewer – deepens the alarming scream of his main character. In Starry Night, Van Gogh depicts a mesmerizing night sky. Intense yellows and blues fill the sky with swirling motions, making the painting feel alive, as if moving. This expresses the artist’s admiration of the sky in a dream-like manner. However, work on Bulb Fields, and his extensive collection watercolors are more subdued in nature – expressive strokes are lost, and earthy, dull colors
...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.
In art, color is a very vivid element that attracts the audience’s attention, and allow us to think deeply about our innermost feelings. Van Gogh’s use of light and dark colors used in the night sky provide great contrast in order to capture our attention. The darker blue gives the art a gloomy feeling and could perhaps represent isolation. The lighter blue helps to draw attention to the swirls that Van Gogh made in the sky. The yellow accentuates the swirls even more because it is the brightest color found in the art piece. Blue and