The Architectural Fantasy by Hubert Robert is an oil painting created in 1802. For an architectural painting, is displays much emotion through the use of color, line, and light. The painting does not utilize a multitude of colors but still is able to provide an exciting scene. Although it does not appear to be that large in the gallery, the work would actually be prominent if it were a standalone piece. The artist’s use of perspective, light, and color give the overall composition a balanced look. The main focus of the painting is the architectural aspect. The scene is dominated by the main building and the large arched bridge that juts out in front of it. It is proportionally placed within the canvas. The width of the central façade makes up the central portion of the painting with the doorway being centered within the entire composition. The perspective of the painting, although not on axis, has the illusion of being balanced due to the centralized doorway and the aspect of the bridge being almost …show more content…
The main color scheme of this painting is very muted and includes mainly earth tones such as grey and tan. Even his use of blue is very minimal and muted. The main building is illuminated by the sun coming from the left, outside of the scene. It shines on the central façade and the portion of the building in the background, as well as beneath the bridge. It shines the brightest where it comes through beneath the bridge and illuminates the bank of the river along with the people on it. The bottom of the arched bridge is partially lit and includes coffers, which include more aspects of shadow. The illuminated area below the bridge is balanced in size with the portion of the façade above, fitting in with the plan of the “W.” The light also shines onto the water of the canal where the color of the water reflects that of the sky, providing unity between the bottom and the top of the
Viewing the painting, brightens the light in the artwork. There is a sense of reality as the light seems to move through the clouds. The faces of the characters are shown by light and there is an effect of light moving by walking in front of the scene. Emotions are evoked when one looks at this scene. There is a state of protection and safety.
The painting has a light and smooth finish to finish to it, and at the same time the bold outlines of the male figures appear like a sketching. Little detail compared to the woman in the center of the canvas. The clouds are dark and made with
And furthermore, recognize the symbolism documented in the painting for iconographic analysis. In doing so, this will highlight and comment on important characteristics of Omnibus Life in London as it yields new information regarding the emerging shift in social inequality. Through formal analysis, the visual characteristics of the work present an interesting insight into the painting. The first emotion that I experienced with this work was claustrophobia and crowdedness. Part of the feeling spawned from the three-dimensionality of the painting.
by 36 ¼ in. The current location of the painting is in the galleries of Museum of Modern Art (MoMA) in New York. The artist keeps his central focus of the canvas to be the night sky, keeping a portion of it as a village, depiction dark which gives the night sky further into the limelight. The major light source is the bright sky in the night sky.
However, the top fraction of the painting is more light because it represent the sun and the other half of this painting has a darkness which can be the shadows of the lights or to illustrate the big rocks. An intuition of my part, is that I think this painting is depiction of harmony in nature. Indeed, the "Cora Kneeling at the Feet of Tamenund" is a painting that reflects the scenery beauty of the Hudson
The composition of the image is observable by directions of lines throughout the image. There are a few diagonal lines in the image that give the viewer perspective
The houses of Parliament from Westminister Bridge, 1906 by Andre Derain has three main colors along with white. This painting has an appearance of watercolor with red and yellow buildings and dark green for accents. Next to the buildings there is a blue color that seems to depict water. The building closest to the viewer is red, and the farthest are yellow. The colors are very vibrant and do not seem to fade into each other.
Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light.
On the left of the painting is the tree, it takes up the most space on the left side of the painting, but on the right side we face the cupid statue, which makes the work of art balanced. The most used color that Fragonard used in The Swing is the color green with different shades all around the painting. I believe green is the most used color because of the tree, it takes the most space in the painting, and also because the setting is in a forest with many trees. As I said earlier you can tell the focus point is the girl in the swing because the color of her dress stands out because it’s a pastel pink and some light is reflecting on her. Also everything is pointing to her boyfriend is looking at her, and sticking his hand to her holding some type of hat.
This helps to create a close up look at the view outside the window suggesting the intimacy between the artist and the habitat outside. This is because the focus is almost wholly given to the view outside the window. The view, which is embellished by the presence of flowers sitting on the windowsill, and creepers climbing on the railing, is located in the center of the composition. Despite the lack of a line of symmetry and any logic or geometric order, Matisse has been able to draw the attention of the viewer’s eye through the use of bright colours, almost fluorescent, which were used to portray the calm sea with its floating blue boats, and the sky tinted with the colours of the sunset. The calm sea at the horizon is painted with unreal tones of pink, sky blue, and violet whereas the boat, painted with tones of indigo, orange and green, seem to move along with the light breeze.
It is the only bridge he includes in the painting. Although it is the only bridge, it is quite small and somewhat
Leonardo believed that, the integration of the musical harmonies would bring symbiosis to the optical space of the painting and to the one viewing the painting. Leonardo clearly understood how single point perspective could control how the viewer perceived his painting. He employed this technique to draw our attention to Christ’s face which is at the center of the composition. Likewise Christ’s gaze is directed to his left hand whereby he is reaching for the ‘bread’.
As I continued to stare at the painting I noticed that it was appealing to some of my emotions such as love, depression, and despair. I felt love because given the fact that the man had a big mansion to sleep in he chose to be closer to the person that he loved. He shows his love by sleeping outside and by bringing her flowers. I felt depressed because it's amazing that having a comfortable life is not enough when the most important person in your life is not next to you. I also had the feeling of despair because the man seems hopeless, it seems that he feels that he cannot truly live without the person that he loves or deeply cares
As Walter Isaacson explains, Vitruvius’s emphasized “the relationship between the microcosm of man and the macrocosm of the earth.” In Da Architectura, Vitruvius actually describes “a way to put a man into a circle and a square in order to determine the ideal proportions of a church.” Vitruvius’s own words best explain this: In a temple there ought to be harmony in the symmetrical relations of the different parts to the whole. In the human body, the central point is the navel.
His use of colour draws the viewer’s gaze towards these figures, the intended focus, but the manipulation of light also demands attention to other spots, such as the white horse and his rider, and the man holding his hat to the left of him. However, much of the painting retains a sense of anonymity; the man dead center, clutching a trumpet, has his back turned towards the viewer, and most of the other figures remain just out of focus, behind a conveniently placed billowing cloud of smoke. Besides the main characters, most of the figures are faceless, despite being portrayed in ( vivid ) detail. Some are so far in the background their form is indistinguishable. Some are turned the other way, but most are engaged in conflict, intertwined to the point where it is impossible to tell where one figure ends and his enemy begins.