Melvin Williams Arth 1381 Professor Zalman 13 November 2014 Visual Analysis The painting, The Basket Chair c.1885 by Berth Morisot, and the painting The Orange Trees c. 1878 by Gustave Caillebotte, are both magnificent and interesting pieces that I got the opportunity to see. The paintings are both wonderful pieces and their composition overall is very impressive. Both paintings have different aspects in the way the artist displayed modernism, formal characteristics, class and gender, and the subject matter of the painting itself. These are great distinctions between Berth Morisot’s The Basket Chair, and Gustave Caillebotte’s The Orange Trees, but both paintings have their own distinctive style and sense of modernism that inspired the painters’
The landscape painting is depicted vertically, showing a deep mass and volume of the painting and visually showing a dream-like fade that is highly influential to other artworks during the song era in the "golden age of Chinese landscape painting".6 The painting was highly influenced by the movement of the imperial court and reflects highly on the details of its landscape form, showing it 's foregrounds and depth. The way Li Cheng envisioned the idea of total restlessness is by creating a wash of mineral colored pigments to show a symbolic atmosphere of a dream. The elements of the painting contain tampered brushed lines that appear to be modulated or iron-wire painted lines.7 The painting consists of a very washed out texture, forming an illusion of depth through perspective, and managing a dramatic backdrop that displays a rich fade of what appears to
Vincent Van Gogh’s self-portrait titled ‘Saint-Rémy ' (1853-1890) along with Edvard Munch’s ‘THE SCREAM’ 1893–1893 have created a historic influence on artwork in the present day. Based upon Alice Neel’s quote, “A good portrait… has something more than just accurate features. It has some other thing!” these artworks will be examined in regards to their description, analysis, interpretation and result in a concluding judgment. Both being famous pieces and vary in significance, these portraits will undergo further examination throughout this critical analysis using this quote and determining whether they really have “some other thing.” Within Vincent Van Gogh’s infamous Oil painting (65 cm x 54 cm) the main focus is of Vincent himself. The portrait contains Vincent surrounded by the dominant colours of pale turquoise and a shade of absinth green.
His paintings, etchings and prints include elegant female portraits, based on High Renaissance prototypes, with which he challenged the 16th century masters of the Venetian school; painting of horses which recall his love for the peasant life of the Bosnian countryside; paraphrases of Velazquez, which express his profound admiration for the great Spanish master. Throughout his career, he made cycles of painting which chronicle homages, events and dedications. His works are characterized by the intermingling of ancient motifs with a modern and contemporary commentary. He employed a very wide variety of artistic techniques, from the most traditional to the most contemporary. For instance, he made a couple of small animated films, and was fascinated by the possibilities offered by new techniques of digital printing, sometimes producing prints of enormous
In Passion Flowers with Three Hummingbirds, it is evident the realistic style of romantic and expressive line used. Romantic does not just mean the expression of love, but the expression of feeling and passions (Sayre, 75). Heade used not only his expression to create this piece, but what it most evident, is his use of implied lines. Implied lines create a sense of connection and enclosure, along with movement and direction (Sayre, 62). While looking at the background the curved, smooth lines imply moving clouds.
From his birth in 1802 until his death in 1885, Victor Hugo lived his life though the height of French Romanticism. Hugo’s idol, Chateaubriand, is considered to be one of the fathers of the French Romanticism. This writing style can also easily be seen through an examination of his works, which clearly displays some of the attributes of romanticism. On of the characteristics of French Romanticism that is very apparent is Hugo’s work is the love of nature. In his poems especially, he uses very descriptive imagery to describe the surroundings to the reader, and often, those surrounding are somewhere in the natural world.
Stevens took over some of the natural principles of Transcendentalism and advanced them in his poem “The Idea of Order at Key West”, where his inclination to aesthetic meditation and transformative power of one’s imagination on different aspects of natural, physic world are presented. As Harold Bloom says “ The alliance between naturalism and a visionary faculty is not an easy one to understand” because the author introduces the discrepancy between reality and perception. One possible implication of this is that he tries to present the ordering power of art by imagining what the idea of order is and what we need to know in order to easily recognize the right order. However, we cannot see the woman or hear her the lyrics of her song, but in a certain way we can experience the speaker’s transformation. The woman’s precision in th flow of her song, her measures ans meters expose the song’s law just as the sea’s cries are nature’s law,
The aesthetic and visual execution of the film warrants its assessment as a showing or showcase medium, and not singularly by its storytelling. The scene when the protagonist, Chris Nielsen, finds himself in an afterlife emulating his wife 's paintings exemplifies this (00:24:51-00:27:48). Upon waking, Chris finds himself in an oil meadow painting brought to life (please refer to A1). He soon discovers that the exuberant scene before him is constructed with genuine paint; he explores the masterpiece in motion by gliding his way through the wet landscape, a pastiche of impressionist art styles from nineteenth century masters such as Monet (A2) and Van Gogh (A3). The scene marries new technology and the elements of oil painting (such as colour, stroke and brushwork), which creates an aesthetic that realises an abstract world realistically into existence.
Two scholarly writers brilliantly conveyed nature in their own opinion, an essay written by John Miller called, ”The Calypso Borealis," and a poem by William Wordsworth called, "I Wandered Lonely as a Cloud.” Both authors created work that acquires their idea of the beauty of nature while showing their compassion and love for nature. They each endured the essence in their own way. Each author also used their memory as descriptive imagery to creative share the scenery and amazement of their experience. Each individual has their own personal opinion about nature and how they decide to express their feelings can be diverse, and both authors, John Muir and William Wordsworth, expressed their compassion and love for nature in their own way. Once the piece of literature begins, the reader begins feeling captivated in the imagery that the author created to be envisioned.
Therefore, he painted this series and those of them are about family photographs. He often painted in black and white and used the idea of the traditional quality of formal photo studio poses and grayscale palette of old photographs, which are using the technique of the traditional Chinese charcoal drawing. Besides the grey tone, there is always a
Slowing allows for looking and thinking. This deceleration initiated through the painting process allows Marshall to recall the landscapes she traveled through, remember the events, and to consider the images more deeply. The time spent building the paintings allows for a more contemplative experience. Marshall worked in a painterly, gestural style, indicative of an alla prima method. Colour and texture are paramount in the work.
Because of these influences, his style became an intermediate step between early Japanese artists who imitated these Chinese models (Keene 106). Tenshō Shūbun is most notable for the development of the Chinese style of suibokuga ink painting (“Painting the Wind” 366). Suibokuga ink, which roughly translates to ink washing, is also known as a literai painting. Shūbun showed his devotion to his paintings by depicting important figures that portray good fortune and the natural
In this essay, he divided art into useful art and fine arts. Useful art is much more practical and includes weavings, architecture and agriculture. On the other hand, fine arts include painting, music, and poetry. For Emerson, paintings rely on color and stimulation and he was drawn to the emotional Romantic paintings by Hudson River School artists. The transcendentalists were very individualistic, so while some identified more with the painting of the Romantics, others identified with the