Artist vs. Self The American art scene is home is to a compilation of skilled artists. One such artist was Thomas Kinkade. He was highly regarded for the treatment of light in his works, earning him the title Painter of Light. However, he had many more styles of painting. Under the brush name Robert Girrard, Kinkade painted a collection of pieces that distinguished themselves from his signature look, yet still had a “Kinkade” touch. These difference and similarities can clearly be seen when comparing and contrasting his works September Song and The Autumn Gate. A clear difference in technique is present between September Song and The Autumn Gate. As a Robert Girrard piece, September Song is painted in an impressionist style. This style is defined by the rough, short brushstrokes that give the painting a textured look. In this specific painting, the single brushstrokes are visible all around. They especially stand out in the grass and leaves. These wide strokes create a vague, though recognizable, subject. One can also see the several different colors of unblended strokes that combine to make up the landscape. This is …show more content…
Looking at September Song, how does it make one feel? The pale palette and sunset image give off a mood of calm. The forest has a certain tranquility about it. The impressionist style of the work even gives a somewhat dreamy feel to it. This painting creates the peaceful feeling of strolling along a country lane on a cool fall evening. The Autumn Gate has a little more energy to it. Maybe the air feels crisper, the walk a little brisker. The wood in The Autumn Gate doesn’t pose a sense of danger, but might feel a bit wilder. The chiaroscuro style of The Autumn Gate helps to develop the energy, light standing out against dark. The actual gate also peaks curiosity. Where does this road lead? The shadow swallowing the bend doesn’t give any hints. The overall painting sets an intriguing
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In front, people can follow the direction of the river with combination of blue tones and white. Near of the river, people appreciate the mixture of yellows form the grass and the greens of the trees which project the importance of Pontiac as a protector of the valley. The artist represents the movement of the grass with tones of yellows and browns. On the top of the paint, people see the variance of white and gray on the sky as if the painter permits the audience to think about the manner in which Pontiac died. Farnsworth presents, in the painting of Pontiac, the movement with a variance of colors and tones which help the audience to follow the direction and gives texture to the valley which contrast with the Pontiac’s
The painting depicts what seems to be a panoramic view from afar but looking closely each aperture and objects make up the impressions of faces. From the left side there seems to be an aperture looking over a big cliff with branches of trees. This cliff and branches make up the face of an old person. The rock exposures within the cliff form the illusions of wrinkles, wrinkly lips and a long and untreated mustache. The branches give the effect of baldness, contributing to the overall appearance of an old man’s face.
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
There is no source of natural light in the picture, and the direction of the artificial light is indiscernible. When a viewer first looks at the painting, they see the cow and man observing each other. Then, a viewer will notice the finer details of the smaller cow being milked, the man with a scythe in the town, and the sapling being held by gentle hands. The colors in the foreground are whites and greens, while in the background there are darker tones of green and black. The lines are curved and overlapping, suggesting wrinkles and folds in the cow and the
The lighting in Red Hills with Flowers is dim because dawn was approaching. One might feel like they could not walk or reach into this painting because they would not feel like it had the right space to do so. The lines are curved to shape the mountains and the center of the
The dust across the mid ground of the painting contrasts against the blue and green hues of the top third of the painting. The detail of the drover on his horse in the foreground of the painting shows how Roberts can have intricate details whilst maintaining a soft and smooth stroke line. This interprets the theme of ‘The Bush’ by comparing it to Australia’s inner core landscape. The green from the trees is perched above and away from the earthy tones below. The perfectly blue sky shows a hope in the distance indicating the help the drover needs in this story.
In this art called American Gothic done by Grant Wood, the viewer can see how the artist creates a dull, but impressive painting. At first look at this artwork, the the viewer’s attention is directed towards the man wearing the dark coat. The viewer also sees a women which could be seen as the man’s wife, daughter, or friend. As the viewer looks at the background of the painting they can see that these people are probably living on a farm. With this painting having many differents forms, the viewer gets to see a piece of art that seems convincingly real.
‘Stopping By Woods on a Snowy Evening,’ ‘Birches,’ and ‘Mowing’” (Rukhaya). The woods can also dually represent self-reliance and nonconformity. By acknowledging his choice in the woods alone, the traveler shows that he is willing to “oppose social norms” (Rukhaya) and rely on his own instinct to come to a decision. As an extended metaphor for choice, it makes sense that the roads represent the journey of life and decision. There are two roads, two choices, and two representations of decision.