Van Gogh is the king of light because he disperses a lot of colors on to this painting, making it look very illusive, or different. Another thing about this oil painting is the colors, which is yellow and blue, and they point out his work of art is classified as impressionism, which overall, “Van Gogh oil painting to display in their vision of reality” (oil painting-planet.com). Van Gogh also uses tone when creating light for his paintings because this is an example of his expression lines and which this also creates an arbitrary color scheme through the painting. Arbitrary is the artistic style that makes sense for this painting because this shows how the mixture of colors can become implied to its mediums. For this painting, the medium was oil, or oil pastel, but the point is that the colors has to blend in with the canvas which Van Gogh masters to create an impressive impasto painting.
Pictorialism was a photography approach emphasizing the beauty of subject matter as beautifully rendered as any painter 's canvas and as skillfully constructed as any graphic artist 's composition rather than documenting of reality. Photographers explore the expressionistic potential of photography by injected own sensibility into the perception of image. In an effort to establish this new, technical medium as a fine art form, In composing Pictorialist photography by using “painterly” techniques such as soft focus, staged or stylized scenes, or the manipulation of negatives or prints. In the second half of the 19th century Pictorialism was the dominant tendency in photography. Introduction of Alfred Stieglitz Alfred Stieglitz was the impresario of art photography, who leading the movement of Pictoralism, not only introducing model art to America, but also made photography as an art form.
Realism is a style when the artists use visual language to describe his subject, whereas abstract is when the artists uses that visual language in conjunction with subject matter to express his feelings or ideas. These two paintings are perfect examples of mixing abstract with realism and that what made their artworks
His greatest contribution to art is the cultivation of the modern art concept, known as 'impressionism'(Claude Monet, 2004). It is an artistic philosophy which changed the then accepted perception of color and light.His artistic style is characterized by the use of feathery strokes of the paint brush to depict the play of light with respect to the time. He believed that depicting 'time' in a painting is more important than the 'plot', and was interested in using his painting to capture the feel of the moment. As per Monet "One does not paint countryside, a view, a figure. One paints an impression of an hour of the day (Brussat and Brussat, n.d.)."
For surrealist artists, automatism was a more noble and higher level behaviour, an approach like how devotees, who see education as a type of creativity. Aside from surrealism, automatism has involved in another movement including dada, which is the gestural style of Action Painting. Gestural painting, in another word known as gesturalism. It is a method of fine art painting symbolized by energetic, expressive brushstrokes emphasizing the brush of the painter’s arm movement. The gesture when the artist is painting shows the artist’s everyday gesture and emotions.
Comparing his palette for each work, he moves from lively, almost an optimistic mix of colors. In the Prodigal Son, the colors are high value, as Rembrandt style goes. The paints are almost glowing and support the appearance of movement. Furthermore, they establish presents and add to the energy of the painting. On the contrary, as the Apostle Paul, he has embraced a darker palette.
Guided by the taste of the sovereigns, particularly Zhao Ji (趙佶), painters at the court foundation focused on watching nature cumulated with "lovely supposition" to strengthen the outflow of both subject and craftsman. The focus on beautiful estimation prompted the cumulation of painting, verse, and calligraphy (the "Three Splendors") in the same work (frequently as a collection leaf or fan) by the Southern Melody (1127-1279). Researchers prior in the Northern Tune (960-1126) suspected that painting as a craftsmanship needed to transcend simply the "presence of structures" with a specific end goal to express the originations and development of the craftsman. This turned into the substructure of the kineticism kenned as literati (philomath)
M.H. Abrams’s The Mirror and the Lamp: romantic theories and the critical traditions is one of the most influential books in the field of western criticism. It was published in the year of 1953. The title of the book refers to the two contradictory metaphors used to portray the artist – one comparing the artist to a mirror which reflects nature as it is or perfected whereas the other compares the artist to a lamp that illuminates the object under consideration. Professor Abrams in his book illustrates the transition of the perspective of the theorists on the artist from one to the other and the ramifications of the latter in aesthetics, poetics and practical criticism.
Artist were painting portraits of people while they were nude in order to capture their physical beauty. Their paintings were also done with vivid colors and captured the details of the people in them. For example the masterpiece done by Leonardo Da Vinci capture the details and the beauty in each human being he painting with lots of attractive colors. He painted “The Last Supper” and “Mona Lisa”, both work of arts were created with such detail and focus on the face to show the people in it physical beauty. Another famous artist from the Renaissance was Michelangelo, he was the one who painted the ceiling in the Vatican’s Sistine Chapel and sculpted David who was part of the Bible.
He uses a light blue on the left side of the wall. The right side of the wall is not visible in the painting. He uses white to color the ceiling, while using a brown to give the effect of having wooden floors. The use of white on the ceiling creates more depth in the painting. Degas uses the lighting on the floor to direct the viewer straight towards the back of the painting.