Wednesday, October 17, 2007
Wednesday, October 10, 2007
Activity #7 Re-write Exhibition Intro-Politics and Social Order
This exhibition is based on the theme Politics and Social Order. The images are set up chronologically, because it places works of art in the context of the cultures from which they emerged and allows you to follow the development of art over a period of time.
There are six pieces of Art that can be viewed in this exhibition, which include: “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space. The second piece, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, uses horizontal lines to create rhythm in this painting. The third piece, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, notice the way Peale use light colors to put emphasis on Washington’s face. The spectral colors and their corresponding gray-scale are used throughout this painting.
The fourth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. You can’t help but focus on the sky filled with primary colors red, yellow and blue like that of the color wheel. The fifth piece, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas, the weight of this painting is to the right giving this painting a asymmetrical balance. If you were to draw a line down the center of the painting you will definitely agree that this is true. Stuart highlights this piece with bright colors, which brings your eyes from the cufflinks to the neck and shoulder area.
In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size. Homer also incorporates vertical lines to show emphasis throughout this painting. The detail in this piece makes it look real.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catalogue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
This exhibition is based on the theme Politics and Social Order. The images are set up chronologically, because it places works of art in the context of the cultures from which they emerged and allows you to follow the development of art over a period of time.
There are six pieces of Art that can be viewed in this exhibition, which include: “The Epiphany”, 1320, by Giotto di Bondone, tempera on wood, gold ground, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, by Giovanni di Bartolommeo Cristiani, tempera on wood, gold ground, “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “Madonna and Child Enthroned with Saints, altarpiece”, 1504, by Raphael, oil and gold on wood, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “The Epiphany”, 1320, tempera on wood, gold ground, Giotto shows the clearly organized space, arranged like a stepped stage with the stable view from below, and the simplified shapes of the figures expresses the innovative naturalism. The second piece, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, tempera on wood, gold ground, Giovanni is full of design and expresses a social hierarchy. The use of primary colors is displayed throughout the painting. The third piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space.
The fourth painting “The Madonna and Child Enthroned with Saints”, 1504, oil and gold on wood, Raphael’s treatment of the Saints Peter and Paul, whose apparent volume fills the space at the sides of the main panel and the placement of the figures of the God the Father and two angels, who symmetrically fill the curved shape of the altarpieces lunette above the main panel is very remarkable. The bright red robe worn by one of the Saints is the same shade as the little girls dress and Madonna’s shirt. Looking in the background Raphael uses shape and mass with identifiable boundaries. We can see mountains and hills and something that resembles a temple.
The fifth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. The sky is filled with warm colors like that of the color wheel. In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catologue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
There are six pieces of Art that can be viewed in this exhibition, which include: “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space. The second piece, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, uses horizontal lines to create rhythm in this painting. The third piece, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, notice the way Peale use light colors to put emphasis on Washington’s face. The spectral colors and their corresponding gray-scale are used throughout this painting.
The fourth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. You can’t help but focus on the sky filled with primary colors red, yellow and blue like that of the color wheel. The fifth piece, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas, the weight of this painting is to the right giving this painting a asymmetrical balance. If you were to draw a line down the center of the painting you will definitely agree that this is true. Stuart highlights this piece with bright colors, which brings your eyes from the cufflinks to the neck and shoulder area.
In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size. Homer also incorporates vertical lines to show emphasis throughout this painting. The detail in this piece makes it look real.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catalogue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
This exhibition is based on the theme Politics and Social Order. The images are set up chronologically, because it places works of art in the context of the cultures from which they emerged and allows you to follow the development of art over a period of time.
There are six pieces of Art that can be viewed in this exhibition, which include: “The Epiphany”, 1320, by Giotto di Bondone, tempera on wood, gold ground, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, by Giovanni di Bartolommeo Cristiani, tempera on wood, gold ground, “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “Madonna and Child Enthroned with Saints, altarpiece”, 1504, by Raphael, oil and gold on wood, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “The Epiphany”, 1320, tempera on wood, gold ground, Giotto shows the clearly organized space, arranged like a stepped stage with the stable view from below, and the simplified shapes of the figures expresses the innovative naturalism. The second piece, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, tempera on wood, gold ground, Giovanni is full of design and expresses a social hierarchy. The use of primary colors is displayed throughout the painting. The third piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space.
The fourth painting “The Madonna and Child Enthroned with Saints”, 1504, oil and gold on wood, Raphael’s treatment of the Saints Peter and Paul, whose apparent volume fills the space at the sides of the main panel and the placement of the figures of the God the Father and two angels, who symmetrically fill the curved shape of the altarpieces lunette above the main panel is very remarkable. The bright red robe worn by one of the Saints is the same shade as the little girls dress and Madonna’s shirt. Looking in the background Raphael uses shape and mass with identifiable boundaries. We can see mountains and hills and something that resembles a temple.
The fifth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. The sky is filled with warm colors like that of the color wheel. In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catologue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
Tuesday, October 9, 2007
Re-do ART 101 Mid-Term Exhibition
Elegant Gathering in the Apricot Garden, 1437, After Xie Huan, Handscroll; ink and color on silk. Metropolitan Museum of Art.
The Capture of Carthage, 1725–29, by Giovanni Battista Tiepolo, oil on canvas. Metropolitan Museum of Art
George Washington, ca. 1779–81, by Charles Willson Peale, Oil on canvas. Metropolitan Museum of Art.
The Sortie made by the Garrison of Gibraltar, 1789, John Trumbull, oil on canvas. Metropolitan Museum of Art.
Horatio Gates, ca. 1793–94, by Gilbert Stuart, Oil on canvas. Metropolitan Museum of Art.
Prisoners from the Front, 1866, Winslow Homer, oil on canvas. Metropolitan Museum of Art.
The Epiphany, possibly ca. 1320, Giotto di Bondone
Tempera on wood, gold ground. Metropolitan Museum of Art.
Saint Lucy and Her Mother at the Shrine of Saint Agatha, 1367-98, Giovanni di Bartolommeo, Tempera on wood, gold ground. Metropolitan Museum of Art.
Elegant Gathering in the Apricot Garden, 1437, After Xie Huan, Handscroll; ink and color on silk. Metropolitan Museum of Art.
Madonna and Child Enthroned with Saints, altarpiece, ca. 1504, Raphael Sanzio, oil and gold on wood. Metropolitan Museum of Art.
The Sortie Made by the Garrison of Gibraltar, 1789, John Trumbull, oil on canvas. Metropolitan Museum of Art.
Prisoners from the Front, 1866, Winslow Homer, oil on canvas. Metropolitan Museum of Art.
Wednesday, October 3, 2007
Activity #5
"The Corinthian Maid, 1782-1784," by Joseph Wright, oil on canvas
"The Houses of Parliament, Sunset, 1903," by Claude Monet, oil on canvas
The Corinthian Maid, 1782-1784, by Joseph Wright, oil on canvas gives you a more Human experience theme, while The Houses of Parliament, Sunset, 1903 by Claude Monet; also oil on canvas has an Art an Art theme.
In the painting The Corinthian Maid, the young girl traced her sleeping lover’s silhouette onto the wall casting a shadow by producing an afterimage (99). That image moves our eyes to the clothing worn on both the boy and girl, which are of primary colors with monochromatic harmonies (97). Wright then brings our attention to the dog lying comfortable alongside his master as if he knew that there was going to be a long journey ahead. The dog color is somewhat of a mixture of black and white (gray), opposite of the hue on the color wheel (96). This painting is also executed thinly, smoothly, and precisely, with drier, thicker highlights. Monet on the other hand has taken a more Art an Art theme. The beautiful London city with its fog and fiery sky has a calm soothing feel. Those cool colors, because of their association with the sky, water, shade, and so on make the painting a work of art (95). Looking into the water we can see a figure that looks like a man rowing a boat, but the shadows on the waves doesn’t allow us to focus on that, rather we see the sky and the formation of buildings. This backlit effect is very captivating and we can explore varieties of delight, the natural, instinctive pleasure in the everyday experience of looking (79).
Monday, October 1, 2007
Color game
Color me Bad color game
How to Play this connect the colors game
1. First you make a circle with the following colors, red, orange, yellow, blue, green and violet.
2. Then with your marker you must connect the colors together based on a question from the color master.
3. The person who gets the most correct answers win.
Begin Play
1. The color master directs you to move your marker and connect green with yellow. What colors do you get?
2. The color master directs you to move your marker and connect red, yellow and blue. What colors do you get?
3. The color master directs you to move your marker and connect orange, green and violet. What colors do you get?
4. The color master directs you to move your marker and connect blue-green. What colors do you get?
5. The color master directs you to move your marker and connect red-orange. What colors do you get?
GAME OVER, check answers below:
1. tertiary colors
2. primary colors
3. secondary colors
4. cool colors
5. warm colors
How to Play this connect the colors game
1. First you make a circle with the following colors, red, orange, yellow, blue, green and violet.
2. Then with your marker you must connect the colors together based on a question from the color master.
3. The person who gets the most correct answers win.
Begin Play
1. The color master directs you to move your marker and connect green with yellow. What colors do you get?
2. The color master directs you to move your marker and connect red, yellow and blue. What colors do you get?
3. The color master directs you to move your marker and connect orange, green and violet. What colors do you get?
4. The color master directs you to move your marker and connect blue-green. What colors do you get?
5. The color master directs you to move your marker and connect red-orange. What colors do you get?
GAME OVER, check answers below:
1. tertiary colors
2. primary colors
3. secondary colors
4. cool colors
5. warm colors
Wednesday, September 26, 2007
Activity #4 Re-write
Joseph Wright painted “The Corinthian Maid”, in 1782-1784. It is an oil on canvas painting. Wright uses a variety of design principles that can be confirmed by design elements that make up this painting. Wright employs emphasis, pattern and balance to direct your eye to the painting.
Joseph Wright, makes one want to focus on the center of the picture with the man and woman posing. The whole painting is bathed in implied candlelight that gives the entire painting a warm glow. This warm glow can be seen by colors on the red-orange side of the color wheel. Emphasis is drawn to the center of the painting where the man and woman are sitting. Emphasis means that our attention is drawn more to certain parts of a composition than to others. (134) The pattern shown here is repetitious of a dark somber look. Pattern can create visual texture, but may not always be seen as pattern. (105) Wright also uses balance to create a solid composition. By drawing a line down the center of the painting we can see that this picture has a symmetrical balance. The size, shape and placement of the man and woman show this imagery.
Claude Monet painted “The Houses of Parliament, Sunset, in 1903. It is an oil on canvas painting. Monet uses asymmetrical balance in contrast to Joseph Wright. Monet also uses color and scale to unify his painting.The high peaks and vertical lines of the buildings with the cool colors of the sky give this painting a mirror image. The colors divide the sky from the water and the buildings which creates a two dimensional scene. Monet uses these colors to unify the space as well. Unity is a sense of oneness, of things belonging and making up a coherent whole. (122) We can see how the size of the whole painting has made the artist once again focus on the scale of the painting. Scale means the size in relation to a standard or “normal” size. (136) In contrast to Wright, Monet has kept an asymmetrical balance in this painting by shifting the weight to the right. In conclusion, both artists seemed to have used vertical lines, but differed in balance.
Joseph Wright painted “The Corinthian Maid”, in 1782-1784. It is an oil on canvas painting. Wright uses a variety of design principles that can be confirmed by design elements that make up this painting. Wright employs emphasis, pattern and balance to direct your eye to the painting.
Joseph Wright, makes one want to focus on the center of the picture with the man and woman posing. He uses cool colors to make the man and woman the emphasis of this painting. Emphasis means that our attention is drawn more to certain parts of a composition than to others (134). The pattern shown here is of a dark somber look. Pattern can create visual texture, but may not always be seen as pattern (105). By placing the man opposite of the woman on the chair leaning forward, Wright creates balance. Wright’s painting balances because its weight is distributed evenly around the center of the painting (124). It will be either symmetrical, like when you stand with your feet flat on the floor and your arms at your side (129). In this case Wright uses asymmetrical balance judging by the way the woman extends her arm out to the man opposite of her.
Claude Monet painted “The Houses of Parliament, Sunset, in 1903. It is an oil on canvas painting. Monet uses as symmetrical balance in contrast to Joseph Wright. Monet also uses color and scale to unify his painting.
The high peaks and implied lines of the buildings with the cool colors of the sky gives this painting a mirror image. The colors divide the sky from the water and the buildings which creates a two dimensional scene. Monet uses these colors to unify the space as well. Unity is a sense of oneness, of things belonging and making up a coherent whole (122). We can see how the size of the whole painting has made the artist once again focus on the scale of the painting. Scale means the size in relation to a standard or “normal” size (136). Monet has indeed kept a symmetrical balance in this painting by somehow making the images off the water mirror one another. With symmetrical balance, implied center of gravity is the vertical axis, an imaginary line drawn down the center of the composition (125). In conclusion, both artists have used different themes and in some degree different principles as well, but both are great works of art.
Joseph Wright, makes one want to focus on the center of the picture with the man and woman posing. The whole painting is bathed in implied candlelight that gives the entire painting a warm glow. This warm glow can be seen by colors on the red-orange side of the color wheel. Emphasis is drawn to the center of the painting where the man and woman are sitting. Emphasis means that our attention is drawn more to certain parts of a composition than to others. (134) The pattern shown here is repetitious of a dark somber look. Pattern can create visual texture, but may not always be seen as pattern. (105) Wright also uses balance to create a solid composition. By drawing a line down the center of the painting we can see that this picture has a symmetrical balance. The size, shape and placement of the man and woman show this imagery.
Claude Monet painted “The Houses of Parliament, Sunset, in 1903. It is an oil on canvas painting. Monet uses asymmetrical balance in contrast to Joseph Wright. Monet also uses color and scale to unify his painting.The high peaks and vertical lines of the buildings with the cool colors of the sky give this painting a mirror image. The colors divide the sky from the water and the buildings which creates a two dimensional scene. Monet uses these colors to unify the space as well. Unity is a sense of oneness, of things belonging and making up a coherent whole. (122) We can see how the size of the whole painting has made the artist once again focus on the scale of the painting. Scale means the size in relation to a standard or “normal” size. (136) In contrast to Wright, Monet has kept an asymmetrical balance in this painting by shifting the weight to the right. In conclusion, both artists seemed to have used vertical lines, but differed in balance.
Joseph Wright painted “The Corinthian Maid”, in 1782-1784. It is an oil on canvas painting. Wright uses a variety of design principles that can be confirmed by design elements that make up this painting. Wright employs emphasis, pattern and balance to direct your eye to the painting.
Joseph Wright, makes one want to focus on the center of the picture with the man and woman posing. He uses cool colors to make the man and woman the emphasis of this painting. Emphasis means that our attention is drawn more to certain parts of a composition than to others (134). The pattern shown here is of a dark somber look. Pattern can create visual texture, but may not always be seen as pattern (105). By placing the man opposite of the woman on the chair leaning forward, Wright creates balance. Wright’s painting balances because its weight is distributed evenly around the center of the painting (124). It will be either symmetrical, like when you stand with your feet flat on the floor and your arms at your side (129). In this case Wright uses asymmetrical balance judging by the way the woman extends her arm out to the man opposite of her.
Claude Monet painted “The Houses of Parliament, Sunset, in 1903. It is an oil on canvas painting. Monet uses as symmetrical balance in contrast to Joseph Wright. Monet also uses color and scale to unify his painting.
The high peaks and implied lines of the buildings with the cool colors of the sky gives this painting a mirror image. The colors divide the sky from the water and the buildings which creates a two dimensional scene. Monet uses these colors to unify the space as well. Unity is a sense of oneness, of things belonging and making up a coherent whole (122). We can see how the size of the whole painting has made the artist once again focus on the scale of the painting. Scale means the size in relation to a standard or “normal” size (136). Monet has indeed kept a symmetrical balance in this painting by somehow making the images off the water mirror one another. With symmetrical balance, implied center of gravity is the vertical axis, an imaginary line drawn down the center of the composition (125). In conclusion, both artists have used different themes and in some degree different principles as well, but both are great works of art.
Wednesday, September 19, 2007
Activity #2 Re- write ART 101 On-Line Museum Visit
Joseph Wright created “The Corinthian Maid”, in 1782-1784, oil on canvas, and Claude Monet “The House of Parliament, Sunset, in 1903, also an oil on canvas. Both paintings display an array of design details, like texture, color, shape, mass and line.
Speaking of lines, in addition to actual lines, vertical lines, and lines formed by edges, our eyes also pick up on lines that are only implied. (86) Both Wright and Monet use vertical lines in their paintings, but differ in color. Wrights choice of red-orange, which can be seen on the dress of the woman and the pants of the man are warm colors. (95) Like the color wheel, the sky beyond the building is illuminated with primary colors: red, yellow and blue and also has texture. (94) The implied texture of Wrights painting is smooth and fine with a dark tone. In contrast, Monet’s painting has more of a visual component as well as a tactile one. (104) Monet’s painting in its two-dimensional space has a shape that is created from the building reflection on the water with identifiable boundaries. In contrast, Wright’s painting has a three-dimensional space, that is, the actual space in which our bodies also stand. (106) In conclusion, Monet and Wright use a variety of colors and lines to make their artwork, and that is also where they differ.
Joseph Wright created “The Corinthian Maid”, in 1782-1784, oil on canvas, and Claude Monet “The House of Parliament, Sunset, in 1903, also an oil on canvas. Both paintings display an array of design details, like texture, color, shape, mass and line.
Wright used implied lines, which act as a series of dots that are spaced closely enough that our mind connects them (86). Wright uses the position of the arms and legs in order to show the linear perspective in which there figures look stiff and motionless. Cool colors are used in the background of Monet’s painting; in contrast Wright chooses warm colors (95). Like the color wheel, the sky beyond the buildings is illuminated with primary colors, while the clothes on the man and woman are of a more secondary color (95). The texture of Wrights painting is smooth and fine, while Monet’s has more of a rough unrefined look (103). In it’s two-dimensional form the shape that is created from the buildings on the water are identifiable boundaries and the mass three dimensional form that occupies the volume of space in Wright’s painting is denoted by the open doorway (87).
In conclusion, both paintings are similar in line but differ in mass
Speaking of lines, in addition to actual lines, vertical lines, and lines formed by edges, our eyes also pick up on lines that are only implied. (86) Both Wright and Monet use vertical lines in their paintings, but differ in color. Wrights choice of red-orange, which can be seen on the dress of the woman and the pants of the man are warm colors. (95) Like the color wheel, the sky beyond the building is illuminated with primary colors: red, yellow and blue and also has texture. (94) The implied texture of Wrights painting is smooth and fine with a dark tone. In contrast, Monet’s painting has more of a visual component as well as a tactile one. (104) Monet’s painting in its two-dimensional space has a shape that is created from the building reflection on the water with identifiable boundaries. In contrast, Wright’s painting has a three-dimensional space, that is, the actual space in which our bodies also stand. (106) In conclusion, Monet and Wright use a variety of colors and lines to make their artwork, and that is also where they differ.
Joseph Wright created “The Corinthian Maid”, in 1782-1784, oil on canvas, and Claude Monet “The House of Parliament, Sunset, in 1903, also an oil on canvas. Both paintings display an array of design details, like texture, color, shape, mass and line.
Wright used implied lines, which act as a series of dots that are spaced closely enough that our mind connects them (86). Wright uses the position of the arms and legs in order to show the linear perspective in which there figures look stiff and motionless. Cool colors are used in the background of Monet’s painting; in contrast Wright chooses warm colors (95). Like the color wheel, the sky beyond the buildings is illuminated with primary colors, while the clothes on the man and woman are of a more secondary color (95). The texture of Wrights painting is smooth and fine, while Monet’s has more of a rough unrefined look (103). In it’s two-dimensional form the shape that is created from the buildings on the water are identifiable boundaries and the mass three dimensional form that occupies the volume of space in Wright’s painting is denoted by the open doorway (87).
In conclusion, both paintings are similar in line but differ in mass
Subscribe to:
Posts (Atom)