HUM 112 ASSIGNMENT Project Paper 2

Two of the paintings I came across, Ludolf Backhuysen, Ships in a Stormy Sea off a Coast, and Philips Wouwerman, Stag Hunt in a River were very similar in many ways. First of all, they were both European art, they are both 200 plus years old, and they both show very hectic times. The first painting, Ships in a Stormy Sea, displays several ships, (although it is hard to see the other 4), being almost entirely swallowed by an angry, wavy ocean, during an extremely stormy journey. All of the ships are at different levels and some are leaned over, and tipped more than others, allowing the viewer to realize the true horror occurring in this painting. The amount of line that this artist uses in this painting is tremendous as well, as he presents plenty of diagonal lines throughout the painting, such as on all of the ships sails. This piece of art is extremely realistic and gives me chills when I imagine what these sailors must have been dealing with that night. Not only does this painting show a hectic time, but another painting titled, Stag Hunt in a River. This painting displays a village, in the mountains, lying on a river, where hunters, horses, and dogs of the village are attacking a deer that is attempting to escape from them. This painting seems to describe a very hectic time for everyone, as the dogs are desperately trying to do their job, the deer is attempting to escape, and the hunters are relying on the deer for their food. Although there are many obvious differences in these two paintings, the roles are reversed in the two, as in Ships in a Stormy Sea, nature is doing the damage, while the people are trying to avoid danger. On the other hand, Stag Hunt in a River, displays nature being attacked and endangered by the people themselves. My favorite

The composition I chose was Dorothea Tanning’s painting Eine Kleine Nachtmusik. This painting depicts two girls alone in the hallway of a rundown hotel, playing with the larger than life sunflower which lays in the middle of the hallway, reaching which the stairwell. What intrigued me first about this painting was its use of color. The color scheme that Tanning employs is complimentary. As we know, a complementary color scheme means that two colors that are directly across from each other on the color wheel are primarily used. In this case, the complementary colors represented in the painting are red and green. Tanning shows a rich, blood-red color in the carpeting as well as on the shirt of the girl leaning against the frame of on of the doors. Those deep reds complement the ivy green color of the hallway walls, the leaves on the large sunflower, and the vines from the flower as well. Another aspect of color in the painting that pulled me in was the balance of color temperature that is featured. There are many warm colors featured in this painting which makes the slight pop of cool colors stand out against each other. Of course, the warm colors Tanning uses in this painting are the deep reds in the carpeting and shirt, the dark brown of the doors, and the wooden stair flooring that run down the hall, as well as the eerie yellows featured in the sunflower and mysterious lighting leaking out into the hall from a slightly cracked door. Meanwhile, the warm colors are met with the cool whites in the young girls’ dresses and skirts. Plus, the frigid greens popping out from the walls along with the enormous vines and leaves. The greens stand out against the sunny yellows in the flower and three petals that have fallen from the sunflower, coupled with the deep warm reds that line the floor.

At first glance, the Red Fish looks like a decoration piece that someone would hang in their home or lake house for decoration. However, with a more in depth look, viewers will see that this painting illustrates much more than it appears. In 1990, Leonard Koscianski used a piece of canvas, 64’’x46’’ to paint the image of a fish out of water. Koscianski used oil and dark shades of red, orange, blue, green, and white to create the Red Fish. The Red Fish was painted vertically with the fish as the main focus point. Behind some green blade grass, a large red- orange fish appears to be leaping out of the water. The size of the fish helps show that the fish is the center piece of the painting. Behind the fish there is a small patch of land, filled with blade grass with two white house’s sitting off in the distance. Directly behind the houses is a section of woods. From left to right, the tree tops seem to follow and up and down pattern. The dark blue sky begins at the tree line and ends at the top of the painting. Throughout the sky there are patches of clouds that are an off white color. The contrast between the colors used by Koscianski show a lot of detail, but did not take away from the huge red- orange fish. Along with the color scheme, Koscianski used lines to add detail to the fish and to provide depth to the painting. With proper use of colors and lines, Koscianski was able to create the Red Fish. In 1991, the Montgomery Museum of Fine Arts

Detailing how a human service organization focused on providing job skills to high school dropouts would address the following:

The Still Life with Peaches and Water Jar was discovered in the House of the Stags, Herculaneum, Italy. Once a wealthy, seaside town on the Bay of Naples about a few miles north of Pompeii, Herculaneum was also destroyed by the eruption of nearby Mt. Vesuvius on August 24, 79 C.E. It wasn't a free-standing image like other still-lives, but was painted on a wall among landscapes, narratives, decoration. Occupying a contained square-like section and using the standard Roman still-life convention, the double, sometimes triple level: the objects are arranged on a step or elevated platform.

The $320,000, on the other hand, is a fixed cost associated with the proposed addition.

This oil painting is a moonlight scene and known as an “original mind” by contemporary critics. The strong power of nature is the main theme that brings greatness or sublime that inspires our thoughts. The moonlight’s contrast is delicate to the flickering lantern on the boat. This emphasizes nature’s power over humans and the fishermen’s fate. After Fishermen at Sea, in 1799, he was elected an associate of the Royal Academy at 24 years old; this being the youngest age a person can be elected. In 1802, Turner had the dignity of signing a collection of large pictures, resulting him to become an academician. Shortly after, he opened a private gallery to show his latest work. Turner’s gallery was extremely successful that resulted an obvious statement that his career of art was assured. As he was traveling to search new ideas for art work in Wales, Yorkshire, the Midlands, Scotland, and the European continent; he crossed the dangerous ocean to Calasis. In his picture, Calais Pier (1802-03), he left an obvious sense of danger before his arrival. During his tour of France and Switzerland, he completed more than 400 drawings of scenes that impressed him. In 1807, Turner began publishing the Liber Studiorum or can be translated as the “Book of Studies” is a series of his landscapes and seascape paintings published as prints. This time for Turner has been described as, “The pith of all that is best in his life and

I've chosen to write about the artwork In Magnolia Gardens by Alfred Hutty. It is an oil on canvas piece. The piece is approximately medium to large portrait. In Magnolia Gardens was created in 1945, a response to a time right after World War 1, where many people in Charleston were in despondency and poor, the rise of tourism benefited them greatly. I selected this work because it has bright but at the same time dark imagery, giving it a majestic but haunting piece of work.

Claude Monet was an artist born in the 19th century. He was well known for being one of the founders of the art movement know as impressionism. Monet created many art series in which he would paint one object multiple times, one of his most famous series being waterlilies, which was created towards the end of his life. The painting I will be talking about today is one of his many waterlily paintings, painted in 1904, ‘Waterlilies’ or ‘Nympheas’ was just one of 250 paintings in this series. The medium is oil paint on canvas and depicts a relaxing scene with waterlilies on a lake. This piece of art was part of an art period where where it defied social standards in France and was

What I see in this painting is loads of people sitting and standing by a river just chilling and having a relaxing time probably in the afternoon since there are a couple of shadows going right of the painting. Whats interests me in the painting is that one person is different from the others by the way they dress. If you look on the bottom left, the guy laying on his back has a tank top and a cap on which makes it interesting to see the only difference in clothing in the 1800’s.

The first painting, “Under the Birches, Evening”, is done by Pierre Etienne Theodore Rousseau. He

At first glance I thought the subject of the painting was going to be similar to others around it which was that of a scene depicting a house or group of houses with people painted looking at the viewer, however upon closer inspection I saw that this was a scene of a beautiful lakeside area with people hard at work. These things made me think that this artist wanted to capture nature at its base instead of making it seem that the viewer/ painter was the main focus of those being painted. I believe that this particular painting is one of the better paintings I have seen, simply because it is so basic that it makes me feel like the artist really wanted to capture this scene that he saw and share it with

One could suggest many of the buildings and villages Casson painted represent people’s encroachment on the landscape. Or, one could also suggest, Casson was capturing the rural village life on the edge of Toronto’s city life. By 1930’s Casson was turning away from painting “wilderness” and “landscape” paintings that were empty of the human presence. He was returning to his interest in capturing intriguing architecture and the play of light and shadow using the structural elements of buildings. Casson’s preoccupation with rural architecture began in 1917, with a watercolour of the Old Mill in Toronto’s Humber River. Ontario. Increasingly, Casson found himself painting more and more houses and villages around Toronto. Eventually, adopting the

Claude-Joseph Vernet made a painting that brings your attention to the foreground. In the front, there is a boat being boarded. Some of the people that are not boarding the boat are standing by the sea. In the sea, some boats are sailing off in the distance. One of the boats in the distance is a large boat that gives the illusion of being three-dimensional. The form gives this illusion because of the reflection in the sea. If you look in the lower-right, you can see the light from the sun illuminating the sky. This light is hidden behind a large mountain that also has a three-dimensional form. There is also lots of texture in the painting. Some texture is seen in the mountains and ground giving a rough look, and some is seen in the sea in the form of ripples. On top of the mountain in the lower-right, there is greenery that has an illusion of being light and feathery. In that mountain, there is an arch that makes the other side visible. In the far distance, you can see a faint

Throughout his work, Monet maintained an imaginative grasp of the essential structure and pattern of the subject he was painting.  Other artists such as Boudin, Jongkind, and Courbet had a strong influence on this ability of Monet’s, which can be recognized in his landscape paintings made during the fifteen-year span of 1865-1880.[7] He was capable of extracting meaningful design from apparently casual scenes, thereby emphasizing the true nature of a place.  This manner of illustration can be seen in Impression, Sunrise—he places an accent on the fogginess of the harbor that is created by the smoke from the steamboats, which relates to its chief status as a major trading port.