Girl before a Mirror

The sizes of these canvases allow viewers to immerse into the painting and the color with no distractions from the outside world. The simplicity of no distinct lines between the orangey red and the brown created a serene feeling. The red draws the viewers’ eye straight to it because it stands out against the darkness of the rest of the painting. Each color has its own rectangle and own size that the imperfectness of the piece calms the viewer down. The visible brushstrokes add a texture to the piece that it shows that the painting itself is more than three rectangles on a

Picassos superb masterpiece, celebrated the feminine form. His representation of this robust feminine figure poised in the most provocative manner. The reclining nude figure seemingly leaps forward ahead of the deep red, blue, and green background. Her curvaceous form exaggerated with each stroke, highlighted with strong black outlines. Femme Couchée defined above all by the drawn line, the curvilinear contours that rivet our attention. His is best known for his colorful palette and serene imagery to represent the vibrate personalities and captured the zealots zest for life of his muses

Bahareh S In Pedro Jose Diaz’s painting, Portrait of Maria Rosa de Rivera, the painter utilizes various techniques to project meaning embedded behind the lady in a dress. Diaz illustrates the grandeur characteristics of the affluent women prevalent in the 18th century through by utilizing size and medium. Through the manipulation of techniques such light and color, along side the elements of representational and description shading, Diaz subtly and strategically designs a direction in which the eye of the viewer would follow across the realistic, three- dimensional painting. Additional features such as line, space, composition and title, serve to further highlight the portrait’s static yet profound subject.

Picasso uses blue colors to enhance the painting to show deep emotions the two figures are feeling. According to the Los Angeles County Museum analysis of Picasso’s painting Sebastian Juner Vidal mentions that Vidals eyes stare confidently at the viewer, while the woman at his side provides the only splashes of bright color in the painting (LACMA. Art Tells A Tale.). In the painting Sebastian Vidal stares straight ahead at something and his face gives off a fierce expression making him look very authoritative or even mighty. The woman beside Vidal appears sad and not paying attention to her surroundings or she seems lost in her own

Texture and pattern are very easy to identify in this painting. The street’s cobblestones show texture and pattern in the way that they are arranged. Texture is also demonstrated through the paint strokes on the buildings, the tree, and even the sky. These thick, uneven strokes add a layer of depth and texture to all elements of the painting.

The use of recurring rectangles and leading line of the top of the canvases directs the movement of the eye through the artwork. Your eye is carried through the painting to the horizon where the canvas dump just doesn’t stop.

The painting shows five women naked with flat figures, disintegrated planes and faces, inspired by African masks. The compacted space the figures occupy appears to project forward in jagged shards; a fiercely pointed slice of melon in the still life of fruit at the bottom of the composition teeters on an impossibly upturned table top. In this painting, Picasso makes a radical departure from traditional European painting by adaptation of Primitivism and abandonment of perspective in goodwill of a level two-dimensional picture of a plane.

There is a balance of attractions to the eye with the multiple characters portrayed in the painting. The eye is quickly drawn to the focal point and led on to the different characters actions. Additionally, we see there are no empty areas and the use of space is quite filled with objects, characters and action. The use of space makes this work of art more interesting. This work is carefully balanced from the yachts and rowing boats to the left from the strategically placed characters of different sizes to show depth.

Matisse and Cezanne used landscape and sensuality. Picasso and Cezanne used similar colors of blue and brown. Picasso differs his painting through the rude sensuality expressed and the geometrical forms of his movement. Paul Cezanne inspired both paintings to use sensuality of females. He inspired Matisse to focus on the landscape, and Picasso to focus on the colors.

The viewer sees in the experience of observing the paintings beauty through Germaux’s use of elements with an experience with nature. One element widely used in this work of art is Germaux use of shapes. Throughout the work of art, Germaux use the technique of actual and implied shapes to help move the viewers eye around the artwork. These techniques give the viewer a sense of structure and helps the painter provoke the emotions behind the artwork. In Germaux artwork, he uses shapes such as squares and rectangles to move the viewers eyes around the outer parts of the work of art. Also Germaux uses the shapes to draw the viewer from the outer square to the inner grey rectangle.

Since the first day of this class, we know that the art is made by what the artist think, see, and imagine but not by how we can interpret the artist’s work in our eyes or other senses of interpretation in any scene. To make an exception, Picasso broke all the known classical rules of three-dimensional space as we can see in the "Les Demoiselles d'Avignon," the use of colors, figures and subject matter. In a known art style called "cubism", Picasso painted one of the most important works of art in all art history and began a new era with a single work of art. In Les Demoiselles d'Avignon, the painted his initial attempt by breaking all classical rules and changed the world of painting forever. One aspect that makes Pablo Picasso's art to be distinguished from earlier artists is the lack of three-dimensional space displayed in his art. In “Les Demoiselles d'Avignon”, the five lady figures seem to be enveloped in what might be construed as the background. If we look closely, the painting seems to be in a form that goes around all pursuits of spatial depth and maintains a relationship to the pictorial surface of the

With the use of proper linear perspective, illusions were further developed in paintings. For example, with linear perspective order and depth were created, paintings became more like “windows” or stages. More specifically, in Masaccio’s “Trinity,” linear perspective allows the painting to mimic architecture or give its illusion and it also creates a sense of depth which exemplifies a shift to humanism.

Finally, The Weeping Woman considered one of Picasso’s most famous paintings shows a terrified woman staring at something conformed of various tones of different colors; the ways she looks suggests that she is terrified and scared of something; we can see in her eyes that are made out of two spoons how she is almost crying and the way his hands are positions near her mouth gives the impression that she wants to bite her nails. At the same time her face shows two different tones of color where around her mouth the color become blue and white depicting suspense and seems like something causes this fear; it almost looks like a horror movie scene; likewise, her hands show two different sides of her where her left hand shows a beautiful girl but

He reinstates how cultural differences have a deep influence on one’s perception of art. While most of the Western world delighted in linear perspective and the mathematical representation of the eye’s gaze, Eastern cultures celebrated a vision of the mind influenced both by physical sight and inner senses. The saying holds true that beauty is in the eye of the beholder—or in this case, perspective is in the eye of the beholder. When Western perspective spread to the East, it changed how both cultures viewed art. The Eastern world was taught the rules of perspective and in turn the West adapted certain artistic conventions of the East. Even during the Renaissance, book bindings featuring elaborate geometric patterning were inspired by Arabic designs. Thus, the story of the development of perspective results from and leads to both a clash of cultures and the exchange of cultural differences in the way that the world is

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the