Nameless And Friendless Emily Mary Osborn Analysis

Hirsch uses bright and subdued colors to represent the rank and status of the paintings occupants. The color of the chairs in contrast to the blue-black background gives the illusion of space. He utilizes highlights and shadows throughout which gives the viewer the impression of light cast onto the scene from outside. The light bounces off the reflective surface of the king’s head as well as the silverware and gold goblets. The shades of green and yellow give the fruit on the table a real feel to it. The smoke raising becomes transparent as it swirls upward and finally vanishes. The use of color shows the importance of every element from the

The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

To further elaborate upon the elements of art on the painting, the lines are in their vast

The heavenly portrayal of the background and foreground shows a flawless use of space. The distance between the foreground and background was well selected for this piece. This is die to the fact that the two children are not close enough to exaggerate the way they look but they are also not too far away. The distance covered in the background communicates a message of clarity and relaxation that is evident in the children's faces. Two dimensional portrayal of the painting appears to fit the calculated purpose. The

Another main focal point in this canvas was subject matter. This is where the objects or events are described. The artist gives us different objects such as the old couple seems displayed as depressing. Or you can observe it as normal couple, walking across the river, enjoying the night. He also gives us a boat which could possibly be giving us a correlation because the boat looks like it’s broken or about to sink. There is also another interpretation with the object that Van Gogh displays which is, the stars. Depending upon which way you want to take it, they look like flowers or fireworks. Also, there is a sense of false appearance with the houses. If you stare at just the bank you will notice that it is just a bunch of bright lights but if you pay attention to the water close to the bank, you will acknowledge the darkness or shadow of the houses.

The effect that forms are that of biometric feel beside the people they have more of geometric feel. The colors do impact this artwork greatly because each color is harsh and sot of clash with one another. The colors are black, gold, red, brown, white and light blue. The colors are mixed. The color on the mother's dress is a harsh black versus that of her children which are every light and airy. The hue of the piece of art is very light in some spaces but in other places it can be very dark. The saturation is very different in many places if you look at the woman's dress and in the dog, you can see that it is very saturated but if you look at the two girl's dresses you can tell that its less saturated. When

In his painting, there is a term to expressing how light varies from its original light. For instance, the background of the painting is adding with brown color, yet using tint and shade effect to the sun sets with distinctive brightness. Brightness is adjusted by horizontal movement, and Breton increases, and decreases his painting’s brightness at the background view. Upper part of the pieces, twilight shines with varying brightness, depending on the darkness of the sky surface. Brightness for the mid-gray tones in the surrounding space, with significantly affecting the highlights and shadows. Overall painting allows depress emotion. Figures is luminous such as the sky and houses, also for the woman, she is apparently describing with a energetic sense of natural, and mournful atmosphere. The light at the back part of the drawing gives viewers to pay attention to the woman rather than the background, since there is bright white T-shirt with dress, and the woman’s face. Breton uses tint and shade effect at the upper part of the painting, and clouding of the back scene maintains a tenderness. Breton uses bright light at the sun sets, and it expressed that it was the dawn and bring message with a bright future will come soon to the woman, and the

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

The background has areas of dark and light that may be representing a dark part of this woman's life and the light area showing awakening in this woman's soul. To me the woman in the painting is staring out into the world and realizing that there is so much out there for her. That she can walk out of there and not be lost any more. Mrs. Mallard felt the same way. In the room she realized that she can now live her life on her own the way she wants to. She walked out of the room with a sense of

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

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.

Further more, in the painting, “the Gleaners”, the entire screen is filled with contrast elements. First of all, the main figures in the front labor scene are full of rich vigor, contrasting to the background with silent objects such as hay, trees and farmhouse. Secondly, the color brightness of the front contrast to the back, as well as the comparison of relative sizes between figures and scenery, applying the principle of perspective. What’s more, the most classic is the horizontal line, the intersection of the sky and the ground, contrasting with the light source, from the top left. Consequently, 2D and 3D spatial effects are combined precisely. Meanwhile, the sense of space of the image is strengthened as well.

In order to demonstrate these specific characteristics, Leger incorporates many different types of elements into this piece. In this painting, color plays an important role. The shapes of the blue squares contrast altogether with the other shapes and also, with the mutated beige background. Leger uses numerous colors such as the neon yellow, red, blue, black, and green in order to reveal that the colors are free and therefore, these colors exist in space. As mentioned earlier, this painting included a variety of different shapes; there are two different types of shape that can be seen in this painting. The first type is geometric or regular shapes such as the squares, circles, and rectangles. The second, on the other hand, are organic and freeform shapes such as the feet, hands, and face. Next, Leger incorporates many lines throughout this portrait. From curved lines to a single horizontal line, Leger includes each different type to develop a sense of movement, or rhythm. The curved lines makes the viewer’s eyes circle around the piece to further realize the symbolism. For space, Leger leaves many of the corner as negative space. However, the corners of this painting are not the only ones Leger leaves as space. Because the shapes and colors are kept simple, there’s also quite a series of distance between the shapes even throughout the whole entire painting. Again, because of the simplicity of the shapes, even the texture of this painting can be seen as smooth. The painting does not involve any harsh or rugged lines, and is

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this