Vanishing Point Paper

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

The manipulation of perspective was not only significant for symbolic meaning. It was used as a visual tool in order to create the “magic” that the painting is known for. Because the vanishing point is approximately 5 feet from the bottom of the picture, which is practically floor level, this allows for both the top and bottom of the picture to come together and establishes an illusion of an actual structure. While this “created space” within the picture appears to be real, it is actually just one of the

From her auburn curls cascading from beneath her tilted hat, to her arm positioning, the trees, clouds, down to the tiniest blades of grass, they all slant one way or the other. The artist has utilized the diagonal line is multiple ways; the slight angles that Reynolds incorporated into each area provides a sense of movement in what could have been a dry and stagnant scene. Along with movement, there lies an illusion of depth: paired with shading, the use of line gives the perception of more area being included than there actually is. These lines also direct the viewer’s eye toward the sitter. Objects located around the edges of the composition lean towards the center, pulling the viewer’s glance directly to the

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

Racism is defined as the systematic subordination of certain racial groups by those groups in power . As a society, we must first eradicate ignorance in order to defeat racism. We must acknowledge that people have different ways of viewing the world and that even though someone may have a different opinion than you, it is not necessarily wrong. The idea that people have different ways of viewing the world stems from standpoint theory. Standpoint theory is based on the concept that people view the world differently depending on their social standing . A central theme of standpoint theory is that a person’s racial and or ethnic background deeply impacts how they view and interact with the world . Racial

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.

Perspective lines occur also in the background of the painting in the upper right in the trees getting smaller as they descend into the painting. This painting is an example of linear perspective. All lines converge at a vanishing point.

As indicated by the shape in the foreground, the lines that signify the contour of the rocks and freestanding structure merge. The lines lead the eye vertically as it meets the center. When looking at the painting as a whole, the viewer can see how the artist uses straight

The technique most artists use to project an illusion of the three-dimensional world onto a two-dimensional surface is called perspective. Objects are painted smaller the farther away from the audience is supposed to be, and are painted bigger the closer the audience is supposed to be. A vanishing point is helpful in creating perspective. This technique helps to make up a sense of depth in a piece of art. In Autumn on the Seine, Argenteuil, perspective is created by the body of water that is in the foreground of painting. This body of water is going off into the distance in which you cannot see it’s end. In the background, there are

Another interesting part of this canvas is the direction of the reflections showing from the water. Van Gogh tries gives us this sense of calm movement with the reflection of the lighting going in a downward course. Also, the artist shows the viewer the grouping from the stars, to the lights from the houses, to the reflection form the water and which again it gives us the sense of the lighting going in a downward motion.

The painting’s perspective is to the left with the people all looking that way toward the river. The people in the front of the painting are closer to the eye. The woman in the front and that man walking with her are the biggest figures in the picture. These sizes help balance the artwork. Lines were mostly avoided with the use of shading for a softer effect.

In the painting I see a mantel with a clock and two cylinders sitting on top; I also see a mirror sitting above the mantel. Inside the mantel a locomotive is protruding from the wall. The locomotive is in the foreground and the mantel is helping the locomotive look that way. The mantel, clock, and cylinders are in the middle ground of the painting. The mirror and wall are in the background. The locomotive creates atmospheric perspective by casting a shadow across the mantel. So does the clock by having a reflection in the mirror. The detailing in the mantel uses linear perspective by lining up with the vanishing point. Details in the wall also use linear perspective.

From the bottom compared to the top of the painting, the visual weight is slightly unbalanced but, much less compared to the right and left. There is a repetition of curved lines in the left middle ground and background. On the right side, there is a subtle repetition of vertical and horizontal lines in the background and foreground. The addition of depth and space in the painting makes the painting appear to have an atmospheric perspective, the painting is viewed through the foreground, midground, and background. The background is much more spacious and vast than the middle and foreground. The middle ground is more clustered with the fox, rocks, and the snow. There is a big emphasis in the contrast of this painting. The dark and cool colors of the scenery are contrasted with the warm and bright colors of the figures. The painting's implied texture is focused on the nature of the painting mostly the animal and the branches on the ground. The area and the figures bring harmony and unity to each other through the warm and cool colors.

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.

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