Who Is Tcheltchew's Hide-And-Seek

It is easy to see how the image can convey many different concepts based on perception of individuals. When looking at the image it is typical for the eye to be drawn to the bottom right corner because of the dark sketch lines. While reading through the limited amount of text provided it guides the reader into the concept is wants to convey. However, by the use of images one can get many different thoughts and ideas without the restriction of words. The language used on this page discusses the “QUEST FOR REASON”, “THE FEAR OF THE UNKOWN”, and “DEPTHS OF LIGHT”, and these ideas can all be seen solely through the image.

The heavenly portrayal of the background and foreground shows a flawless use of space. The distance of the foreground was well selected for this painting. This is because the two children are not close enough to exaggerate their physical appearance 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 faces of the painting. The two-dimensional portrayal of the painting appears to fit the

The overprotected nature of the children's life is revealed in several visual elements in the painting. First, and most obvious, the mother leans over the children as she puts them to bed. The father also stands close, looking down at them, with a fond smile on his face. While it is clear that they love their children, the parents' physical orientation towards their children can be said to hover. Another interesting element in this regard is that the father accompanies the process of putting the children to bed. He stands next to his wife as she works with the children. He does not help, but gives the impression that his

Like the painting, the sketch exhibits a number of West 's finest imaging and clearly and convincingly depicts all of the feeling of a frightful scene. The larger oil on canvas work isn 't one portrait, but rather, a

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.

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

Groseclose focuses on studying the artwork’s use of lighting and the identity of the subjects, their postures, and facial expressions. Also, she interprets the painting

Predominantly black and white in color, the artist utilizes the technique of contrast in painting to describe a narrative easily whereas color which carry their own meanings and emotions are strategically left out. Forms and figures are a fusion of organic and mechanical lines. Interestingly the art work is classified as a drawing which brings questions on the acrylic paint medium used to create it. This strategy includes the use of quick gestures on the surface to illustrate as much information

In essence, this was to suggest or indicate that the tiger’s excitement, animals’ action of approaching the tiger and rapid movement, especially at the point where the animal gets trapped. The vertical lines of the physical trees on the background are a good indication of tree heights and distance upwards. The line is exceptionally thick which puts emphasis on the setting. Moreover, their continuous repetition throughout the picture book is meant to register in the child’s mind what is happening in the story, creating a sense of depth and realism. The large square-shaped forest trees, elicit much excitable agitation, alarm, and confusion. The tiger produces these kinds of scenery, full of suspense for young kids. Space is what draws the kids/readers attention towards the objects portrayed on the pages. All the illustration within the picture book is placed in a two-dimensional plane. The picture-book enjoys a generous use of space, in nearly all the pages. I did this so as to create a sense of isolation and loneliness in tiger’s life and the emptiness of the space around in the vicinity in addition to creating the illusion of detachment. The creative usage of space was aimed at enhancing the underlying themes in the picture book. I effectively used the space to emphasize the contrast between the trap’s location, the animals and, the tiger. The counterpart between iconic narrative and textual in the picture book is an essential point of tension, which I used, in communicating the theme of the

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

The idea of this piece is to show the connection between mother and daughter being painted. It shows the time and the classic style of the

Filled with shades of red, the upper part of the painting comes to create a strong opposition with the black area below it, itself encircled by a darker red. This painting consisting of three floating rectangles in various colour combinations, creates a sombre mood conducive to spiritual contemplation. With the use of Rothko's saturated colours the viewers are moved

Giving a first glance at the drawing, one is struck with stark contrast between the dark and light provided by the charcoal. This is a key element that is intended to symbolize this emergence of evil. The piece itself shows the titular figure rising out of a darkened pool of a background into one that is more lit and revealing, highlighting a disconnect between what can be perceived as a darkness below and heavens above. As the figure begins its rise from the abyss, one can observe features becoming more and more profound. Broad shoulders become clearly separated and

The “point and line to plane” (Kandinsky 1979:6) is the painting element, such as the letters that make up the word, different combinations will have different effects. As Kandinsky (1979:12) has demonstrated, that point, line and plane is the basic building material of the artwork itself, and that in every different art the elements of art are certainly different. However, it is necessary to first distinguish the basic elements from the other elements, no artwork does not have these artistic elements. Therefore, the common feature between Wassily Kandinsky’s paintings and Guan Zhong Wu’s paintings are point, line

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