Art History

A primary objective in measuring productivity is to improve operations either by using fewer inputs to produce the same output, or to produce:

If the tree in the foreground were the only thing that appeared in the painting, the viewer wouldn’t know if he was looking at a tree, a branch, or a twig. Likewise, if just the water were visible, it would be hard to determine if the water was to represent a pond, a stream, or a river. The same goes for the mountains in the background. Without them, the painting would not seem nearly as vast.

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

This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

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.

Space and colors dominates this piece of art. The artist used a three dimensional space where the road angle created a 3-D look. The road is going narrow as it goes towards the back part and the artist make it look like more realistic by making the trees smaller as well. White and blue color dominates the drawing. Blue symbolizes so many things

The uses of actual and visual texture manifest themselves throughout the painting. Actual texture can be found in the thick wooded area in the right of the painting where the top of the woodland canopy is painted in thick brushstrokes. It is also apparent in the sea, where thick, short brushstrokes give the illusion of movement and variations in height of the waves. Although rather elementary, visual texture can be found in the tree in the foreground, where thin, white and black lines give the appearance of volume to the bark of the tree.

This painting appears to take place either at either dusk or dawn, when the sun is at the horizon. Likely it is dusk, as the setting appears to be in the Northern Hemisphere and the snow in the picture residing on the left hand side of fence would suggest it has yet to melt, so the sun would be setting in the west, or on the right. So the viewer, as well as the subject, is facing south. This affects the painting in several ways. The lighting is very dramatic, the middle ground being very much more lighted than the foreground and background, therefore the colors are more saturated than the foreground and background. Greens, browns and greys are used a lot in this piece and makes it very muddy. The house really does stand out against the painting because of the contrast of lighting.

The use of lines in Stone City is one of the key visual elements in this painting. The artist used many contour lines to define the boundaries between the trees and the valley, the river and the land, and even the long roads from the hills as it winds through the countryside. Wood also incorporated a lot of implied lines into his artwork. The trees and bushes that line the hills create a line of sight which draws the eye of the viewer to the house on the river, which is the focal point of this painting. The lines all move in different directions and help the artist highlight different aspects of the painting. Around the city and in the foreground of the painting the artist uses a lot of horizontal lines, which gives the town a calm sensation. As we move away from the city, we find a lot of vertical lines which denote growth. We also find a lot of diagonal lines which imply action in the painting. The diagonal lines are predominantly used by the artist in the creation of the roads and

At close inspection, the colors red, white, yellow and blue placed side by side looked unintelligible as they are placed throughout the trees on the left side of the painting. At a distance, however, the colors begin to mix into different variations of orange, green, yellow, white, blue, and red, making the palette more interesting. This technique is used on the entire painting. The water’s reflection of the trees uses the same technique. Like in Claude Monet’s first major Impressionism painting, Impression: Sunrise (Garnier, 823), the painting Autumn on the Seine, Argenteuil also uses the brushy strokes. Both use a body of water’s reflection in the piece, making the water itself more interesting, and giving Autumn on the Seine, Argenteuil perspective.

“Under”). One could mistake that the focal point is the little figure under the birch tree who is a priest. However, the main point in this landscape is all about the birches. The reason why one could say so is because of all the visual elements such as: the birches are in the middle of the painting; they are also the most lighted objects in the painting (light is shining in the form of an oval) (National Gallery). Due to the levels of lightning one can see that the picture is divided into three horizontal parts: the top (dark, but not as dark as the bottom of the painting); the middle is the lightest; and the bottom is the darkest. This means that he used what he learned about the Dutch style and mixed it with his personal style thus we have a whole new way of seeing his point of view.

The artist also demonstrates a form of perspective with the sidewalk or road in the background with the trees bordering it, the trees start from being bigger then gets smaller as it being further away in the painting. The space between the individuals and the buildings in the background are suppose to be more on the deeper side because the smaller the object is that is supposed to be big, the further it is away from the main attraction. This painting displays a small amount of visual space in some areas. The object that caught my eye the most was the wooden flooring, it goes in a pattern of lines then a space then lines again.

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

This painting was created in 1912, and it was named The Flowering Apple Tree. In this painting, he probably used what he thought an apple tree that was flowering looked like if created geometrically. He probably would not have changed this painting if he was alive today, even though it doesn’t look like an apple tree. However, there is a possibility that he would have found a way to make it look more like an apple tree rather than what it looks like.

Today’s modern world is often complex, colorful, noisy and fast-paced. When I am engaged in art, I frequently look for works that allow me to escape from my hectic lifestyle. Clean lines and use of space appeal to my senses and calm me. Sometimes, what is not stated says more than what is stated.