How Did Thomas Cole View The Wild Natural Landscape

Thomas Cole uses an implied line to separate the dark, untouched forest and dark sky with the tranquil, cultivated farmland below. Cole uses an actual line to outline the banks of the Connecticut River bending through the pastoral land. Actual lines are also used to define the edge of the horizon in the distance. He also used actual lines to portray the rows of manicured farmland.

The blue, as Marc prescribed, gives a peaceful note to the agitated atmosphere. He recollects an illusionistic portrayal within which he seeks to form a rich colour composition that reflects the vitality of his subject. The principal achievement in Red Horses is this portrayal of the uninhibited energy of nature using completely naturalistic colours.

Cole has no restrain in describing the beauty of all the elements found in the American scenery. He talks about the mountains, the sky, the streams, the sunset, waterfalls, all of which are overflowing in richness, full of magnificence, and unsurpassed by any other. For Cole the scenery and nature are subjects which must be present in the souls of every American. While he considers himself and even others underserving of “such a birthright”, he is thankful for the beauties given to us by nature. Cole suggests to his audience that the reason behind him painting natural scenes relates to the experiencing of a particular emotional response while doing so. This is a response which can only be compared to a “calm religious tone”, full of “tranquility and peace.” Witnessing the beauties of the American scenery, anywhere one goes, makes one realize how “the sublime and beautiful are bound together in an indissoluble chain. In gazing on it we feel as though a great void had been filled in our minds.” Cole places great emphasis on the importance for all members of society to learn how to cultivate “a taste for scenery.” This can be achieved by appreciating the physical beauty of nature and the ability of said beauty to provide mankind with a different perspective about life and with

The colour used is important to the artwork because together they create a place of tranquillity meeting on coming havoc.

The dominance of landscape in the industrial revolution began with the shift in the living choice of people ever since the neolithic agricultural revolution. As times changed, technology began to change along with the people, thus sparks the beginning of the chain of events that caused artists to express such changes. One example, would be Joseph Mallord William Turner. During the romanticism movement, Turner had the ability to witness the fire on the British Houses of parliament and created a loose painting style that later on influenced the Impressionist movement. In addition, Romantic artists painted landscapes that exhibited their emotional state. Another artist to recognize is Thomas Cole who became an inspiration to American landscape

There are many values within this print, but only constitute a handful of colors: Blue, brown, black, white, and gray. Blue is the main color within this print, there are many values of the color blue used. The deepest part of the waves are the darkest blue, while the parts of the waves closest to the surface are lightest blue or white. The sky has a gradient, which is going from the lightest color to the darkest color or vice versa; the sky is creating a gradient, from the bottom up, of black to a very light gray, then to a white-yellow. The colors chosen by Hokusai can also interpret feelings and emotions. The habitual feeling when seeing the color blue is sadness. Sadness and despair would be fitting emotions for this work, due to the giant wave about to crash upon the men in their boats. Blue can also emit a feeling of elegance. The composition of the print and how the lines of the wave flow can be considered a form of elegance.

The painting has strong colours and light contrasts, that make the tree dominating over the mountainous landscape. There are warm, red colours near the front of the painting that help the viewer see that it is closer, while there are cooler, blue colours in the mountains that are farther away.

“The sky is the source of light in Nature and it governs everything. (John Constable)”. John Constable, an english romantic painter who was well known for his landscape paintings, praised nature and emphasized that the sky’s effect on the landscape. According to Craig White, a professor at the University of Houston Clear Lake, the romantics believed nature as the truth and beauty of life. The painter’s landscape art was often referred as skying, which meant to look at clouds. Constable was primarily preoccupied in recording the sky and examining the atmospheric effects on the landscape. Constable said’ “I should paint my own places best (John Constable)”. He drew various different scenes of nature to evoke the power of nature. In which many of the places he painted were places that he knew intimately. John Constable’s work is important in understanding the new meaning of nature in the romantic period. He is the primarily cause landscape painting was revived in the century. In the 18th century, landscape painting was considered the lowest art form. Over the course of the few decades in the 19th century, this would change due to the impact Constable had on the history of art. Constable was clearly the product of the Age of Enlightenment and its increasing confidence in science but Constable was also deeply influenced by the social and economic impact of the industrial revolution. (Beth Harris). John constable's romantic landscape artwork influenced the nineteenth century’s value of philosophy and their sensibility with nature.

The 19th century was a time of social change and enlightenment that sent ripples of influence into many aspects of the American culture, including art and literature. Prominent figures such as Thoreau and Cole emerged. Thoreau was a philosopher and writer whose works such as Walden lead the literary evolution of Transcendentalism. Similarly, Cole, a, was a founding figure in the fledgling art movement called the Hudson River School. Both men were shaped by the same influence of a rapidly transforming society, and from this environment they expressed similar beliefs in areas such as anti-industrialization. This antagonism towards industrialization was balance by their reverence towards nature; mankind was viewed as infinitesimal in comparison. The animosity for industrialization combined with respect for nature also lead to Cole and Thoreau’s support towards the preservation of

The most obvious example being in Ryan and Freddie’s wardrobe and how it signifies their character. Ryan wears a plain white shirt to represent his quiet appearance, where as Freddie’s bold buttoned up shirt represents is bold personality filled with chaos. Colours are an important semiotic throughout our term project as we use reds and oranges to represent before the hit and run, blue tones are used for after the accident to show it is after the accident. We have referenced this semiotic to the Pablo Blue and Rose Period. The Blue Period of Picasso is the period between 1900 and 1904, when he painted essentially monochromatic paintings in shades of blue and blue-green, only occasionally warmed by other colors- ("Pablo Picasso's Blue Period”). The Rose period signifies the time when the style of Pablo Picasso's painting used cheerful orange and pink colors in contrast to the cool, somber tones of the previous Blue Period ("Pablo Picasso's Rose Period"). The shaking camera and fast paced cutting just before the accident represent the tragedy that is about to happen. The chaos within both characters lives is shown in the non-linear structure of the edit. The structure of the edit is almost circular, repeating previous events to bring us back to the conflict between the two

Color, though by and large subordinated to the boundaries of figures and geometric bodies, occasionally revolts against the domination of spatial form. Therefore, the yellow on the margins of the middle circle flows over the geometric boundary into the space above, where it becomes a background for the little sketched figures; similarly, in the lower-right triangle, the diffuse orange, although contained in geometric boundaries, permeates the fiddler, bird and synagogue in the background, as if merging all the disproportionate object on one level of color and depth; and the lower-right corner, several colored stripes cover up the indecent scene of a boy urinating on a pig.

Cooper's dramatic portrayal of landscape inspired various American painters interested in "conveying the immensity of unspoiled nature" (McWilliams 12), such as the Hudson River School--Thomas Cole, Asher Brown Durand, Thomas Doughty, Frederick Church, Jasper Francis Cropsey. "As in many a Hudson River School painting, Cooper's novels repeatedly set up a character as the feeling observer of a landscape that is described in detail, either by the character or by the narrator" (McWilliams 29). And, I would like to argue that Thomas Cole, like Cooper, set up the American landscape as an important character in his imagining of the development of the American continent. Considered one of America's first great painters though he grew up in Britain, Cole was alarmed that industry would mar America's majestic landscape as it

After spending a little amount of time with the illustration, I understand that the third color was just an illusion. Which makes me think of the process. Then I realized my phone, television, digital camera, etc. a great amount of color I perceive are not actually "present". What I see is a rich and studied mixture of different primary light colors. The mix was made by the brain through my visual organs. This relates to the RGB system that creates all perceptible colors from the mixture of red, green and blue. Human eye receptors are especially sensible to these three colors. Now the RGB colors are provoking me to look into them in a much deeper sense and all his works have this strong representation of colors. These colors have a strong impact on my emotions.

Color acts as ongoing symbolic foundation for the film. The film mainly employs monochromatic, muted colors, focusing on warm reds, browns, and yellows in which Wall-E’s world comes to life. Against this backdrop, the Earth setting is translated as a massive garbage dump while the signs of life, real life, like the bright green of the seedling instantly seize the viewer’s eyeline. The audience is visually magnetized to these small glimpses because the contrast is so sharp and captivating. While the color palette changes when the setting shifts to space, the filmmaker has achieved the desired communication in which the relationship between life and the humanity is deliberately experienced.

Specifically, with his piece, Printemps (Spring), vibrant hues of colors are used to demonstrate moving past what was once darker times. Shades of deep, rich blue and earthy green