Iceberg Blues Visual Analysis

The most important aspect of the first painting is that the humans are living solely off the land. The man in bottom left is hunting the wild animals

In the Arnolfini Portrait the two main figures of a man and woman are standing and holding hands. They are in a bedroom, with the red bed behind them giving away the location in the home they are in. There are a variety of things throughout the painting that hold symbolic significance. Some of these include the red marriage bed, the small dog next to the bride, the fruit and open window near the groom, and the set of clogs on the ground on the lower left of the portrait.

From the analysis of the body language of both men it seems that both men were involved in an altercation. This painting is set at a moment immediately after the altercation between the two men occurred. It seems at that moment the aggressor seems to be trying to stabilize himself and the man in the back is reacting to the

The oil canvas artwork, Nighthawks, created by Edward Hopper shows four people in an old diner to the right of the artwork. The diner has the word “Phillies” written across the top, beneath the sign is where you see through the long, glass windows into the diner. There is a man sitting on the very far left of the bar, isolated from the worker and the man and woman who appear to be a couple. The lonely man is wearing a dark blue coat and a hat, but you can only see him from behind. The woman appears to have red-hair, a ruby red dress on, and red lipstick.

Figurative painter Ricardo Casal and his proteges will launch an exhibition on Friday at the Bophana Center with 14 Norman Rockwell-style depictions of the Kingdom. Titled Crossed Views on Cambodia, the exhibition will feature work by Casal done during his time in the Kingdom along with the paintings by seven Royal University of Fine Art students mentored by the French artist. The style is relentlessly figurative – each painting has a photographic quality that aims to represent people and landscapes as realistically as possible.

As such, it is also viewed as a response to the virtual relationships which have prompted a desire for more physical interaction between people, as well as inspired artists to adopt a do-it-yourself approach and model their own “possible universes”, and although this emphasis on immediacy, familiar to that of performance art, Bourriaud sees a difference in performance and relational art, the main difference for him being the shift in attitude toward social change (Bishop

They are also well distinguished by being bright white on a pale blue background, giving it a cool and gentle feel. Their scale is done in a way that almost pushes on the borders and forces you pay attention and understand a sense of space. The work throughout is very detailed, showing a high level of craft and quality; but not complex enough to prevent it from being produced multiple times. This could be found as a decorative work, considering the fragility and impractical size, though it may have been for the use of painting on a smaller scale.

Painting is one of the oldest forms of art in the human civilization; from the primitive cave paintings to those detailed and refined works of the Renaissance. Paintings are typically divided into categories by their genre, for instance, history, portrait, and landscape. Landscape paintings are those, which either only show or place greater emphasis on the natural surroundings such as rivers, mountains, and trees. This genre was popular among the ancient Greeks and Romans but later faded in and out of favor. Landscape paintings in Europe were revived during the 16th century while in East Asia they had already become a separate genre around the 10th century (Landscape Painting in Chinese Art, A Brief History).

The young protagonist, Griet, holds a lowly status within society, but unlike most working class families during this time, Griet has an eye for art and beauty (Chevalier 5). This can be seen when Johannes Vermeer questions her reasoning for separating vegetables. Her response piques Vermeer’s interest. “’The colors fight when they are side by side, sir.’ He arched his eyebrows, as if he had not expected such a response” (Chevalier 5).

Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light.

“Portrait and a Dream” was made using oil enamel on canvas through action painting, and it was located on the 1st floor in the “Museum is History” gallery. Looking at the map it’s on the 1st level where it says “contemporary art”. The “Portrait and a Dream” is very large and it actually gets its on entire wall on the gallery. Basically the piece is divided into two distinct parts: one side involves a lot of squiggly black lines jumbled up together in a chaotic manner; I call this side the “dream side”. And the other part of the piece is represents what appears to be a very abstract portrait of a female face using colors like red, orange, yellow, and of course black; I call this side the “portrait side”.

Remarkable though it is, the description of the sitter - with the stubble on his chin prickly against the soft fur collar, and his bloodshot left eye - is less arresting than the depiction of his head-dress. Van Eyck is noted for the impassivity of his figures, and it is instructive to compare this portrait with that by the Master of Flémalle (Robert Campin) of a man wearing a similar red hat. There, the scarf ends hang down, serving to frame a face in which we read force of character and upon which we can project an inner emotional life. Van Eyck 's personage gives much less away. A greater area of the picture is taken up by his red hat than by his face, its three-dimensional bulk is more assertive, it folds and tucks more dramatic.

Introduction Art is not static. Styles interact and overlap over periods of time. Newer artists are inspired by, and soon overtake, their teachers and mentors, or they simply grow into their own art technique, thus creating the next great art period. This essay with show how both Matisse’s Bonheur de Vivre and Picasso’s Les Demoiselles d’Avignon can be seen as conforming with, and independent of, Paul Cézanne’s painting style of The Large Bathers.

Vincent Van Gogh’s self-portrait titled ‘Saint-Rémy ' (1853-1890) along with Edvard Munch’s ‘THE SCREAM’ 1893–1893 have created a historic influence on artwork in the present day. Based upon Alice Neel’s quote, “A good portrait… has something more than just accurate features. It has some other thing!” these artworks will be examined in regards to their description, analysis, interpretation and result in a concluding judgment. Both being famous pieces and vary in significance, these portraits will undergo further examination throughout this critical analysis using this quote and determining whether they really have “some other thing.”

This painting shows three scenes. The left panel shows Paradise and the creation of Adam and Eve and god introducing Adam and Eve. It is also believed that this is Jesus and the painting shows that Jesus was not created by god but was equal to god. The right panel shows Hell. The central panel gives represents a garden of delights or pleasures between heaven and hell.