About this sample
About this sample
Words: 659 |
4 min read
Published: Aug 4, 2023
Words: 659|Page: 1|4 min read
Different types of lines have been used in the production of Luncheon of the Boating Party with actual lines serving the purpose of outlining the subjects. The curves of the hats and the human shapes are enclosed in lines that we can actually see. Implied lines are also present in the painting for the purpose of guiding the viewer to interpret the activities and interactions in the artwork. When a subject in the artwork directs his gaze somewhere, for example, the viewer is automatically compelled to check what the subject is interested in. Sometimes two people may look into each other’s eyes making the line connecting their eyes the implied line. The third and fourth persons from left in Luncheon of the Boating party are gazing at each other explaining to the viewers why the man’s back is turned to them. Lines also help in making out the geometric shapes such as the parallel stripes representing the tarpaulin in the painting. Spherical shapes have also been used to represent the grapes on the table. A blend of cool natural and warm colors ranging from blue, green, red, brown, pink, yellow, white and black have been incorporated to provide a galaxy that is typical in parties.
Repetition and variation have been employed in the production of Pablo Picasso’s Girl Before a Mirror to communicate to the viewer about the cubist artwork. Repetition, to begin with involves the duplication or subsequent production of like subjects. The most prominent instance of repetition is evident in the implied reflection of the girl in the mirror such that the viewer sees two girls. Variation, on the other hand, involves the artist’s liberty to creatively represent the subject as he wishes. The girl’s reflection, in this light, is not identical highlighting that Picasso employed variation to extend his creativity.
As far as balance is concerned, Picasso’s artwork is near-symmetrical. Symmetry can only be achieved if each half of the artwork looks like the other when it is split into two. Although the mirror is right at the centre, it does not serve the expected purpose and instead the artist introduces different facial features and colors. The artist does this because cubism as a style is not keen to communicate actual representation and instead invites the viewer to make interpretations by checking close resemblance to the subject the artist seeks to communicate. The girl’s face in Girl Before a Mirror is the primary focus because it serves as the viewer’s cue in unearthing what the artwork is about. Although it is done in cubist style, which banks on abstract features, the viewer will make note of the face and use it to interpret the other shapes. The circles in the middle of the artwork, for example represent her breasts although they are hard to interpret without a face. It is also the case with the hand considering that it is not painted as realistically as it would be expected. The painting tends to communicate the idea that things are not always identical even when duplicated through a mirror.
There are two linear perspectives employed in Jean-Baptiste-Camille’s Sevres Brimborion View Towards Paris to create an illusion of depth and space. One point perspective, for example, has been used to create the impression that the space depicted stretches to the horizon. It is for that reason that the road seems to narrow in the background. Two-point perspective, on the other hand serves the purpose of providing the viewer with two vanishing points. In this light, that painting notably stretches not only outwards towards the background but also upwards to the skies. The pale bluish left half of the artwork, therefore, when combined with the ground perspective provides the two point perspective creating a realistic illusion of height and space.
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