If I look like a painting, the artist speaks to me. Can the artist at work at the easel, making the brush strokes, mixing paints and pigments. I see the empty part of the fabric and colors, and I can almost imagine what they think. And I feel too good. Whatever the image, its elements have a story to tell, convey a feeling, a feeling soul, or type a message. Sometimes betrays a secret, the possibility to look into the artist. Veryas a writer is vulnerable, and bleeds on the pages of the painter who is bleeding on the canvas.
I look at pictures from two perspectives. First, the audience went back to see it to remember where, how and in what way and work down to my eye. I catch a mood, a feeling from the piece. Then I have the role of amateur artists, study, watch closely the technique, the brush strokes showing. I always pay attention to what colors were used, what colors justthe tube mixed to form the pallet. Then I step back, you notice the arrangement of objects, composition, balance, the number of numbers, etc. Of course, this happens almost unconsciously. But you can not judge a painting specially value DOM must feel that painting, the mood to capture him. You can not see the soul of the artist, by calculating an area of picture as if they were solving a mathematical equation.
Not only have a painting a jump in one spirit, but it is a barrieragain. The paint is applied on a wooden board, in 1150 AD, has collected the dust of centuries and is as true now before your face, like his creator, who also had dust for centuries. Not only the artists who produced these works, but the arguments to run, let us imagine another era. Look at the Duke of Urbino, in majestic poses as real, and you can ask what he thought. Or the peasants of Jean-Francois Millet in their daily needs, which have shown greatthese people?
Let us not be limited to humans and portraits of our survey questions of another epoch. If you look at an open landscape, we know that the little servant is at a distance of some American landscapes from long died, and you will be too long before the actual landing on the image will change. Or look on the other hand, how different the country was done after the painting changed, but I feel like insignificant people the beauty and vastness of nature.
Youcan sometimes react to a painting in the same way a real situation. You can Cazin or Millet "Solitude" look and feel walking alone in the woods without a moon-scape of winter, hear the mysterious silence, hear the crunch of snow underfoot, feeling cold in the face. In fact, you pool your T-shirt as you get a standing cold in the rooms of the gallery. A picture can be a smile on your face brings a tear to the eye, or a fire in the belly.
Paintingmay raise questions, raise concerns or to bring a touch of mystery. I'm not enough of the Surrealists, and speaks in the abstract. In fact, a realist can do the same, perhaps even more powerful. Consider Andrew Wyeth painting, maypole. Who were these strange people and unusual? Because the tracks are not a perfect circle in the snow, what is the strange symbolism, and why the shadows are not completely consistent?
Sometimes the images should not be mysterious to raise aApplication. When I look at a picture hanging in the Philadelphia Museum of Art, the feast of Saint John "by Jules Breton, I feel a sense of mystery. You can see that these farmers are celebrating the longest day of summer and dance around the bonfire, and What it looks like you can almost smell the fire. One might ask who they were and what they believed and what they do.
Sometimes a picture really pulls you into growing up, being fascinated by the CivilWar and watched illustrated stories about him, has always been a special feature in the battle scenes. I could spend hours looking at pictures and play the scene in my head, scenes like the famous Monitor and Merrimack. I saw the smoke, the distant roar of cannon shots, sketches of shells missed, the crackle of the grapes, and the commands of the officers of both sides, sometimes within earshot as manic maneuvers as Point BlankSide is in progress. Such excitement!
The painting I'm talking about is, by Edouard Manet, the Impressionists, who did a lot of seascapes, resulting in shows like "Manet and the Sea" at the Philadelphia Museum of Art, the painting shows a naval battle off Cherbourg in France in 1864, where a Confederate sloop of war, the CSS Alabama was sunk warship USS Kearsarge, a sloop sent Bundesrat to meet with the enemy ship to stop the chaos that hadwas to conduct trade to and from Europe. works of Manet responded quickly to the event after being heard or read how it happened.
As you look at the picture showing the scene a bit 'from afar, it keeps the viewer on the neutrality of pages (with a slight tilt in the direction of dip Confederate sympathies). It shows the Deerhound, a private yacht in the foreground rescue survivors from the water. decreases in the distance, the Alabamasteadily since its back with smoke emitting as a result of direct blows to the engines by Kearsarge. The story is that five of the 100 shots fired were union struck his ship south of colors. The painting also shows the ship Union, almost out of sight to fire a salvo of which related to the plan condemned Alabama. The main color of the masterpiece, of course, the ocean, who is passionate about Viridian green and blue, and civilians are available onyachts are in their sailor hats and clothes in an attempt to save what looks like two sailors clinging to a piece of wreckage.
There's nothing like a beautiful picture that you can only look for an hour. I do it with the masterpiece of Thomas Eakins' to do, "The Gross Clinic." Professor Samuel Gross is at the center of the radius of the sun from the roof of his famous doctrine of the bone marrow to become a group of students from Jefferson. Scalpel in hand, asked how he and running the wizardLeg menial task after the boy's mother. The detail is excellent, from the looks on their faces to the small drops of blood on a wizard sleeve.
Another of my favorite artist is the canvas for a long time almost expect surprises. Henri Rousseau belongs to you to leave in awe, not only on the size of his work, but the secret of the table. He is what might be called a surreal, perhaps a symbolic, but one thing is certain, youcan not be trivial. Self-taught, has a style all its own.
Probably my favorite photo all over the Philadelphia Art Museum would Rousseau Carnival Evening. "Another cold winter scene, but this time was very confused. Although his images can only confuse Dali landscape, Rousseau would you give just enough information, leave a bit 'confused." Carnival Evening "shows a forest in winter , completely bare trees at night with abright full moon above. The only thing is, the forest is strange in the dark. Some are on the way to the middle of Carnival, dressed in costume, one smoking a cigarette, the moon seemed to be not later on. On the left side of a house with a mask or face forward, and a lamppost inexplicable looms nearby.
I recommend watching one of these images in the browser and see the photos. The idea is that the details and storiesmay be much of an interactive TV show or movie. So it seems, and visit your local art museum. Adventure awaits!
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