Activity # 4
In the following easy I will explore the basic design principles found within two works of Paul Gauguin as explored previously in my Online Museum Visit. The variety of “The Bathers”, 1897 Oil on canvas, and “Fatata te Miti” (By the Sea), 1892 Oil on canvas, instantly inclined me to further explore not only his works but also him personally. Although I am unfamiliar with the works of others in areas of tropical and indigenous populations, the ability to be exposed to visual representations of “brown” figures was exciting and somewhat self-affirming.
The painting, “Bathers”, has a visually apparent element of unity within the design as the harmonious tropical scene unfolds to reveal three figures bathing at the sea line. The rhythm of the colors and landscape allows this work to be easily admired. The strong emphasis placed on the three figures as the hues of their sun browned skin tones appear to be an independent color within itself not represented anywhere else within the composition. Subtle contour lines that curve draw them out even further as the images of proportion that generally represent the soft curves of the female sex. In addition the scale of the work is so representative of a tropical paradise that the tree trunks explode from the soil into heights unable to be captured within the bounds of a single canvas. Lastly, a lone tree forming a central vertical line within the work furthermore anchors the symmetrical balance within this design.
In the painting, “Fatata te Miti” (By the Sea), the composition seems to readily embrace the concept of subordination as more than half of the work is composed of dark values which inevitably create hidden spaces and encourage the eyes to venture into the deep vastness of the forest. The asymmetrical balance of this design is also apparent as the figures are weighted very heavily in the front of the work only to lighten as they near the rear as to call attention to the distance between the figures while encouraging viewers to explore every aspect of the composition in hopes of revealing other participants in the unfolding scene. The rear figure creates a central focal point in this design as his proximity to the other figures produces a rhythm of color patterns that complete a triangular area. The emphasis of which the sea of vibrant pinks and purples crash against the shoreline adds the splash of brilliant tropical colors that is needed to anchor and soften this energetic work. The ability of the design to embody both the scale and the balance of the undeveloped land with just the appearance of a unique tree to the left and few flower blossoms throughout the design is wondrous.
In the following easy I will explore the basic design principles found within two works of Paul Gauguin as explored previously in my Online Museum Visit. The variety of “The Bathers”, 1897 Oil on canvas, and “Fatata te Miti” (By the Sea), 1892 Oil on canvas, instantly inclined me to further explore not only his works but also him personally. Although I am unfamiliar with the works of others in areas of tropical and indigenous populations, the ability to be exposed to visual representations of “brown” figures was exciting and somewhat self-affirming.
The painting, “Bathers”, has a visually apparent element of unity within the design as the harmonious tropical scene unfolds to reveal three figures bathing at the sea line. The rhythm of the colors and landscape allows this work to be easily admired. The strong emphasis placed on the three figures as the hues of their sun browned skin tones appear to be an independent color within itself not represented anywhere else within the composition. Subtle contour lines that curve draw them out even further as the images of proportion that generally represent the soft curves of the female sex. In addition the scale of the work is so representative of a tropical paradise that the tree trunks explode from the soil into heights unable to be captured within the bounds of a single canvas. Lastly, a lone tree forming a central vertical line within the work furthermore anchors the symmetrical balance within this design.
In the painting, “Fatata te Miti” (By the Sea), the composition seems to readily embrace the concept of subordination as more than half of the work is composed of dark values which inevitably create hidden spaces and encourage the eyes to venture into the deep vastness of the forest. The asymmetrical balance of this design is also apparent as the figures are weighted very heavily in the front of the work only to lighten as they near the rear as to call attention to the distance between the figures while encouraging viewers to explore every aspect of the composition in hopes of revealing other participants in the unfolding scene. The rear figure creates a central focal point in this design as his proximity to the other figures produces a rhythm of color patterns that complete a triangular area. The emphasis of which the sea of vibrant pinks and purples crash against the shoreline adds the splash of brilliant tropical colors that is needed to anchor and soften this energetic work. The ability of the design to embody both the scale and the balance of the undeveloped land with just the appearance of a unique tree to the left and few flower blossoms throughout the design is wondrous.
posted by Kenchasa Swann at 11:04 AM
1 Comments:
Hi, Will you please publish the pictures of your works larger so I can see them? My eyes are old - larger will help. Thanks.
This is a nice little essay, the only thing is that the supporting statements need further development.
for example, rhythm should b e defined within the paragraph, then it will help to guide to the details iin the painting that support it - the curving contour lines, the color - but what colors? The figures are ephasized by their placement and size and color - but what color and where are they iin the painting.
Brilliant tropical colors - what are they? What is subordination? You see what I mean? An essay can be very poetic and flowery and use a lot of vocab words but not say too much.
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