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Hue is the area of the color wheel that a certain color falls into. There are an infinite number of hues that go around the color wheel.



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This scale demonstrates the few level of values that are possible. Value can also be referred to as lightness, colors going from white to black or vice versa.



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On this color solid, that is made using a light mixture, we can see examples of all the above terms all summed up in one image. The saturation is the level of vibrance, or intensity of the hues moving from their hue to the corresponding gray value.



Pablo Picasso, “The Old Guitarist” (1903), oil on panel – Art Institute in Chicago



In Picasso’s painting, we can see the blue monochromatic color scheme that he used to create the cold feeling that he was feeling after his close friend died not long after making this painting. Being monochromatic, using only one color, makes this a much more unsettling painting than it would if it had more colors present.



Claude Monet, “Water Lillies and the Japanese Bridge” (1897-1899), oil on canvas



An analogous color scheme is where the colors used are all in close proximity to each other on the color wheel. In this painting, the colors would be green, yellow, and blue. These are all next to each other and thus makes this an analogous painting.



Johannes Vermeer, “The Milkmaid” (circa 1658), oil on canvas



This piece shows a complementary color scheme, meaning that it consists of colors that are opposite on the color wheel, because it uses blues/violets and yellow/greens. The yellow and violet are the closest to complementary colors and help the painting have more visual interest and harmony.


Split Complementary:

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This photo is a great example of a split complementary color scheme. You can see the blue in the middle as well as the red orange and yellow orange in the rock formations.




Unknown art students from SC, graphite


Implied texture is where the actual surface of the piece is just flat and only suggests the presence of a physical texture. These drawings are on flat pieces of paper but they look as thought they would be furry animals.



Slava Ilyayev, “Stroll in the Park” (year unknown), oil on canvas



This painting demonstrates texture by using actual texture. In a similar manner as Van Gogh, Ilyayev used heavy paint stroke and thick amounts of paint to help create depth and interest in his piece. The texture painting is actually there, it is not made to look like a rough surface.



Sandra Botticelli, “Allegoria della Primavera” (1478),┬áTempora on canvas



This painting shows contrast in that the women are shown very bright in dark contrast to the black forested background. Having the large difference in value creates emphasis on the figures rather than the background.



Paul Klee, “Ad Marginen” (1930), watercolor varnished


This painting illustrates the principle of emphasis by using isolation. The red sun, I believe that is what it is, is being isolated all alone in the middle with nothing else touching it. Doing so makes this the first thing we look at when viewing this image.



Henri Rousseau, “Carnival Evening” (1886), oil on canvas – Museum of Art, Philadelphia



This painting creates emphasis on the bright white subjects by strategically placing them down in the lower middle where our eyes are led. They are also kind of placed in-between two rule of thirds points on the bottom.

Critical Essay 4: Norman Rockwell’s “Rosie the Riveter”

I had always heard about “Rosie the Riveter” in American history classes but as most things you here from history, they do not have a large impact on someone at first, especially a simple advertisement. That is what I had thought it was for the longest of times, I did not even know it was a painting. Things like that seem to get lost in all the grades and tests of American history, especially in high school.



“Rosie the Riveter” by Norman Rockwell is an oil painting on canvas, measuring 52 inches by 4o inches. Rockwell completed the painting in 1943.

Because I did not know that this was a painting at first, when I first saw it at the Crystal Bridges Museum of Art I was very surprised at how large it was. Being almost 5 feet tall, it is an intimidating piece of work. Not only is it a large piece, it a very skillfully crafted work that displays a very large level of realism. It also illustrates many elements of art that are necessary for becoming famous. It has a good since of direction of movement throughout the painting. We can follow the direction of her eyes that leads us to her knee/rivet gun which then follows the pipe that lines up close to the waving of the red flag that can be followed back up to the top of the painting. Being painted in some way as an advertisement, but more as a statement, putting “Rosie” in the middle makes it the most effective for creating a message that Rockwell was trying to display.

That message was the idea of the American spirit and strength, especially for women. At the time, World War II was in full swing for the US. As many men were going ever seas to fight, the women left behind were forced to take their places on the assembly lines. This was Rockwell’s inspiration. The women fighting the war back home were part of the driving force that helped win the war. Rockwell wanted to create the image that the women created for themselves. When he was making the piece, he has a tiny 19 year old girl model for him. In stark contrast to the actual piece, the one in the painting is much larger and stronger than the actual one. Rockwell was creating the image of empowered, strong women that were making a difference. After he published the painting, the number of women volunteers to work in the factories rose to new heights. When a painting can make a difference in the result of a world war, it has accomplished more than its purpose.

Going and seeing this painting gave a strong sense of nationalism and pride. As long as their are people like Norman Rockwell to help us remember our history, how can we forget our past. Art, without a doubt, has a large impact on everyones’ history and future.

Critical Essay 3: Arthur Fitzwilliam Tait’s “The Life of a Hunter: A Tight Fix”

Last summer when I went to the Crystal Bridges Museum of Art in Bentonville, Arkansas, I came across a piece of American History that I can remember to this day, will hold my attention. I saw one of the best paintings I think that I have ever seen before in my life.

The Painting is Arthur Fitzwilliam Tait’s “The Life of a Hunter: A Tight Fix.”



The painting is made with oil on canvas and is 40 inches by 60 inches. The painting was completed in 1856.

The photo above does the work no justice what so ever. The level of detail put into this painting would, in my opinion, place it on par with the level of realism of a slightly older film camera. And that is saying something very significant! At first I thought that it was a photograph, but the cameras at that time were not capable of such color photos, but it still had the initial perception of a photograph. Once I read the description and saw that it was an oil painting my jaw practically dropped to the floor. I could not believe what I was seeing.

Not only is the painting a result of a masterfully skilled painter, it’s content is just as significant.

During the time that Arthur was creating his work, slavery was a largely violent thing going on. With the civil war just around the corner about five years ahead, we can see this influence in this piece. Not saying the bear is supposed to be an african slave, but the bear is very dark and it could easily be argued that Arthur is implying the threat he feels from them. That is still up for debate and questioning. This piece also displays the American hunter as the rugged man that he was, trying to catch enough food for his family to survive the harsh winters.

Another thing that this piece accomplishes is its utilization of principles and elements of art. It uses atmospheric perspective extremely well, the idea that things closer to us are more detailed and more saturated and things far away have less detail and are less saturated. It also implements high amounts of contrast to create focal points and places that will draw the eye such as the dark black bear surrounded by white snow.

This painting does everything that one would expect from a famous painting. It is skillfully painted, contextually significant, and utilizes the basic principles and elements of art. I personally would love to, for one paint with the precision that Arthur can, and also be able to see this painting again.

Critical Essay 2: James Siena’s “Upside Down Devil Variation”

Whenever I look at pieces of art work, I try to go into the mind of the artist and figure out what was going on in their head when they were first thinking about the work and also while they were creating the piece. Sometimes however, I just have absolutely no idea what they were thinking.

One day between my classes, I decided to take a trip down to the Fine Arts Center Gallery. They had just put up a new show and as I was examining the wall of works, not many of them were catching my attention. They were not making me go “Wow,” as only a few can. Not until I saw this drawing.


This an engraving on some type of special foreign extra white paper entitled “Upside Down Devil Variation” by James Siena. He made this piece in 2004 and it is roughly 19 inches by 15 inches.

Although the concept of this piece is in itself very simple, it is so complex that the simplicity is drowned out by the complexity. I would go crazy trying to draw all of those lines that perfectly for such a long amount of time. He may have been using a ruler but even if he did it still is a very impressive piece of work. I suppose that it is what he may have been thinking when he was making this, “WHEN WILL I BE DONE?!” On his website it said that this was one version of 42 others. Does that mean that he made 41 other types of this exact same drawing? Again, very impressive.

This work is basically the exact opposite of the economy of line project that we did in class. Unlike where we had to make the most out of the least amount of lines possible, Siena used an over abundance of lines to create his work. By bunching many lines together he created areas of value that helped to create focal points and areas of interest. He also created implied lines by having the extending lines come up to a point and stop, thus creating the illusion of even more lines.

Going back to the time when I first saw this work of art, I had to stop and just look and examine the work. Even now when I am looking at it again, it just about gives me goose bumps. I know that looking at something in person is far more impactful then just looking at a small image on a computer screen. But if an artist has made such a work of art that it is still very influential and makes people stop and look then they have achieved something great.