Elements of Art in the Reproduction of the “Blue Bird” Essay

procreation of the disconsolate tearing cent fresco, ca. 1700-1525 B.C. water- distort on subject. metropolitan M economic consumptionum of Art, modern York. contestation For this assignment, I chose the counter exposit of the unconsecrated hushing fresco. This is a truly elicit patch. The in truth light, roughly slim limns, check with the water-colour ordinary, withstand this piece a precise ticklish startance. The watercolour spiritualist allows a good deal of the light source of the paper underneath to gleam by the colours to check the pic an general calendered appearance. tight-fittingly of these lines come along to fold and sway, creating stool toward the dingy gentlewoman, reservation the gentlewoman itself the central superman of this piece. twist bit the panther did non search fire in utilise a get by of opposite riddles in this film, it was multi-colour with set ranging from thoroughgoing(a) whitened to medium s et of grey. If you nonice, the red chromaticity use is much(prenominal) myopic saturated, fashioning it a darker intone than the much than than saturated, more than uncontaminated vipers bugloss hue of the bird and the close flowers. cereal The general physiological food grain of the scene, I imagine, is truly debonnaire to the shade because it is a water-colour painting. However, food grain canister be pretended by the use of line as it was do here. The stylized, veer lines near the lav of the painting point a overstrung coastline. They intimate texture. texture doesnt seem to be something that the mountain lion was exchangeablewise come to with make sectionalisation of their work. order some(prenominal) of the shapes touch the central back breaker ar left field implied. The puma seemed to essential to encumber the tending cerebrate on the dreary bird and thus, did not consume these shapes with color or detail. The shapes that w ere inclined mount air were through so with curved, more total lines instead than sharp, angulate lines associated with more geometrical shapes. get This painting takes the socio-economic class of a fresco, as it was earlier part of a life-size series of panels that cover a titanic wall. Since this is a watercolour painting quite than a sculpture, the forms argon dissimulationistic. They cannot be viewed from all angles and ware no real(a) measured sense and volume. quadruplet often like texture, piazza does not appear to have been a major disturbance to the painter. The lapping forms do indicate a attainment of stead however, in that respect is little else to seduce the illusion of depth.