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The Last Supper by Leonardo Da Vinci
The Last supper was a phenomenal painting created by legendary artist Leonardo Da Vinci on a monastery wall in Italy (Jean 8). Unfortunately the paint became destroyed during World War II leading to its restoration to its initial form using special techniques. The composition of the picture is appealing to the viewer by virtue of organization of objects in the mid-view of the frame. The lines used in producing the images of the disciples and other objects are generally of curvaceous with create a feeling of calmness setting the mood for the last supper. The lighting of the paint is balanced such that there is no silhouette produced, which enhances a three dimensional perspective and strengthens the presence of form. The complimentary colors used in the pain produce a good intensity for the viewer. Moreover, warm colors have been which lightens up the ‘last supper’ occasion while it creates a positive value by virtue of the lightness element, for instance, the yellow and red colors which highlight some of the disciples garments. The texture of the ‘the last supper’ paint is essentially soft by virtue of the type of paint and background material used in reproducing the original version. Finally, the components of the paint are balanced through careful use of dark and light highlights while the size of the objects, in this case the disciples and Jesus further lessens the weight of the frame.
The Assumption of the Virgin, 1626
The Assumption of the Virgin is a phenomenal oil paint created in 1626 depicting the rise of Mary of mother of Jesus into the heavens. The composition of components of the paint which entail angels, Mary, and her people create a clear division between the ones ascending into heaven and those remaining on earth. The lines used are essentially curved which creates a calm feeling that accompanies the ascension feeling. “The concentric structure of alternating rings of brilliance and shadow enhances the illusion of vertical space extending beyond the actual height of the dome” (Scott 203). On account of form, light appears to be radiating from above and from one side, which successfully makes the potential silhouette to recede thus enhancing its three dimension characteristic. A mixture of warm and dark colors is visible while complimentary colors have been used in a mixture of yellow and blue on one individual which further enhances the ascension feeling. In addition, the texture of the oil pain is fundamentally smooth, which gives it a natural feeling. Finally, the elements in the element are well balanced. “The artist arranged the sharply foreshortened figures of decreasing size in two concentric circles separated by clouds” (Scott 203). This decreases the weight of the ascending objects. Furthermore, “A calculated reduction in figure size from the lower to the upper regions of the dome, with an increasing atmospheric facture toward the apex, enhances the illusion of vertical recession beyond that of the actual space” (Scott 204).
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Pablo Picasso, Guernica, 1937
The paint christened the ‘Guernica was essentially a series of paintings produced by Pablo Picasso depicting images of destruction, death and despair produced by the events of the war. The paint lacks a distinct composition because the components entailed in the paint are in disorder in the frame. This is also contributed by the lack of a thematic arrangement of details into a distinct theme, which produces a negative impact on its composition. The oblique lines used in the paint are aimed at creating an element of motion while the direction of orientation appears to be one sided. This element of motion created by the lines brings out the concept of chaos in the picture since there is no unison in the movement. The Guernica further lacks form in the sense that light appears to be coming from behind the objects, which creates an obstruction leading to the emancipation of a silhouette figure. This gives it a two dimensional perspective. “Following that logic, the central ‘panel’ of Guernica highlights the expiring horse, the electric light bulb above, and the woman’s head; the left ‘wing shows the bull claiming the victims of violence below; and the right side presents two stricken female figures” (Robinson, Falgas & Lord 463). The color choice of the Guernica is essentially of a monochromatic fashion which creates a dull and an unattractive feeling to the viewer. The monochrome colors further fail to bring out the concept of war since ordinarily we would except to see images of blood to signify agony and suffering. Hence, by using cool/dark colors for the background and light shades for other objects the paint fails to connect adequately with its intended purpose. The Guernica has a smooth texture by virtue of its two dimensional characteristic. However, the positioning of objects and the strategic use of light and dark shades creates a good balance in the paint, while it makes the objects appear light as if they are in mid air.