Looking at paintings발음듣기
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Looking at paintings
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Voiceover: How do you tell a story in a picture and indicate that one thing happened and then another and then another?발음듣기
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Figuring out how to arrange subjects so that a composition makes sense to a viewer is a crucial part of the painter's process.발음듣기
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The artist who painted this scene used architectural elements to divide the story into sections, describing a sequence of events in a Pope's dream.발음듣기
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The second scene takes place a little farther away within a brick enclosure where two figures kneel beside the Pope.발음듣기
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Events in the painting progress from the present in the foreground to the future in the background.발음듣기
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To draw our attention to distant events, the artist omitted part of the courtyard wall and arranged the second scene to take place within two narrowing lines.발음듣기
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These tapering lines lead us into the painting, while strong horizontal and vertical lines provide a sense of balance.발음듣기
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When Pierre Auguste-Renoir painted this scene, he wasn't interested in recording a specific place.발음듣기
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Renoir lavished much more attention on the young woman than on her companion, who is crowded into the top of the painting.발음듣기
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Notice how the diagonal line of sight from the man to the woman echoes their clasped hands and is repeated again by the trail.발음듣기
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This diagonal emphasis leads us to consider what might happen if she follows him to the secluded area he is gesturing toward.발음듣기
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See how the relationship between the two figures is disrupted when their positions are reversed?발음듣기
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Philips Koninck painted this landscape as if he was looking at it from the top of a mountain.발음듣기
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In a picture artists use a variety of devices to create the illusion of space on a flat surface.발음듣기
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Koninck, like other artists, used a mathematical system for representing three-dimensional objects on a two-dimensional surface.발음듣기
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This system, called perspective, is based on the realization that our eye reads parallel lines as coming together as they recede.발음듣기
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Instead of looking into the painting, which is the natural thing to do, look at the painting from bottom to top.발음듣기
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As your eye moves up the canvas, the landscape seems to recede and things appear farther away.발음듣기
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Comparing these two figures shows us how artists paint objects in the foreground larger and with more detail than objects in the background.발음듣기
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If Koninck had recorded actual observations of the Dutch landscape, the picture would have looked more like this.발음듣기
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Without the vines climbing in front of the woman's dress and the branches falling over the man's shoulder, the space appears shallow.발음듣기
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That's why everything seems askew. In more realistic perspective, this scene would look something like this.발음듣기
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Look again. Sazon's perspective. More realistic perspective. The green vase would look more like this in reality.발음듣기
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Sazon played with proportions and viewpoints to make us aware that in paintings depth is an illusion on a flat surface.발음듣기
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Artists use color to unify elements to draw our attention to specific details and to express emotion.발음듣기
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Rubens painted Christ's flesh with blue undertones to convey his cold and lifeless state encouraging viewers to contemplate his death.발음듣기
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Notice how Christ appears thrust toward us on the left where John the evangelist supports his upper body?발음듣기
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This effect is achieved partly through composition, the way that Christ is slumped diagonally across the canvas.발음듣기
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When the robe is changed to another color like blue, Christ doesn't appear to come so far forward.발음듣기
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Rubens emphasized the relationship between Christ and the virgin Mary through his treatment of their faces.발음듣기
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The grieving virgin Mary's face, and especially her lips, appear even more blue than that of her dead son.발음듣기
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Her pink hand contrasted with the blue of Christ's arm and her tearful eyes convey that she is physically alive while her pallor expresses her bereavement.발음듣기
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Rubens used extremely intense and saturated colors to help tell the story of Christ's suffering and the grief of those who were closest to him in life.발음듣기
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This is especially evident on and around the central figures in this painting by Garrit Van Honthorst.발음듣기
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This helps lead us into the picture and makes us wonder what will happen if she follows her companion into the secluded area at the end of the trail.발음듣기
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Renoir orchestrated the lighting to give this scene of a casual walk in the park a sense of movement and spontaneity.발음듣기
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When you look at a painting like this one, you can tell that the artist worked hard to convey the tactile qualities of each leaf, flower and butterfly.발음듣기
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The artist, Jan Van Huysum, was so concerned with creating a realistic picture that he included a fly and drops of dew on flower petals.발음듣기
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He did all this while concealing his brushwork, so we get little sense of the pressure and movement of his hand across the surface of the painting.발음듣기
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Clumps and dashes of thickly built up paint create texture on the surface so the paint itself takes on a sensuous three-dimensional quality.발음듣기
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How an artist treats the surface is important because smooth surfaces reflect the light differently than textured surfaces.발음듣기
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When a painting has a glassy surface, color rather than texture is used to create highlights like the white highlights on the underside of this red flower.발음듣기
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We often make hasty assumptions about an artist's ability based simply on how the surface of the painting appears.발음듣기
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