The figurine at the Museum of Fines Arts, Houston shows more than a few of these attributes. There is the attendance of The Rocks by Vincet Van Gogh, which plays happily. It is with no trouble obvious by the halo and radiating light encircling its image representing understanding and importance in the society.
Vincent Van Gogh the Rock
Brief overview about the period
A masterful impersonator artist who was Dutch only lived from 1853 to 1890. According to information that is obtainable to interpret, he had a rather tortured living but surely left at the back an inheritance of a little immense and well familiar painting such as this one which is titled The Rocks. This oil on picture was shaped towards the end of his life in 1888. The topic substance is of a site just exterior of the village of Arles in southern France.
Brief biographical overview
The Rocks is easy scenery of a rock configuration outside the city of Arles along the shore of southeastern France. The sight that is portrayed here is of a blustery day outside the city, shown by the employ of serious brushstrokes moving in dissimilar directions, which makes the plants, grassland and solitary tree move in the false impression of a breezy day. In The Rocks, there are few in a straight line lines, as most are bowed somewhat to give the misapprehension of an incessant movement of foliage and to the curvature of the weathered rock.
This work of art is colored by thick paint in shades of olive green, mustard yellow, off-white and navy blue. You’ll see that no black is current, which is a continuance of the art methods of the unique “Impressionists”. In its absence, Van Gogh used dark blue to make the Mediterranian Sea, with the real rocks outside in off-white, as well as olive green and mustard colors for plants jutting out of the stony outside. When viewed up shut you can see the rough width of the paint and how a lot he used broad brushstrokes to relate it. Unlike in Goose Girl where the short brushstrokes appear to give a central point aimed at the girl, there isn’t an accurate focal point when you seem at the practical brushstrokes of The Rocks. As it is in Goose Girl, Van Gogh appears to be quite secure to the rock, but may have been painted at a distance as there is not anything living in the composition beside the tree, which gives no location to its scale. Even though he may be close to the foundation of the composition, there still is no depth to it. This rock could be a projection that becomes a precipice on the other side, hanging out over the sea; or a rock beyond back from the shoreline with the sea far in the coldness, as there is a body of water in the aloofness on the right-hand and left-hand sides of the rock. Van Gogh had the chance to paint this mass of water here as there was water near Arles. Arles being closer to the Mediterranean Sea than Paris (and other rural locales that French artist used in their paintings) was to the English Channel and Atlantic Ocean. Because of the size of the accumulation of water depicted, we cannot be sure how close or how far away the coast truly is.
The Orange Trees by Gustave Caillebotte
Overview of the period
The work selected for evaluation in this essay is Gustave Caillebotte’s 1878 oil on canvas painting titled The Orange Trees, a 61 x 46 work in which two innermost human figures are positioned in a prescribed garden in which orange trees are planted in carve boxes. The male figure in the foreground is the artist’s brother, Marital; he wears a straw hat and purple shoes and is depicted reading a newspaper or magazine, his back to the artist, and his head bent over the reading material.
Brief biographical overview
In the backdrop is the artist’s cousin, Zoe, who wears a striped dress and red boots and who is bending over one of the boxed orange trees in a very formal garden. Also present in the picture are formal, wrought iron garden chairs and a winding path surrounded by formal plantings. According to the Museum of Fine Arts of Houston (MFAH) Web site, “Capturing the specific light effects of midday, Gustave Caillebotte contrasts the cool colors of shade with the dazzling, flattening effects of direct sunlight.” The painting by Caillebotte employs a diago closely observed and rendered with characteristically flickering brushstrokes; this painting is one of Caillebotte´s masterpieces and one of the finest Impressionist paintings in the Beck Collection of the MFAH.
The texture is typical of the Impressionists, employing alternating patches of depth and surface paint to create variations in tone and in the interplay of light and shadow. They are unlikely to have been the individuals responsible for creating or maintaining the garden, but they are the beneficiaries of its beauty. The artist is making a statement of some significance. Interpretation what is "happening" in this Impressionist work of art is that two people are relaxing in a formal garden, surrounded by flowers and trees that are sculpted and placed in containers.
They are separate from the brilliant light found enlightening the curved path; they are fully clad in quite slight colors, apart from for the mauve slippers of the male and the red boots of the female, which reproduce the tinted patch of flowers in the backdrop. Most interesting is the use of color found in the piece. This bend also highlights the slanting created by the interaction of dark and light points of reference. The understanding of the trees in their planters and the forbidden flower garden, set off by a winding brilliant pathway, suggests consideration and planning; it additional resolutely places the garden in a municipal rather than rural setting, where a more normal arrangement of plantings would be found. The formality of the scene - in spite of the relative airiness of the clothing worn by the two figures - suggests a convinced degree of wealth and experience.