TEXTURE

Actual texture is the way something feels when actually touched (smooth, rough, etc.).
Implied texture is the way an artist uses line, color, and other elements and principles to create the visual illusion that something may be smooth, rough, etc.
     Louisa's skin sppears smooth and life-like.  After color was applied to the canvas, a large soft-hair brush was used to lightly soften and blend.  By carefully blending colors, Louisa seems to have life-like texture to her skin.

     Notice the implied texture of the other objects in the painting.  The cherub has similar soft skin.  The clouds and sky seem to be light and soft.  The fabric of Louisa's gown and the feathers on the birds seem to be not quite as soft and smooth.  The stark appearance of the bench and the buildings makes one feel as if they would be rough to the touch.

     On the original five-foot by six-foot oil painting, actual texture can be seen.  To achieve the desired effect for the abstract areas, the oil paint was applied in a very thick manner.

SPACE

Space refers to the area around, between, above, below or within shapes or forms.
     In the Louisa Villea, space is essential in telling the story of the painting.  Louisa sits in the foreground with Louisville's Great Lawn behind her.  The skyline of Louisville stands in the background.  By keeping proportions accurate between Louisa and the buildings, one can readily tell the distance of space between the two.
     Spatial arrangement is strategic in telling the story of Louisa and Louisville.  Louisa's face is centered in the painting with symbolic objects occupying the spaces in front of her, beside her, above her, and behind her.

EMPHASIS

Different elements and principles of art are used to direct the viewer's eyes to the important parts of a painting.  This is called emphasizing (placing emphasis on) the main parts of the composition.

    Louisa, the main subject of the Louisa Villea, sits in the center of the oil painting.  Several techniques and strategies are used to draw attention to Louisa...and more importantly, to her face.

     Both the cherub and the male cardinal are looking at Louisa, thus redirecting the viewer's eyes toward her.  The swirling lines and shapes around Louisa draw the viewer's eyes toward the center of the painting.

     The cherub places special emphasis on her by dropping gold flakes of good fortune upon her.

     The positioning of Louisa's arms sweep the viewer's eyes up to her face.

     The contrast in colors, shapes, textures, and techniques around Louisa's face is effective in emphasizing the composition's main subject.

VARIETY

Variety refers to the "differences" that are in the composition.  The artist creates variety by using various shapes, colors, textures, etc. in the artwork.

     In the Louisa Villea, various techniques and styles are used to add interest.  Louisa's portrait is done in Renaissance Realism.  Her gown is done in American Realism.  The Louisville skyline is rendered in the style of the Impressionists.  Surrealism is used in the hidden images such as those in the treeline.  Symbolism is represented throughout the artwork while Abstract Expressionism is used to tie the whole composition together.  By placing Louisa in a dream-like setting and introducing various untypical features and effects, visual interest in maintained.

     A full spectrum of colors and a variety of shapes such as triangles, squares, rectangles, and ovals add interest to the Louisa Villea.

CONTRAST

An artist will use a shape unlike the shape next to it, or a color opposite of the color next to it, in order to show contrast.  Contrast can create interest in a painting by making certain parts of a painting stand out from other parts.

     In  the Louisa Villea, contrast is used in several ways.  Louisa's red gown contrasts with the green background.  The realistic highly defined portrait of Louisa contrasts with the loosely defined background buildings and the swirling, indistinct abstract shapes.

     The styles and techniques used in different sections of the painting add interest by contrasting with each other.  Louisa and the cherub are rendered in Renaissance Realism (1500's-1800's).  The cityscape of Louisville is done in the Impressionist style (late 1800's).  The swirly lines and shapes are depictive of Abstract Expressionism (mid 1900's-   ),  Hidden shapes and symbolic images suggest the use of Surrealism (1900's).

RHYTHM

When similar shapes and colors are repeated, it creates rhythm in the painting.  Rhythm adds interest by creating movement within the picture.

     In the Louisa Villea, rhythm is expressed in the composition by repetition...the repeating of shapes and colors. The color red is dominant in repeating abstract shapes, as it starts in the lower right of the painting and moves toward the center.

     The swirling abstract lines and shapes seem to dance around the center of the composition.  These colors and shapes cause the viewer's eyes to move freely around Louisa, the painting's main subject.

     A dominant shape within the artwork is the triangle, both obvious and not so obvious.  The triangular shape creates rhythm while moving through the composition....the tops of the buildings, the tops of the two cardinal's heads, the shape of the goldenrod.  Less noticeable, yet as effective, are the rays of light over the cherub, the fleur-de-lis earring, and the body positioning of Louisa.

     Wings are used to show rhythm. Notice the cherub wings, the female cardinal's wings, and even the wing-like, ruffled sleeves of Louisa.

    

MOVEMENT

Movement adds interest to the painting by using principles and elements of art to show action and move the viewer's eyes throughout the painting.

     In the Louisa Villea, movement is best shown by the action of the abstract shapes that go from the lower right, blending with Louisa's gown, and swirling toward the center of the painting.

     When you look at the cherub your eyes are redirected to where the cherub is looking.  Also, the cherub's open palm dropping gold flakes moves your eyes toward the center.

     The rays of light moving through the clouds shine on the cherub while he drops the gold flakes of good fortune upon the head of Louisa.  This movement, along with the abstract shapes moving up from the bottom of the painting, meet at the center of the composition.  The subject of the artwork, Louisa Villea, is strongly emphasized by the use of this visual movement.

...Continue by clicking on Older Posts below...