blog 3

Northeaster

Artist: Winslow Homer (American, Boston, Massachusetts 1836–1910 Prouts Neck, Maine)

Date: 1895; reworked by 1901

Medium: Oil on canvas

Dimensions: 34 1/2 x 50 in. (87.6 x 127 cm)

Classification: Paintings

Credit Line: Gift of George A. Hearn, 1910

Accession Number: 10.64.5

On view at The Met Fifth Avenue in Gallery 767

The northeaster is a very beautiful painting. It is a natural scenario of a storm that the artist has tried to portray in the painting. The painting is supposed to be a violent storm which was endured for a long time on the coast. The form of art is 2D as described above it is a painting with oil on canvas. Homer used a mixture of dark and cool colors to give a vibrant and beautiful effect. Dramatically by looking at the painting we should see destruction or some sort of violence or harm brought about by the storm but instead we see the ways building up and the tide at its highest, this leaves the viewer in anticipation that what might have happened after the tide had collapsed on the shore as to the magnitude seems horrific and huge. The style of the painting is representational, as it is an imagery of a sea storm and the use of detail and patterned making of waves make the artwork look quite real and natural.  The painting can be put into the category of landscape paintings if we talk about its style. The visual elements I saw that the artist has used are line, shape, color, value and pattern. Although we cannot see distinct lines connecting to each other but we still find that the part of the painting which is land, or the shore, has a pattern of lines to add detail and build height in the mountain, the lines although merge together but some are definitely distinct to form shapes of stones and a rough shore with some vegetation which has this reddish brown color. The next and most abundant visual element is the use of cool colors with dark colors in the painting although when I initially looked I was glued to the cool colors since they are so attractive, but while making out details in the artwork I saw that it definitely has the foreground, middle ground, and back ground. The foreground is the shore, the sea and the huge wave is the middle ground, and the buildup of tides and waves in the back to show a continuation of the storm are the background. The drawing is an achromatic and the variation of colors shows the perfection of the artist, the grey/black sky, the fog and the different colors to make the land make the painting so beautiful. The artist followed a pattern for the huge wave, the pattern is actually the different smaller waves assimilating into a bigger wave, but the background shows more waves which seem further from this one and that’s why he used a different way to draw them. The artist also used value/ light in the painting as to the painting shows a variation of dark and light, the scene portrayed seems of a cool evening when the storm came as to the sky is not black but grey and the water in the distance is not light but darker in color which means that it is definitely not a sunny day. The visual effects of lighting would really matter in this painting as to if it is set in a lit up place it would not have the same effect on the viewer as without too much light. If the artist even incorporated a little more of the warm colors in the back ground of this painting it would not have looked the same as it is. 

Blog Post #3

Amethyst
by Alphonse Mucha
unknown date

     The artwork I chose to closely analyze is named Amethyst, and it was created by Alphonse Mucha. This piece is a 2 dimensional form of art as it is a color lithograph intended for printmaking. In the foreground of the picture there are flowers and slightly behind the flowers is a female staring ahead towards the viewer. In the background, more specifically behind her head, there is an almost abstract circular shape with more inorganic shapes within the circle. Mucha creates the image in a predominantly warm color story using various dark hues of red throughout the lithograph. The constant use of dark red hues, or the conscious decision to keep the image in variations of the same color makes the image appear monochromatic in some aspects. In some areas of the piece Mucha uses some slight shades of green (particularly in the stems of the flowers) that seem to have hints of yellow and red to continue with the warm color story.

     The style of this image is Representational. The female within the artwork appears anatomically correct, all of the proportions of her body as well as the flowers in front of her seem very accurate. There are also elements of a Non-Representational style. In the background of the image is a large circle containing, almost a pattern of inorganic shapes, possibly lettering but this part of the image is not based on any “real” subject matter and does not resemble anything found in “real” life. I believe when trying to categorize this piece of art into what type of image it is there are lot of factors that can               

be taken into consideration. Even though the image does contain some elements of nature, in specific regard to the flowers, the main subject within the piece is the female so it would not be categorized as a Landscape piece. I think the most appropriate type of image this would piece would fall under would be Portrait, the main subject is the female in the picture anything else placed in the image is done so to compliment her.

Is it a painting or a photograph?

   

     Is this a painting or a photograph? Photography was first created as a faster replacement for painting. It allows artists to create images easier and quicker. But was that really the main purpose of photography? This indeed is a film photograph taken by Ansel Adams at Yellow Mountain, Glacier National Park in Montana on 1948. Ansel Adams believed that one of the main purpose of photography was to capture visual in a sharp and clear form. Unlike paintings, it is hard for a painter to create a painting that looks truly real. For a photographer, they are able to capture the image they already planned in their mind with the sharpness in just seconds to minutes. This it why Ansel Adams enjoyed photographing in small aperture. This way he can capture everything in focus and sharp. 

     In this photo, Ansel Adams captured the landscape of the Yellow Mountain in Montana. In the background, we are able to see a huge mountain covered in snow and ice. However, in the foreground, we can see few smaller mountains full with grass and trees. It is fascinating to see a placement of a snowy mountain with grassy mountain. Although we can see a clear distant between both, but they still felt very close. If you looked very closely to the lower left of the photo, you will be able to find a cabin hiding within the trees. It wasn't because Ansel Adams wasn't aware of it nor he was too lazy to move, but it was done in purpose. Ansel Adams included the cabin as a scale to show the size of the mountains. You can really get a sense of how big the mountains are comparing to the cabin. The color of this photograph was also interesting. Ansel Adams combined the cool colors from the sky and the snowy mountains with the warm colors on the yellow trees and the cabin. However, the mixture of cool and warm colors created a unity between both in this photograph. Some might believed that the sky and the shadows are negative space, but I thought that there aren't any negative space in this photo. I believed that without the sky or the shadows, this photo would not be complete. In the end, this is still an amazing photograph. It looked almost like it was a painting and if you were to touch it, you'll be able to feel the texture of the dry paints on the surface.  

Zoma:Form, Style, Type and Visual Elements of an Artwork

A work of Art is generally is single but very complex composition containing a lot of information. In the following, we will analyze in an artwork, some of the elements characterizing it, like its form, style, type and visual elements. The present work was made by the American Edward Hopper (1882-1967). The artist is known for his paintings evoking urban loneliness of the great cities of the 20^th century, depicted by the artist as the home of isolated men and women. 

This work titled Summertime (1943), is a painting, an oil-on-canvas art with dimensions 44 inches for width and 29.125 inches for height. It is a genre painting; that means an artwork portraying ordinary scenes. Here, the author is ironically picturing a lonely beautiful woman in a summer time. Edward Hopper is accustomed to this form of art (painting), and especially works of this type (genre) through which he described the solitude of the cities of his time. The exacerbation of the artist in the painting is great in the sense that one would barely imagine a graceful woman so lonely in summer. The style of this work is representational. The author is giving a representation of what he thinks to be the reality of his environment, without any distortion of his character (the woman) and her surroundings.

The use of the colors in this work is very amazing, in the sense that they are used in such a particular way by the artist in order to convey his message. Hopper is depicting a scene during summer time. One would definitely expect to see a very warm or hot scene, and the use of bright colors like red, yellow, or pink to represent that reality. On the contrary, the artist used a monochromatic blue tone in his work. The blue that is a cool color is actually chosen by the color to characterize this summer without brightness, without warmth, as refer to the loneliness of the woman. The blue, that has also the emotive value of sadness, is meant by the author in its choice. The artist is illustrating how in this summer time, the solitude of the woman changes an atmosphere which is supposed to be hot, bright and joyful to an atmosphere that is cool and sad. Our first contact with this artwork made us think of a very cold winter morning, except when we started paying attention to the woman’s clothing, then the title and the information about the painting, we finally realized that it was a summer scene. We can also notice that the monochromatic tone, purposely chosen by the artist is to emphasize the solitude of the woman, the loneliness of those cities where communication between people is very rare.

Hopper has used implied lines to convey his idea through his work. To the vertical lines implied par the woman, the columns, the doors and the widows which express strength and joy, the artist opposes horizontal lines implied by the sidewalk, the stairs and the slits in the wall, to emphasize the sadness of this lonely woman, and the melancholy of this empty atmosphere. Also, throughout those systematic vertical and horizontal lines, the author characterizes a very monotonous, flat and mechanical ambiance, without liveliness.

Besides the suggested lines used by the artist for an emotional purpose, we can also discuss about the contour lines in the painting. We see in this work a very particular way of the artist in using the contour lines. In some artworks, the contour lines are lost in the shading and the texture of the objects, so that even it is possible to discern the shapes, it is nevertheless difficult to distinguish the contour lines. On the contrary, in some works, the contour lines are prominent and dictate the shape of the object. But in this work of Edward Hopper, there is an amazing balance between the shading, the texture, and the contour lines, so that even we can visibly admire the effect of volume (3D) created through the ingenious shading and value, the contour lines are still clearly perceivable.

    In the picture, we can also see some patterns. There are horizontal patterns defined by the horizontal lines in the wall of the house. We can also see a squared blue and white pattern on the interior floor of the building. Those repetitive patterns participate in emphasizing the monotony of this melancholy air.

The first look of the picture gives to the observer the impression of a flat value in this artwork, a strange intermediate value between light and darkness, deliberately designed by the artist to describe this mournful summer. However, Hopper is concerned about giving also to the viewer the sensation of the presence of light that can be seen through the shadows of the woman, the awning, and the upper corners of the windows.

Summertime (1943),

Edward Hopper (1882-1967),
44 in/ width x 29.125 in/ height,
Painting/ Oil on canvas.

Form, Type and Style

      This beautiful piece by Arthur B. Davies titled “Italian Hill Town” displays many aspects of Form, Type and Style.  For starters, this is a 2D painting done with oil on a canvas.  The style in which this painting handles its subject matter is representational.  This is due in part of the artists’ intention of keeping the contents of this painting in the realm of reality.  There is nothing abstract or nonrepresentational about this painting because everything is fit to mirror the real world.  The type of image Arthur B. Davies chose for this painting is undoubtedly a landscape painting.  However a case can be made that this painting shows hints of a genre painting, wherein there is a small glimpse of the “everyday life” aspect of farmers and townsfolk.  This claim may be substantiated through the presence of cattle grazing and the slight depiction of an agrarian atmosphere.  However I believe that this paintings intention is to depict not an agrarian livelihood but rather the broader scope of an Italian landscape due to the focus set on illustrating the many aspects of a landscape painting, such as trees hills and woodlands.  The foreground within this painting contains the oxen that are set amongst the plain and in front of the hills.  The middleground of this painting contains many hills that have little towns nestled in between them.  The background holds a somewhat cloudy sky amongst even deeper hills.  It is interesting to note the title of this painting, “Italian Hill Town”, may not refer to the predominate castle that is planted in the exact center of the painting.  There seem to be many little towns or villages that are scattered across the landscape and perhaps only the nobilities live in the castle.  Perhaps even more interesting is the way in which the light falls upon the left side of the painting and highlights the castle and small towns on that side only.  Perhaps the artist is subtly leaving a message about the hill and the people that live on it.  The right side of the painting seems incredibly dark, perhaps signifying the contrast between those that may live upon the hill and those that rely on farming and agriculture on the bottom of the hill.  It can be noted that as your eyes gaze towards the top of the hill, more towns seem to pop up as you glance around the hill, whereas there is perhaps only one tiny village to whom the cattle may belong to.  The artist does not however, use a dynamic range of color. The color palette seems to only stay in the “warm color” region, diverging only to “cool” where there is a sky and a slight hint of a lake nestled on the right-hand side of the painting.  This illustrates the artist using a monochromatic approach towards the coloring of this painting.  Perhaps the use of monochromatic colors helps this painting by demonstrating texture.  The texture of this painting seems to indicate a type of “dustiness” that may cling to the roads that lead up and down the hill.  Whereas the artist uses variations of darks on the right hand side that give off a sense of humidity or moisture that may be present in a forest-type setting.  All in all, this is a magnificent painting that demonstrates many aspects of Form, Type and Style.

WHITE CAT (BP#3)

ARTIST: Gertrude Abercrombie.

FORM. painting (2D), oil on canvas.

TYPE. Representational.

STYLE. Still life/Illusionary. 

VALUE. 

The artist used cool pale colors with an illusion of the sun illuminating the room, falling sharply from the left side of the painting, implying a window, letting small shadows to be formed. Those very delicate and sophisticated nuances of shadows can be seen behind a cat, vase, and a left edge of a white tray placed on a table. It also creates shadows on a frame of a small painting, giving it an illusion of a grey color. There is a contrast between the dark, black floor, and the rest of the room, with light, pale colors.

LINES. 

The door is vertical, as expected to be, giving the painting some seriousness. It is peculiar that the white cat also stands by the door vertically, or better said, upright. Left from the cat and door, the rest of the painting is all horizontal: a table, a tray, the other smaller painting on the wall, the floor, the wooden slates below the painting covering half of the wall. All geometrically shaped as rectangles, give the painting a more relaxed, casual feeling as a score. Even the horizontal shapes in the small painting on the wall match everything else on the main one, including the clouds (!). It is definitely a pattern of horizontal shapes.  The vase, in its vertical position, almost matches the size and the shape of the cat though. 

There is also a very clear horizon line placed in the lower part of the painting separating the background (the wall and the door) from the middle-ground (black floor). The foreground would include the table with items on it, and possibly a cat as well, even though the size of the cat implies a distance as if it was in the middle ground. The position of the horizon line tells us that the painter wanted to be closer with us, showing us her creation from a closer perspective. Also, very thin contour lines created another wall on the right of the painting, where cat’s shadow falls upon. This wall gives us a sense of a distance, as well as the illusion this might be a small, narrow space.

TEXTURE. Seems a little bit coarse overall through the painting, especially in the main wall area in an attempt to give it a more real look, as if we could touch it, and dirty our fingers. Both walls represent the negative, empty space. 

COLOR. 

Except the neutral ones: black for the flooring, and a white for the back and a side wall, cat, and a tray, the artist used predominantly cool colors of variations of light blue (monochromatic), as well as green for the grass in the smaller painting. The only warm color is a dark brown which can be seen used for a miniature tree in the “other” painting, as well as for the table. However, the table that overlaps the black floor, the blueish wooden wall, and the door, is almost invisible due to insignificant contrast by brush strokes. It  blends nicely with the floor, and is almost overpowered by blueish 

colors. Its hiding position plays  a crucial role too, being so low on the painting to begin with. 

Even though the painting titled "White Cat" overall appears relaxed with smudged colors of white and light blue, it is peculiar that the artist decided to use black for the floor. Why not more blue colors? Maybe in attempt to give the painting a nuance of a serious tone after all (a vase without flowers). Especially since there is an impression that the cat, pressed in the corner against the door and the wall as if feeling anxious, gazes at us. The cat is the center piece of the painting even though the artist manipulates us into thinking it is just one of the items in her subtle, modest, non-pushy approach. Or better said, she doesn’t like to make things obvious. My personal emotional response is neutral and very relaxing: I could meditate gazing at this painting. 

SAAN, online website

Blog post #3

This work’s name is Abstract painting 1952, and the artist name is Grace Crowley. This painting style is Abstract which is not real world, and this artist used oil with brush in this painting. It does not have horizontal lines, and has geometric shape. This painting’s texture has much kind of textures which are smooth, cool, and worm because this artist used a lot of different colors and different kind if square shapes. Moreover, this artist used worm color, cool color, and he mixed white with these colors which creates pastel colors.

I believe that he wants to tell us the variation of the colors. This painting has secondary, primary, and analogous coolers. Because of overlaying each other’s color, we can feel many variations of colors. I can also feel different emotions from this painting because of the many different colors, and size of squares: small, big, long and short geometric shapes.

   In my opinion, this painting shows human’s feelings, and emotions. The worm colors show happy, love, and kind emotions. The cool colors show cold, sad, and calm emotions. Therefore, even though they are all same square shape, they have different taste of feelings from these each shape. Thus, I learned that shapes and colors are very in any works because these tell details of the paintings.

   In conclusion, I learned about different kind of colors, pattern, texture, and shapes in the last class. These are really important to express feelings, and show details of their paintings.

Blog Post #3

I decided to go with Maxime Maufra's "Back to Fishing Boats in Belle-Isle-En-Mer", a 2D oil painting made in 1910. It is a Post-Impressionist work depicting a landscape, or, more specifically, a seascape. It is done in a representational style. We can see ships floating atop the ocean waves with a lighthouse to the left, which is standing on what appears to be an isle of some sort.
I really enjoy the colors used in this painting. It mostly uses varying shades of two primary colors: blue and red. There are various shades of blue used here; the sky, for instance, is painted using sky blue while the ocean is more of a deep oxford blue with hints of dark green, which gives the water a sense of depth. We can see white and some very light blues in the crests (the light tips) of the waves too, which might allow us to assume that the scene portrayed in the painting took place during a windy day. The sky also holds some baby pink mixed in to give the effect of clouds. The boats have really bright, orange-red sails; orange being complementary to blue, and red to green, the latter of each being represented in the colors of the sea. The lighthouse itself is painted a snowy white with some baby blue accents. The red in the lighthouse is not so much orange-red but more of a brick red; and lastly the isle seems to be a cedar-ish brown. Between the blues and reds, there is definitely mixed feelings between warm and cool in this painting.
Aside from the colors used, this painting has numerous visual elements at play, one being its use of lines. Particularly, the lines used in creating the sea. There's a mix of horizontal and diagonal lines, many perpendicular to each other, and some that are not straight, which gives us an understanding of the movement of the waves. Even the body of the ship in the center is basically a diagonal line amidst all these other kinds of lines. We can definitely see the action occurring in this scene since there are many different types of lines and none of them are all that parallel to each other.
The use of value is also very prevalent in this painting as there is a big contrast between light and dark. The sky is made using much lighter colors, but once we get past the horizon line, we get extremely dark blues and greens. However, even the sky and ocean have their own separate value ranges. With the sky, the right portion of it is slightly darker than the left, and despite the sea being mostly quite dark, we can also see some lighter parts of it in which light is being reflected off the surface.
The shapes used in this painting are both organic and geometric. For example, for geometric shapes, we see that the sail of the main boat heavily resembles a triangle, and the body of the lighthouse looks like it could be a perfect cylinder or even rectangle. The isle seems like it could be a rectangle too. When looking at the entire object however, the boat and lighthouse are very much organic shapes. It's only some details of them that can be seen as geometric shapes.
 And lastly, there's the use of positive and negative space. We can consider the ship, lighthouse and isle to be the positive space, as they are the focus of this painting. As for negative space, that would be the empty area in the sky and surrounding the boat.

Blog Post #3

In my search of a painting I visited the online collection of The Met and found "La Grenouillere" by artist Claude Monet from 1869. Monet’s painting at “La Grenouillere” is a physical actual place a boating and bathing resort on the Seine near Paris. The Met also mentions that Monet was not the only artist at “La Grenouillere” but also Renoir for which he has many versions and has a painting in Nationalmuseum, Stockholm which is also identical to Monet’s viewpoint in this painting. It was also believed they worked side by side. As I analyzed the painting I can say it’s a 2d painting. It is also a representational work of art and a genre painting. We see many lines across the painting and the horizon line is very visible just between the water and the land. There are many lines in the painting and all pointing to the same direction which is the middle of the panting. There is also pattern across the water which can be said are the waves. The texture of the painting makes the surface imply that we could almost touch the water as we touch the painting. The perception the painting gives is like if we were in the physical location. We can be easily submerged by the painting. Monet doesn’t really use primary colors at least not visible but does use secondary and tertiary colors. He uses a lot of cool colors such as green and blue. It almost suggests that where Monet was standing there was shade over the horizon above them all and that was captured by the colors he used. Monet uses also monochromatic/ achromatic techniques. He uses these variation in the water, in the trees and the sky. Monet definitely captured the exact precise moment of life. We are very lucky we can still view his painting at The Met . 

Claude Monet (French, Paris 1840-1926)

1869

Oil on Canvas

On View at The Met Fifth Avenue in Gallery 818

Forms, Styles and Types of Art

The painting I select is from Centro Cultural São Paulo, and it is made in 1966, but the author and titled of this painting is unknown. This is a 2D painting made with Oil on canvas. It is a representational style, and portrait type of painting. The painting is about a girl or woman is wearing a blue cloth and a white hat, and holding a yellow bird in her hands.

In this painting, The pattern of her hat is some straight line. Her hair is created by the curves. I also see a lot of geometric shape. There are 4 obvious parallelograms on the background, a triangle hat, an oval face, an oval lip, oval eyes, and different size of the rectangles pattern on her clothes. The color of pattern of cloth is monochromatic color that vary between dark to light.

The colors of this painting mostly brown, but it can still divide by 5 different colors. Three primary colors: red lip, yellow bird and blue cloth. One secondary color: green eyes. One tertiary color: brown background and skin.

The different colors have different means. The color brown is a serious, down-to-earth color signifying stability and safety. In this painting, I think the color brown is representing protection. The cloth of the girl or woman is blue, this a color is representing responsibility. The yellow bird is the lightest object in the painting . The color yellow makes this bird in this painting become like a light, hope and happiness.

All in all, base on the information, I get from the painting, a girl or woman is wearing a blue cloth, and holding a yellow bird in her hand with a brown background. I make an inference that author’s of this painting, his purpose is telling us that protecting natural animals, or a specified animals bird is our responsibility.

Forms, Styles and Types of Art

For this blog post I chose an artwork named “Roll and Roll” by Song Myung Jin. The painting belongs to Korean Art Museum Association and Song created it in 2006. This landscape painting shows relationship between a flat, 2D canvas and a 3D illusion that grass rolls are creating. “Roll an Roll” may seem simply but actually the painting is rich in demonstrating many visual elements. Song uses natural forms,like in this case grass. The great portion of a painting is grass that makes us feel like we are observing a real grass. This characteristic makes the art work residential and abstract because Song plays with color and shape to give us a sense of “real”. Song successfully made a monotone grass flatness look two and three dimensional by adding pink and white color on the two rolls. We observe surfaces that seem to be turned over toward the backside on the entirely green canvas and surfaces that seem to be turned under the green canvas but yet the painting is identifying as flat area. In addition, the green canvas seems to have a texture rather than flat surface. As we learned more in class about shape of space I came to conclusion that the grass, as main objects, represents a positive space and since the white surface brings vision of emptiness symbolize negative space. I read that Song found inspiration for “Roll and Roll” in people’s way of growing grass. People place rolls of grass on the ground and roll them out. Once the grass is rolled out, it is able to root and continues to grow. Also the art work does not consist of any geometrical shape but organic shapes are recognizable. In order to attracts as many eyes as possible Song also uses pink and green color which are opposite on the color wheel. These complimentary colors give happier and brighter look to the painting. 

A Storm in the Rocky Mountains

A Storm in the Rocky Mountains, Albert Bierstadt, 1863

The painting below is called A Storm in the Rocky Mountains, Mt. Rosalie by Albert Bierstadt, painted in 1863. The 2D  painting was made by using oils on a canvas. The style of the art work is representational due to the subject of the painting. Bierstadt captures mountain peaks, valleys, and the top of Mt. Rosalie (now known as Mt. Evans).  The depiction of this landscape automatically makes this painting natural and real; therefore, representational. According to the paintings description, the stormy weather conditions creates a dramatic but perfect backdrop for the detailed flora and a Native American hunting scene in the foreground. The artist also rearranged landmarks and exaggerated the scale of others to get this as a final painting. By doing so he gave us a new relative size of the landscape.

            To give this painting the natural look, Bierstadt used Primary and Secondary colors. The primary color blue is used when painting the sky. When giving the sky a stormy look, the artist went from a black (could even possibly be a navy blue) to more of a lighter blue and white to create that stormy perception. He gives off that same color pattern of blue if you look at the body of water that is below the stormy clouds and the base of the mountains within the background. The secondary color he uses the most is green of course. You can see the different shades of green used through-out the painting from the trees to the grass. The value of green is based on where the stormy clouds were placed within the painting giving off that dark green color due to no light hitting that part of the landscape. Then there are those spots in the painting where the sunlight is hitting the landscape giving it that lighter green perception.

BP#3

The painting I chose is “ The old blind guitarist” by Pablo Picasso. This painting was painted in 1903, while his “blue period.” I chose this painting because his “blue period” came to mind when we studied that the color affects the brain and has emotional and optical effect.

            The type of this painting is portrait. The form is 2D, painting. Oil paintings were used. The style is representational. Picasso depicted the old blind man wearing ragged clothes and his guitar.

The color of this painting is mostly blue. Different values of blue are used to create from the light to the shadow. It is monochromatic. The light side of his back is mostly dark. Even the white is bluish, which is cool color. The value difference shows that the old man is reduced to a mere skeleton. His bluish white bony hands express his poorness, misery and weakness. He hung his head. These colors affect emotional responses. I feel sadness, loneliness, poorness and cold from this blue colors. It is like nobody is caring him on the street. On the other hand, in the blue world of this painting, the guitar is depicted using orange brown, which is complementary color of blue. The guitar is depicted inclined but almost vertical. I think it shows some hope and warmness for him. The guitar is very precious to him. I feel that maybe he likes playing guitar and singing songs even though he is blind and poor. That is the only emotional support to him. He might not have family or friend but he has the guitar. The yellow in his face may show he is alive. He hung his head horizontal. It could mean he is calm when he is playing the guitar. The complementary color has the effect of emphasizing each other, so this blue and orange emphasize the presence of him and the guitar. This painting makes me feel sympathy with him that nobody can live alone.