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Post-Critique Writing:
On Brianna Harlan's Composition
The artist’s focal point in the composition is the large and thin curve done in a dark blue hue. It contains the most emphasis because of its value, which is darker than that of all other colors in the composition. And because it’s value is so dark, [better known as a shade] it contrasts with the lighter, tan shapes in the center of the composition. It’s location in the center of the vertical axis of the composition creates an asymmetrical balance that also contributes to its emphasis. The focal point is not overpowering because the artist also includes a dark violet in other parts of the composition that share value and intensity with the blue, and therefore decrease any overpowering effect it may have. The only negative concerning the focal point is its direction. Although it is curvilinear, the top of the curve is masked with other shapes and because of that, the line seems to move downward and in a clockwise motion, rather than counter-clockwise.
Grouping and proximity are used in relation to the focal point to begin the visual movement of the composition. Woven among the line of the focal point is a series tan rib-like curves. Each of them are curved, or tilted, in a counter clockwise motion, portraying the major movement. They are all spaced in close proximity to one another so the mind creates a larger implied shape with an overall counter-clockwise orientation. From the tips of these rib-like shapes, a transitional color is used with a similar intensity in the form of ‘dots’. By use of repetition and rhythm, these dots are placed in an implied line throughout the composition and again by proximity, create a counter-clockwise movement.
The composition does include two minor movements, although one is stronger than the other. The first is the series of rib-like shapes in the center, that were integrated with the focal point. Their curved ends point toward the left side of the composition and are arched in a similar way as the back of the man carrying Jesus in Deposition, therefore mimicking the minor horizontal movement from that man, to the face of Jesus. The artist has a more subtle, second minor movement in the lower right of the composition. The rhythm of the implied line of dots ends with the last dot being pointed and oriented upward, creating a vertical movement up the right side of the work as the man’s legs and woman’s extended arms do in Caravaggio’s painting. Also, by use of contrast created by value, the point of that particular shape is more emphasized and is distinctive from the darker earth tone behind it.
I believe this composition is most dynamic in its use of similar shapes to create the major movement. The rhythm created by the repetition of the dots, along with the rhythm created by the proximity of the rib forms, allows for the mind to easily follow the intended motions. Using two very different shapes (dots v. ribs) in a similar method of repetition was a successful attempt at transitions, and therefore visual movement. The color choice of the piece was less dynamic than shape and placement. While the earth tone/browns have good transition among one another, the work relies mostly on value to create contrast. However, the two darker earth tones share a similar value and the dark violet and blue do with one another also. And because of this, those four colors visually separate from the cream hue and that color becomes isolated, lessening the color harmony and overall color unity of the piece. The minimal use of blue and violet also makes those colors isolated from the rest of the composition, which the majority of is cream/tan and brown. However, the sparse use of violet is balanced throughout the composition in very small amounts, creating a variation in speed each time the eye sees a small section of the color. Overall, I think the most impressive attribute of the work is the artist’s attention to repetition, rhythm, and shape to create the desired visual movement, along with the weaving/integration of the focal point with the central group of shapes.
On Brianna Harlan's Composition
The artist’s focal point in the composition is the large and thin curve done in a dark blue hue. It contains the most emphasis because of its value, which is darker than that of all other colors in the composition. And because it’s value is so dark, [better known as a shade] it contrasts with the lighter, tan shapes in the center of the composition. It’s location in the center of the vertical axis of the composition creates an asymmetrical balance that also contributes to its emphasis. The focal point is not overpowering because the artist also includes a dark violet in other parts of the composition that share value and intensity with the blue, and therefore decrease any overpowering effect it may have. The only negative concerning the focal point is its direction. Although it is curvilinear, the top of the curve is masked with other shapes and because of that, the line seems to move downward and in a clockwise motion, rather than counter-clockwise.
Grouping and proximity are used in relation to the focal point to begin the visual movement of the composition. Woven among the line of the focal point is a series tan rib-like curves. Each of them are curved, or tilted, in a counter clockwise motion, portraying the major movement. They are all spaced in close proximity to one another so the mind creates a larger implied shape with an overall counter-clockwise orientation. From the tips of these rib-like shapes, a transitional color is used with a similar intensity in the form of ‘dots’. By use of repetition and rhythm, these dots are placed in an implied line throughout the composition and again by proximity, create a counter-clockwise movement.
The composition does include two minor movements, although one is stronger than the other. The first is the series of rib-like shapes in the center, that were integrated with the focal point. Their curved ends point toward the left side of the composition and are arched in a similar way as the back of the man carrying Jesus in Deposition, therefore mimicking the minor horizontal movement from that man, to the face of Jesus. The artist has a more subtle, second minor movement in the lower right of the composition. The rhythm of the implied line of dots ends with the last dot being pointed and oriented upward, creating a vertical movement up the right side of the work as the man’s legs and woman’s extended arms do in Caravaggio’s painting. Also, by use of contrast created by value, the point of that particular shape is more emphasized and is distinctive from the darker earth tone behind it.
I believe this composition is most dynamic in its use of similar shapes to create the major movement. The rhythm created by the repetition of the dots, along with the rhythm created by the proximity of the rib forms, allows for the mind to easily follow the intended motions. Using two very different shapes (dots v. ribs) in a similar method of repetition was a successful attempt at transitions, and therefore visual movement. The color choice of the piece was less dynamic than shape and placement. While the earth tone/browns have good transition among one another, the work relies mostly on value to create contrast. However, the two darker earth tones share a similar value and the dark violet and blue do with one another also. And because of this, those four colors visually separate from the cream hue and that color becomes isolated, lessening the color harmony and overall color unity of the piece. The minimal use of blue and violet also makes those colors isolated from the rest of the composition, which the majority of is cream/tan and brown. However, the sparse use of violet is balanced throughout the composition in very small amounts, creating a variation in speed each time the eye sees a small section of the color. Overall, I think the most impressive attribute of the work is the artist’s attention to repetition, rhythm, and shape to create the desired visual movement, along with the weaving/integration of the focal point with the central group of shapes.