Principles of Design
Vincent van Gogh constructs "Wheatfield" Ink Drawing on paper (1889) with the following design principles of unity and variety, balance, emphasis, scale, and texture. He employs unity and balance among other visual elements to support the massive landscape pattern as a balanced asymmetrical composition. Working with a restricted palette, Van Gogh uses only a few color mixtures with the added value of texture and intensity to his two color schemed composition. His application of bold black ink emphasized in dynamic brushstrokes cover a lighted background of chroma or, saturated yellow-orange hues adding the value of implied light resembling sunlight in the entire piece. A repetitive pattern is seem that is formed throughout this piece as he adds mixtures of gray and the primary color yellow to associate the warmth of sunlight with the yellow-orange hues. He continues with the same hues giving the value of texture with the appearance of short thin yellowish brown lines that resemble fertile wheatfield landscape. The warm tints of yellow color depicts a seasonal effect and another visual element of implied sunlight. A thin black ink contour line attracts the eye to the top across the horizontal plane in the foreground which is off-center but, a focal point that draws attention upward. This motion representing shafts of wheat flying high into the air keeping the focus in the center of the piece. The clouds are small, short contour lines that are composed of thin, smooth black ink brushstrokes in contrast to thick, roughly applied light yellow-brownish color resembling wheat-covered ground. This composition supports balance and proportion as the smaller subordinate figures in the distant foreground are drawn to scale in proportion to a normal sized wheatfield with very thin black straight lines depicting haystacks that are positioned off center throughout the composition. In conclusion, Van Gogh's "Wheatfield" ink drawing on paper (1889) supports a symmetrically balanced composition design based on the fact that the focal point is directed toward objects that are at the top center of this piece.
In Vincent van Gogh" second piece, "The Emperor Moth" Oil Painting on Canvas (1889), he chose a similar design principles including, unity and variety, balance, emphasis, variety, proportion, rhythm, and scale. The figure of the moth in the center attracts the eye first to the subject matter positioned in the center. The eyes are drawn right above the moth by three broad contour-shaped yellow-green leafs adding value of proportion and scale to the moth's wings that are spread open revealing color value of broad black outlined green-blue tinted wings displaying the value pattern in the design on the moth's wing that comprised of three tiny, evenly spaced black dots on top of each wing. Van Gogh adds a second focal point that direct the eyes up to the top center of the edge of the piece to a cluster of vividly colored red berries, this adds another value of balance and oneness of design in this asymmetrical composition. It shows a variety of different shapes and textures as dense foliage in the background that provides the visual element of implied sunlight, dimmed cool lshade of the tertiary colored foilage of green and green-blue). Another visual element that adds the value of atmospheric perspective is introduced in duller shades of tertiary colors of yellow-green as cooling effect and with the small to medium-sized leaf clusters in scale and proportion to the moth. In conclusion, Van Gogh's "The Emperor Moth" asymmetrically balanced composition exhibits more intensity and movement based on the use of intense color, more unusual shapes, and more dynamic feeling created by its visual elements and principles of design.
Gwendolyn Lane
WORK CITED
1. Getlein, Mark. "Getlein's Living with Art" Eighth Ed. (McGraw-Hill, New York, N.Y.) Copyright 2008. (Chapters 4 and 5).
2. The National Gallery of Art Online. Washington, D.C. Located at URL: http://www.nga.gov/
2 comments:
Dear Gwen,
The essays have a much more focused structure with the addition of a strong thesis statement.
Comments:
1. vanGogh's drawing is is asymmetrical
2. van Gogh is not using color, he is using tone and value through black and white or brown and white.
3. He is probably not using a brush, this is a drawing and he is probably using a reed pen
4. the picture on the blogspot is sooo small that it is difficult to see what the focal point (or emphasis) of the drawing is, but it would appear to be something in the back ground.
5. this essay seems long and over worked.
6. Try to focus on three main points and write about those
7. consider leaving out interpretation.
"Moth"
1. How do you know that vanGogh used color for emotion here?
2. The moth is not in the center of the painting.
3. there is never, that I know of, two focal points in a work of art. In "Moth" the veiwer is drawn into the work by the moth and then to other parts of the work and then back to the moth.
4. The red berries contrast all the green in the painitng. They are put there to create visual interest (variety) in all the green the unifies the painting.
5. consider slowing down. and defining the terms
6. consider choosing fewer terms to talk about.
brew
Dear Professor Brew,
RE: Comments on Wheatfield:
Today, I found a clear image of an earlier version of the exact same landscape. It was entitled "The Harvest" (1888) and was of the identicle wheat field. I'm aware of your policy but, must ask this question out of pure desperation. Will you allow me to replace it along with a new writing for extra credit on my Activity #1 blog? It is ideal for our current assignment about the themes of art. Please consider it because when we downloaded it, the image was terrible from the start. Please let me know if you decide to allow me to use it. Thank you.
RE: Comments on Emperor Moth:
I really didn't know his emotional state of mind. However, I read van Gogh's biography at NGA that told of his troubles described as deeply troubling mental problems. I also read that he created his pieces from the lives of farmers, women working in fields, and from things he had seen and of places that he had been. So, I surmised that he had quite an interesting imagination to portray a moth which has such a short lifespan. I thought he was probably looking at the moth in a garden, and later painted it from memory or from a quick sketch which he had been known to have done in pencil before putting it on canvas. It seemed like he had probably had those thoughts many times of "being as free as a butterfly" especially if he were sick or in a hospital.
In the future, I will slow down and try harder not to use so many terms and unneccessary words in my essays.
I appreciate your helpful comments.
Thank you,
Gwendolyn Lane
ART101
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