Analysis of Moonlight Path Painting by Tom de Vita

2021-05-18 09:14:22
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De Vita describes his work is about finding euphony and polyphony (tranquility) in discordance (cacophony) He explores the deconstruction of their meanings. The painting is incoherent and disconnected and there are layers of a person, a frog and plants that are placed close together so as to produce a contrasting effect. It portrays an obscure and vague chronicle thats limitless.

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Design elements

Color: This has been used to give more emphasis to the painting and in coming up with a color strategy.

Texture: De Vita applies tactile texture in the Moonlight Path painting.

Space: The following aspects of space can be seen from the Moonlight Path. First there is use overlap, shading which alters the tone and color, use of reflected light and atmospheric perspective.

Form- Moonlight Path is a three-dimensional painting.

Principles of Design

Unity- The painting has a perfect balance between all elements and each pat contributes in making the whole.

Balance: This refers to how space, colors and the visual weight o objects are distributed in the painting. The type of balance in the painting is overall, and this is because several elements have been put together on that one canvas.

Emphasis: This is normally used so as to attract the attention of the person viewing the picture. This has been achieved though having areas with dissimilar colors and shades.

Movement: This refers to the path through which the person viewing the painting takes. In the above painting, movement has been achieved through the use of lines and edges.

Repetition- this has been done to enable the painting look more active.

Other principles of design elements include hierarchy, scale and similarity and contrast.

RENZO (SEPT. 12 NOV. 21, 2015)

Canvas A Solid Thought III

Renzos paintings are opaque and have overlays, which are transparent in nature. Consequently, this forms mixture or fusion paint, portraying or expressing metaphorical or ornate and impressionistic form of art. In his paintings, Renzo uses very highly viscous paints, and this is due to the fact that the canvas he uses is of a distinctive nature. In this, he has layers overlapped together in a process of creation and illustrated archaic profundity. The painting portrays and represents an analogy/symbol and elements of love, purpose, desire, ambition, aspirations or even figurative similes. The painting is expressive, artsy and its through brush strokes. Abrading and scuffing the canvass veneer so as to come up with an intrinsic elemental inherent character. Its deceptive an illusory.

Elements of Art and Design

Line Uses smooth and flowing lines, which are a little bit wavy in nature. Lines in this painting are used to form shading and portray form. It is also used as a decorative element.

Shape The shape is in two-dimensional form.

Color Applies hue, intensity and brightness

Texture Painting is smooth.

Proportion- this refers to the feeling of unity established after all components in the painting are connected harmoniously. In the above, proportion has been achieved through the relating size of the head of the thinking man to the rest of the body.

Rhythm has been used to create a feeling of a methodical well-regulated movement.

Unity has been used to create a sense of totality.

Proximity- this has been used to establish relationship among the elements.

Alignment- this has been used to establish succession sequencing and coordination.

Other principles of design in the painting use of variety and variation, proportion and scale in the drawing of the thinking man, repetition and pattern in the grass beneath, emphasis through focal point and harmony and unity.

Sandra Muss (DEC. 5, 2015 FEB. 27, 2016)

Genesis 1, 2014, 31 * 28

The basis of Genesis 1 is a sequence and succession of squared paper sections that are extended over so as to cover partly. These paper sections are torn and embedded together forming aging veneers of open airs street posters worn out by long exposure to the air. The painting has jagged fringes and these accentuate and deepen the uneven and irregular collage characteristic of the entire arrangement. The painter uses heavy brushstrokes, which commence forming up in an artistic manner, characterized by qualities of color, stroke and texture rather than of line. They are placed both vertically (upright) or horizontally and as such, this provides a plush and congenial reposing position for a number of items attached to the veneer. Muss also uses some small parts of a mosaic/ ornamented and tessellated metal. There is also a spray painted zone, which adds to the painting a fascinating complementary silhouette (shadow). Present is also a stick of balls of cotton which are placed precisely away from the vines and this gives the painting a natural look. There is also a horseshoe stationed exactly at the left corner just at the bottom and this, according to the painter, portrays good fortune. There is an overall harmony to the painting

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