NAME: NIKKI MARIE A.

CABAHUG SUBJECT: ART APPRECIATION

COURSE/YR./SEC.: BSCE 2-D1 DATE: 04-27-2022

PHOTO ANALYSIS

Analyze the picture with the following:

• Scale
To see as much of this artwork as possible, I must get quite near to it. The female
figure is, as can be seen, far smaller than life size. The drapery that she is wearing
runs the length of the image. She's so near to the front that she towers above the
horizon line, and she's definitely the main subject. Trees frame her on one side, while
the high outlines of the architecture frame her on the other.
• Composition
When I look at the composition of the exquisite and delicate tilt to the Virgin Mary's
head, which corresponds to the angle of the Christ Child's head, I can see that it is similar
to the angle of the Christ Child's head. The slope of her right shoulder is then formed by
a diagonal line that corresponds to the diagonal line of her forearm and the diagonal
line of the child's body.
• Pictorial Space
I noticed that the artwork is not at all crowded. On this flat surface, the artist is
generating the illusion of three-dimensional form and space. The Virgin Mary is
depicted seated on the ground with the infant on her lap. The sky at the top of the
image, the sky closest to us, is filled with deep, rich blues. The sky grows paler as it goes
back in space towards the horizon. Look at how the far mountains have changed color,
becoming lighter and bluer.
• Form
The picture incorporates a variety of forms, it has trees, grass, fields, mountains, and
clouds. In the background, there is also a figurative architectural form. Some of these
shapes, like the Virgin Mary and the Christ child, are rounded and curved, while others,
like the architecture, are rectilinear.
• Line
The line is frequently used to define shape in paintings. It features a contour line that
separates the draperies of the Virgin Mary from the grass on which she sits on. The
lines in the tree's branches and the line in the corner at the edge of the squared turret
featured in the architecture may both be seen.
• Color
I can observe that the picture is separated into three primary color bands. The Virgin's
Mary robe, the mountains, and the sky are all vivid blue. The red of her undergarment
is the second color, followed by the yellows of the body, the fields, and the architecture.
In the fields, we may notice contrasting earth tones such as green and brown. It also
includes a white tint in the Virgin Mary's shawl that she wears over her head, as well
as the clouds.
• Tone
Many sections of this painting, including the garment of the virgin Mary, feature light
and dark color contrasts, but it's perhaps most carefully handled in the image of the
body.

• Texture
Because of its smooth brushwork, oil paint is well adapted to depicting diverse
textures, such as the lovely rendition of the Virgin Mary's face in this artwork. The
artist is also designing smooth skin and clothing textures and the rough texture of the
stones that I see on the ground.

• Pattern
A gentle organic pattern in the front of the greenery may be seen if you look
attentively at the artwork. There is a pattern of leaf formations repeated, and the
grass is laid out in a colorful field. Also, the Virgin Mary's blue garment contains some
golden needlework, which I can see in the design.