Explanation:
Vincent van Gogh (Dutch, 1853-1890), The Poplars at Saint-Rémy, 1889. Oil on fabric, 24¼ x 17 15/16 in. The Cleveland Museum of Art; Bequest of Leonard C. Hanna, Jr., 1958.32
A recent trip to south Florida occasioned what has become a routine sojourn for me, a stopover at the Norton Museum of Art.
At the Norton, van Gogh’s The Poplars at Saint-Rémy is overwhelmed twice, first by its ornate antique frame, then by its installation on the third floor. Softly lit, it inhabits its own grey-painted gallery, a pearl in an oversized jewel box. It doesn’t help that the landscape’s colors are relatively sedate for a late van Gogh, relying on white to suggest terrain bleached by sunlight. The central two poplars are enclosed within a diamond-shaped design circumscribed by skyline above and crossing diagonals of rock-strewn land below. It is an inherently unstable composition, harmonized by color, the blue sky repeated in ground plane shadows and the blanched earth tones picked up in clouds. There is perhaps no way to write about van Gogh’s brushwork, idiosyncratic and instantly recognizable, without resorting to banalities; suffice to say that his sense of urgency demanded an entirely novel handling of paint. The Poplars at Saint-Rémy was made in a single session, a feat of compressed intensity.
Sharing a gallery with two other works by the artist, Degas’s Portrait of Mlle. Hortense Valpinçon resides more comfortably in its ground floor setting. The story of its production is no less remarkable than that of the van Gogh; leaving Paris during the barricades of 1871, Degas arrived at the Valpinçon country home without a canvas, and apprehended some mattress ticking upon which to paint his friend’s nine-year-old daughter. She leans into a sideboard and surveys us with unusual self-possession for one so young, holding in her right hand what has been variously described as a slice of fruit or a coin.
hope it helps
The answer to your question is Option B - The colors Matisse chose are not realistic;he chose them for their expensive qualities.
Answer:
D. Symmetrical balance occurs when the weight of the artwork's composition is evenly distributed; asymmetrical balance happens when the visual weight in the artwork is not evenly distributed.
Explanation:
Hi there!
The rest of the options (minus the last option) mix up the definitions of symmetrical and asymmetrical balance.
Option A states that symmetrical balance happens when the visual weight in the artwork is <em>not</em> evenly distributed. This outlines <em>asymmetrical balance</em>, not symmetrical balance.
For Option B, <em>symmetrical balance </em>happens when identical elements are balanced, not asymmetrical balance.
Option C states that symmetrical balance happens when everything is grouped to one side of an artwork and that asymmetrical balance happens when two sides of an artwork are identical in colour and size. These definitions are mixed up.
Option D is the only answer that states the definitions correctly; symmetrical balance occurs when weight is evenly distributed on an artwork, and the opposite goes for asymmetrical balance.
I hope this helps!
