Caryn Nahum
Arts In NYC
Professor Graff
Wednesday, October 19th, 2016
Sun Spots by John Marin is a painting created in 1920 is a painting where color, light, and form is easy to discuss. When first looking at the painting, the yellow color is most prominent and contrasts the blue and dark tones that occupy the bottom of the painting. The waves at the bottom are dark green and blue. Yellow often symbolizes happiness whereas certain shades of blue, like the types demonstrated in the painting, indicates negativity and emotions like sadness. The yellow depicted at the top of the painting, with circular strokes, can symbolize happiness and levity that is literally above the waves of sadness at the bottom of the painting which are depicted by harsher strokes that are more angular. The outline of the waves are darker and indicate the depth of the vast ocean. The strokes of the painting seem to be done with a light hand, but the painting depicts a three-dimensional scene and the depth of the ocean contributes to the painting’s form. Form demonstrates three-dimensionality while shape demonstrates two-dimensionality. The sky seems omnipresent by it’s lack of form, just straight strokes to indicate sky of alternating green and blue colors and circular strokes to indicate the sun up in the sky. The ocean differs because the shadows of the waves and outlines that show its depth contribute to its form. Overall, the colors of the painting are on the brighter side and elicits a positive mood.
The Trousseau by Charles Webster Hawthorne was a painting created in 1910 and depicts dark, colors. Although there are three female figures in the painting, only one of them has a bright light upon her. Her skin is glowing, and she is wearing a white dress while the other two ladies who appear to be seamstresses are wearing bland nude and black clothing. BOth ther hair is dark and put up in tight buns while the figure at the forefront of the painting has lighter hair that is put up as well, but in a looser fashion. The back of the painting is so dark and ominous almost, as if the scene is lit up by a candle, but, the woman at the front of the painting is lit up by a very bright light that appears unnatural. Her brightness is angelic and gives her an aura of purity. I believe the artist uses light and depth to demonstrate the woman’s purity. Her dress is also white and long, in the same style as an antiquated wedding dress, which was a symbol of an unmarried woman’s purity and virginity before her wedded husband deflowers her. Her arms are more dark on the outsides to show their roundness and slenderness. She is looking at something in the right corner of the room, but as viewers, we cannot tell if what she is looking at is actually something or if she is lost in thought. Her lips seem pursed together and her hands are held together at the front, both symbols of body language of someone who is perturbed or who feels uncomfortable. The woman behind her is examining her dress very closely, which may be the source of her discomfort, or it could be that she is nervous because she is getting married soon. The lady behind her depicts a typical seamstress. The lines in her face tell us she is older than the bride and her black attire buttoned all the way to her chin shows her solemness and conservatism. The other woman working on the dress in the back is sitting on a chair, more slouched, and doesn’t seem as into her work as the other seamstress. The lack of lines on her face show her youth, but her conservative clothing depict her nature. The artist used depth, color, light, and form to demonstrate this young bride’s purity before her wedding day.
The first painting’s colors are brighter and the depth is less prominent than in the second painting with darker colors and more light variation to depict greater depth in the room. The artists used varying amounts of depth and differing colors to show different meanings and portray completely different moods, one of levity and one of seriousness.
