What I've Learned from Art...

Art is a deep subject. It encompasses history, communications, techniques and mediums. It beautifies, sensitizes, counsels and heals. Art teaches us to linger longer, slow down, explore and get messy.

It reminds us that humankind is intertwined together.

Each of us has an influence, a story and special gifts to give. Whether or not one agrees with the content or form of a particular art piece, a person of understanding must dig deeper beyond the visual to comprehend each artist’s intent and cultural background. Mayor Guiliani’s lack of investigation of Chris Ofili’s “The Holy Virgin Mary” struck me as an ignorant move on his part only after I had some background knowledge. I must be honest in saying that initially my own reaction to the elephant dung being paired with the Madonna offended me as well.
At 72, Dennis Heiner was ineffectual in his interpretation, which led to his action of smearing white paint across Ofili’s work. They say, “Knowledge is power”. Ignorance is not “bliss” but a power that can destroy, not build up a community. Ofili’s background is African and Catholic so a blend of culture and faith is what his art piece projects. No one seemed to bother to ask though until after the fact. Sad.
The Crocker Museum was great (again). As a teacher of young children the Crocker visit again brought home the fact that real experiences are far more meaningful and firmly connects other learning experiences together. These links make strong connections in the brain, which I believe and have learned from my other Human Development courses, prevent them from being “pruned” later in life.
As an adult learner this real experience is similarly valuable. A recent PBS special shared that memory retention is best kept when older Americans learn something entirely new to them.

This can prevent the onset of Alzheimer’s. (See videos on “The Brain Fitness Program”

except the last one on the bar.)
Quote:
"Individuals who lead mentally stimulating lives, through education, occupation and leisure activities, have reduced risk of developing Alzheimer's symptoms. Studies suggest that they have 35-40% less risk of manifesting the disease"- Dr. Yaakov Stern, Division Leader of the Cognitive Neuroscience Division of the Sergievsky Center at the College of Physicians and Surgeons of Columbia University, New York.
http://ezinearticles.com/?7-Quotes-From-Neuroscientists-That-Will-Revolutionize-Brain-And-Mind-Health,-Fitness-And-Wellness&id=714987
This blog along with the photos, video and quotes etc. are meant to support the writing in each section. It is an attempt to weave information together feeding the viewer from a well balanced "pallette". I hope you enjoy experiencing this as much as I did putting this together!!
Also, as I watched the potter "center the clay" and speak about the process, I connected some parallel lessons about life as well. Before centering the clay she prepared it.

(How are we preparing ourselves?)

I believe there are kneading and shaping tasks that were done before the video began.

This was not in the video. (I am referring to my limited knowledge base of pottery.)
Once this was done she firmly threw down the prepared clay onto the wheel, which anchored it to the wheel.

(What goals, pathways and passions are we anchoring ourselves to, I thought?)

That was the beginning of the video.
With some explanations and demonstrations she deftly began to make her object. The first phrase while centering the clay that caught my ear was “Hold onto your left hand with your right creating a triangle of strength.” And “Pushing the clay up and down the clay has nowhere else to go.”
In life we are prepared by the choices we make, the experiences we have, the company we keep and the efforts we make. These all allow us to become centered only as we allow ourselves to be “pushed up and down” (stretched and compressed) until the path is clear and there is no other place to go.

That which does not break us makes us stronger.

Ecclesiastes 3:12

Though one may be overpowered, two can defend themselves.

A cord of three strands is not easily broken.

Jeremiah 18:3-4
3-So I went down to the potter’s house, and I saw him working at the wheel.
4- But the pot he was shaping from clay was marred in his hands;

so the potter formed it into another pot, shaping it as seemed best to him.

This class has allowed me to be like clay in the potter's hand. I have been exposed to the many facets of the art world which has broadened my view of the world. I look at art much differently now and am willing to dig deeper into the "back story" of the artist, the process and my very self as I view and experience a piece of their world.

Technology (Blogs, voice threads and this online experience) has given me a doorway through which I can further enhance my future learning. I will be pursuing a BA in Family Studies entirely online this next January '09. This class influenced and anchored that decision. Thank you Michelle for giving me some tools that I did not have before.

This experience will go with me, supporting my future educational experiences.

Marilyn Martino, Class of '08, Sierra College

Early Childhood Education, Early Childhood Education Master Teacher

and Liberal Arts A.S.

CONCEPTual Art

CONCEPTual art is informational art. It sends a message or is rather meant to relay one. It can be beautiful, offensive, inappropriate (if in a very public place) or simply bring to the forefront issues that we do not think about often. The last is the case with Mary Kelley. Her work "Post Partum Document" 1973-1979 may not be what we as parents-to-be think about when discovering we are about to enter parenthood. The realization of finances and parenting skills for some slowly sinks in. I believe her work is as valid today as it was then because our economy has been so unsteady and parent support from extended family so limited by time, distance and circumstances. Living on one income can be done but so very carefully. Finding support from outside sources is a challenge as well.

This piece is her visual journal of a time in the mother-child life that she tells us she is unsure of. It chronicles a parents' decision making process with observation and documentation. The small hand is not necessarily an entire hand outspread as most hand prints are. It appears to be a fist clenched together. She states : "...perhaps she should stay home". Is she thinking that her child needs her or does she need to work for obvious financial or relational reasons??

I think it goes deeper than that taking into account that she is sharing her images to a wide range of people. She is concerned about her child's two year-old aggressiveness and is "anxious" about going to work. I can understand that but let's go further beyond the artist. What is the child telling the mother? What is the mother attempting to tell us? Something about herself or ourselves? How do children without much language express themselves?

At this age and stage perhaps this child does want to communicate to the mother that he does indeed want her to stay. Behavior at this point is the only thing he has to verbalize anything. She been attacked by her own child multiple times and is concerned that she is probably the source of the matter and that perhaps she should stay home instead. If she can perhaps she could try to do so a little longer to train the child and become the authoritative figure he is so keenly asking for through his non-verbal behavior. He is asking,"Who is in charge here?"

Herein lies the conundrum. Kelley's artistic work raises questions and causes the viewer to think through perhaps their own situation. Should I stay or should I go? What do I invest my time in? Will I be pushing us into near poverty if I do stay home? If I do stay home what will that accomplish? If I go to work am I shortchanging my child and our family's life together? What is the best choice here? Is there a best choice? Something has to be sacrificed: mother/child time, child-rearing and teaching your child yourself, income and/or career.

Her mother-heart is torn as are most women's in this situation. Kelley accomplishes her mission. She causes us to see ourselves in her situation and in her reflective art piece. This is no "scrapbooker's fluff" but the bare content that personal and historical legacies are made of.

This is a long address but worth the look. You will be able to see the image much bigger here:

http://images.google.com/imgres?imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSK1_Uok6fhgLbogPMAWVcTAvNAHgsxRrrUvyijHr4_-LY3Iq9fofeX87mscUqc01bYG0JTr82IRN1UN01XPi89jvSSaWCeziouGsx4aHl7LBSPVc_4rjAHid6k8y5JUONEDM33dZDb-2o/s400/postpartdoc.jpg&imgrefurl=http://theorynow.blogspot.com/2007/10/ma-kellys-boy.html&h=400&w=256&sz=22&hl=en&start=21&sig2=rCxQ5bvO6Rvm99W8LaaTYg&tbnid=wVnO8pg6AvyUbM:&tbnh=124&tbnw=79&ei=3CcUSKWDJ6P0pgTg9PGgAg&prev=/images%3Fq%3DMary%2BKelley,%2Bconceptual%2Bart%26start%3D20%26gbv%3D2%26ndsp%3D20%26hl%3Den%26sa%3DN
Mary Kelley

A Collision of Two Worlds

I was deeply impressed by the video about Beaumont Newhall. Imagine what an incredible opportunity he had to gather and archive these photographic works and gadgets and to actually meet and interact with the photographers themselves. Newhall was a brilliant archiver of photography. The one story of the one man who offered his massive daguerreotype collection after the passing of his wife was a phenomenal picture of the generosity and our very own human-ness. Imagine being asked what you think the collection is worth, coming up with a figure ($15,000), acquiring the funds and then shockingly receive the collection for free!!! Wow!
Newhall brought and connected these real stories to his students when lecturing. He says himself: “I made each lecture a performance by memory… by what you could tell them by experience…the human thing.”

This again reminds me that we all appreciate real information whether it is oral, written or photographed media.
This manner of presentation of humankind is in direct opposition with Keith Cottingham’s Fictitious Portraits. At first glance the images appear very real as if they are brothers or twins or cousins. The expressionless subjects give me a sad, eerie feeling. I wondered why they were posed like that, why do they appear so expressionless? While most all of the photographers Newhall presented caught their images of real people in the moment I learn that Cottingham chooses to hybridize and present himself in photographed wax!
To me this is a type of “artistic cloning”. The multiple images coupled with the final knowledge of his processes, which are not images of himself but of wax figurines is surprising even bordering on shocking. Our brains are wired to connect with real things in life. This feels like a deceptive intellectual brain rape. Harsh I know, but the subjects aren’t what they appear to be. His waxwork is amazing but the photo deception detracts from my appreciation. I find it sad that he would not be willing to photograph himself to capture his own humanness. Each artist has his/her way of presenting the world as they see it or want others to see it through their eyes. So be it.
The Dove Campaign for Beauty clip reveals the truth about digital manipulations and how media has had such an influence on our perceptions of beauty, which affects self-esteem. People appreciate the beauty of truth but when altered photography is reflected back to them as truth it feels like a deceptive lie. Dove’s film and website supports truth in camera arts and the artists and subjects. They also are reaching the viewer with their website to redirect our skewed thinking on what true beauty is.
Media of all kinds permeates our culture with its influence. That’s where trust, integrity and even professionalism come into play. There is real power in media. People want to believe what they see. They want to trust the professionals behind the camera, computer and television screens. When people cannot connect with the truth society deteriorates. Dove is attempting set this right. . My thanks and appreciation to Dove for the visual truth in their film and website. http://www.campaignforrealbeauty.com/dsef07/t5.aspx?id=7373&filmno=1

http://www.youtube.com/watch?v=dAfaM_CBvP8

Stephen Wiltshire is an amazing artist. He is called the human camera.

Watch and be amazed!

My Favorite Painting??

http://www.fulcrumgallery.com/Albrecht-Durer/Praying-Hands_204998.htm

This is a print from the above website...
The Praying Hands
The true story behind a well-known piece of art:
Back in the fifteenth century, in a tiny village near Nuremberg, lived a family with eighteen children. Eighteen! In order merely to keep food on the table for this mob, the father and head of the household, a goldsmith by profession, worked almost eighteen hours a day at his trade and any other paying chore he could find in the neighborhood. Despite their seemingly hopeless condition, two of Albrecht Durer the Elder's children had a dream. They both wanted to pursue their talent for art, but they knew full well that their father would never be financially able to send either of them to Nuremberg to study at the Academy.
After many long discussions at night in their crowded bed, the two boys finally worked out a pact. They would toss a coin. The loser would go down into the nearby mines and, with his earnings, support his brother while he attended the academy. Then, when that brother who won the toss completed his studies, in four years, he would support the other brother at the academy, either with sales of his artwork or, if necessary, also by laboring the mines.
They tossed a coin on a Sunday morning after church. Albrecht Durer won the toss and went off to Nuremberg. Albert went down into the dangerous mines and, for the next four years, financed his brother, whose work at the academy was almost an immediate sensation. Albrecht's etchings, his woodcuts, and his oils were far better than those of most of his professors, and by the time he graduated, he was beginning to earn considerable fees for his commissioned works.
When the young artist returned to his village, the Durer family held a festive dinner on their lawn to celebrate Albrecht's triumphant homecoming. After a long and memorable meal, punctuated with music and laughter, Albrecht rose from his honored position at the head of the table to drink a toast to his beloved brother for the years of sacrifice that had enabled Albrecht to fulfill his ambition. His closing words were, "And now, Albert, blessed brother of mine, now it is your turn. Now you can go to Nuremberg to pursue your dream, and I will take care of you."
All heads turned in eager expectation to the far end of the table where Albert sat, tears streaming down his pale face, shaking his lowered head from side to side while he sobbed and repeated, over and over, "No ...no ...no ...no."
Finally, Albert rose and wiped the tears from his cheeks. He glanced down the long table at the faces he loved, and then, holding his hands close to his right cheek, he said softly, "No, brother. I cannot go to Nuremberg. It is too late for me. Look... look what four years in the mines has done to my hands! The bones in every finger have been smashed at least once, and lately I have been suffering from arthritis so badly in my right hand that I cannot even hold a glass to return your toast, much less make delicate lines on parchment or canvas with a pen or a brush. No, brother ... for me it is too late."
More than 450 years have passed. By now, Albrecht Durer's hundreds of masterful portraits, pen and silver-point sketches, watercolors, charcoals, woodcuts, and copper engravings hang in every great museum, but the odds are great that you, like most people, are familiar with only one of Albrecht Durer's works. More than merely being familiar with it, you very well may have a reproduction hanging in your home or office.
One day, to pay homage to Albert for all that he had sacrificed, Albrecht Durer painstakingly drew his brother's abused hands with palms together and thin fingers stretched skyward. He called his powerful drawing simply "Hands," but the entire world almost immediately opened their hearts to his great masterpiece and renamed his tribute of love "The Praying Hands."
The next time you see a copy of that touching creation, take a second look. Let it be your reminder, if you still need one, that no one -no one ever makes it alone!
Quoted from: "A Better Way To Live" by Og Mandino, pp. 11- 13
Hands, by Albrecht Durer (1471-1528)
More facts about The Praying Hands
The most often reproduced and widely known of Albrecht Durer's works is the gray and white brush drawing on blue-grounded paper of the Hands of the Apostle, known generally as The Praying Hands by those who do not even know the German artist's name.
The actual drawing of Hands, sketched in 1508, was intended as a preliminary study for altarpiece commissioned by a wealthy Frankfort citizen, Jacob Heller. Nevertheless, the drawing is finished down to the last detail, because Durer planned to transpose it exactly in the final oil painting. For 13 months Durer worked on the final painting, determined to make it so sound and beautiful "that it will remain bright and fresh for five hundred years."
Unfortunately for his intentions, the central panel of the altarpiece, called The Assumption and Coronation of the Virgin, was sold a century later by the Dominicans to Duke Maximilian of Bavaria, and in 1729 it was destroyed by fire. Only a copy has survived, along with the preliminary sketches that Durer customarily fitted together for his final pictures almost like pieces of a jigsaw puzzle. Thus, we still have Hands today, which has been an enduring inspiration to millions, worldwide.
(above compiled from library reference books)
http://www.harvestnet.org/basics/prayinghandsstory.htm
Story and facts from this website....

Specific information from this week's learning and the paint forthcoming.

Here it is:

To my dismay this is actually a drawing made with black ink and a round tipped brush! The materials used are similar to what fine calligraphers use. Brush drawing has also been used by Picasso, Matisse and Kokoschka. This information was hard to come by when the search for the information on the paint used began. I admit this was a surprise to me so in all fairness to the assignment I will choose another actual painting and continue.

This is Vincent VanGogh's Fourteen Sunflowers in a Vase. 1889, Museum of Art, Tokyo

The paint used is oil based. The colors are from the warm color palette of yellows, oranges and greens and browns. It reminds me of summer when fall is just around the corner. Hints of summer are lingering with the brightness of light while the onset of fall beckons the flowers to bend yielding more seed for next season.
"Oil is a versatile medium that can be blended on the painting surface. This creates a continuous scale of tones and hues. Darker shades are possible with this medium. It can be used directly from the tube (impasto-molding and shaping to create 3-D surfaces) or thinned with turpentine (to become more transparent)."(Text, 152) It appears that impasto techniques may very well have been employed here.
This representational painting appears to sit on a horizontal surface with short, expressive lines forming the flowers themselves. Long swim- like curving lines creates the flow of each entire flower. From stem to individual petals are lines, which curve in almost every direction. These sunflowers are not behaving as outdoor sunflowers do which are still in the ground. They are not following the source of outdoor sunlight throughout the day.

Kinkade

Thomas Kincaid
Painter of Light
This subject of whether or not Thomas Kinkade is a genuine artist or shrewd capitalist is layered with many faceted values and opinions. Just as various artists do not want to be misjudged by critics who view their art as controversial or inappropriate and may want to be understood and appreciated, the same holds true for artists who find their niche markets. Impressionist painters did not have a venue to show and sell their work because the French Art Academies had that all tied up. Kinkade has found a way to market his art his way.
This now is the age of technology. Do we want to resort to the art police telling people how to deal with their own work as the Impressionists once experienced? Perhaps if Kincade’s business dealings are disreputable then, this is something that should be legislated and /or brought into court if the FBI finds anything worth pursuing legally. I say leave it all alone unless some illegal activities are proven and moral values have been broken. (So far, Kinkade has not been proven to be so.)
During my art visit to the Crocker I was able to see one of Renoir’s paintings in person. I was awed by it and did not think it fell into the chocolate box category. Even though it was a very pleasant outdoor scene which falls into the "Chocolate box" definition Degas and Picasso had derided such work for being happy and having inoffensive scenes. What? !!!?http://en.wikipedia.org/wiki/Chocolate_box_art
Degas is touted as a contrary and difficult man. If that is his way that does not necessarily need to be what other artists need to be. Why do people have this need to be so opinionated about other peoples’ work? http://www.cosmopolis.ch/english/art/65/edgar_degas.htm
Picasso http://en.wikipedia.org/wiki/Guernica_(painting) had actually done a painting on a war which affected his culture in his lifetime just as Kinkade has done with the painting “Heading Home”. Each painter is accomplishing their art thing in a different time and place…with their own style and attitude. Kinkade has the advantage of technology…the other two do not. http://www.thomaskinkade.com/magi/servlet/com.asucon.ebiz.catalog.web.tk.CatalogServlet?catalogAction=Product&productId=202756&menuNdx=0.12
You have asked: “Does any of this matter? Watch Steven Wiltshire as he draws a panoramic view of Rome in three days! I would not deny this person his right to supporting himself and sharing his art with the world, as it is as amazing as each of the other artists discussed here are. http://www.youtube.com/watch?v=dAfaM_CBvP8
Many people believe that true artists are those who remain true to their expressive interests? It will be interesting how our art culture views this young man’s work over time and how he may be able to make a living at it. Hopefully his family will protect him from those who may take advantage of him. (Autism)
Is Kinkade “executing commodities to fulfill the demands of consumers”? Perhaps.
What if by fulfilling those “demands” he is being true to his own vision. One that is satisfying the need to communicate to the masses a message of faith, hope and love? I find it amazing that those who may not want to look at this part of life are opposing yet again the very beauty that these images project. Amazing…

ART VISIT March 16, 2008

Third Floor, top of staircase

Side View Crocker Mansion Lobby Entrance

The Experience
On Sunday, March 16th my family and I went to the Crocker Art Museum. Upon arriving I was just as awestruck by the architecture of the building as before. We parked along the street where the park is across from the museum and so we were able to see the enormity of the entire building from the side view. I was amazed to think that this was actually someone’s home at one time!
Climbing the massive stairs to the lobby we noticed that Edwin Deakin (California painter of the picturesque) was the featured artist on the second floor. I decided we would see the upper third floor first and then return to the 2nd floor to see the featured artist. I was so glad that we used that strategy. Photos were not allowed for Deakin’s work, as they did not own the collection however, I could take photos on the third and first floor of pieces they did own- without a flash on the camera.
The first marble piece we viewed was in the lobby. My photo is taken with it as required for documenting my visit. This pose I recall, upon reflection could be viewed as disrespectful humor because I am smiling however, I think of it as “gazing into the future- no matter where the storms are…there is a thriving strength in preparation.”
We took the curved staircase up to the third floor where it ended in another landing filled with marble sculptures and paintings. There Nydia, Blind Flower girl of Pompeii greeted us as well as several other paintings. I discovered that next to each work was a brief written explanation. This serves to give the public a deeper understanding of important details regarding who the artist is, when born, title of work, date, the subject, a bit perhaps about the technique, who donated it and special things to look for in the work.

As I used my camera to visually journal my visit, the lighting in this area challenged me. Natural light steamed through windows while elsewhere electric light illuminated the works where natural could not. I found that eliminating the use of my flash actually enhanced my photos. Glare was not an issue on the canvasses and the photos of everything were simply crisper. (I learned this by mistake when omitting the step to turn off the flash between photos and turning the camera on and off.) Natural versus non- natural light did get to be a problem, as I had to find the spot that my camera could capture each piece without shadows or glare. A simple repositioning of my view was all that was needed.
We turned right down a long room where many art pieces were displayed featuring each distinctly separate from the other. This gave time to enjoy each piece without being distracted by another artist’s work. At the end of this room one enters another larger “Salon” where the pieces are displayed in “Salon Style”. Each piece is displayed directly next to others side by side and in rows from top to bottom clear to the top of one of the highest ceilings I have seen.
In several of my Human Development classes I am reminded of the need for children to see real things and real people rather than a screen or a book to make clear connections within the brain. The same works with adults while viewing artwork. The eye can see sharper details than camera lenses can capture and produce.
Each photo lacked clarity and depth. It did not do the actual work much justice! I could not make out the details of paint textures or other mediums used. Colors were not as vibrant in the camera nor was the lighting as effective as the real thing. You could not sense the expanse of each room or corridor. The bend of the floor boards beneath your feet, the lighting and the ability to move from one area or another is lost with books or computer. You simply see what the photographer or author sees and wants to share with you. You lose choices in perspective; interpretation, and visual experiences are altered becoming second hand. Second hand information is second best. A person loses the all-important “AAH” factor. So, still I believe the same premise about seeing actual things in person not on screen or printed page applies to grown persons as well as children.

Favorite work
The Marble works, the 3-d painting, the deserts, the vacuum, a new acquisitioned Renoir and the “My father” painting were among my favorites. Each had a varying appeal or impact to my senses, preferences and emotions. The carved detail of the marble pieces were amazing to me. The smooth lines and flow of the surfaces with shadow and light allow the beauty of each feature to unfold. There were two pieces specifically that you could walk around allowing a 360 degree view.

The 3-D painting caught my eye… The Renoir ---I never thought I would see one!! (I had felt that way about Grandma Moses work also!) The deserts and the vacuum were simply fun. I recognized the painting technique of layering paint on the desert paintings and the vacuum was all dolled up with multi media materials…. Wow!
I think my favorite one of all was the “My Father” It took up nearly one entire wall. It was so large in fact that you truly needed to view it from half way across the room to see what the artist was entirely conveying. My first impression was that this was a man at peace, perhaps sleeping restfully. As I approached the painting I could see many swirls of gray and silver lines mixed in with layered color behind them. The explanation reads "Portrait of My Father" which took seven years to complete. This artist was exposed to an open atmosphere at the UC Davis Art Department in the 1960's. (Per Crocker Museum)
What struck me the most was the love that this artist must have had for the father. He must have been torn to let go (the swirls) but knowing that to stay any longer would prevent his father a true, peaceful rest. It spoke to me of the struggle of not wanting to let go yet versus the beauty of the process to doing so. This strikes a strong chord with me and the person viewing Kaltenbach's work in my photo. If fact I had thought his work was a photo!!!

Reflections
While the “Salon” kept me busy for a while and had many incredible a varying works displayed I found that I preferred my earlier experiences where each piece was displayed with a bit of space surrounding each. It was difficult to learn about each piece of artwork in the Salon, as I had to go back to the displays where the “Map” of each wall had everything labeled. Not many details were given as in the rooms surrounding this Salon.

I really loved viewing each work and testing myself mentally to see if I knew anything about the particular work. Who was the artist? What time period, style, technique? …I would first approach the work to view the content. What was this telling me? Was this a story, an announcement, a recording of history, a political statement? How did I feel about it? Then a photograph was taken and a reading of the museums’ information alongside each piece was read and notes taken. A greater understanding would often unfold once I read the detailed discription if I were puzzled about a particular piece.

(A special "thank you" goes out to to my instructors in Human Development- where I learned additional observation work/ techniques- their work continues on with me in this course and beyond!! Very much appreciated and insightful!!)

Everyone in my family enjoyed their time there at the Crocker Museum. It was just the right amount of time spent viewing the third, second and first floors. No photos were taken of the first (or bottom floor) and my family wants to return again. It was said as we were leaving, "We need to do more of this type of thing..."

"Analyze That!"

For this analysis I chose Monet's Garden from Jessie Manzer’s Blog.

The orthogonal lines of this particular art converge at a vanishing point outside of the piece because from the artist's viewpoint the garden is seen from the lower left angle. The evenly planted rows of iris take the eye from bottom left to upper right towards the pond or lake. It is almost as if the iris are planted all the way up to the body of water surrounded by perpendicular trees and greenery.

The natural light shining onto the garden tells us that the sun could be either rising or setting at this time of day. Monet worked in the plein-aire style so as to view and paint colors as they appeared at the time of painting.The scale of the iris are larger in the lower half (front) of the picture and become smaller with details of plant construction almost disappearing. This demonstrates how mature the garden is. It is not a new planting as the iris are tightly compacted together.

There is a hint of a horizon in the upper quarter of the picture where the water meets the greenery. The horizon is then overlapped by a bend of the water line with it's own greenery. This provides a sense of spatial depth or space to the painting.

Natural light also defines these colors as well. By adding white to the flowers' color (hue) Monet tints varying hues indicating to us that the sun in shining. To create darker shades he adds pigments of black to indicate shadows where the sun is not. These flowers contain the cool colors on the color wheel as they fall within the "green through violet area" (p.133, text)

Due to the sweeping brush strokes (expressive line) this created a kind of textured look which was not at all like the smooth paint strokes of other traditional artists. Although a true textured look with paint is defined as layer upon layer; Monet's sweeping, expressive style has that kind of appearance. There is barely any indication of motion so the painting gives the viewer a calm and relaxed feeling which is why I have a preference for these types of paintings.

http://images.google.com/imgres?imgurl=http://www.monetalia.com/paintings/monet-irises-monets-garden.jpg&imgrefurl=http://www.monetalia.com/paintings/monet-irises-monets-garden.aspx&h=387&w=450&sz=113&hl=en&start=29&tbnid=VJORvheMuLJrEM:&tbnh=109&tbnw=127&prev=/images%3Fq%3DMonet%26start%3D18%26gbv%3D2%26ndsp%3D18%26hl%3Den%26sa%3DN