Dismal Cobalt is a futuristic, angular abstract painting that uses simple shapes to create a complex painting. It focuses intensely on the geometry of a square and the dividing power of the line. This original artwork is an exploration of the evocative power and drama of a very simple and straightforward subject that reaches across time and space and will continually reveal new things about itself to even the most casual of viewers. This painting is truly remarkable in it’s ability to provide an in depth portrait of it’s subject matter in such a small space and with so many details hidden just beneath the surface. The paint is applied in a thick manner which allows the artist to create small incision lines for the appearance of depth. The lines are occasionally dramatically divided by the other lines at work in the piece. The limited color palatte of blue and golden yellow is simple but does not take away from the affect of the piece, but instead enhance it. This painting is a compelling example of all that abstract art can achieve when given freedom to explore it’s subject and free reign over the material that it is portrayed with.
Dismal Cobalt is depicted on a single, square canvas, that allows the subject to divide on its own and enhance the flavor of this original canvas painting. The single canvas painting allows the components to live together on the same canvas, while becoming distinct through the masterful use of color in this work. Also, by virtue of incorporating all the elements of the painting into a single canvas, the artist has given the the painting a feeling of unity despite incorporating very distinct pieces that are meant to be kept very separate. If you enjoy the passion and spareness of this piece, you will surely want to investigate the Modern Canvas section and if you are interested in viewing another original painting that explores the relationship of lines and shapes across multiple canvases, check out Tall and Dark. Dismal Cobalt lt
From the painting techniques, the painting Primavera did not adopt the oil painting techniques which were popular in Flanders, but used the traditional tempera. Since the translucent egg made the color form a hard and transparent color after dry, so in this painting, we could feel the close to watercolor purity and transparent effect. In the painting history, there were many works depicting spring. However, there was a work comparable to the Primavera of Botticelli.
Although Primavera was not a religious painting, it also followed some religious traditions of painting. The plants surrounded by love and the God of love and beauty formed a natural arch, which made people reminiscent of the virgin paintings. Placing the Eros Venus in the center of the frame also conformed the most important Christian virtues: love. Botticelli’s treatment of the three Graces could be said to be unprecedented, because before him, no painter painted the female body so sensual. But also somebody thought, the three Graces could thus be in rags, because they were the goddess who gave people a kind of without evil joy (and Christianity “heavenly joy” similar, and median).Venus was to bring people to enjoy the unique beauty of elegance.
The painting Primavera was indeed a technical triumph in painting. Its exquisite cloth, excellent brush strokes, superb painting skills, the very beauty of the human body, as well as the difficult patterning all reflected the genius artistic level of Botticelli. This painting was worthy of the representative work of the early renaissance.