The Colors of Love - Carlos Fuentes

The goal of this gallery is to collect hand-created artworks that focus on abstract pieces revolving around the heart, affection, or passion.  The collection’s purpose is to discover what love means from a visual standpoint to different artists from varying cultures and locations and how color correlates with such.

Depicted here are red splotches that represent blood splatters, and on the occasional blood formation there are flowerlike forms “from historic Basholi and Kangra.” Qureshi does a wonderful job of combining the red color with that of the shapes used to represent two separate symbols to create one unified piece.
This oil painting shows several different objects from men riding on horses, to the warm sun in the sky, to several land features like a wide-brimmed tree and rock formation among several other random items scattered throughout the frame. Kandinsky uses lines and the thick texture from the paint from his brush strokes to create a sort of movement that makes the piece flow and seem like it is a still frame of action taken in time.
This painting features a very buff figure walking up the middle line of a heart (or what could be interpreted as a butt-crack) to the upper portion where there is grass growing (or hair as seen from the previous viewpoint). Yang and Dae-Won use negative space to their advantage; with a limited number of lines and the important contrasting colors there is a major emphasis that leaves the audience peering into the center of the frame and following the buff figure’s path.
This prominently purple painting displays many a round shape overlapping one another at several points, some unfinished. Around the main figure are some jagged looking lines and what appears to be cursive text as well. There is a sense of rhythm to this work, brought out by how elegantly the lines form the rounded shapes and the colors compare to their partners nearest them.
Depicted on the canvas medium with oil are two faces like figures with two sets of lips as well as several eyes about the frame. The purple, black, pink, red, and blue colors are all extremely vibrant and work against one another to create separation. Levonee uses overly saturated colors and apparent bodily shapes to meet in the middle of what comes of as a balanced frame through the red lips.
This painting illustrates a number of circles and rectangular lines with a variety of styles, sizes, and colors. This grouping of colorful circles and rectangles embodies a variety of non-repetitive patterns. The shapes constantly overlap, yet each is still their own due to the beautifully saturated color’s chosen by the artist.
This canvas artwork features a slew of random formations and styles: drizzled and randomly stroked paint, crudely drawn letters and numbers, as well as some shapes that could be construed as objects (axe, tree, prism, etc.). Since nearly the entirety of the space is used, it requires one to interpret the variety of shapes seen based on their own perspective.
Using Japanese paper, yarn, and other textiles, artist Amelia inscribed the cursive words beauty, and, and love behind a slew of the previously mentioned pieces of yarn varying in color. The outside of the frame has a number of other fabrics, ranging from ribbons, to strings, to threads. This piece does an excellent job of using a variety of textured materials and the scarcity of said materials in the center of the frame to draw the viewer’s eye to the written name of the work itself.
Klimt created The Kiss using oil and gold leaf on canvas based on Francesco Hayez’s work from 1859; depicted is a man and a woman embracing on a bed of flowers for a kiss on a solid gold background. The two figures appear as one due to the light gold paint used for both their forms, but at the same time each is their own separate element, the man formed by plain colored squares and the woman formed by elegant colored circles. The shapes create separation, while the colors provide unity.
This woodcut piece shows a figure in red shorts holding another figure as the two embrace one another with footsteps leading up to their location; above the figure in red shorts is a rather ghostly figure that has long flowing hair and peers down upon the two. Gauguin uses subtle lines over the dead space to make his figures only just appear human; with the colors we can separate the male from the female (him having the red shorts, her having the long flowing blonde hair). The smooth flowing of lines signifies a slight sense of movement between the man and woman.
Tim Tjapaltjarri uses polymer power paint to make this piece exhibiting two skeletonized figures standing with a target between the two and a spear-like object sticking out of the center of the target. Through the targets proportioned differently, we can tell the left figure is larger then the right figure (possibly a parent and child) while the target between the two is a bit more of a distance away. The pattern and colors work hand-in-hand to create a cat-like pelt that covers most of the frame in random blotches and the skeletal figures. This gives the piece the idea of texture without actually using any cat fur.
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