Mother of mothers -  (Samuel Donalds)

This art gallery exhibit will showcase some of the great works that give praise to nature using different color harmonies and/or multiple, implied textures. In the Mother of Mothers gallery, I hope to display Mother Nature in such a way that you leave feeling a revitalized sense of appreciation for her. Many times, natural subjects in art such as trees, water, sky and field can play host to the main subjects, like people. I aim to showcase inspiring paintings where Nature is the subject. If a person or object is present, they compliment the natural surroundings; not the other way around.  

Giovanni Segantini’s Alpine Pasture is a beautiful painting. Natural themes are omnipresent. There are a number of different implied textures in this piece. In looking at the fallen tree you can almost feel it’s bark. It appears rough to the touch. The sheep look smooth and charming, as they should be. The rocky plains in the foreground no doubt create a jagged, aggressive surface.
In Giovanni Bellini’s St. Francis in the Desert, St. Francis may be the focal point but I believe the rocky cliffs and blue sky’s behind him steal the show. Bellini has created time-lapsed movement in the rock so effortlessly. Some areas are jagged and sharp and others look smooth and refined. It appears to be hundreds of years of limestone decay due to water. The way the landscape dwarfs St. Francis of Assisi also keeps the picture consistent with my galleries theme.
The View of the Chateau de Fontainbleau captures an elevated view of the Chateau and it’s gardens. Pierre-Denis Martin’s oil on canvas is a great panorama with a lot of natural components to take in. The hills in the background are a great example of a relaxing analogous color scheme. The hue in many places moves from yellow, to green, to blue-green, and then blue.
Undergrowth with Two Figures by Vincent Van Gogh is proof that sometimes the human figures are nothing more than an after thought. There are many perceived textures in this painting. The grass appears wispy and soft and the trees, grainy and coarse. Visual depth is achieved through the smudging of the blades of grass as the space moves farther into the canvas.
Johan Christian Dahl’s View from Stalheim has many perceived textures—lush grass, prickly trees, and hard mountains. The size of the horses and men add to the majestic size of the valley and its mountains. The illusion of visual depth is present in this piece as well. Nature remains the focus.
In this painting we see a farmer and his two steers smothered in morning fog and dew. Bank of a River in Bloom by Ladislav Mednyanszky pays homage to the beauty of nature. Multiple textures and color schemes are present. The farmer appears at the vanishing point near the horizon creating a 3-D illusion. The water looks soft while the blooming weeds look as if they feel dry and brittle.
A View of Cincinnati from Forest Hills, Kentucky by artist unknown fits my theme well in many aspects. The human subjects are small in stature, freeing up space to admire the natural surroundings. I am not sure but I think this painting has a Square color scheme. The top half, the sky, includes complimentary reds, violets, and oranges. The bottom half is comprised of blues, blue-greens, and yellow.
Asher B. Durand’s The Morning of Life, created in 1840, uses what I believe is a split complimentary color scheme. The light interpretation in this piece is amazing. To capture this, he uses violets and blacks for the shade as well as for a soft shadow on the clouds and mountain face. For all the places the light does touch, he uses green, green-yellow, and yellow hues. The size of the sheep and people relative to the size of this canvas allows us to admire the entire landscape. There are so many natural elements in this picture: creek and riverbed, rolling lawns, cliffs and mountains faces.
Spring, Morning, Cloudy, Eragny by Camilli Pissarro was done in 1900. This particular painting does not have a very complex texture. All of the subjects are essentially created using the same brush strokes. Nevertheless, it’s an awesome work of art that showcases the beauty of nature proudly. There is a very harmonious, analogous color scheme here that is very pleasing to the eye.
George Inness shows us the majesty of nature and maybe more so trees, in his painting A Bit of the Roman Aqueduct. This piece has a number complex textures. The water is silky to the point that it looks as smooth as glass. The powerful bulls are so defined. On the other hand, the trees are spacious and wispy giving the illusion of movement. Maybe it was a windy day. All of these elements create a visually interesting tapestry of implied surfaces.
Credits: All media
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