O, The Alpen Glows I Can Sea - Elizabeth Zradicka

This gallery includes visual representation of beautiful sunsets over mountain lines and the setting of the sun over the curvature of the sea; all are located in the North America region between the years of 1831-1909. The artwork pieces are delicately expressed through a medium of oil on canvas.

This is a rough-stroked painted sunset of the Cliff in Etretat in the early 1800s. The first visual element depicted in this piece is lines. There are thick lines of solid color that bring an animation effect, movement, to the water; shading is also done on the cliff side with large strokes. My theme of the sunset is shown not in the sky, but in the reflection of the water.
A scenic painting of the sunset in Mount Diablo in 1877. The main visual element here to coincide with my theme is saturation. There is high colors of red, even though it is a deep hue, it looks bright. This goes well with emphasis on the sunset because of the few colors the sun changes to when it falls closer to the horizon. There also lies complementary color to my theme: blue and red. They are blended so well and creates a soft texture in the sky.
Frederic Church painted a sunset titled "Twilight" in 1850. This piece shows a great deal of value in relation to the sunset. It is shown over the rolling hills, reflection of the sunset in the water, and the textured clouds above. It represents how much light a sun can expose when dismissing itself for the night to come. With the messy texture in the sky it emulates the multiple angles the suns rays can hit on a cloud and show hints of pinks and oranges on how vast the light can reach in the atmosphere.
A sunsets point-of-view of Lake placid in 1866. This correlates to my theme in a new perspective because its not the sunset itself, but what the sunset blankets over. There is an A symmetrical of balance of the mountains and it shows the colors of the sun hitting the peaks and fading at its base. This might indicate there are other sets of mountains that are being brightened by the sun. It can show emphasis on how big this sunset is, to be able to hit many mountain lines.
This piece is a sunset in Massachusetts in the late 1800s. The main visual element is space. There is so much space set in the sky to help illuminate the small sun in this vast canvas. It emphasizes on the sun, even though it is smaller, because it is the only solid and bright object in this empty space created by most of the pieces area. Even though the sun looks small in the sky, just below are a few cows to show relevance how big the sun is at that distance.
A sunset in Boston during the mid 1800s. When unity comes into play, it can be very harmonious. The unity of the sunset in pale pastel colors gently collides into the white sails and gives it a subtle embrace of an over exposed sunset on a foggy Boston afternoon; greatly reflecting the sunset theme in a different light. The multiple sail boats being touched by this bright sunset shows repetition on the sea.
Another piece by Frederic Church of a sunset in 1856. Showing analogous colors with the shades of red, orange and yellow really show the importance of where the sunset stands with emphasis on being the focus. Having the three colors blend in with every other color on the piece really reflects the sunset theme of the gallery. Adding value to darken the trees and lighten the sky compliments with the sunset remaining the focus of the painting.
A Yosemite Valley sunset in 1881. This piece shows great emphasis and focus on the sunset with extreme saturation and analogous rays. The smooth texture of the light and the amount of the sky the colors cover depicts this is the focal point and this is the main piece of the painting. The colors bring a great emotion of happiness or relaxation on a subtle dimming of the tree line.
A sunset in 1872 of Lake George. An element that reflects my theme in this piece is texture. The sky is softly painted and almost blends in with the mountains and water as one in unity. It stands in the background of the dark contrasted woods, but still remains the focus. It is nicely painted and seems to fall against a typical piece of the deeper colors in front falling out of focus compared to the further in depth faded background in focus.
A sunset in Atlantic City in 1885. The main element that stands out to me here is texture. This visual representation shows a rough texture across the entire piece. It is interesting because it is a complete different way of expressing a sunset in art. The sky seems rough like sand paper, even the sun itself. It shows emotions of rugged and a tough-like version of the typical soft and pretty sunsets. To go in hand with a rough-like sky, there is movement. Possibly to express the sand flying around and causing a rugged sunset in the painting.
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