Each of these paintings gets it form content across to its' viewers in significantly different ways. The first painting, The Englishman at the Moulin Rouge, 1892, by Henri de Toulouse-Lautrec, Uses color to emphasize its subject matter. Instead of making the subject matter the brightest figure in the painting, however, the artist did the exact opposite. The vivid colors around "the englishman" are what create such dramatic contrast. Due to this, and although he is somewhat in the background, his dull coloring pulls him in the foreground when observing the piece. This man has no name and is by no means as colorful as what is around him, bringing us to the form content that the artists is trying to get across. Perhaps this man stands out for being different, which is why he seems so content? Or, perhaps, his dull coloring is what shows that he is just like every other "englishman" at the Moulin Rouge, and the painting is exposing him for being like everyone else. It is up to the viewer to decide their own interpretation. In the second painting, Dry Grass Landscape, 1986, by William Robinson, the viewer requires high participation to fully understand how such a painting could be considered a landscape. The trees in the photo serve as a frame as our eyes move toward the center of the photo, revealing a blue sky. The perception of this piece is then brought into play as the viewer realizes that we are looking at this sky from the view of the ground. The viewer of this piece is then placed in the painting, looking up at the sky from what appears to be a clearing in the woods. Placing oneself in this painting and imagining as if we are there becomes easier the longer one looks at the painting. In the following piece, titled Blue Lake, Mount Gambier, 1844, by George French Angas, shows us a landscape from a higher perspective. This painting shows a more realistic approach to nature in respect to proportion. When participating in this piece, it is as if the viewer is looking at the mountain in the painting from the top of another mountain. Although the lake takes up the entire bottom half of this painting, the distinct cut-off of the edge of the lake with the ground pulls our eyes upward to the mountain, as if we are looking off into the distance in real life. The way that the shading becomes darker on the right side of the lake as opposed to the left shows that the sun is shining from the right side of the viewers perspective. Another piece in proportion to reality is A Church Interior With Elegant Figures Strolling, c. 1630's, by Peeter Neefs The Elder. Although proportional such as the last painting, this one has a stronger depth, drawing the viewers eye first at the painting's high ceilings, but then deep into the church as the background gets smaller, extenuating the church's large size. The many upward lines put emphasis on the church's size vertically, while the smaller background emphasizes its' size in respect to space. and square footage. The final painting, 2013, is a completely different form of painting from the previous. This street art is the result of an anonymous painter expressing himself in a public manor without showing who he is, but still getting his message across to those who walk past it. The subject matter of this piece is questionable; some might just say it's a blue abstract piece, while others might say the color blue represents depression or sadness, and the dark black hole could represent the reasoning to the depression. There is no exact answer to this, which is what makes street art so admirable. Each viewer gets to make their own perception to this piece, just as each viewer can decide whether to participate in this blue shaded picture and interpret it, or just walk by and think nothing of it.