Natures Emotional Effect Through Color | Nicholas Patricio

Throughout these ten paintings, you will see a slow contrast of colors, shades and textures showing distance, height, and space. Opening with bright colors to show light, smooth textures, and greenery to show life and vibrancy. As the gallery continues, you’ll notice the color schemes of the artworks descend into darker textures, to tell a story of deeper thought – and lack of life - through rougher lines, color, and darker shading.

Lake Wakatipu with Mount Earnslaw, Middle Island, New Zealand, Eugène von Guérard, 1877 - 1879, From the collection of: Auckland Art Gallery Toi o Tāmaki
In this piece, the artist uses brighter blues, greens, and whites to show the beauty of this beautiful lake and its surroundings. By mixing the colors into the makeup of the lake water, it gives an illusion of the sun reflecting the height of the mountains from the water. In the distance, the snowcaps atop the mountains show height, as well as a level of distance and depth. Whereas in the foreground the deeper greens show a warmer environment, with foliage, a small vessel, and a slight beachhead.
Sydney Heads, Eugene von Guérard, 1865, From the collection of: Art Gallery of New South Wales
In this artwork, the use of color through space is the key component in the theme. Using lighter shades of blue spread throughout the top half, combined with the shaded hills, to give the illusion of distance. In the foreground the artist uses more brown and less greenery to show a dryer climate, with less life.
River Landscape with a Castle on a High Cliff, Jacob van Ruisdael (Dutch, b.1628-1629, d.1682), 1670s, From the collection of: Cincinnati Art Museum
With more of the color schemes being shaded in this artwork, it shows the turning from day to night. In the spaces to the left, the colors are brighter and more appealing to the eye. Whereas to the right, the clouds are starting to darken, and the shadows are starting to pour into the valley, giving the effect of dusk being imminent.
Landscape at Champrosay, Eugène Delacroix, circa 1849, From the collection of: MuMa - Musée d'art moderne André Malraux
In this work, Landscape at Champrosay uses a harsher style of texture to show the effects of the area. Brushing and smudging the sky with darker colors to give the effect of early evening. A majority of the landscape is brushed with greenery, as well as a deeper green in the center, giving the illusion of a distant hill or mountain.
Monk by the Sea, Caspar David Friedrich, 1808/1810, From the collection of: Alte Nationalgalerie, Staatliche Museen zu Berlin
Monk by the Sea uses multiple shades of blue, and grittier texture throughout to give the effect of a man looking up from a position of deep thought. Using a deep blue in the top right, shading it into a lighter blue-gray in the center to simulate clouds. Ending in a darkened area near the monk that’s standing on a small rock-like platform colored in tan. Lines in the earth are used to give a rougher terrain, overlooking the foreboding ocean of thought.
Romantic Landscape with Spruce, Elias Martin, 1768/1780, From the collection of: Nationalmuseum Sweden
In this piece, the artist depicted a beautiful valley by incorporating a warm glow in the center using multiple color schemes shaded together. Atop the painting, we can see the lighter blue used in the sky, and grays mixed with blacks to give the clouds a heavy feel. Downward into the valley area, dark greens mixed with tans lessen the life of the painting – through dying foliage - and give a shadowed effect, as well as accentuating the glow of the path moving through the center.
Abbey among Oak Trees, Caspar David Friedrich, 1809/1810, From the collection of: Alte Nationalgalerie, Staatliche Museen zu Berlin
In a more ominous work, Abbey among Oak Trees shows a daunting area that once may have been beautiful. Shading blacks into lighter blues and yellow, it gives the sky and area surrounding the cemetery a place devoid of life. Also, using the lightened areas in the center to give prominence to the dead trees and the stone structure standing throughout the center of the painting.
Dancing Fairies, August Malmström, 1866, From the collection of: Nationalmuseum Sweden
Dancing Fairies is a beautiful piece that utilizes several colors and shades. The eye is drawn to the center where the artist uses what appears to be whites, yellows, and greens to make the effect of the ‘dancing fairies’. Also incorporating distorted lines throughout to give the appearance of wings inside the mist. Surrounding the center, the artist used darker greens and tans merging together for a serene setting of the pond. Hues of purple and yellow can be seen in the distance, to give the effect of the sunset.
The Cross in the Mountains, Caspar David Friedrich, c. 1812, From the collection of: Kunstpalast
In this semi-morbid piece, Caspar David Friedrich focused his colors atop, using a gritty purple shaded into the surrounding black to make the steeple of the church dominate the painting. In the immediate center, the cross is foreshadowed by deep green trees, and stones around the bottom center. With the yellows and greens crawling over the rocks themselves, the artist has given the effect of growing moss, as well as the surrounding area looking to have been desolate and abandoned for some time.
A Walk at Dusk, Caspar David Friedrich (German, 1774 - 1840), about 1830 - 1835, From the collection of: The J. Paul Getty Museum
Similar to The Cross in the Mountains (c. 1812), Caspar David Friedrich gives another setting of a resting place. In this painting, he uses lighter purples throughout the sky to give an early evening setting, with a hint of whites surrounding the moon to give light to the man mourning below. Shaded textures along the rocks give a sense of realism to them, along with the symbolism of the prevalent grave. In the background, the tree line is painted in a light red and brown, to give the appearance of an early autumn night.
Credits: All media
This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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