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I am sure you can see the trick without any help now, but still: Shishkin uses interchanging wedges of light and shadow that thin out towards the horizon to create the vertical rhythm and depth.
The play of light and shadow on a relatively flat surface of the plain is justified by the skies, with its own wedges of clouds and clear skies (to better see it, I’ve killed brightness in this picture): And these are the wedges that get “reflected” on the ground: It is not enough to know the compositional trick, for the choice of colour value, its intensity is just as important.
We were supposed to learn to grasp what was important”.
The girl in Kokoschka’s watercolour Musée Jenisch Vevey On the occasion of the hundredth anniversary of the outbreak of the First World War in 1914, the Fondation Oskar Kokoschka is presenting a selection of his works that document the transformation that Kokoschka underwent between 19 as a result of his war experiences.
A casual observer won’t realise the markers are there until they are pointed out.
To understand the vertical rhythm, I’ve maxed out contrast in this picture.
It is important to paint those markers in a way that would not be too obvious.This group of plants represents blooming, withering and dying, and is linked to the artist’s emotional state as well.The road that leads nowhere and disappears in the folds of the ground is the main symbol of Shishkin’s disorientation, a simple representation of the feeling of being lost.He pictures the Marabout as a descendant of Aisha, “the last wife of Mohammed …who with her sons had engaged in a heroic struggle to try and achieve the independence of the Berber peoples”.