1.  This photo immediately brings back memories of family and summer and relaxation for me.  To me, this is what every place should look like... nice rolling hills, lush green trees, and the best part, water.  It makes me crave the cool water on a blazing summer day, and the warm fire on the cool summer nights.

2.  The picture a landscape view of a landscape ironically enough.  The bottom is edged with calm gray-blue water.  While the middle portion of the composition holds the true beauty of the photo.  Soft rolling hills, edged with bold green trees.  A house pops every now and again to show that there is civilization on this paradise.  The sky stands as clear as the water beneath it.  Letting the sun shine with all of its power.

3.  I think the fact that the picture is not your average 4 x 6 and has been edited into a landscape or panoramic view creates interest to the piece.  The photo almost seems to be made in layers with the water starting at the bottom, then adding the green grass, then the even greener trees, which then fade back into the grass, eventually ending up as the sky.  It consists of a good balance of bold colors and soft colors.  Enough to interest the viewer but also so the serenity and peacefulness of the photographed place.

4.   This is an example of what life is supposed to be like.  The one week a year we can relax and not worry about work or the bills or the basic responsibilities of civilized life.  It tells of the inner longing of man-kind to embrace his/her natural instincts.  The story "before civilization."

5.  Many of Mr. Turner's pieces involve this same idea of relaxation and the connection between humans and nature, but unlike my photo, he embraces the warm colors of sunrises or sunsets.  When the world is at the mercy of the colors.  His compositions seem to take on a almost dreamlike effect while mine was captured midday, with the sun at full power; a blast of reality but with a hint of a dream.

1.  The deep red fire hydrant catches my eye first, of course.  When dealing with red, many of the other colors fade into the distance.  The left side of the hydrant (not sure what it's called) then points to the pole at the front as if to say, "Don't forget about him!"  It makes me feel safe to see this image.

2.  The most eye catching part is the fire hydrant, taking up the far right side of the image.  The "arm" then points to a sea greenish pole on the far left side of the image.  The hydrant has more detail because of it's distance from the camera, while the pole (closer up) is less distinct in it's details.  Between the startling red and softer green is a bolder green, grass.  Although the color of the grass is mixed with browns and other earth-tone colors, some parts are still able to shine through with bolster, creating a good contrast with the hydrant.  A sidewalk seems to begin just behind the hydrant and continues moving towards the top left of the photo until disappears off the picture.

3.  As I mentioned earlier, the lines are strong and bold in the fire hydrant as it is in better focus than the pole seen closer up.  With the combination of the "pointing" part of the hydrant and the sidewalk, a good balance of eye movement is achieved.  The use of perspective is achieved greatly in the composition as the detail in the grass is lost as it gets farther away from the viewer and the blades closest to the observer are shown in great detail.

4.  The photo tells the story of "age."  With the near-new looking hydrant and the obviously need-repair pole shows the battle these objects experience everyday with nature.  The ground work is the same.  Near the hydrant, the plants are dead, lifeless.  The shrubs behind the red monster are also brown and brittle looking.  But with those discolored images also comes a show of new-age and vigor.  The proud green grass is trying to counterbalance the cold and bleak attitude of winter.  The blades have grown fresh and new since near end of winter, while the shrubs have endured the cold and are in need of refreshing.

5.  Mr. Cezanne and I are alike in a couple aspects; instead of using the stark contrast of true complimentary colors, we instead used tones of these colors to create a more subtle hint of the contrast.  We also both used still life as our objects quite often.  Now, while his colors are even more subtle than even mine, he also repeats this contrast throughout the whole composition... not just in the main focal point of the picture. 

1.  This picture always reminds me of the power and beauty of nature.  The way the clouds fold over each other or are being whisked away plus the careful blending of reds, oranges, yellows, and even purples, creates a masterpiece unknown to any brush strokes of man.  In my opinion, nature is the best to turn to for examples of color... true, bold, color.

2.  The picture is a landscape view of a sunset, only found in Kansas.  In the bottom third of the picture or so, a silhouette of Kansas land with a glimpse of the "Kansas Mountains" in the background, fading into the distance.  Not much detail can be seen in this part of the picture, the top two-thirds holds the true beauty.  The sun cannot be seen in this photo as the clouds are thick and cover everything but the color.  They seem as though they are fresh whip cream being spread over a slice of heaven's pie, some sides being heavier and possessing more volume while other parts are more whimsical in appearance.  The colors found caressing the ripples of clouds is that seen only under the careful guidance of the hand of the heavens.  The precise blend of warm tones sets the sky on fire while the subtle hints of the cooler purple calm the soul.

3.  The colors are of course strong and the sharp contrast of the dark silhouetted bottom create a nice balance in the composition.  I like that the elevators/grain bins are off to the side and not directly in the middle.  It creates a more interesting angle to the piece and also helps the viewers eyes to have point of reference to com back to.  I would like the buildings to be even farther over I think, not a ton, but just a little.  I think the use of a landscape view helps to "broaden" the observer's eye movement and shows the vast expanse of Kansas land.

4.  Examining this photo has created a new image in my mind of Kansas.  I now realize that the beauty found here, in images such as sunsets, can only be found here.  Yes, every state has their own sunsets and captions of beauty, but none can match the undisturbed picture of a Kansas sunset.  With that, we live in "riches."

5.  Elizabeth Murray and I have very different views on color harmony.  Her ideas come from a collection of different imaginative images melded together to create a harmonious blend.  Then, she strategically adds the appropriate color combinations to, again, create a harmonious balance within the image.  My picture, on the other hand, takes her balancing and blending and applies it to nature.  Both compositions result in an interesting view for the observer.

1.  I took this picture using a setting on my camera that I can set to only show certain colors while everything else is black and white so I chose blue to bring out my eyes.  This pose is typical of my when doing self-portrait.  I've learned it is the most flattering for my facial features.  And with the use of my color detector I can bring the attention where I want it, the eyes.

2.  The center of the picture contains a face, a face torn in half by the values of light and shadow.  A small smile spreads across the girl creasing slightly around the mouth.  A hint of a neck can be seen at the bottom of the photo, giving a bust-like appearance to the composition.  On the bottom left, a sliver of background shines through the hair, carrying a blue tint, accentuating the eyes (a dominant feature in the piece).  A frame is created around the face with the dark shadows of hair.  And finally, the eyes.  A bluish-greenish tint to them, bringing the viewers eyes at their final resting place.

3.  The piece has a good balance of solid, bold line and implied lines.  Where the light hits, lines can be seen, while where the shadow overtakes, the idea of the rest of the photo is left up to the viewer.  The slight coloration in the eyes and the background give the composition a little bit different feel than the average black-n-white photo.  It gives a glimpse into the life we see everyday, a "Wizard of Oz" effect if you may.  With the combination of the lighting and the short view of the neck help to lead the viewer's eyes up the photo really well.

4.  The "Mona Lisa" smile on me leans to the idea that I-know-something-you-don't-know... that I have a "secret."  And while the smile leads one to believe I will divulge in my little secret, the eyes possess a stubbornness proving otherwise.  Only the right person will learn the ever-so-tempting hidden message.

5.  Jean Auguste Dominique Ingres uses subtle hints of light and dark to keep the image in a softer appearance; while my self-portrait is the epitome of the contrast of light and dark, creating a harsher effect.  But I believe just because I am a woman and possess womanly features, the picture softens some.  Also, with the combination of my expression and features in general, the picture leans more towards Ingres' projection of feminine beauty.

1.  The wheels are one of the first things that grab my attention.  And the angle at which they are at lead my eye down the row until it ends with the shadow.  Then the royal blue bike really grabs my attention.  It's almost as if it's saying, "Look at me!" while the rest just blend together in a jumble of metal.

2.  The composition begins with the bottom left corner with approximately a quarter of a bicycle wheel showing.  Then the eyes are led in the direction of the right top corner of the picture but four other bike wheels.  Faintly seen between the bikes and their spokes are the cycle's shadows from the afternoon sun.  These reflections help fill in any empty space between the bicycles.  With the wheels dividing the photo, the top half is filled with the rest of the bike, seats, pedals, handlebars, etc.  And the bottom half of the picture is just the cement.  But the lines of the ground lead the eye both towards the right corner as the wheels but also towards the wheels themselves.

3.  I think the composition overall is very effective.  The color is not as bright/dominant as I would have liked but it just may have been the time of day.  But I am very pleased with the color of the blue bike as well as the red reflectors on the back of some of the cycles.  It shows good contrast between some of the bikes and also shows perspective well with being able to see the spokes on the closer wheel but not the one at the back.  I also believe the placement of the bicycles helped create a more interesting view.

4.  The photo tells the story of "life."  When viewed closely, the wear-n-tear of "life" can be seen on each bike.  Some have been around longer and experienced more while other's are new to the surroundings; still learning as they  go.

5.  After viewing the artist, William Kentridge's, work I began to second my understanding of figure-ground relationship.  His drawings use images that seem to blend together in ways more imaginative than realistic.  But he is an exceptional display of this relationship concept.  While his images seem to literally meld into each other, mine are just related by the combination of the shadow and the bike and the ground.  All interlaced together to create an image.  Compared to Mr. Kentridge, my work is of a much more simple figure-ground relationship. 

1.  The first item that grabs my attention is the white hat with the pink stripes.  Then the belts bring my attention around to the colorful beenie at the bottom.  With the bold contrasts of dark and light and blacks and colors, it seems as though the they are battling for a prominent position in the picture.  And with the red peeking through the bottom left corner, the feeling is reinforced.  To me the green seems like it's trying to be neutral in shade but with it overlapping more black and less color shows it may be more for one side than the other.

2.  At first glance, the viewer's attention is drawn to the stark contrast of deep black and brilliant white found in the top left portion of the picture.  Then, it travels down and around an olive green belt, which overlaps an other bright white item, this time a belt.  Also found below the two belts is a black with white pinstriped hat.  The contrast of the white belt and the hat not only creates interest but also emphasizes the stripes in the head cover.  An eccentrically colored, knitted stocking hat then blares into the photo, half hidden below the bottom of the composition.  This is the biggest eye-full in the composition.  The loose threads make the beenie seem slightly out of focus but also gives a warm-and-fuzzy appearance to the hat as well.  Projecting at an angle from the beenie is a zipper attached to vinyl, drawing the attention of the eye back up the composition, to the black mass from which it originated.

3.  The different direction of lines creates a very moving and interesting piece.  The lines also vary in boldness, sharpness, and quality which brings a unique feel to the photo.  The color on the bill on the baseball cap and also the colors found in the weave of the snow hat help bring the picture to life.  I don't think the placement of some objects is perfect, but it does not hurt the composition to have them where they are.  I am not for sure what I would change, but something tells me it could be better with a little bit of experimentation.

4.  The photo tells a story of "diversity."  It shows how many objects of different color, size, shape, and use can still come together to create a harmonious balance in a photograph.  No mention is ever made of the contrasts between each piece, no wars are ever fought; just peace resides in this basket of colors.  A cordial meeting among the league of opposition.

5.  Richard Serra's works are for one thing, massive at times, and for another, is more than meets the eye.  At first glance, I thought, "incredibly smooth," but then as I inspected the image closer, I realized the material, though glass-like at first, shows its age in time.  Small ridges and imperfections can be observed with a detailed inspection.  My piece on the other hand, shows the variety of textures right from the start.  No mystery lies in the picture, yet curiosity is still aroused with the contrasts of color, while Mr. Serra relies more on the reflective aspect as well as the circular motion of the object to entertain the eye.

1.  My attention was first drawn to the eeriness the picture.  The effects of the seemingly green light and slight blurriness suggest a presence other than my own.  The bright lights at the top middle and the reflection of those same light on the cement below beckon the viewer to walk towards the nothingness existing at the end of the bridge.  Along with the stripes on the ceiling and the combination of the horizontal and vertical poles/beams, pulls a person towards the mysterious end.

2.  The picture represents one-point perspective with a bridge.  The bridge is constructed of cement for the floor, metal bars for the railings and supports, and wood for a ceiling.  A sign announcing the bridge as "jellison bridge" anoints the top triangle at the beginning of the bridge.  An almost iredescent green glow illuminates the upper triangle and the floor below balancing the picture.  As the bridge leads forward, it comes to a stop creating a hexagonal shape.  Bordering the outside of the construction is black... nothingness.

3.  The picture seems to be not quite level vertically and is not in complete focus, but I think this creates a unique effect that supports the idea of supernaturalism.  Although the picture was taken at night, the use of the lights to create the green at the front and then darker blues leading to black at the back makes the composition seem visually longer.  With the focal point in the middle vertically is not as interesting as it could have been on a side but I think it still completes the task of drawing the viewer down the long walkway. 

4.  The picture tells a story of mystery and curiosity; two characteristics we as humans are extremely guilty of, no matter what our instincts may be telling us.  A foreboding feeling embraces those who dares to enter the suspended path.  The word "mystery" always seems to jump to my mind first when I interpret this picture.

5.  When compared to Edward Ruscha, the placement of our focal points are very different.  He tends to lead the mind off the page, into the unknown world around it while mine has a distinct place for the eyes to stop and the mind to wander.  In a way we both evoke emotion though in different ways.  His compositions show good contrast like mine though, keeping the viewers interest and eyes moving at all times.

1.  The bareness of the branches gives an empty filling but then with the presence of water, a more new renewing filling replaces the emptiness left by the trees.  My eyes are first drawn to the dark evergreen trees on the right and then it moves around before resting on the seemingly calm center of the water.

2.  The eye is first drawn to the far right of the picture where the densest part of the trees are.  Then they slowly move counter-clockwise where the trees become less and less dense, slowly allowing the light of the sky to pass through.  The reflection seems almost life-like, but with a glimpse of the shoreline, it shows the idea of the reflection.

3.  The composition seems to be a little heavy on the right side where the darker colors are more prominent.  Although the piece is not in black and while it seems as though it is because of the season.  Winter takes the leaves and color from the trees but reddish browns are expressed lightly throughout the left side of the picture.  The line quality varies greatly in the composition.  With a combination of thick and thin lines, an almost fuzzy appearance is achieved.

4.  Reflection.

5.  In the pieces of Edgar Degas, the artist creates a calming and softening effect.  Even in the normally harsh lines of buildings, he is able to create a hazy effect that blends well with the ballerinas.  In my piece, the tons of tiny branches also seems to give the trees a softening effect as well.  But my contrast is much starker than his.  He has a softer palette the blends well together.  

1.  What first captures my attention in this picture is the very bold/thick horizontal lines on the right side.  Mix that with the stark contrast of blazing white on top and I get the overwhelming sense of strength and power.  But then the other half of the picture seems to say, "I'm just going to chill here in gray while I slowly fade into the background..."  A completely different feel than the opposite side.  But with the heavenly light gleaming on top of both objects give the hint as a barrier.  Trapping them in their present state.

2.  The photo consists of two books and a large box of Lipton tea.  The Lipton sits on the left side of the picture and is at an angle so that it recedes into the middle of the picture.  The box is a light gray color with darker shades where picture and text lay.   The small part of the front of the box that is visible is a dark gray, acting as a shadow.  The very top of the box shows no description at all.  It consists solely of a bright white.  Then, on the right side, the books lay stacked on one another.  The shadow is too dark to determine titles or authors.  The top of these books also consist of the stark white.  The top book has a bookmark with a ribbon tied to it.  The ribbon looks almost ribbed and seems transparent like.

3.  With the use of clear and unfocused lines a focal point is created nicely.  The color is black and white to enhance the effects of chiaroscuro.  With the props so dark on one side and the amount of space used by the other lighter shape, the picture balances nicely.  Overall, the composition uses a variety of shades of black and white as well as strong lines that create good eye movement.

4.  It tells the story of thought.

5.  Albrecht Durer's pieces are much busier than my picture.  I have a simplified version of chiaroscuro and it also is not quite as dramatic.  The right side of my piece has the stark contrast but it does not continue throughout the composition as he portrays in his pieces.

1.  Ever since I saw these lights I've wanted to take a picture of them.  As soon as I saw the assignment, this image popped into my head.  The trail of lights is intriguing to me.  They beckon to be followed.  The first thing I notice it the light closet to the viewer, then my eyes go down the row of lights then back up the line of snow on the ground.  The way the lights create a a "bubble" around them it seems like they are pushing to keep darkness out as it slowly closes in around them.

2.  A single light on the left side in the lower third is followed by several identical lights, slowly receding into the distance until one cannot tell if there is one light or many.  Then between the first and second lights, a lone luminescent bulb stands in the distance as a beacon.  Below the lights, horizontal rows of bricks lined with snow disappear to the from the left to the right of the picture.  Little flurries of snow swipe marks against the lights welcoming glow.

3.  The image as a whole involves several collections of lines that help move the viewers eye around the image.  Several shapes are repeated throughout the piece as well.  The lines at the front of the picture are strong, solid lines, while the ones at the back or more distorted as they should be.  The dark color at the top of the picture really helps show the effect of night and create a definite contrast against the brightness of the lights.  With the lights starting on the left side and then receding to a little of center helps draw the viewers eye through the whole composition.  

4.  The picture tells the viewer to follow...

5.  Daumier's pictures tend to have the focal point either horizontal or vertical and then whichever the picture is he incorporates more of that direction with hints of the opposite... (if that makes any sense).  My picture seems to have a more balanced mixture of horizontal and vertical lines.

1.  My initial reaction was intrigue.  With the look on her face I immediately started to wonder about what she was holding (which is a kaleidoscope by the way).  I like the balance of the red hues with the kaleidoscope, her hair, eye color, and the door in the background.

2.  The picture is of a girl with an round face, dark glasses, and long reddish auburn hair with bangs sweeping over the right side of her glasses.  She is staring intently as if transfixed at a half sphere shaped portion of a kaleidoscope.  This magic wand of color is decorated in a red metallic paper.  

3.  The focal point, the girl, is positioned at the far left of the picture with her eyes about a third of the way down to add emphasis to that point.  Then the tube/stick is on the right third of the picture slightly tipped towards the main focal point to draw the eye in that direction.  As I mentioned earlier, the main color in this picture is of a reddish tint.  

4.  Transfixed.

5.  The works of Kathe Kollwitz tend to lean towards the darker images and ideas.  She focuses on the pain and suffering of people detailing facial expressions thoroughly.  I don't see many similarities between her and I besides we both concentrate on expressions of the human face.  Mine deals with intrigue while hers is of great loss.  She does not use color in her pieces, she stays with black and white to enhance the mood while I, on the other hand, use the color of the baton to draw the viewer's eyes to the main focal point.