The Yellow Christ by Paul Gauguin - Assignment Example

The Yellow Christ Formal analysis of “The Yellow Christ” By Paul Gauguin Part I - Selection of the Art Object: This paper aims to cover a Formal Analysis of “The Yellow Christ”, an artwork by Paul Gauguin, of art for contemplation and better self-comprehension (Charles & Victoria, pp 56-67). This painting is on a rectangular frame whose dimensions are 92 × 73cm. This painting exhibits features that evoke inner integrity of viewers. Part II – Identification of the Art Object: A. Title of the work: “The Yellow Christ” B.

Artist: Paul Gauguin C. Year completed: 1889 D. Medium used: Oil on Canvas E. Where made: Pont-Avon, France F. Current location: Albright-Knox Art Gallery in Buffalo, New York. Part III - Objective Description of the “The Yellow Christ”: G. “The Yellow Christ” is an allegorical painting that utilizes a cloisonnism technique of art. Bold confining outlines, deep colors, and level plane sum up features of this painting. The figure on the foreground holds a level canvas (Charles & Victoria, pp 69-78).

Additionally, there is an uprightly erected crucifix with an ending flat bar. Wavering curls of women and trees counteract straight lines representing fields, skies and the crucifix, forming a simple and lovely pattern. This painting conveys starkness of the Breton scenery despite gay colors (Charles & Victoria, pp 67-76). Though gentle, women in this painting portray a peasant potency. The outline of image the Christ in the painting and bold shading of women represents Gaugin’s emblematic style.

Part IV - Examination of “The Yellow Christ” Technique of Painting: H. Paul Gauguin uses oil with color pigments forming emulsions for application onto a canvas surface by cloisonnism. The applicator is a paintbrush that spreads the emulsion evenly on a canvas surface. Color pigments are miscible in oil and take a comparatively long period to dry (Charles & Victoria, pp 70-79). Shades of colors produced are clear and last for long periods with no risks of fading. Oil and canvas form basic materials for painting since time immemorial.

Part V - Examination of Composition of “The Yellow Christ”: I. Line: Lines in the “The Yellow Christ” spread all over its frame. Vertical, horizontal, straight, curvilinear, and contour lines mingle in this painting bringing about diversity (Charles & Victoria, pp 80-83). Contour lines represent the landscape while straight lines outline the crucifix. Shape: The painting is a rectangular frame with dimensions of 92 × 73cm. Shapes of women and Jesus are elliptical and merge with smooth outlines of landscape (Charles & Victoria, pp 84-89).

Color: “The Yellow Christ” painting portrays a mixture of primary and secondary colors signifying various features. Yellow color in the painting merges Jesus with the scenery. Shades of blue and black on women in the painting depict contrast between bright and deep colors (Charles & Victoria, pp 90-93). Contrast of colors form a balancing relationship in the painting. Space: “The Yellow Christ” is a two-dimensional painting confined on a plane surface. Objects in this painting evenly spread over a broad space (Charles & Victoria, pp 94-95).

Figures in the bottom half of this painting overlap to achieve an impression of depth. Pattern: alternation of orange and yellow dominates this painting with few shades of darker colors (Charles & Victoria, pp 96-97). Orange and yellow mark the landscape while blue and black mark people. White signifies innocence of Jesus and women in the painting. Time and motion: The painting of “The Yellow Christ” occurs at sunset as signified by shades of colors of the clear sky (Charles & Victoria, pp 45-50).

Work Cited Charles, Victoria. Paul Gauguin. New York: Parkstone International, 2011. Internet resource.