Seeing is Believing Worksheet

Portrait of a Man - Franz Hals

Color: Mostly neutral colors like black, near-black, and white, all which are very stark in intensity considering the contrast between the white and black colors on the man. The white is very light and the black colors are very dark in value.

Contour: The man's figure is clearly defined on the top but as we go down the figure, his shape starts to blend in to the background, perhaps because the artist wanted us to focus on the man's head and shoulders.

Gesture: The man's pose is dynamic and suggests movement, unlike many of the stiff portraits of the day.

Composition: Unrefined brush strokes and a gentle pose coming from the subject of the painting give liveliness and spontaneity. It was composed of oil painting on canvas.

Line: Organic lines compose much of the figure.

Shape: Negative space occupies the area behind the man being painted. Positive space is occupied of only organic shapes, the man's head and shoulders.

Perspective: Horizontal perspective, we are looking at the man from his level.

The Magdalene with the Smoking Flame

Color: Whites, reds, and other shades of brown. Colors near the flame have high brightness while colors away from the flame have relatively dull intensities. The same goes in terms of whiteness to darkness, as it progresses away from the flame's origin or point of beginning, as in a painting.

Contour: Contour is defined near the flame but away from the flame, it seems to blend in into the background.

Gesture: Relatively pastoral as the woman is sitting down and simply staring at a flame, who represents Mary Magdalene, mother of God.

Composition: Oil painting on canvas, Light is supposed to represent the "living flame of love" which is what pilgrims refer to in order to escape the darkness in their lives. Reflective qualities really dominate the painting as the only light source is the flame. Horizontal and vertical shapes within the painting draw us into Mary's contemplation.

Line: Organic lines dominate the painting, albeit only shadows, not actual lines.

Shape: Organic shapes that have definition closest to the flame but less as we go farther from the source of the flame.

Perspective: Horizontal.

The Kentuckian


Color: Mostly shades of brown. A light source that emanates from outside the field of the painting provides the color, in which the figures of the Kentuckian, his son, and his dog display rather dully, giving them a plasticky look. Lightness dominates the painting to emphasize the power and strength of the Kentuckian frontierman and his companions.

Contour: Very clearly defined to make it seem bold.

Gesture: The father and his companions seem to be on the move for an unseen objective outside of the painting's world.

Composition: Made to publicize a 1953 film called the Kentuckian, it really brings out that down to earth frontier spirit that made this country what it is. It was painted by oil painting on canvas.

Line: Crisp outlines form the figures into their boldness.

Shape: Organic shapes that really stand out to emphasize the Kentucky frontiersman.

Perspective: Linear

The Liberator


Color: Blues, greens, and browns dominate painting's color palette. All colors have high intensity and high brightness.

Contour: Very clearly defined contours of the figure in the center and even the blue "building" in the background.

Gesture: Pastoral, figure in the painting is sitting down.

Composition: Oil on canvas. Supposed to be a product of surrealism, it really does not make any sense.

Line: Geometric in background, organic in foreground.

Shape: Organic shapes in foreground, geometric shape (the blue building/tower) in the background.

Perspective: Linear