(Copy) Silhouettes

A colorless crowd of statuesque figures which are lead by four colored figures. These figures lack animation, yet express an innate humanity through their posture and mien.

Herbert Ferber and Manual Neri, like Henry Moore, express themselves in a three dimensional plane. Despite the differences in material, the emotion expressed through shape and position in their sketches presents the viewer, to put it simply, a pleasing aesthetic. Each line and curve expresses a visceral representation of the artists' attention.

Herbert Ferber, through the gaged contortions, expresses a sentiment. Each piece flaunts a forced nature which mellows upon further circumspection. The sharpness expressed by his pieces describes an impulsiveness to his sculptures. This impulsivity flowers into intricacy, weaving itself into a whetted web.

Manuel Neri expresses his sentiment and shapes in the female form. Each and every curve provides texture and dimension in his painted studies while his final sculpted works echo this. Meaning is crammed into deceivingly simplistic scribbles. Color and shape collide to in order to express his sentiment beyond what accuracy can yield.

The painting expresses meaning through the grit of the paint and the dryness of the canvas, each contributing to the snow's cold and foamy 'feel'. A domestic apparition midst the wintery haze conveys a homeliness despite the bleak setting.

Both painting convey a directionality, via path, and make the viewer feel as if they are looking out into their very own world. Through the use of a cold palette and a gloomy sky, the viewer steps into a hazy scene. The movement in both paintings also contribute to the intimacy in which they place their viewer in. Thus, the spectatorial nature of these cold and vibrant scenes is reminiscent of a memory.

Camille Pissarro, like Piette's House at Montfoucault, plays with a colder palette which expresses a familiarity to the viewer. The buildings wrap around the painting's edges, making for an urban promenade. The foot traffic and the shops on the side walks offer a touristic aspect, accentuating what may be simply a forgotten road for the viewer. Although the unfamiliarity of the past clashes with the viewers present, the viewer welcomes watered haze as a recollection.

Johan Barthold Jongkind also expresses familiarity; however, his style utilizes a clarity which makes the viewer gaze far into the distance. Despite its clarity, the gloom of the sky, the viscosity of the mud, and the rustic quaintness exerted by the town convey an intimate sight to behold. Like Pissarro, the painting ushers a vestige of someone else's past which mingles into the past of the viewer.

Amidst the brilliant rapture of orange and gray, a skyline is formed. The ocean and the sky radiate violence and beauty which blind the viewer of the horrors vanishing beneath the waves.

This collection of paintings expresses chaos through different mediums. Once again, each one takes advantage of the perspective to draw the viewer into its world: however, this world lacks the intimacy of the Pissarro and Jongkind.

Jack Butler Yeats crashes the viewer into a street where color acts as an aggressor. The overwhelming palette transforms the landscape into a blotched havoc expressing the sentiment of a street. The environment melds into a viscous slush of change and movement which somehow coalesces into a scenic route. The woman in the painting expresses a relaxed contentment despite the chaos. The man and a child regard a pair of swans embracing. Anything living seems static while every inanimate is aggressive with movement.

Joseph Mallard, once again, overwhelms the viewer with a chaotic blast of water. The torrent is gargantuan in comparison to the people huddled together below. The water is piercing through massive boulders, conveying the insignificance of man in comparison to nature. The people, and the horses, below seem to be panicked. This contributes to the chaos which is expressed by the immensity of the water. This scene distances the viewer by placing them at a distance. This disconnects the viewer from the scene.

Jean Charles Cazin utilizes the chaos in the tall grass to express the calm of the country. The small scale of the cottage and person serve to maximize the meadow. The wind splays the grass and shrubbery, expressing movement through the disorder and flow it conveys.

The sombre and ominous nature of these painting give the viewer the impression of a mounting presence. Clouds threatening to completely cover the sky as well as people obscured by light and scale offer a portentous omen. Rembrandt utilizes a worsening storm to foreshadow a foreseeable hardship. The sails smack against the wind while the mast and hull strain against the elements.. The disciples cling onto the boat, some resolute while others unfaithful. Flinck depicts the wood in a maleficent state: the darker palette befouls the landscape. The light at a distance seems to grow further and further. The day is cast with a perpetual darkness.