The Malecon painting by Frances de la Rosa is medium to small, exhibited in 2014. The painting was viewed in a solo exhibition in Lima, Peru. The landscape’s Tangibles, such as plants, are displayed as parts rather than a whole.
The three significant aspects of the artwork are color, space, and pattern. The three concepts are related and protrude to create the artistic vision and help translate the photo’s subject. The other four aspects of the artwork include balance, proportion, form, and emphasis.
Color, space, and pattern are the elements of design that evoke the subject communicated by the designer. Color is symbolically utilized in Malecon art to distinguish between various components such as water bodies and vegetation. Space is used to influence imagination by creating a visual hierarchy and emphasis (Berg et al. 1). The pattern is the regular arrangement within the elements that give visual clues to an underlying order crucial for interpretation.
Various colors are used in the art, including light blue, navy blue, yellow, orange, and purple, to spark interest and distinguish various elements in Frances’ photo. Crisscrossing colors throughout the art provokes viewers’ interest in defining the various elements. Moreover, color is used to give interpretation to the art and distinguish and symbolize elements. For instance, navy blue at the bottom of the art illustrated in Figure 1 below typifies water bodies.
Ultimately, Frances de la Rosa’s artwork is distinct from western artwork due to the intricate design of fragmented components. The art ingeniously employs art principles to create unique sensual memory, conveying the idea behind the art. The paint’s natural configuration and aesthetic value acknowledge a distinctive art design method.
Works Cited
Rosa, Frances de La.MalecĂłn, Lima, Peru. Web.
Van den Berg, C. P., Troscianko, J., Endler, J. A., Marshall, N. J., & Cheney, K. L. (2020). Quantitative Colour Pattern Analysis (QCPA): A comprehensive framework for the analysis of colour patterns in nature. Methods in Ecology and Evolution, 11(2), 316-332. Web.