Magritte uses nominal dull shades though he changes colors within his colours to produce shadowy results and also provides an impressive layered aspect contributing to collection within his artwork; the horizontal tiers between the background make the top to bottom lines of the owls stand out in the downroad of his artwork. Magritte is known to certainly not leave invisible messages inside his artwork, cleverly painting the reality he see’s.
Just for this particular emblematic painting Magritte uses essential oil on painting, the razor-sharp detail he uses in his brush cerebral vascular accidents make the picture look true but not genuine at the same time.
His witty type of truth he paints fall into surrealism, although his artwork contain symbolic owls his portrait is clear, interesting and well defined, this individual wanted his viewers to look at his piece of art and enjoy what is immediately, not giving them wondering why or what it takes, because everything he wanted to portray is correct there in the artwork.
Owls symbolize perception. In many cultures they are thought to be able to find all things which might be usually concealed quite possibly anxieties. Magritte uses these owls to represent since an ancient human fear or the owls are the companions of our ancient fears, the chickens growing from the soil may well represent the ‘roots’ to the fears. When compared to Magritte, Peter Booth’s a muslim ‘Untitled 1976’ displays a picture of apocalyptic shock, concurrently Booth contains his unpleasant personal activities and his perspective of mankind.
This is apparent when he uses harsh and cold shades to represent the apocalyptic character he delivers through his artwork, the tones are incredibly similar within each color although when viewing the whole painting the compare between the diverse colours is quite prominent giving a cold feeling for his viewers to think. Line provides most firmly been utilized to create the strong intervalle line and hence fore-middle- and background. The thin repeated lines with the fire and sky produce pattern and simulated feel.
The texture in the paint Sales space uses to illustrate the commercial side of his panorama maybe recommending he had a rough the child years. The shape of the figures in Booth’s a muslim are all disproportionate, implying they are often apart of his hazy memory or perhaps hallucination, which is how he recalls them. Presentation area uses gouache on paper in this particular a muslim his intense brush strokes create point of view on his painting, guiding his viewers to understand and follow where he blows them.
His work is usually characterised by an intense emotional power of generally dark narratives, and esoteric symbolism, this artwork as well reflecting in the nightmarish dreams which categorise him in surrealism, as he works carefully with the component of surprise or shock difference. The shades he uses are representational to aspects of his years as a child growing in the industrial natural environment.