Paintings are artworks that carry impressions and history from the past as influence on the time of its creation. The piece of art can vividly tell what the painter believes in and what revolves around their lives. It can also reveal the general perception of painters during some period in history. This is not different from the painting by Vincent van Gogh, The Sower of 1888 ( Arnason & Mansfield, 2013) . This is an artwork featuring a young boy sowing seeds into his family land. When analyzing this piece, one style known as the post-impressionism comes out perfectly. The style involves articulating the objects in a form that show the way they actually are ( Arnason & Mansfield, 2013). In the artwork, Vincent uses his brush strokes to reveal the form and the order of objects to make up the effects. What is more conspicuous is the use of yellow color. Like in his other paintings, the artist loved the color and used it almost in every other piece. It is like he worshipped yellow tone when he said that it is for the sun. Looking at the size of the celestial body, Vincent has placed it as the center of attraction. However, yellow is not the only color. The other colors are orange and violet in the field. Combination of these elements brings about the style of post-impressionism in a precise manner as they create a form.
The thoughtful composition of Gogh’s work creates a perception that can be traced through his life in as a child born in a Christian family. His work is probably referencing the parable of the sower as seen in the Gospel of Matthew where a farmer set out to scatter seeds on land and they fell on different grounds ( Arnason & Mansfield, 2013) . His profound use of color in this painting made way for the rise of modern art. The form is complemented by the size of the objects about each other. The art shows the sower as a small figure as compared to the vast environment or the sowing field. This creates a notion of how the farmer will become tired by the end the farm is done. The use of yellow color in the sky at a time when it should be blue shows how great the sun is and how it converts everything to worship it. This is in line with what Vincent believed when he was in Provence, Arles, that the sun is a supreme object and is revealed in the radial strokes of the brush from the point the sun is to the rest of sky.
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The dramatic placement of the sun to take the upper quarter of the painting is a sign that it is a domineering marvel that should be worshipped and is more significant than humans working the land. The effect is seen even in the bottom three-quarters when the yellow light shines on the shoulder of the farmer and also on the horizon. In the foreground of the painting, there is a path that leads nowhere. The orientation of this art is a horizontal one. This is seen harmony the field is with the sky and the other crops ( Arnason & Mansfield, 2013) . The presence of birds in the same area the sower places the seeds an indication of how the seeds are eaten up during planting. However, the presence of grown wheat in the background is a sign of hope that despite the birds eating the grains, some will sprout and become full heads of grain. The massive size of the sun and the dominance it has on the yellow sky suggests the heat it produces on the sower who works on the vast field. For the body to have a higher intensity, it seems burning rather than shining.
References
Arnason, H. H., & Mansfield, E. (2013). History of modern art: painting, sculpture, architecture, photography . Pearson.
