No Trespassing

With most of her goods and chattels it looks like. Nice two point perspective lines.

Peter Dexter said:

With most of her goods and chattels it looks like. Nice two point perspective lines.

Click to expand...

Explain the “two-point perspective” here.

So you taken by that actual lines! I didn’t get to that. But you are so right!

I was immediately drawn, (pardon the metaphor), to the blue structure on the right, that demands attention almost as much as the tragic, apparently dispossesed and overloaded woman!

That extra odd blue structure, further emphasized by the green hedge, is so different from the beautifully sienna tones of the long b.g. complex of weathered wood planks, rusty industrial doors and the long open rail car. It is almost part of a different scene.

This included unexpected dissonant element on right, adds to the sense of disorder and is an interesting new idea for me. It could have been excluded just as easily, but James has it there and to me, that strengthens the challenge of the picture.

Asher

Peter Dexter said:

With most of her goods and chattels it looks like. Nice two point perspective lines.

Click to expand...

Asher Kelman said:

Explain the “two-point perspective” here.

So you taken by that actual lines! I didn’t get to that. But you are so right!

I was immediately drawn, (pardon the metaphor), to the blue structure on the right, that demands attention almost as much as the tragic, apparently dispossesed and overloaded woman!

That extra odd blue structure, further emphasized by the green hedge, is so different from the beautifully sienna tones of the long b.g. complex of weathered wood planks, rusty industrial doors and the long open rail car. It is almost part of a different scene.

This included unexpected dissonant element on right, adds to the sense of disorder and is an interesting new idea for me. It could have been excluded just as easily, but James has it there and to me, that strengthens the challenge of the picture.

Asher

Click to expand...

Peter, Asher

Thank you for your interest... much appreciated!

Best, regards
James

Hi, Asher,

Asher Kelman said:

Explain the “two-point perspective” here.

Click to expand...

In "two point perspective", parallel lines in one plane of the subject (if prolonged) converge in the image plane at a point, and parallel lines in a different plane of the subject (if prolonged) converge in the image plane at a second point.

In this, case, those two planes of the subject are the front of the building and the left side of the building (from our viewpoint). These planes are orthogonal, but that is not a requirement.

If we could see the (flat) roof of the building as well (a third plane on the subject), then parallel lines on the roof (if prolonged) would converge at a third point in the image plane (this being "three point perspective"). (If one of the parallel lines on the roof was the same as one of the parallel lines on, for example, the left side, then two of the points coincide.)

Best regards,

Doug

Doug,

I understood that, LOL, but I saw another psychological and compositional “2-point perspective” as there are two focus of mental interest:

1. The rivetting lady with “life-stuff”

2. The extraordinarily importantly different blue building and green hedge on the right.

Asher