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This is evident from the main object’s piece protruding piece from the right and casts shadow just beneath it in relation to both the man and machine like forms found in the background.
Diverse forms comprising this artwork their placements occupy the background whereby most of them seem to concentrate in the right side corner. This creates a negative space between the viewer and the main objects. Besides, there are scattered snow like objects characterizing the space between the viewer and the background. These objects and those forming the portrait’s ground do not appear as if the painter utilized brush, but formed them by “ripping off” technique after applying paint. Hence, revealing underlying paints but via forming patches, which gives the ground snow like forms, scattered in the entire forefront space. The background objects’ colors exhibit bold and heavy brush strokes giving them their true colors except the protruding piece that has a grey color. The protruding image seems as if the painter after applying paint embarked on “ripping off” method, which he utilized to create the forefront objects.
In this image, Clyfford still’s portrait via his painting offers the audience adequate information meant to predict the time and season of the day. The snow-like objects confirm this was a summer day and in the afternoon whereby the latter depiction is evident from the long object’s shadow cast beneath it. The entire artwork’s objects and incorporation of colors gives a feeling of an ordinary atmosphere in the countryside with its normal on goings. This is evident from the busy man undertaking his activities. In addition, the depiction of varied agricultural machines emphasizes society’s daily on goings.
Clyfford despite being born in Dakota, he spent 35 years of his early life in Eastern Washington and Alberta (Wünsche & Crowther 135). Clyfford’s parents were farmers while staying in Alberta, whereby these settings influenced
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