Landscape with Traveller by Salvator Rosa in 1640 - Term Paper Example

The path towards the destination of the travelers shows a piece of landscape showcasing the representational change from darkness to light. The scene presented by the artist implies that the travelers are moving from a dark and forlorn life to a better place where life hopefully will be better as represented by the dark to light areas in the painting. The group apparently came from a wretched place as evident in the tattered clothes of the man behind the horse. Noticeably, the painting is an asymmetric composition. The part of the artwork with the travelers is balanced by the color of the sky which catches the attention of viewers and directs the eyes to the men at the roadside.

The asymmetrical composition of the painting contributes to the directional focus the artist wanted to achieve. The eyes of viewers are directed towards the subjects of the painting that is the travelers; this was accomplished by using light, color, and implied lines employed by the artist. Light prominently shines on the travelers while the colors used particularly for the woman’s clothes call attention than the colors used for her surroundings. The implied lines are created by the stares of the roadside men which are directed towards the travelers.

Lines used by Rosa also added to the perspective set on the painting. Diagonal or oblique lines dominate the painting indicating that the subject of the painting is in motion. Viewers can recognize the movement in the piece with the crisp but implied lines of the man on the front pointing with his arm raised and the raised heel of the man at the hind part of the horse which indicates that he is walking. The lines used by the artist also helped in creating an illusion of texture in the artwork.

Although the physical texture of the painting is smooth, the artist showcased textures with the folds of the woman’s dress, the rocks, and trees along the road as well as the worn-out clothes and footgear of the man at the hind part.