Analysis Of Mark Ryden's "Wound"

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Analysis Of Mark Ryden's "Wound"

CITATION~

Title: “Wound”
Artist: Mark Ryden, USA, California
Media: Oil on Panel, 2003
Painting Size: 6" x 6"

Structural frame analysis
The form of this work is a 2 dimensional oil painting on panel, in portraiture style.
The size of this work is quite small, being only 6 inches by 6 inches, this does not include the hand made wooden frame around the artwork.
Ryden uses a methodical approach when painting, this work is in oil paint and blends different colour tones together to create a seamless texture, the finished product is then treated by polishing it.
certain elements of this artwork give it its charming quality such as the defined line of the work, it has a clear horizon and depth from the background, the shape is blurred yet positive, the texture of the painting smooth as of the use of oil paints and polish, the colour scheme is at first seemingly a limited pallet consisting of only red brown and white tones, but under closer inspection the painting has green/ yellow highlights in the lower half of the work and a rich assortment of deep reds and browns in the background.
This painting has an illusion of form but is created on a 2 dimensional surface, the overall composition of the painting is pleasing, the subject if centred in the middle of the frame, there is a clear focal point, being the subject of the little girl in the middle, the eye may also be drawn to the bleeding wound on her chest, the colours balance harmoniously with the composition and there is a free space around the subject so the painting does not look busy and crowded like a vast majority of Ryden's works.

Subjective Frame Analysis
Mark Ryden's works are largely influenced by the imagination and the subject matter is almost always and imaginary setting, depicting children in provocative relationships with their surroundings a common occurrence in Ryden's works, not particularly in “wound” although the subject matter is confronting, many of Ryden's paintings feature,...

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