Sample Research Paper on Pictorial Analysis

Boat Arriving in Valdez, Alaska

The painting, Boat Arriving in Valdez, Alaska by Bradford Washburn, who was a famous
artist and the innovator of aerial filmmaking, is in gelatin silver print, and selenium toned. His
imaginings of mountains are magnificent, serene, and beautiful, and his graphic efforts span

close to six years. The piece of art is dated 1937. It is parallel in its organization, and medium-
sized at 38.1 x 48 cm (15 x 18 7/8 in.). The portrait is courtesy of Panopticon Galleria, in Boston,
MA. Just as the heading proposes, the image's theme is Boat incoming in Valdez, Alaska.
However, the background art is the representation of landscapes in drawing—natural settings
such as valleys, mountains, and the river. The main focus is a broad view—and its features
organized into a comprehensible composition. The background has a distinct subject of
overlapping mountains that occupy the whole left-hand side of the piece of art. Possibly the
brightness towards the mountains is used to thrust the subject forward on the two-dimensional
space, thus making it stand out.
The meticulous landscapes have a distinct theme that is uncommon in some artistic
customs; it is established by the already developed anchorage that characterizes other focusses
like the river, the sand, small buildings, and the arriving boat. Washburn being the best in his
days, is probably the best-known native developer in landscape art. He fashioned works of
gargantuan scale that try to capture the heroic space of the landscapes that inspire the viewer.
Landscape outlooks in the painting can be imagined entirely, or clichéd from realism with
fluctuating notches of accuracy-however, with boats incoming fits into collective Northern
rebirth and primary mannerist developments of the art. This scenery piece intends to exhibit the
calm natural beauty of the environment. I believe Bradford mostly used the landscape in painting
as his source of inspiration. The landscape in boats is arriving constructs representations to study
and discover many artistic elements, like color, texture, and light. The painter has used a
monochrome imaging method, especially towards the mountains and finally full light to the
horizon, which is light sensitivity of silver halides bringing forward the feature of enlarging.

The painter has used silver-white color to emphasize on the arriving boats out of the river
towards the beach and up to the mountains. The overlapping mountains are playing an essential
role in romanticizing the classical landscape. They create an inspiration in mind, excitement, and
curiosity as well. Even though the left side of the artwork has more triangular, geometric shapes
and the right side has few shapes, Bradford has achieved a sense of unity and balance by
including bright color and the white space- which creates clarity, stability, and emphasis on what
is significant. It clears the viewer's mind of the usual intuition of dreaded mountains, which are
perceived as horrid, underdone, wildernesses of stone, fatal adversaries of cultivated lives. His
efforts in art took the Romantic Drive in making mountains appear mysterious in their
roughness, tempting in their endangerment.
The focal point in this piece of art is in the mountains where the bright color has been
used. It also exhibits the snow on the mountains illustrating the special effects of the cold.
Instead of the snow looking vaguely like filthy cotton wool scattered on the ground, it primarily
appears like it is falling from the sky, and conforms in delicate tones. The artist has also
incorporated the snow into the definite arrangement of his work by using it to generate a piercing
tonal variation with the mountains, change in weather, and emphasizing on the configuration of
the spire in the distance. His photographs classically created imitations of large spaces – broad-
angled scenes, watched from a high point, frequently highlighting distant elevated ranges and a
dropped skyline which permitted a more spacious sky.
The boats arriving at the anchor display a type of figurative art with some component of
human seafaring, overseas trade, fishing, showing shipping on rivers and bays, seashore scenes,
and all paintings displaying boats. With a slight firm difference from the landscape, he is trying
to validate his understanding of the earth's curvature with a boat and a half-seen horizon.

The artists have also used the art of line here more carefully and accurately planned,
presenting the meticulousness of the painter. This item concentrates on the theme of line and
depth seen clearly through the mountain ranges. To be precise, the focus is on the triangular or
cone shape that is the icon of mountain ranges. The gallery encompasses works of two unlike
colors (black and white), and the painter fashions textures, but each has this mutual subject of
mountains that is demarcated by the outlines used and the use of depth. The artist has used
vertical and horizontal lines to construct depth and height in his painting. By using the zig-
zag pattern, straight lines back and forward to the highest point of the mountain, the painter
complements height and depth. He has also emphasized on height by the use of vertical and
curved lines on the edges of the mountains. In this black and white painting, the painter uses
dark vertical and shaded lines to generate width and depth. By wavering the thickness of a
zone between the streaks, you can be able to mark out crests and hills clearly in a painting.
The points of view of the lines illustrate the gradient of the elevations.
Washburn has used the horizon line at eye level in his art to control the height of the
viewpoint of the audience when observing the picture. He has positioned it where the
observer seems to be observing. The concrete horizon may perhaps not be noticeable, but
one needs to sketch a 'virtual' skyline to create a painting with the appropriate viewpoint.
The horizon, in this case, is the collective peripheral point at the brightest end. They are
thereby attracting attention to the piece of art. It is effortlessly perceptible and evident
where the mountains or rock formations touch the sky.



Washburn, Bradford. Boat arriving in Valdez, Alaska. (1937) Museum of Fine Arts, Boston,