Web the viewer’s imagination.It depicts a fantasy

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Jerry Vanderstelt's, The Guardian, is a nonobjective piece of artwork that plays on the viewer's imagination.It depicts a fantasy battle between the forces of good and evil, darkness and light.The entire piece is bathed in a light that cannot penetrate the veil of evil that the dragon is shrouded in.Yet at the same time, that same veil seems magnified by the warrior's white-blonde hair, shining sword, and magical ball held in his right hand.
Vanderstelt uses harsh, pointed, contour lines around the dragon that give it a dangerous look, while using softer classical lines in the warrior's cloak and garments.The effect is a beast of power and origin we cannot begin to comprehend and a warrior we can.The warrior's implied line of sight keeps our attention on the dragon and adds to Vanderstelt's attempt to add depth and space to his work.Analytical lines are present between the ceiling beam in the top right, the dragon's torso and wing, and the warrior's implied line of sight.They are also found within the columns and the dragon's neck.These analytical lines form a diagonal recession that leads to the left and off of the painting adding to the hall's cavernous depths.Vanderstelt uses the complementary colors of red and green on the warrior to make him stand out.The warrior, despite his size, remains the strongest aspect of the whole piece.
Atfirst glance, my attention was drawn to the monstrosity that this lone warrior faced.Then, gradually, I allowed the light to focus and it settled on a warrior glowing with confidence and power as he faces his enemy with his chin up and a firm stance.The dragon, on the other hand, appears to be in a blind rage with frustration.To me it is only a matter of time before the light prevails over t