介绍
分析绘画时，应包括艺术元素和设计原则。 艺术的主要元素是由线条，色彩，动作等组成的，而设计原理则包含多样性，强调性，对比性等。 本文将根据雷金纳德·马什（Reginald Marsh）的一幅画作进行开发，并尝试将相关的视觉语言翻译成书面语言。 此外，本文旨在阐明和描述雷金纳德·马什（Reginald Marsh）如何以及为何在所选绘画中运用各种元素和原理。

Introduction

When analyze a painting, elements of art and principles of design should be included. Primarily elements of arts are made up of line, color, motion etc. and principles of design contain variety, emphasis, contrast and so on. This paper will be developed on the basis of one of Reginald Marsh’s paintings and try to translate related visual languages into written language. Besides, this paper aims to clarify and describe how and why Reginald Marsh applies various elements and principles in the selected painting.  

艺术元素

线
这幅画有各种各样的线条。该画主要描绘了两名现代女士和一名玩杂耍的人，他们乘坐旋转木马。 Rotate Vaulting马的腿和两条现代女士的腿的线弯曲且折断，而马毛的线则弯曲且连续。这是因为动物和人的线条固有地是弯曲的，这有助于增强绘画的第三维。悬挂在转盘上的绳索的线是直的，相对较粗，清晰。以所有这些线条表示，这幅画是坚实而生动的。
运动
观众能够感觉到绘画的困惑和隐含的动作。在正常情况下，当人们在娱乐场所骑旋转木马时，他们应该会感到高兴，并且其面部表情有望得到放松。一位身着白色连衣裙的现代女士将她的手指伸进暗淡的眼睛。结合当时的社会背景，遭受大萧条的人们即使试图摆脱现实，也无法过上快乐的生活。他们可能担心未来。坐在两名女士身后，身穿红色T恤的男人身上也可以观察到这种动作。可以总结出，在1930年代，美国社会充斥着廉价的时装，刺激和噪音，而人们却无法从这些外部物品获得真正的幸福。事实上，他们一心一意。
颜色
这幅画显示了十多种颜色。它们中的绝大多数是鲜艳的颜色。为了明确说明，马的胸腔在画的左侧是红色。右侧的马胸颜色是红色，亮黄色和浅绿色。绘画的基本色调为鲜黄色，其中包括悬挂旋转木马的绳索。这是因为游乐园里到处都是希望在这里追求幸福的人。一方面，明亮的黄色有助于极大地安慰人们，特别是当人们停留在1930年代大萧条的背景下时。应该指出的是，在1930年代，美国社会充满了动荡和改革（Canfield 117）。那个时代的美国人遭受痛苦并且需要娱乐活动（例如，旋转木马）的安慰。另一方面，明亮的黄色总是给人以特别温暖的感觉（Tod 269），很容易引导他们回到童年时代。众所周知，童年是所有人最悠闲的时光（Howlin 2）。雷金纳德希望通过选择亮黄色来表示1930年代的人们希望摆脱现实，暂时回到美好而无忧的童年。雷金纳德（Reginald）希望将自己的理解阐明。同时，他希望谴责人们在1930年代采取的这种消极逃避行为。除了鲜艳的颜色外，在绘画中还可以看到深色，例如马腿和马蹄的棕色和黑色。

Elements of Art

Line

There are diversified lines in the painting. The painting mainly depicts two modern ladies and a juggler who ride the merry-go-round. The lines of Rotate Vaulting horse’s leg and two modern ladies’ legs are curved and broken, while the line of horsehair is curved and continuous. This is because lines of animals and humans are inherently curved, which helps to strengthen the third dimension of the painting. The lines of ropes that hang carousel are straight, relatively thick, clearly defined. With all those lines represented, the painting is solid and vivid.  

Motion

Audiences are able to sense the perplexed and implied motion of the painting. Under normal circumstances, when people ride merry-go-round at the amusement part, they should be delighted and their facial expressions are expected to be relaxing. While one of the modern ladies who are in white dress puts her finger into the mouth with dull eyes. Combined with the social background at that time, people who suffered the Great Depression could not actually lead a life of pleasure even they tried to escape from reality. They were likely to worry about the future. Such motion also can be observed from the man who sits behind two ladies and wears a red T-shirt. It can be summarized that in the 1930s, American society was filled with cheap fashions, stimulates and noises, while people could not gain real happiness from those external items. As a matter of fact, they were empty-minded.

Color

There are more than ten colors shown in the painting. The vast majority of them are bright colors. To explain explicitly, the color of horse’s thorax that on the left side of the painting is red. The colors of horse’s thorax that on the right side are red, bright yellow and light green. The basic color tone of the painting is bright yellow, which including the ropes that hang carousel. It is because the amusement park tends to be full of people who hope to pursue happiness there. On the one hand, the color of bright yellow helps to console people a great deal, in particular, when people stayed in the background of the Great Depression of the 1930s. It should be pointed out that in 1930s, the American society was full of turmoil and reforms (Canfield 117). American people in that age suffered and were in need of comfort from amusement activities, for instance, the merry-go-round. On the other hand, the color of bright yellow always gives people a feeling of special warmth (Tod 269), which easily will guide them back to childhood. It is well accepted that childhood is the most carefree time for all people (Howlin 2). By choosing bright yellow, Reginald expects to indicate that people in the 1930s want to escape from reality and turn back to the wonderful and carefree childhood temporarily. Reginald desires to expound his understanding towards such practice. In the meanwhile, he hopes to condemn such negative evasion that people took in the 1930s. Aside from bright colors, dark colors also can be seen in the painting, such as the brown and black colors of horses’ legs and horses’ hoofs. 

设计原理
品种
所选绘画中有四个以上元素。因此，可以说雷金纳德·马什（Reginald Marsh）在组成中融入了多样性。绘画中有多种颜色和形状。具体来说，人类，旋转木马，背景照明，马胸等反映出各种形状。明亮的黄色，红色，棕色等反映了各种颜色。此外，大多数形状是不规则的，例如，旋转木马和人形，而某些元素则涂有直立的形状，例如绳索悬挂在旋转木马上。绘画中显示的多样性使它色彩斑colorful，更具吸引力。
重点
当谈到绘画的重点时，雷金纳德·马什（Reginald Marsh）主要强调旋转木马和人的面部表情，尤其是旋转木马位于左下角，而现代女士位于右上角。那两个元素全都画着大空的眼睛。毫无疑问，雷金纳德·马什（Reginald Marsh）使用空间来创造重点，这使得大而圆的形状很容易引起观众的注意。空洞的眼睛传达出这样的信息：在1930年代的美国，人们都表现出对生活的困惑。
对比
所选绘画有两个明显的对比。它们是色彩领域中的明暗对比和冷暖对比。为了详细说明，上半部分涂有浅色和暖色，例如亮黄色，红色等。下半部分涂有阴影和冷色，例如黑色，棕色等。这两种颜色零件是对比的，但在绘画中保持一致。在大多数情况下，观众倾向于被浓烈的色彩对比画所吸引，因为这是人类对视觉元素的直觉。
结论
雷金纳德·马什（Reginald Marsh）所选择的画作是在1930年代美国大萧条的社会背景下创作的。艺术元素和设计原理已用于分析绘画。归根结底，如果其中包含各种形状和颜色，则认为这幅画是统一且一致的。雷金纳德·马什（Reginald Marsh）成功地布置并使用了线条，动作，颜色，变化，强调和对比度等，以创作出这幅令人印象深刻且有吸引力的画作。通过这幅画，在观众面前展示了一个在1930年代的美国生动的世界。

Principles of Design

Variety

There are over four elements in the selected painting. Therefore, it can be said that Reginald Marsh incorporates variety in the composition. There are a variety of colors and variety of shapes in the painting. Specifically speaking, humans, merry-go-round, background lighting, horse’s thorax etc. reflect the variety of shapes. Bright yellow, red, brown etc. mirror the variety of colors. Furthermore, the majority of shapes are irregular, for example, the shapes of merry-go-round and humans, while some of the elements are painted with erect shapes, such like, the ropes hang merry-go-round. The variety that shown in the painting makes it colorful and more attractive.

Emphasis

When it comes to mentioning the emphasis of the painting, Reginald Marsh mainly emphasizes the facial expressions of merry-go-round and human, in particular, the merry-go-round locates at the lower left and the modern lady lies on the upper right. Those two elements are all painted with large empty eyes. There is no doubt that Reginald Marsh uses spaces to create the emphasis, which makes the large and round shape draw attention from audiences easily. The empty eyes convey the message that in the United States of the 1930s, people all performed to be confused with life.

Contrast

There are two obvious contrasts in the selected painting. They are, light and shade contrast and warm and cold contrast in the field of color. To expound with details, the upper part is painted with light and warm colors, for example, bright yellow, red etc. The next half part is covered with shade and cold colors, such as, black, brown etc. The colors of those two parts are contrastive but they keep consistent in the painting. In most cases, audiences are inclined to be attracted by the strong color contrast painting since it is the instinct that humans have towards visual elements.

Conclusion

The selected painting by Reginald Marsh is created under the social background of the Great Depression in the United States of the 1930s. The elements of art and principles of design have been applied to analyze the painting. In the final analysis, this painting is considered to be unified and consistent if there are various shapes and colors in it. Reginald Marsh successfully arranges and uses line, motion, color, variety, emphasis and contrast etc. to create this impressive and appealing painting. Through this painting, a vivid world that in the United States of the 1930s is displayed in front of its audiences. 

Works Cited
Canfield, John V. The Middle East in Turmoil. New York: Nova Publishers, 2001. Print.
Howlin, Brendan. The Handbook of Urban Druidry: Modern Druidry for All. New York: John Hunt Publishing, 2014. Print.
Tod, Osma. The Joy of Handweaving. New York: Courier Corporation, 2012. Print.