Like the work of art, the outline displays some of West's finest symbolism and plainly and convincingly portrays the majority of the feeling of a stunning scene. The bigger oil on canvas work is not a solitary picture, but instead, an all encompassing perspective of a fight scene. The reference to the pale steed is a white steed on which a decided executioner, with bow and bolt close by, is indicated getting away from the grisly scene. Some portion of the artistic creation is reasonable, and some portion of it is anecdotal. The dead white seraph in the forefront seems genuine, while the delegated evil presence on a white steed that rides in from paradise has all the earmarks of being a dream made by West.
In a few regards, West's "Passing on the Pale Horse," is fairly sentimental, despite the fact that it delineates a horrendous scene. The style which West utilized is depicted best through his choice of hues, which are warm, and subsequently, most likely impacted different painters who had a place with the Romantic school of the nineteenth Century. Is one of a kind about this specific painting that it combines workmanship with excitement. The topic is profound on the grounds that there are the same number of things going ahead out of sight as in the closer view. For instance, there are bodies with garments tore from them in fight and a fallen steed at the front focus of the canvas, however the foundation additionally contains a few winged evil spirits and killers who ride in from some far off place.
With respect to the structures in the canvas, they are reasonable, and never level in appearance. The stallions are round and brimming with muscle, the lion's hooks are immense and tear blood from the tissue of the man the lion assaults. Indeed, even a child's exposed body seems overwhelming. The structures are splendidly executed and fortify the show of the scene that the craftsman planned to delineate. The greater part of the shapes are expected to be full to give weight and reality to the piece. None of the structures are light or vaporous, even the mists are extensive and full. Also, a large portion of the figures have substantial shadowing and segments of highlighting to extend the difference between the dim and light hues.
As for the lines in the composition, the lines are certainly painted. Each figure in the artistic creation, including each one of the apparitions which coast in from the sky, is very much cut. The lines are brutal and coarse as though the painter needed his watchers to see everything about. The reasonable lines of the artistic creation help the watchers make out each and every anguish inside the piece. For instance, lines isolate the lion from the stallion which it is attempting to slaughter, and the firm jaw line of one warrior communicates his awfulness at fighting off a lion,