Exam 2 Notes - Bonnie Kerridge PDF

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Chapter 4: Line 

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MC Escher o “Drawing Hands”, 1948 o Lithograph o Mathematical Figure Paul Cezanne o Father of Modern Art o “The Basket of Apples”, 1895  Complex arrangement of visual elements  Line  Shape  Light  Color  Space  Time  Still Life  Animates picture plane  Dynamic rather than static  Composition  Engages viewer  Deliberate and complex manipulation of visual elements Line o Fundamental formal element o A line delineates shape (a 2-D area)  It indicates the edge of a flat shape o A line delineates mass (3-D area) Andy Goldsworthy o “Hazel Leaves”, 1991  Changeable and impermanent lines are a metaphor for life o “Yellow Flowers on Rock”, 1994 o “Reconstructed Icicles Around a Tree”, 1995 o British sculpture o Site specific art in natural settings o River and Tides - movie o Very important artist o Environmentalist Lines can be expressive, analytical Alexander Calder o “La Grand Vitesse” Line can divide, connect, animate and simply describe something o Thick, thin, smooth, agitated o Continuous, interrupted, straight, curved o Enclose and form shapes o Create or determine edges

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Georgia O’Keeffe o Warm and cool colors Outline o Contains a shape by establishing edges Contour Lines o Suggests mass and volume Implied Line o Suggests continuance Jaune Quick-to-See Smith o “House”, 1995  Native American  Collage of images, rough drawing, layers of text  Political commentary  Past and present culture o “Trade – Gifts for Trading Land With White People”, 1992 Henri Gaudier-Brzeska o “Standing Female from the Back”, 1912  Contour lines Titian o “Assumption and Consecration of the Virgin”, 1516  Implied lines  Line of sight  3 horizontal spaces unite divine and mortal Samba (Democratic Republic of Congo) o “Calvary”, 1992  Lines of oppression Alberto Giacometti o “Man Pointing”, 1947  Gesture of pointing activates space  Thin figure suggest fragility  Isolation, thinness of life, solitude, life line, linear thinking  Influence by Jean Paul Sartre and Albert Camus Rembrandt van Rijn o “The Three Crosses”, 1653  Dark and light lines Expressive Line o Loose, free, usually curvilinear rather than straight, emotionally charged Analytical Line o Precise, mathematical in structure Vincent van Gogh o “The Starry Night”, 1889 o “The Sower”, 1888

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Sol LeWitt o “Wall Drawing No. 681C”, 1993 Jasper Johns o “Numbers in Color”, 1958-1959 Jacques-Louis David o “Study for the Death of Socrates”, 1787 o “The Death of Socrates”, 1787 Matthew Ritchie o “No Sign of the World”, 2004 Hung Liu o “Relic 12”, 2005 o “Three Fujins”, 1995 Richard Long o “A Line Made by Walking to England”, 1967 o “A Line Made in the Himalayas”, 1975 “Zeus or Poseidon o Artist unknown “Aphrodite of Knidos” Robert Mapplethorpe o “Lisa Lyon”, 1980

Chapter 5: Space 

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Shape o A flat, 2-D area height and width o “Lemons”, Donald Sultan – 1984  Created shape that we translate into 3 distinct lemons  Created by outline, by yellow (outline), by tar (plaster) o Figure – ground relationship o “Rubin Vase”  Perception of the image o MC Escher  Vanilla and green color act interchangeably as background Mass o Form, solid 3-D area, volume, height/width/depth o Martin Puryear, “Self”, 1978  The hidden secret fragility of the self  African American sculpture o Barbara Hepworth  “Two Figures”  Negative and positive space  Sculptural figures occupy space as do human  Empty spaces acquire a sense of space, volume and form o Ceremonial spoon  Liberia  Represents the power of the imagination to transform an everyday object into a symbol of community o Spatial Concepts  Olafur Elisasson, “Suney”, 1995  Empty space with filled with a glow of color Depth o Technique to show deep space on a 2-D surface  Scale – illusion of foreground and background  Jenny Saville o Fat women sitting on small, weak stool  Scale of painting, figure and concept o Exaggerated self portraits of herself o Image is everything to individuals  Overlap – illusion of one object in front of another  Rogier Van der Wyden o Condensed space  Perspective – illusion of placement in space  Raphael Linear Perspective o Technique that makes use of line to create that illusion of depth on a 2-D surface

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o One point perspective  Frontal recession  Diagonal recession o Vanishing point  Point at which converging lines meet Duccio – Maesta’Altarpiece o “Annunciation of the Death of the Virgin”, 1308-1311 Leonardo da Vinci o “The Last Supper”, 1495-1498 

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Two point perspective o Gustave Caillebotte  “Place de l’Europe on a Rainy Day”, 1876-1877 o Pieter Brueghei the Elder  “The Wedding Dance”, 1566 o Peter Paul Rubens  “The Kermis”, 1636 Mantegna o “The Dead Christ”, 1501 Henri Matisse o “Harmony in Red”, 1908-1909  Beautiful and joyful Jeffrey Shaw o “The Legible City”, 1989-1991

Chapter 6: Light & Color Line: 

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The Dan Flavin Art Institute, Ny o Light creates shadow and thus defines figure and mass o Light influences space and spacial relationships o “Flavin”, 1977  Fluorescent light Linear Perspective o One point linear perspective  “The Last Supper”, 1496-1498  Leonardo da Vinci o Two point linear perspective  Frontal and diagonal recession  “Place de l’Europe on a Rainy Day”, 1876-1877  Gustave Caillebotte Light and color as a way of creating spatial relationship o Quality the atmosphere (haze and humidity) o “Norte-Dame-du-Haut at Ronchamp” (interior), 1954  Le Corbusier  Important religious architecture of 20th century  Interior lighting: dramatic, religious, awe inspiring  Concrete, stone construction  Modern architecture Atmospheric Perspective o Another manner of depicting the illusion of depth o Objects in the background become:  Less distinct  Less contrast  Cooler in color o Used extensively by painters in the 19th century  Thomas Cole  “View from Mount Holyoke”, 1836  Northampton, Massachusetts  After a thunderstorm- the Oxbow  Joseph Turner  Often described as the greatest English painter o “Rain, Steam, and Speed-The Great Western Railway”, 1844 o Atmospheric and linear perspective Rembrandt van Rijn o “The Mill”, 1645-1648  Veil of matchless color  Lucid interval of morning dawn and dewy light

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Chiaroscuro o Balance of light and shade o Modeling – use of Chiaroscuro Technique  Manner in which artists depict the gradual transition from light to dark across a rounded surface Paul Colin o “Figure of Women”, 1930 Paul Prud’hon o “Study for La Source”, 1801 Modeling techniques: o Hatching – closely placed parallel lines o Crosshatching – multiple series of hatching lines, gives a greater sense of volume and form o “The Coiffure”, 1891  Mary Cassatt Michelangelo o “Head od a Satyr”, 1520-1530 Value – the gradual shift from light to dark Gray Scale – gradual transition from black to white o “’Race’ ing Sideways”, 2001  Nikolai Buglaj Pat Steir o “Pink Chrysanthemum”, 1984 o “Night Chrysanthemum”, 1984 Hue – color Palette – color selection Tint - color with addition of white Shade – color with addition of black Mary Cassatt o “In the Loge”, 1879  Work divided diagonally  Dark to light  Women divided by diagonal line dace and hand illuminated o Known for her pastel work Ben Jones o “Black Face and Arm Unit”, 1971 “Judith and Maidservant with the Head of Holofernes” o Judith and maid from the book of Judith o Seduction of holofernes o Larger than life o Illuminated theatrically Tenebrism: o From tenebroso – hidden in the shadows

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Drama o Composition o Light  Contrast between light and dark  Tenebrism o “Head of a King”, from Ife, Nigeria  13th century

Color:  “Transient Rainbow”, 2002 o East River, Manhattan-Queens Project o Designed to heal after 9/11 o Goddess Nu-Wa sealed/healed sky o Stones of color thrown across the heavens o Cai Guo-Qiang  “Drawing for Transient Rainbow”, 2003 o Cai Guo-Qiang  Fleeting, transitory, momentary  Color Wheel o Primary Colors  Red, Yellow, Blue o Secondary Colors  Orange, Purple, Green o Each primary or secondary color is a HUE  Color – a direct function of light  Spectrum – band of colors resulting from sunlight through a pattern  Reflected Pigments o Mixing Hues  Subtractive process  Absorption of white  Resulting colors are duller  Combing all hues – black (or total absorption) o Mixing Lights  Additive Process  Resulting colors are brighter – bolder  Combing all hues – white (or total reflection)  Hue o Red, blue, green, yellow, orange, etc. o 12 hues in the color wheel  Value o Pale blue, dark green, etc. o Relative brightness or darkness  Intensity o Purity of a color  Michelangelo

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o “The Creation of Adam”, 1508-1512  The restoration of the frescos of the Sistine Chapel  Colors were dulled by centuries of dust, smoke and grease Palette o Artist’s choice of color Color is a key element of art as such color and optical effects of color relationships have become elements to explore Analogous Areas of Color o Color groups closely placed on the color wheel and of similar color temperature  Cool  Warm o Gifford, 1880  “October in the Catskills”  Turner-ish painter creates depth using atmospheric perspective  Creates a sense of optimism using warm colors o Jane Hammond  “Fallen”, 2004-2011  Conflict in Iraq  Reminiscent of Vietnam Memorial Complementary of Contrasting Areas of Color o Opposites on the color wheel o 3 basic sets  Orange/blue  Yellow/violet  Red/green o Effect of Simultaneous contrast o Afterimage o Leon Golub  Worked to create “a sense of the tactile tension of events”  Visually feeling the explosiveness of the image  “Mercenaries III”, 1980 George Seurat o Pointillism  “The human eyes mixes the colors optically” o “A Sunday on La Grande Jatte”, 1884-1886 Chuck Close o “Stanley” (large version), 1980-1981 Restricted Palette o Charles Searles  “Filas for Sale”, 1972  Patterns  Sense of movement o Gerhard Richter

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256 Farben, 1974-1984  Color interaction

Stuart Davis o “Summer Landscape”, 1930 Pierre Bonnard o “The Terrace at Vernon”, 1920-1939 Claude Monet o “Grainstack”, 1891 Vincent van Gogh o “The Night Café”, 1888 Wassily Kandinsky o “Black Lines”, December 1913

Chapter 7: Other Formal Elements  Texture o Surface quality o Visual indications of a tactile sensation o Rough, smooth, silky  Michelangelo o “Pieta”, 1501  Actual text  Cold, smooth, permanent, purity, beyond human  Robert Ryman o “Long”, 2002  Actual text  Impasto: thickly applied paint, edges toward sculpture  Frank Auerbach o “View from Primrose Hill”, 1962  Ridges, think a lot of icing on a cake  Manuel Neri o “Mujer Pegada Series No. 2”, 1985-1986  Texture qualities on body parts  Mixed sculpture and background texture  Visual Texture o Illusion of a tactile quality o Seems to possess surface texture o Inventor of “frottage” – surface rubbings (Max Ernst) o Max Ernst  “Forest and Dove”, 1927  “Europe after the Rain”, 1940 o William A. Garnett  “Erosion and Strip Farms”, 1951  Photography unites visual/actual textures  Strip farms across the eroding landscape  Patterns of light and shadow reveal real surface texture  Patterns o Kente Prestige Cloth  Patterned textiles o Miriam Schapiro  “Night Shade”, 1986  Feminist movement  Element of Time o Isidro Escamilla  “Virgin of Guadalupe”  Temporal narrative of the miracle of the roses

o Sassetta  “The Meeting of Saint Anthony and Saint Paul”, 1440 o Roni Horn  “This is Me, This is You”, 1997-2000  Element of Motion o David – LOOK IN BOOK o Donatello – LOOK IN BOOK o Gianlorenzo Bernini  “David”, 1623 o Claude Monet  “Waterlillies, Morning Willows”, 1916-1926  No focal point  No unified perspective o Bridget Riley  “Drift 2”, 1966 o Jackson Pollock  Action painting  Drips and sweeps of paint chart the movement  Suicide o Teresa Hubbard and Alexander Birchler  “Detached Building”, 2001 o Bill Viola  “Room for St. John of the Cross”, 1983 o Grace Ndiritu  “Still Life” – LOOK IN BOOK

Chapter 8: The Principles of Design 

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John Singer Sargent o “The Daughters of Edward Boit”, 1882  Paintings for the upper class To design To organize the formal elements into a composition Design is both a process and a product Leonardo Da Vinci o Figure: perfectly balanced/symmetrical o The study of human proportion, 1492 o Focal points is the center of human anatomy Square: symbol of finite world Circle: symbol of the heavenly world Frank Gehry o 1977 o Santa Monica, CA o Sense of discontinuity o Lack of harmony o Break with convention Balance o Has to do with the appearance of “heaviness” or “lightness” o Symmetrical Balance  Taj Mahal, 1632  Agra, India  Symmetrical balance in architecture  Coronation of the Virgin  Almost perfect symmetry  Each element balances the balance of a united theological universe o Asymmetrical Balance  Vermeer  “Women Holding a Balance”, 1664 o Overall effect is that of a balanced composition o Asymmetrical balance composition whose subject is balances between the material and spiritual width  Childe Hassam o “Boston Common at Twilight”, 1885-1886  Tension between light and dark/ day and night  Populated street and open field  Ida Applebroog o 1989

o Queen Elizabeth o How power works  Male over female  Parent over children  Governments over people  Doctors over patients

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o Radial Balance  Everything radiates outward from a central point  Chartres Cathedral o “Transept”, 1215 o Emphasis and Focal Point  Anna Vallayer-Coster  “Still Life with Lobster”, 1781 o Complementary/contrasting colors  George de La Tour  “Joseph and the Carpenter”, 1645 o Divine light  Anslem Kiefer  “Parsifal”, 1973 o Scale and Proportion  Scale describes the dimensions of an object in relation to surroundings  Proportion is the relationship between parts of an object and the whole  Claes Oldenburg and Van Bruggen  “Spoonbridge and Cherry”, 1958  Hokusai  “The Great Wave”, 1823 o Woodcut o 36 views of Mount Fuji  Do-Ho-Suh  “Public Figures” o Psychological Scale  John Singer Sargent  “The Daughters of Edward Darley Boit” o Wealth and power  Judith Baca  Mural painter o Doryphoros – perfect proportion of the human form o Golden section – o Mathematical harmony o Perfection of proportion Repetition and Rhythm o Jacob Lawerance

 “Barber Shop”, 1946 o Auguste Rodin  “Gates of Hell with Adam and Eve”, 1880-1917...