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ART 101: ,[object Object],Introduction to Art ,[object Object],Visual Perception and,[object Object],The Formal Properties of Art ,[object Object],James Greene  |  Visiting Assistant Professor  |  1110 CAC |  greenjam@gvsu.edu,[object Object]
Gestalt,[object Object],gə-ˈstält ("form" or "whole”),[object Object], A theory of mind and brain positing,[object Object],that the operational principle of the brain is ,[object Object],holistic, parallel, and uses self-organizing tendencies, ,[object Object],OR:,[object Object],The name applied to the notion that,[object Object],the whole is different from the sum of its parts.,[object Object]
“Seeing the forest for the trees.”,[object Object]
Gestalt,[object Object],The use of Gestalt principles factors heavily in our perception of art and design. Artists and designers use knowledge of our brains’ natural form-forming abilities to produce art and design that communicates effectively.,[object Object]
Gestalt,[object Object],The key principles of Gestalt systems are:,[object Object],Emergence,[object Object],We do not recognize something or someone by first identifying its individual parts and then inferring what it is from those component parts. ,[object Object],Instead, we perceive it as a whole, all at once. ,[object Object]
Lecture#2
Gestalt,[object Object],The key principles of Gestalt systems are:,[object Object],Reification,[object Object],The constructive or generative aspect of perception, by which the thing perceived contains moreexplicit spatial information than the sensory stimulus on which it is based. ,[object Object]
Lecture#2
Gestalt,[object Object],The key principles of Gestalt systems are:,[object Object],Multistability,[object Object],The tendency of ambiguous perceptual experiences to pop back and forth unstably between two or more alternative interpretations. ,[object Object]
NECKER CUBE,[object Object],RUBIN’S VASE,[object Object],Ambiguous Depth Figures,[object Object]
Lecture#2
M.C. Escher, Circle Limit IV (Angels & Devils) 1960,[object Object]
Gestalt,[object Object],The key principles of Gestalt systems are:,[object Object],Invariance,[object Object],The property of perception whereby simple geometrical objects are recognized independent of rotation, translation, and scale; as well as several other variations such as elastic deformations, different lighting, and different component features. ,[object Object]
Lecture#2
ART 101: ,[object Object],Introduction to Art ,[object Object],The Formal Elements of Art ,[object Object],James Greene  |  Visiting Assistant Professor  |  1110 CAC |  greenjam@gvsu.edu,[object Object]
The Formal Elements of Art,[object Object],Line,[object Object],Arturo Hererra, Untitled, wall painting, 2007.,[object Object]
The Formal Elements of Art,[object Object],Line,[object Object],Alexander Calder, Figures from Cirque de Calder, ,[object Object],Wire, wood, 1927 ,[object Object],Alexander Calder, Caricature Face Mobiles, ,[object Object],Wire, 1937.,[object Object]
The Formal Elements of Art,[object Object],Line,[object Object],(implied line),[object Object],Raphael ,[object Object],Crucifixion  ,[object Object],1502-03,[object Object],Oil on panel,[object Object]
The Formal Elements of Art,[object Object],Space,[object Object],SHAPE,[object Object],Flat, 2-Dimensional Area,[object Object],Measured in height and width,[object Object],MASS,[object Object],Solid, 3-Dimesional Volume,[object Object],Measured in height, width and depth,[object Object]
The Formal Elements of Art,[object Object],Space,[object Object],Figure/Ground Reversal,[object Object],Demonstrates how our perception,[object Object],depends on our recognition of the,[object Object],spatial relationships between an ,[object Object],object and what lies beside and ,[object Object],behind it.,[object Object]
The Formal Elements of Art,[object Object],Space:,[object Object],One-Point Perspective,[object Object],Perugino, Christ Delivering the Keys of the Kingdom to Saint Peter,[object Object],Fresco, Sistine Chapel (North Wall) 1480-82,[object Object]
The Formal Elements of Art,[object Object],Space:,[object Object],One-Point Perspective,[object Object],Perugino, Christ Delivering the Keys of the Kingdom to Saint Peter,[object Object],Fresco, Sistine Chapel (North Wall) 1480-82   (perspective analysis),[object Object]
Space:,[object Object],Two-Point Perspective,[object Object],The Formal Elements of Art,[object Object],Gerrit Berckheyde The Exterior Of The Church Of Saint Bavo Oil on panel 1666.,[object Object]
The Formal Elements of Art,[object Object],Space:,[object Object],Two+ Points Perspective,[object Object],Gustave Caillebotte La Place de l’Europe, temps de pluie).  ,[object Object],Oil on canvas. 1877.,[object Object]
The Formal Elements of Art,[object Object],Space:,[object Object],Three-Point Perspective,[object Object],MC Escher,[object Object],Ascending and Descending,[object Object],Lithograph,[object Object],1960,[object Object]
The Formal Elements of Art,[object Object],Space:,[object Object],Three-Point Perspective,[object Object]
The Formal Elements of Art,[object Object],Space:,[object Object],Aerial Perspective,[object Object],Andrea Mategna, ,[object Object],LamentationOver ,[object Object],the Dead Christ,,[object Object],Tempera on panel, ,[object Object],1480.,[object Object]
The Formal Elements of Art,[object Object],Light:  Value,[object Object],The relative level of lightness or darkness of an area or an object.,[object Object]
The Formal Elements of Art,[object Object],Chiarscuro,[object Object],Technique used by artists to represent the gradual transition around,[object Object],a curved surface from light to dark.,[object Object]
The Formal Elements of Art,[object Object],Color,[object Object],Ryan McGuinness, Untitled, Silkscreen print on vinyl, 2007.,[object Object]
The Formal Elements of Art,[object Object],Color,[object Object],Title,[object Object]
The Formal Elements of Art,[object Object],Color,[object Object]
The Formal Elements of Art,[object Object],Color,[object Object],Title,[object Object]
The Formal Elements of Art,[object Object],Color,[object Object],ANALAGOUS COLOR SCHEME,[object Object],Resulting from the use of several hues that lie next to each other on the hue wheel,[object Object]
The Formal Elements of Art,[object Object],Color,[object Object],COMPLIMENTARY COLOR SCHEME,[object Object],Resulting from the use of hues that lie across from each other on the hue wheel,[object Object]
The Formal Elements of Art,[object Object],Color,[object Object],COMPLIMENTARY COLOR SCHEME,[object Object],Resulting from the use of hues that lie across from each other on the hue wheel,[object Object]
The Formal Elements of Art,[object Object],Color,[object Object],COMPLIMENTARY COLOR SCHEME,[object Object],Resulting from the use of hues that lie across from each other on the hue wheel,[object Object]
The Formal Elements of Art,[object Object],Texture,[object Object],Egyptian Bust of Khafre Old Kingdom, diorite.,[object Object]
The Formal Elements of Art,[object Object],Texture,[object Object],Max Ernst  Surrealistic Landscape  Oil on canvas  1927 ,[object Object]
ART 101: ,[object Object],Introduction to Art ,[object Object],The Principles of Design,[object Object],James Greene  |  Visiting Assistant Professor  |  1110 CAC |  greenjam@gvsu.edu,[object Object]
The Principles of Design,[object Object],Balance,[object Object],Notre Dame de Paris,[object Object],Gothic Period,[object Object],Paris, France,[object Object],Completed c.1345,[object Object],Symmetrical or Formal Balance: ,[object Object],When both sides of a composition mirror each other.,[object Object]
The Principles of Design,[object Object],Balance,[object Object],Paul Gauguin, Les Femmes De Tahiti, oil on canvas, 1891,[object Object],Asymmetrical or Informal Balance: ,[object Object],When visual weight is well-distributed, but the two sides,[object Object], of the composition do not mirror each other. ,[object Object]
Emphasis,[object Object],The Principles of Design,[object Object],Henri Toulouse-Lautrec, At the Moulin Rogue, oil on canvas, 1895,[object Object]
The Principles of Design,[object Object],Focal Point,[object Object],Rose Window, South Transept, ,[object Object],Chartres Cathedral, Chartres France c. 1215 ,[object Object]
The Principles of Design,[object Object],Scale,[object Object],Hokusai The Great Wave Off Kanagawa from 36 Views of Mt. Fuji,[object Object],woodcut, 1826-33,[object Object]
The Principles of Design,[object Object],Proportion,[object Object],Polykleitos,[object Object],Doryphoros (The Spearbearer),[object Object],Roman marble copy of Greek bronze original,[object Object],450-40 BC (original),[object Object]
The Principles of Design,[object Object],Proportion,[object Object],Parthenon Athenos, Acropolis, Athens, Greece, ,[object Object],Classical Period, Completed 431 BC,[object Object]
The Principles of Design,[object Object],Proportion,[object Object]
The Principles of Design,[object Object],Repetition,[object Object],Title,[object Object]
The Principles of Design,[object Object],Rhythm,[object Object],Bridget Riley,[object Object],Drift #2,[object Object],Silkscreen print,[object Object],1966,[object Object],Title,[object Object]
The Principles of Design,[object Object],Unity,[object Object],Pieter Bruegel the Elder NetherlandishProvebs tempera on panel1559 ,[object Object]
The Principles of Design,[object Object],Variety,[object Object],Las Vegas Strip, ca. 1970,[object Object]

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