Published on

Published in: Education
  • Be the first to comment

  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide
  • Genre is a structure of expectations that guides the viewer through the work.
  • In contrast, artists do not usually assume that they reach their viewers in a competitive situation where there is only a moment to grab and hold visual attention.Typically the expectation is that artists can present more ambiguous visual information, and part of the fun is in discussing and debating how we put that information together.
  • 1000s of example of movie postersMay or may not have seen 1000s of examples of FamiliarityAlso, medium is different and less familiarAlso, requirement of immediate intelligibility isn’t present
  • Set of techniquesDeveloped mostly in the writing
  • Jean August Dominique Ingres
  • Art100Su12Module05.2

    1. 1. MODULE 5.2FORM & CONTENT Art 100 Understanding Visual Culture
    2. 2. What will happen in this movie?How do you know? mrmsx16b/what- is-a-genre/
    3. 3. Advertisers work hard to create “This is a romantic visual messages comedy with two young that can be stars.” decoded in a rapid glance.
    4. 4. Edgar DegasEdmondo&ThérèseMorbillicirca 1867Oil on canvas45 7/8 x 34 ¾ inches
    5. 5. One of these belongs to ourcommon visual culture, theother does not.
    6. 6. In art history, we oftendistinguish between subjectmatter and form. Arnold Genthe, Portrait of Helen Cooke in a Field of Poppies, 1907
    7. 7. Paula Modersohn-BeckerOld Woman with Poppies1906
    8. 8. Georgia O’Keeffe, Oriental Poppies, 1928
    9. 9. Claude MonetFields of Oats and Poppies, 1890Oil on canvas, 25 x 36 inches
    10. 10. Stuart Franklin (Magnum photo)Peter Melchett’sorganic farm inRingstead, with poppiesand cornflowersgrowing alongsideorganic wheat2008
    11. 11. What is FormalAnalysis? Breaking a work down into component parts for purposes of systematic observation and understanding. When the parts are put back together, you do so with a richer understanding of each part and how they fit together.
    12. 12. 2 & 3-DIMENSIONAL MEDIA Two-dimensional=flat Three-dimensional=existing in space  Sculpture  Relief (bas-relief)  Sculpture in the round  Installation  Architecture and landscape architecture Dimension of time is added  Film  Video
    13. 13. DrawingsPaintingsPhotographsPrints
    14. 14. LINE and COLORAre considered the two most basic elements of two-dimensional art  Long history of talking about these two properties  Disegnoversus colore(in Italy)  Dessinvs. couleur(in France)
    15. 15. LINE  Line/design can mean several things:  (It’s clearer if we use a more direct translation: design)  Design could mean:  A drawing  A plan to make something
    16. 16. Ingres,Apotheosis ofHomer,c. 1827,brush,gouache, andgray wash onpaper, Louvre
    17. 17. This is both a “drawing” anda “plan’ for how to make thework. It comes first.
    18. 18. So color was thought to besecondary.Except that some artists defied this rule.They said, actually paint is what paintings are made of, and paint is pigment (a color) suspended in a medium (some sort of binder).
    19. 19. Jan van derStraet (Dutch, 1523 – 1604) The Painters Studio
    20. 20. Assistant grinding colors for use in a Diego Rivera fresco
    21. 21. Pierre Bonnard’s worktable, 1945
    22. 22. Magdalenian era, 10,000 BCE, palette and grinding stone
    23. 23. So color was thought to besecondary.Artists hate rules. As soon as you give them one they will try to break it.This academic rule “design has priority; it is the first thing, and the most important thing” was closely associated with the city of Florence.So the artists of Venice tried to disprove it.
    24. 24. Michelangelo,DoniTondo,1504
    25. 25. Michelangelo Buonarroti, CumaeanSibyl, detail, Sistine Ceiling, 1508-12
    26. 26. “Flesh was the reason oil painting wasinvented.” —20thc. artist Willem de Kooning Giorgione, Sleeping Venus, c. 1510