Paint HandlingImpressionistic/Hard-edged
Impressionist painting- Criteria &
Objectives
• Students must paint a natural/real subject in the style of the impressioni...
Typical impressionist setup
• Stiff bristles, hog hair flats
• Held at end of handle
• Short quick choppy flicks or
stroke...
Impressionism
1870’s-1880’s
Claude Monet, Agapanthus triptych
1 2
3 4
5
GivernyWater Lilies
Monet, 1906.
Claude Monet, self portrait
1840-1926.
Claude Monet, Impression, Sunrise
Claude Monet, Arrival At Saint Lazare Station
Claude
Monet, Lady in the
Garden
Claude
Monet, Landsca
pe With
Thunderstorm
Claude
Monet, San
Giorgio Maggiore
Claude Monet, Rouen Cathedral,
The Portal and the Tour d'Albane,
FullSunlight
Rouen Cathedral: The Portal
Monet, 1894.
Oil on canvas, 3’3” x 2’2”.
Monet, Haystacks
The Bath
Mary
Cassatt, 1892.
Oil on canvas.
3’3” x 2’2”
Mother and Child
Mary
Cassatt, 1890.
Oil on canvas.
3’11” x 2’1”
Berthe Morisot, 1841-
1895
In the Dining Room,1886,
oil on canvas
National Gallery of Art
Summer’s Day
Berthe Morisot, 1879.
Oil on canvas.
Wooded Landscape at
l’Hermitage
Camille Pissarro, 1878. Oil on
canvas, 18” x 22”.
Pissarro, Old Chelsea
Bridge, London 1871, Smith
College Museum of Arts
Pissarro, Conversation, c. 1881
Pissarro, Boulevard Montmartre la nuit, 1898
Pissarro, The Boulevard Montmartre on a Winter
Morning, 1897, Metropolitan Museum of Art
Pissarro, Boulevard
Montmartre au
printemps
Pierre- Auguste Renoir.
The Swing.
Luncheon at the Boating
Party.
Renoir
Le Moulin de la Galette
Pierre-Auguste Renoir, 1876.
Oil on canvas, 4’3” x 5’8”.
DegasRehearsal on Stage
Edgar Degas, 1874.
Pastel over brush and-ink drawing
on thin, cream-colored
paper, mounted on canv...
DegasPortrait of Mary Cassatt
Degas, 1884. Oil on canvas.
28” x 23”.
Degas, Dancers in Pink II
Degas, Ballet Rehearsal, 1875
Manet
Boating
Edouard Manet, 1874. Oil on canvas. 38” x 51”.
Manet
A Bar at the Folies Bergere
Manet, 1882. Oil on canvas. 3’1” x 4’3”.
John Singer Sargent, The Sketchers
John Singer
Sargent, Portrait of Lady
Agnew of Lochnaw
Post-Impressionism
Mid 1880’s-1910-ish
Georges Seurat, 1884-1886
Paul Signac "Le Palais des Papes, Avignon (The Papal Palace, Avignon)", c.1900 - oil
on canvas, 73.5-92.5 cm. - Paris, Mus...
Georges Lemmen
Student Examples
Hard edge painting- Criteria & Objectives
• Students must make a hard edge abstract painting. Their painting must have per...
Step by step, how to make a concentric design
Example of coloration using ten steps of value, with two out of the four col...
Asymmetrical abstract painting, sketch process
To paint with masking tape follow these steps
1. Place the tape down along the edges of your design, burnish edges to form...
Student Examples
Artists that exemplify the
assignment’s criteria
Victor Vasarely
Richard Anuszkiewicz
Julian Hoeber
Liviu Stoicoviciu
Ralph Berko
Example of asymmetrical composition
with multiple shifts in value, saturation,
and color.
What is commonly thought of
as the hard edge painting
style
These artists are ordered semi-chronologically from the 30’s o...
Piet Mondrian
Wassillie Kandinsky
Max Bill
Sol LeWitt
Frank Stella
William T. Williams
Bridget Riley,
Charles Biederman
Sarah Morris
Jaro
Artists who use bands or lines of
color
Gene Davis
Dion Johnson
Israel Guevara
Andrew Kuo
Artists who use a lot of geometric
shapes
Alison Rash
James Marshall (Dalek)
William J. O'Brien
James Kennedy
Artists who use very simple
geometric shapes
Josef Albers
Ellsworth Kelly
Robert Mangold
Sam Gilliam
Alain Biltereyst
Qian Jiahua
Artists who abstract
letters, numbers and other
symbols
Allan Graham
Robert Indiana
Karlos Carcamo
Valerie Jaudon
Artists who use organic or
natural shapes in a hard edge
style
Carla Accardi
Richard Woods
Kate Abercrombie
Michelle Hinebrook
Pete Smith
Todd Pospichal
Artists whose color does not
remain flat, but looks like hard
edge style
Yusuke Komuta
Renata Egreja
Nichole van Beek
Laura Owens
James Welling, photographs with double exposures
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
Paint handling assignments- impressionistic & hard-edge
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Paint handling assignments- impressionistic & hard-edge

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A presentation that outlines two assignments on paint handling and how to handle paint. Students are offered a choice between the two styles and are allowed to explore them in a painting. They must follow the individual objectives and criteria for each assignment.

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Paint handling assignments- impressionistic & hard-edge

  1. 1. Paint HandlingImpressionistic/Hard-edged
  2. 2. Impressionist painting- Criteria & Objectives • Students must paint a natural/real subject in the style of the impressionists. • Students may use hog hair bristle brushes, acrylic or water based oil paint, painting supplies, and a photographic reference • Students must use a real photographic reference of a real person place or thing shot in natural sunlight. • Students must use short choppy, quick strokes. Students must change colors every stroke or every set of strokes, only large brushes, size 6 and up may be used. • Students are not allowed to use black, paint can be mixed on the palette or on the canvas. Students may not use black, any use of black to darken a color will be instantly downgraded. • Students may use a support of their choice, canvas is recommended if water miscible oils are to be used. • Students can subjectively match colors, for instance: haystacks are not entirely purple but Monet made them purple to convey shadows. Purple assisted his view of a darker side of the haystack. • The objective of this assignment is to mix darks with only pure colors, paint in in an impressionistic style, and render a subject in natural light.
  3. 3. Typical impressionist setup • Stiff bristles, hog hair flats • Held at end of handle • Short quick choppy flicks or strokes • Change colors every stroke or set of strokes • Mix wet into wet • Natural light source • No black • No black • No black • If I see black I will downgrade you
  4. 4. Impressionism 1870’s-1880’s
  5. 5. Claude Monet, Agapanthus triptych
  6. 6. 1 2 3 4 5
  7. 7. GivernyWater Lilies Monet, 1906.
  8. 8. Claude Monet, self portrait 1840-1926.
  9. 9. Claude Monet, Impression, Sunrise
  10. 10. Claude Monet, Arrival At Saint Lazare Station
  11. 11. Claude Monet, Lady in the Garden
  12. 12. Claude Monet, Landsca pe With Thunderstorm
  13. 13. Claude Monet, San Giorgio Maggiore
  14. 14. Claude Monet, Rouen Cathedral, The Portal and the Tour d'Albane, FullSunlight
  15. 15. Rouen Cathedral: The Portal Monet, 1894. Oil on canvas, 3’3” x 2’2”.
  16. 16. Monet, Haystacks
  17. 17. The Bath Mary Cassatt, 1892. Oil on canvas. 3’3” x 2’2”
  18. 18. Mother and Child Mary Cassatt, 1890. Oil on canvas. 3’11” x 2’1”
  19. 19. Berthe Morisot, 1841- 1895 In the Dining Room,1886, oil on canvas National Gallery of Art
  20. 20. Summer’s Day Berthe Morisot, 1879. Oil on canvas.
  21. 21. Wooded Landscape at l’Hermitage Camille Pissarro, 1878. Oil on canvas, 18” x 22”.
  22. 22. Pissarro, Old Chelsea Bridge, London 1871, Smith College Museum of Arts
  23. 23. Pissarro, Conversation, c. 1881
  24. 24. Pissarro, Boulevard Montmartre la nuit, 1898
  25. 25. Pissarro, The Boulevard Montmartre on a Winter Morning, 1897, Metropolitan Museum of Art
  26. 26. Pissarro, Boulevard Montmartre au printemps
  27. 27. Pierre- Auguste Renoir. The Swing. Luncheon at the Boating Party.
  28. 28. Renoir Le Moulin de la Galette Pierre-Auguste Renoir, 1876. Oil on canvas, 4’3” x 5’8”.
  29. 29. DegasRehearsal on Stage Edgar Degas, 1874. Pastel over brush and-ink drawing on thin, cream-colored paper, mounted on canvas. 21” x 28”.
  30. 30. DegasPortrait of Mary Cassatt Degas, 1884. Oil on canvas. 28” x 23”.
  31. 31. Degas, Dancers in Pink II
  32. 32. Degas, Ballet Rehearsal, 1875
  33. 33. Manet Boating Edouard Manet, 1874. Oil on canvas. 38” x 51”.
  34. 34. Manet A Bar at the Folies Bergere Manet, 1882. Oil on canvas. 3’1” x 4’3”.
  35. 35. John Singer Sargent, The Sketchers
  36. 36. John Singer Sargent, Portrait of Lady Agnew of Lochnaw
  37. 37. Post-Impressionism Mid 1880’s-1910-ish
  38. 38. Georges Seurat, 1884-1886
  39. 39. Paul Signac "Le Palais des Papes, Avignon (The Papal Palace, Avignon)", c.1900 - oil on canvas, 73.5-92.5 cm. - Paris, Musée d'Orsay
  40. 40. Georges Lemmen
  41. 41. Student Examples
  42. 42. Hard edge painting- Criteria & Objectives • Students must make a hard edge abstract painting. Their painting must have perfectly hard, straight edges, four colors, each color must be varied in saturation, value, and intensity ten different ways. The design must be decidedly concentric/symmetrical or asymmetrical. • Students must use acrylic paint, four tube colors, black and white, synthetic bristle brushes, masking tape, ruler, and graphite with other painting supplies. Bristol or poster board will be used cut to a small quarter sheet square. • Students must paint with crisp straight edges, no undulations, quivers, stray marks, overlap, drips, bleeding, bristle drags, or errant marks may appear. Masking tape may be used to make crisp edges. • Students must make an informed and decisive choice to pursue a concentric symmetrical design or an asymmetrical design. Concentric is aesthetically pleasing, balanced, and easy to paint as each quadrant is identical. Asymmetrical, while more free requires more planning and balance, odd shapes often result which are harder to paint with crisp edges. • Students must use ten steps of value or ten variations in saturation/intensity. Students must use at least four different tube colors, colors cannot be within the same hue category, for instance a student cannot claim to have used ultramarine and pthalo blue as two separate colors. Students may use white, black, and grey to create various mixtures of their four colors. • The objective of this lesson is to explore subjective choices in value to create an aesthetically pleasing painting, create a geometric abstract composition, and create hard edges.
  43. 43. Step by step, how to make a concentric design Example of coloration using ten steps of value, with two out of the four colors
  44. 44. Asymmetrical abstract painting, sketch process
  45. 45. To paint with masking tape follow these steps 1. Place the tape down along the edges of your design, burnish edges to form a tight seal 2. It is optional but you can further seal edges of tape with acrylic mediums, (we don’t currently own any) 3. Paint a nice even coat of paint over tap edge, peel back at a sharp angle
  46. 46. Student Examples
  47. 47. Artists that exemplify the assignment’s criteria
  48. 48. Victor Vasarely
  49. 49. Richard Anuszkiewicz
  50. 50. Julian Hoeber
  51. 51. Liviu Stoicoviciu
  52. 52. Ralph Berko Example of asymmetrical composition with multiple shifts in value, saturation, and color.
  53. 53. What is commonly thought of as the hard edge painting style These artists are ordered semi-chronologically from the 30’s on up into contemporary time, most typically hard-edge painting is thought of as happening around the 60’s and 70’s
  54. 54. Piet Mondrian
  55. 55. Wassillie Kandinsky
  56. 56. Max Bill
  57. 57. Sol LeWitt
  58. 58. Frank Stella
  59. 59. William T. Williams
  60. 60. Bridget Riley,
  61. 61. Charles Biederman
  62. 62. Sarah Morris
  63. 63. Jaro
  64. 64. Artists who use bands or lines of color
  65. 65. Gene Davis
  66. 66. Dion Johnson
  67. 67. Israel Guevara
  68. 68. Andrew Kuo
  69. 69. Artists who use a lot of geometric shapes
  70. 70. Alison Rash
  71. 71. James Marshall (Dalek)
  72. 72. William J. O'Brien
  73. 73. James Kennedy
  74. 74. Artists who use very simple geometric shapes
  75. 75. Josef Albers
  76. 76. Ellsworth Kelly
  77. 77. Robert Mangold
  78. 78. Sam Gilliam
  79. 79. Alain Biltereyst
  80. 80. Qian Jiahua
  81. 81. Artists who abstract letters, numbers and other symbols
  82. 82. Allan Graham
  83. 83. Robert Indiana
  84. 84. Karlos Carcamo
  85. 85. Valerie Jaudon
  86. 86. Artists who use organic or natural shapes in a hard edge style
  87. 87. Carla Accardi
  88. 88. Richard Woods
  89. 89. Kate Abercrombie
  90. 90. Michelle Hinebrook
  91. 91. Pete Smith
  92. 92. Todd Pospichal
  93. 93. Artists whose color does not remain flat, but looks like hard edge style
  94. 94. Yusuke Komuta
  95. 95. Renata Egreja
  96. 96. Nichole van Beek
  97. 97. Laura Owens
  98. 98. James Welling, photographs with double exposures

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