Texture - Surface quality (can be actual or implied) Actual Texture : a tactile experience Visual or Implied Texture : an illusionary experience Brancusi , Bird in Space, 1925. Richard Patterson's "Minotaur With Brushstrokes" (1998), oil on canvas.

Major Types of Space 2D Decorative Space Stressing the 2D nature of an artwork or any of its elements Plastic Space The use of the elements to create the illusion of 3D on a 2D surface Perspective Three Dimensional Space

2D

Decorative Space

Stressing the 2D nature of an artwork or any of its elements

Plastic Space The use of the elements to create the illusion of 3D on a 2D surface

Perspective

Three Dimensional Space

Rachel Whiteread 'Untitled 'Six Spaces'

Rachel Whiteread

Rachel Whiteread, Ghost , 1990

Ways to Create Space Is there a suggestion of depth on a flat surface? Can you divide the picture into foreground, middle ground and/or background? Strong details in the foreground and diminishing detail towards the background Large objects in the foreground and smaller ones in the background Overlapping Warm and cool color contrasts

Is there a suggestion of depth on a flat surface?

Can you divide the picture into foreground, middle ground and/or background?

Strong details in the foreground and diminishing detail towards the background

Large objects in the foreground and smaller ones in the background

Overlapping

Warm and cool color contrasts

Implied Space Two dimensional space has only height and width . There exists the picture plane and the illusion of the negative (ground) and positive (figure) space. Maharana Amar Singh II , Prince Sangram Singh… c. 1705-08. Overlapping Position (foreground, middle-ground, background) Linear Perspective or Isometric Perspective Atmospheric Perspective Foreshortening

Overlapping

Position (foreground, middle-ground, background)

Linear Perspective or Isometric Perspective

Atmospheric Perspective

Foreshortening

Maharana Amar Singh II , Prince Sangram Singh… c. 1705-08.

Shallow Space The illusion of limited depth. With shallow space, the imagery appears to move only a slight distance back from the picture plane

The illusion of limited depth. With shallow space, the imagery appears to move only a slight distance back from the picture plane

Henry Darger

Marcel Dzama

Chris Ware from “Quimby the Mouse”

KARA WALKER

Atmospheric Perspective The illusion of deep space produced in 2D works by lightening values, softening details and textures, reducing value contrasts, and neutralizing colors in objects as they recede

The illusion of deep space produced in 2D works by lightening values, softening details and textures, reducing value contrasts, and neutralizing colors in objects as they recede

HUANG GONGWANG, Dwelling in the Fuchun Mountains, Yuan dynasty, 1347-1350. Section of a handscroll, ink on paper, 1' 7/8" x 20' 9". National Palace Museum, Taibei.

LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505. Oil on wood, approx. 2’ 6” x 1’ 9”. Louvre, Paris.

Friedrich, Caspar David, 1774-1840 “Easter Morning” Date1830-5 Oil on canvas 17 1/4x13 5/8"

JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, approx. 1’ 10” x 2’ 1”.

"A Storm in the Rocky Mountains, Mt. Rosalie" - by Albert Bierstadt, 1866

Deep and Infinite Space Pictorial space in which the picture frame acts as a window which objects can be seen receding endlessly

Pictorial space in which the picture frame acts as a window which objects can be seen receding endlessly

Giuseppe Pellizza da Volpedo (Volpedo 1868 - 1907) “ Il sole” (The Sun) , 1904 Oil on Canvas, 150x150 cm

James McNeill Whistler, Nocturne: Blue and Silver—Battersea Reach, 1872–78, Oil on canvas

MARK ROTHKO, No. 14, 1961 Oil on canvas, 9’ 6” x 8’ 9”.

Robert Ryman , Surface Veil I, 1970. Oil and blue chalk on linen, 143 15/16 x 144 inches

Spatial Indicators Sharp or Diminishing Detail Size Position Overlapping Transparency Interpenetration Converging Parallels (Perspective)

Sharp or Diminishing Detail

Size

Position

Overlapping

Transparency

Interpenetration

Converging Parallels (Perspective)

Position In relation to horizon line

Position

In relation to horizon line

Perspective Any graphic system used in creating the illusion of 3D images and/or spatial relationships on a 2D surface. Atmospheric, Linear, and Infinite Vanishing Point = the point in a perspective drawing to which parallel lines appear to converge

Any graphic system used in creating the illusion of 3D images and/or spatial relationships on a 2D surface.

Atmospheric, Linear, and Infinite

Vanishing Point = the point in a perspective drawing to which parallel lines appear to converge

Vanishing Point , 1971

One Point Two Point Three Point

Practice Perspective:

Vanishing Points

Draw a vertical line anywhere – perpendicular to the horizon

Draw a vertical line anywhere – perpendicular to the horizon

CIMABUE, Madonna Enthroned with Angels and Prophets, ca. 1280–1290. Tempera on wood, 12’ 7” x 7’ 4”. Galleria degli Uffizi, Florence. Perspective prior to the Renaissance

Duccio, Christ Entering Jerusalem , detail of Maesta Alter, 1308-11, Tempra on Panel, 40x21” Perspective prior to the Renaissance

MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1428. Fresco, 21’ x 10’ 5”.

DIRK BOUTS, Last Supper (central panel of the Altarpiece of the Holy Sacrament), Saint Peter’s, Louvain, Belgium, 1464–1468. Oil on wood, approx. 6’ x 5’.

PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

Pere Borrell del Caso Escaping Criticism , 1874

Edward Burtynsky Manufacturing #18, Cankun Factory, Zhangzhou, Fujian Province, 2005

Isometric Projection A technical drawing system in which a 3D object is presented two-dimensionally; starting with the nearest vertical edge, the horizontal edges of the object are drawn at a 30 degree angle and all verticals are projected perpendicularly from a horizontal base

A technical drawing system in which a 3D object is presented two-dimensionally; starting with the nearest vertical edge, the horizontal edges of the object are drawn at a 30 degree angle and all verticals are projected perpendicularly from a horizontal base

Selim II receiving the Safavid ambassador in the palace at Edirne in 1567. Nehzetu'l-Ahbar der Sefer-i Sigetvar Nakkas Osman 1568. Hazine. 1339, folio 247b

From the Procession of the Guilds: the Procession of Makers of Bath-towels, Sur-nama ('Book of Festivities')., Istanbul, 1582. Hazine 1344, folios 338b-39a

During the 20th century, _______ and _______ were added to the visual elements used by artists. rough and soft time and motion outline and contour color and value shape and mass

During the 20th century, _______ and _______ were added to the visual elements used by artists.

rough and soft

time and motion

outline and contour

color and value

shape and mass

Art that physically moves, as Alexander Calder's mobiles do, are called ______ art. A) kinetic B) time-and-space C) sequential D) value E) perspective

Art that physically moves, as Alexander Calder's mobiles do, are called ______ art.

A) kinetic

B) time-and-space

C) sequential

D) value

E) perspective

Claude Monet, Haystacks 1890-1891

GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 2’ 11 3/8” x 3’ 7 1/4”. Albright-Knox Art Gallery, Buffalo, New York

Giacomo Balla, Swifts Paths of Movement – Dynamic Sequences

Umberto Boccioni. States of Mind: The Farewells . 1911. Oil on canvas. 70. x 96cm.

Umberto Boccioni, Charge of the Lancers , Tempera and collage on board, 32x50 cm, 1915

EADWEARD MUYBRIDGE, Nude Descending Stairs, 1884

MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, approx. 4’ 10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia

UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913 (cast 1931). Bronze, 3’ 7 7/8” high x 2’ 10 7/8” x 1’ 3 3/4”. Museum of Modern Art, New York

"Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibilities of men." Luigi Russolo, 1913

"Venom and Eternity“, 1951 by Jean Isidore Isou

“ I gave Picasso as an example…Before him, others indeed destroyed the image – Why any child who destroyed the image was a Picasso – But Picasso was the first to leave beautiful, normal painting and with infinite research and enormous pains, progress towards the destruction of beautiful, normal painting. He thus systematized new painting and hacked out of the forest of painting the path that goes from ordinary figurative art to non figurative art to abnormal art.” "Let people come out of a movie with a headache. There are so many movies from which one emerges as stupid as one entered. I'd rather give you a migraine than nothing at all. I'm not paid by an optometrist to bring him clients, but I should rather ruin your eyes than leave them indifferent."

Nam June Paik, Zen for TV 1963, 1976 version manipulated vintage television and components 19 x 22 1/2 x 18 in. (48.3 x 57.2 x 45.7 cm) Smithsonian American Art Museum

• Texture: surface quality (Actual or Visual, implied) • Impasto • Pattern (regular repetition) • Space: 2 & 3-dimensional (height, width &/or depth) (Actual or Implied) • Positive/negative; figure/ground • Overlapping; foreground/background • Position • Linear & isometric perspective • Atmospheric perspective & chiaroscuro • Foreshortening • Time & motion: elapsed, implied, Kinetic Chapter Four-B Design Elements