ELEMENTS AND PRINCIPLES: A SUMMARY

What is the form of this work? How does the artist use the formal elements? What is it made of and how is it organized? Elements of Art (line, shape, value, color, texture, space, time/motion) Principles of Design (unity/variety, repetition, harmony, balance, scale and proportion, rhythm) Does this work seem unified and is there enough variety to sustain interest? How is the composition balanced? What is the focal point or points and how did the artist create them? What roles do proportion and scale play? Is there significant use of rhythm or repetition? What is the content of this work? Is there a recognizable subject – a story, a person, a place or an event? If so, how is the subject treated? What feelings or associations does this work evoke to me?

What is the form of this work? How does the artist use the formal elements?

What is it made of and how is it organized?

Elements of Art (line, shape, value, color, texture, space, time/motion)

Principles of Design (unity/variety, repetition, harmony, balance, scale and proportion, rhythm)

Does this work seem unified and is there enough variety to sustain interest?

How is the composition balanced?

What is the focal point or points and how did the artist create them?

What roles do proportion and scale play?

Is there significant use of rhythm or repetition?

What is the content of this work?

Is there a recognizable subject – a story, a person, a place or an event?

If so, how is the subject treated?

What feelings or associations does this work evoke to me?

Vincent Van Gogh, Bedroom at Arles #3 , 1889.

2-D Media

Drawing A mark-making process used to produce a line-based composition

A mark-making process used to produce a line-based composition

Dry Media: Pencil Metalpoint Charcoal Chalk and Crayon Liquid Media: Pen and Ink Brush and Ink DRAWING

Dry Media:

Pencil Metalpoint Charcoal Chalk and Crayon

Liquid Media:

Pen and Ink Brush and Ink

Hall of the Bulls (left wall), Lascaux, Dordogne, France, ca. 15,000–13,000 BCE. Largest bull approx. 11’ 6” long.

Spotted horses and negative hand imprints, wall painting in the cave at Pech-Merle, Lot, France, ca. 22,000 BCE. Approx. 11’ 2” long.

Arborglyphs

paintings made by Tehuelches natives. 13,000 to 9,500 Years ago Cueva de las Manos

Maarten Vanden Eynde Contemporary Cavedrawings, Los Angeles, 2007

Courthouse Wash, in Arches National Park, Moab, Utah - is the only example of the Barrier Canyon Style attributed to Archaic culture that inhabited the area seasonally between 5,500 BC and AD 1

(AD 1 to AD 1275)

Ute Rock Art, carved by Native Americans around 1650 to 1850 AD

Banksy, “early man venturing towards the out-of-town hunting grounds”

Keith Haring

Jean-Michel Basquiat, Francesco Clemente, and Andy Warhol “ Origin of Cotton”, Oil on Canvas with acrylic and silkscreen, 50x71”, 1984

Jean-Michel Basquiat In Italian , 1983. Acrylic, oil paintstick, and marker on canvas mounted on wood supports, two panels.

Julie Mheretu, Untitled , 2000, Ink, Colored Pencil and Cut Paper on Mylar, 18x24”

Silverpoint/Metalpoint

Leonardo Da Vinci Study of horses c. 1490 Silverpoint on prepared paper, 250 x 187 mm Royal Library, Windsor

Leonardo da Vinci Angel for the Madonaa of the Rocks 1483-85, Metalpoint with white chalk

Graphite

Audrey Kawasaki, 'Uria' 11.25"x18" oil and graphite on wood

Glexis Novoa, Safe and Quiet, 2002, Graphite on Wall and Canvas

Matthew Ritchie, Eschaton , 2002, Vinyl decal on wall, approx. 38x72 feet

Vik Muniz, Cathedral de Leon , from the series, “Pictures of Chocolate”, 2003, Cibachrome Photograph, 40x30” Vik Muniz, from the series “Pictures of Earthworks”, 2002, Toned Gelatin Silver Print, 40x50”

Robin Rhode, He Got Game , 2001

Robin Rhode, He Got Game , 2001

Nature has always been recorded by artists, from pre-historic cave paintings to 20th century landscape photography. I too wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking. Richard Long

Nature has always been recorded by artists, from pre-historic cave paintings to 20th century landscape photography. I too wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking.

Richard Long

Richard Long, A Line Made by Walking England, 1967

“Art is conceptual entertainment. Regardless of how radical it is, it has a great penetration on the market.” Santiago Sierra

“Art is conceptual entertainment. Regardless of how radical it is, it has a great penetration on the market.”

Santiago Sierra

Santiago Sierra, Line of 250cm Tattooed on Six Paid People , 1999 In Havana the artist offered volunteers $30, if they agreed on having a horizontal line tattooed on their back, thus alluding to the fact that people in the third world are ready to sacrifice their health for a minimal amount of money.

Santiago Sierra, Linea de 160 cm tatuada sobre cuatro personas remuneradas (160 cm line tattooed on four people), 2000. Four prostitutes addicted to heroin were hired for the price of a shot of heroin (about $67) to give their consent to be tattooed.

Interviewer : “Your work has also been called amoral.” Santiago Sierra : “It’s possible to have dignity in society, but it costs money. A person without money has no dignity. Whenever you pay for your dignity, you put your body and your time in the hands of a third party.”

Interviewer : “Your work has also been called amoral.”

Santiago Sierra : “It’s possible to have dignity in society, but it costs money. A person without money has no dignity. Whenever you pay for your dignity, you put your body and your time in the hands of a third party.”

ENCAUSTIC FRESCO TEMPERA OIL WATERCOLOR GOUACHE ACRYLIC BLURRING THE BOUNDARIES Painting

ENCAUSTIC FRESCO TEMPERA OIL WATERCOLOR GOUACHE ACRYLIC BLURRING THE BOUNDARIES

Painting ENCAUSTIC FRESCO OIL WATERCOLOR ACRYLIC Glazing Wax + Pigment Wet Plaster + Pigment Oil + Pigment Water+Binder+Pigment Water+Polymer+Pigment Transparent Layers of Paint

ENCAUSTIC

FRESCO

OIL

WATERCOLOR

ACRYLIC

Glazing

Wax + Pigment

Wet Plaster + Pigment

Oil + Pigment

Water+Binder+Pigment

Water+Polymer+Pigment

Transparent Layers of Paint

Encaustic Fayum (or Fayoum) mummy portrait of a young woman with a gilded wreath Encaustic on wood Ancient Egypt, Roman Period A.D. 120-140

JASPER JOHNS, Flag, 1954–1955, dated on reverse 1954. Encaustic, oil, and collage on fabric mounted on plywood, 3’ 6 1/4” x 5’ 5/8”. Museum of Modern Art, New York

Tony Scherman Nights with Jack 2001 encaustic on canvas 60" x 80"

Tony Scherman, Kurt C, series: The Junkies , encaustic on canvas , 60" x 72" , 2007-08

Fresco Fresco secco – dry fresco – requires binder Buon fresco – paint made of pigment and water is appliet to wet lime plaster.

Fresco secco – dry fresco – requires binder

Buon fresco – paint made of pigment and water is appliet to wet lime plaster.

Fowling scene, from the tomb of Nebamun, Thebes, Egypt, Dynasty XVIII, ca. 1400–1350 BCE. Fresco on dry plaster, approx. 2’ 8” high. British Museum, London.

Landscape with swallows (Spring Fresco), from Room Delta 2, Akrotiri, Thera (Cyclades), Greece, ca. 1650 BCE. Fresco, approx. 7’ 6” high. National Archaeological Museum, Athens.

LEONARDO DA VINCI, Last Supper (uncleaned), ca. 1495–1498. Fresco (oil and tempera on plaster), 29’ 10” x 13’ 9”. Refectory, Santa Maria delle Grazie, Milan.

Interior of the Sistine Chapel (view facing east), Vatican City, Rome, Italy, built 1473.

MICHELANGELO BUONARROTI, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508–1512. Fresco, approx. 128’ x 45’.

DIEGO RIVERA, Ancient Mexico, from the History of Mexico fresco murals, National Palace, Mexico City, 1929–1935. Fresco.

GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood, 10’ 8” x 6’ 8”. Galleria degli Uffizi, Florence.

Making a Canvas

ALBRECHT DÜRER, The Great Piece of Turf, 1503. Watercolor, approx. 1’ 4” x 1’ 1/2”. Graphische Sammlung Albertina, Vienna.

Walton Ford, “Falling Bough”, 2002 Watercolor, gouache, ink and pencil on paper, 60 3/4 x 119 1/2" Courtesy Paul Kasmin Gallery, New York

Methods of Applying Paint Grisaille – (gree-Zye) “gray” –colored glazes over a monochrome under-painting (similar to hand coloring a black and white photo) Glazing – thin, transparent layers of paint Alla Prima – “all in one go” – one sitting Impasto – thick paint (“paste”)

Grisaille – (gree-Zye) “gray” –colored glazes over a monochrome under-painting (similar to hand coloring a black and white photo)

Glazing – thin, transparent layers of paint

Alla Prima – “all in one go” – one sitting

Impasto – thick paint (“paste”)

John Singer Sargent, Claude Monet Painting in a Garden Near Giverny , 1885, Oil on canvas 21 1/4 x 25 1/2 in.

JACKSON POLLOCK, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and aluminum paint on canvas, 7’ 3” x 9’ 10”. National Gallery of Art, Washington

Glazing

Sculpture and Painting

PABLO PICASSO, Les Demoiselles d’Avignon, June–July 1907. Oil on canvas, 8’ x 7’ 8”. Museum of Modern Art, New York

Donald Judd "Nimetu" 1968

DONALD JUDD, Untitled, 1969. Brass and colored fluorescent plexiglass on steel brackets, ten units, 6 1/8” x 2’ x 2’ 3” each, with 60 intervals.

Collage and Painting

KURT SCHWITTERS, Merz 19, 1920. Paper collage, approx. 7 1/4” x 5 7/8”. Yale University Art Gallery

Wangechi Mutu

David Thorpe Kings of The Night 1998, Paper Collage 149 x 168cm

Painting and Popular Culture

Andy Warhol; paintings on display in Bonwit Teller Windows, Fifth Avenue, New York, 1961

Takashi Murakami

Takashi Murakami, Kaikai & Kiki, (2000), Time Bokan – pink, (2001), and Jellyfish Eyes (2001) at Museum of Contemporary Art, Tokyo, 2001,

Takashi Murakami

Takashi Murakami

Painting and Fashion Mark Ryden

Natalie Portman, Interview Magazine July 2004 Balthus

Painting and Motion

Printmaking

Relief Intaglio Lithography Screen Print/Stencil

The number of copies that are printed from the original plate is called A) a number. B) a monotype. C) a collage. D) an edition.

The number of copies that are printed from the original plate is called

A) a number.

B) a monotype.

C) a collage.

D) an edition.

How large is the edition of a print that is numbered 15/25? A) 15 B) 25 C) 60% of the original D) 15 inches by 25 inches E) 30

How large is the edition of a print that is numbered 15/25?

A) 15

B) 25

C) 60% of the original

D) 15 inches by 25 inches

E) 30

RELIEF Woodcut Wood Engraving Linocut INTAGLIO Engraving Drypoint Mezzotint Etching Aquatint LITHOGRAPHY SCREENPRINTING MONOTYPE THE COMPUTER AND PRINTMAKING

RELIEF

Woodcut

Wood Engraving

Linocut

INTAGLIO

Engraving

Drypoint

Mezzotint

Etching

Aquatint

LITHOGRAPHY

SCREENPRINTING

MONOTYPE

THE COMPUTER AND PRINTMAKING

ALBRECHT DÜRER, The Fall of Man (Adam and Eve), 1504. Engraving, approx. 9 7/8” x 7 5/8”. Museum of Fine Arts, Boston

ALBRECHT DÜRER, Knight, Death, and the Devil, 1513. Engraving, 9 5/8” x 7 3/8”. Metropolitan Museum of Art, New York.

REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca. 1649. Etching, approx. 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.

FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2” x 6”. Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).

Jake and Dinos Chapman “ Insult to Injury” 2003 Francisco de Goya 'Disasters of War' Portfolio of 80 etchings reworked and improved 37 x 47 cm

Francisco Goya What is all the Noise About? etching from Disasters of War Jake and Dinos Chapman Insult to Injury 2003

Francisco Goya What is all the Noise About? etching from Disasters of War

Jake and Dinos Chapman Insult to Injury 2003

Jake and Dinos Chapman

Jake and Dinos CHAPMAN “Great Deeds Against the Dead” 1994 Mixed media 277 x 244 x 152.5 cm

Henri de Toulouse-Lautrec La Goulue , 1891.

Henri de Toulouse-Lautrec Ambassadeurs: Aristide Bruant 1892.

Jasper Johns Two Maps II , 1966 Lithograph printed on white Japan, laid down on black Fabriano 25 3/8 x 20 1/4 inches Signed, dated, annotated and numbered in white crayon Edition 30

Jasper Johns Numbers , 1967 Lithograph on Angoumois paper 28 x 23 1/2 inches Edition of 35

Andy Warhol, "Green Car Crash (Green Car Burning 1)" 1963, synthetic polymer, silkscreen ink and acrylic on linen

Andy Warhol Orange Disaster , 1963 silkscreen 30 1/6" x 30 1/8"

Andy Warhol (American, 1928-1987) - 1963, Silkscreen ink on synthetic polymer paint on two canvases,

Edward Ruscha. (American, born 1937). Standard Station . 1966. Screenprint, composition: 19 5/8 x 36 15/16" (49.6 x 93.8 cm); sheet: 25 5/8 x 39 15/16"