Uploaded on

An overview of the different concepts about art. Presentation of the elements and principles that support a critical analysis of a work of art

An overview of the different concepts about art. Presentation of the elements and principles that support a critical analysis of a work of art

  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Be the first to comment
No Downloads

Views

Total Views
1,237
On Slideshare
0
From Embeds
0
Number of Embeds
1

Actions

Shares
Downloads
0
Comments
0
Likes
2

Embeds 0

No embeds

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
    No notes for slide

Transcript

  • 1. WHAT IS ART? MA Rosa M. Brito
  • 2. MA Rosa M. Brito
  • 3. WHAT IS ART? Participate in the debate! • What do you think is the purpose of art? • Do you consider people must have some previous knowledge to be able to understand and appreciate a piece of art? Why? • Have you been to a museum or art exhibit? • What have you liked the most? What didn´t you like? • Do you believe the value and “price” of a work of art are the same thing? Why? • What circumstances do you think influence theAugust Rodin, The Thinker artists´ works ?1879-1889 MA Rosa M. Brito
  • 4. Which one is a work of art? Alberto Prego. 2009. Joan Miró, Blue Star, 1927. Free digital scribbling. MA Rosa M. Brito
  • 5. Which one is a work of art? Picasso. The dog. MA Rosa M. Brito
  • 6. “There really is no such thing as Art. There are only artists” E. H. Gombrich Do you agree? Why? MA Rosa M. Brito
  • 7. Is this art? Loris Cecchini, Stage Evidence (bicycle), 1998. Emilio Mariño, Spring, 2001Darío Escobar, Obverse & Reverse MA Rosa M. Brito
  • 8. “Art is everything that men call art” Dino de Formaggio Do you agree? Why? MA Rosa M. Brito
  • 9. Art and the artistic creationArtistic creation is inherently human Art and men are inseparable MA Rosa M. Brito
  • 10. “ It is virtually impossible to imagine any society without art of some kind. Indeed, the visual arts, music, drama, dance, and other forms of art, add a sense of pleasure to life. The arts are a vital part of civilization, an essential part of any culture. They are the universal languages through which human beings express their dreams, their aspirations, theirideas, and their feelings. They make it possible for all of us to communicate, understand, and appreciate each other. The arts have always been and always will be the language of civilization” (Mittler, 2000: 5) MA Rosa M. Brito
  • 11. Art, a unique contribution in human lifeMichelangelo, The Sistine Chapel, 1508-12http://www.stumbleupon.com/su/1kpcQm/www.vatican.va/various/cappelle/sistina_vr/index.html
  • 12. “The aim of art is to represent not the outward appearance of things, but their inward significance”. Aristotle (384 AC-322 AC) Greek philosopher.Vincent van Gogh, The Starry Night, 1889
  • 13. “A thousand years ago, most people never saw an image. People who lived in a town might have seen art in their local church or temple but only the very wealthy could own images. In the sixteenth century, Henry VIII sent the painter Hans Holbein across the channel so he could see what a woman he was considering for marriage looked like. Throughout history, images were anchored to aplace. Today, images are everywhere and infinitelyreproducible. They may even be surpassing text as the dominant form of communication.” Google Art Project http://www.googleartproject.com/education/ MA Rosa M. Brito
  • 14. Art… It is a human production It is an expressive production It has symbolic values as a result of a mental activity and a technique in a determined model of society. It uses specific languages MA Rosa M. Brito
  • 15. Why do we create art? Aesthetics reasons: beauty, goodness Moral/ethic reasons: existentialist dilemmas Spiritual reasons: religion and supernatural forces Historical reasons: immortalization of historical events Political reasons: propaganda or ideological indoctrination MA Rosa M. Brito
  • 16. Classify possible reasons La Almudena Cathedral, 1879-1993, Madrid, España MA Rosa M. Brito
  • 17. Classify possible reasonsBenito Juárez y la Reforma, José Clemente Orozco, 1948 MA Rosa M. Brito
  • 18. Classify possible reasons Cultura Ewe, Togo MA Rosa M. Brito
  • 19. Classify possible reasons Adriana Kosub, Introspection, 2007 MA Rosa M. Brito
  • 20. Classify possible reasons Pablo Picasso, Guernica, 1937 MA Rosa M. Brito
  • 21. What is Aesthetics? Aesthetics is a Philosophy´s discipline that studies the different manifestations of beauty. Beauty is a concept whose differentdefinitions depend of the time period andsociety values MA Rosa M. Brito
  • 22. Elements of Art Jackson Pollock, Untitled, 1950
  • 23. Works of art are made of line, color, texture, form, andperspective. Can you identify the lines, colors and shapes inthis painting of Joan Miró, Carnival of Harlequin, 1924-25? MA Rosa M. Brito
  • 24. Color Secundary Primary Tertiary Joan Miró, Portrait IV, 1938 Claude Monet,Bartolomé Esteban Murillo Garden at Vetheuil“,San Agustín lavando los pies a Cristo 18811650 - 1655. MA Rosa M. Brito
  • 25. LineIt is a continuousmark made by amoving point in asurface. It permitsthe identificationof pictorial shapes Can you draw a face Henri Matisse, with 5 lines? Nude Oranges, 1952MA Rosa M. Brito
  • 26. Find the lines in this painting Jean Baptiste Camille, Beach near Etreta Corot 1872 MA Rosa M. Brito
  • 27. Line and Movement Parthenon, Grecia, 447-438 bcVertical: strength and stability MA Rosa M. Brito
  • 28. Line and MovementThomas Eakins, The Biglin Brothers Racing, Horizontal: calmness1873 MA Rosa M. Brito
  • 29. Line and Movement Diagonal: tensionThéodore Géricault, The Raft of the Medusa, 1818-19 MA Rosa M. Brito
  • 30. Line and Movement Henry Moore, Large Interior Form, 1981 Andy Goldsworthy, Broken Pebbles, 1985 Curve: flowing and continuous movement MA Rosa M. Brito
  • 31. TextureIt is an element of art that refers tothe quality of the surface of the work ofart.The texture can be real or visual. MA Rosa M. Brito
  • 32. Compare texturesLudolf Backhuysen, Ships in Distress off a Rocky Coast, 1667 MA Rosa M. Brito
  • 33. Compare textures MA Rosa M. Brito
  • 34. Compare textures José de Creeft MA Rosa M. Brito
  • 35. Compare textures Jean-Auguste- Dominique Ingres, Princess de Broglie, 1853 MA Rosa M. Brito
  • 36. Shape and Form William H. Johnson, Going to Church, 1940-41Two-dimensional or three-dimensional? MA Rosa M. Brito
  • 37. Shape and FormLuis Meléndez, Stll Life with Oranges, Jars, and Boxes of Sweets, 1760-65 Two-dimensional or three-dimensional? MA Rosa M. Brito
  • 38. Components of the Form Henry Moore, Family Group, 1945-49Mass: size and bulk of the three-dimensional form MA Rosa M. Brito
  • 39. Components of the Form Henry Moore, Two Large Forms, 1965-69 Paul taylor Dance CompanyVolume: space inside the three-dimensional form MA Rosa M. Brito
  • 40. Perspective Depth in a painting is an optical illusion created by the use of space in the work as a whole. The types of perspective are:• Vanishing point• Planes• Contrast Real three-dimensional space: height, width, and depth is found in sculpture, ceramic and architecture. MA Rosa M. Brito
  • 41. Recognizing the spaceGiorgione, The Adoration of the Shepherds, c. 1505-10 MA Rosa M. Brito
  • 42. Recognizing the spacePicasso, Fábrica del Horta del Ebro, 1909 MA Rosa M. Brito
  • 43. Recognizing the spacewww.fotomurales.es, African Silhouettes MA Rosa M. Brito
  • 44. Javier Marín, Cabeza de mujer en un tronco de árbol,2008 Principles of Art
  • 45. The principles of art The artists design their works of artusing and controlling the elements of artand applying the principles of art. To learn and identify the principles ofart in a creative work, help us to recognizeand enjoy the composition, artistry of thepiece and the talent of the artist. MA Rosa M. Brito
  • 46. BalanceCombined elementsto give stability andequilibrium to a workof art. There arethree types ofbalance:symmetrical,asymmetrical andradialSymmetricalbalance Raphael, Madonna del Baldacchino, 1508 MA Rosa M. Brito
  • 47. Asymmetrical balance Mary Cassat, Summer, 1894 MA Rosa M. Brito
  • 48. Radialbalance Notre-Dame Cathedral, Paris, 1163 MA Rosa M. Brito
  • 49. Emphasis or contrast Combines elements to point out the differences or contrasts Vicent Van Gogh Le Cyprés 1889 MA Rosa M. Brito
  • 50. Harmony“Combines similar elements in a work ofart to stress their similarities” (Mittler,42) Tunic Moche_Wari Community, VII – IX Century MA Rosa M. Brito
  • 51. Variety It is diversity, change and complexity.Kandinsky, Composition X1939 (160 Kb); Oil on canvas MA Rosa M. Brito
  • 52. GradationCombines a series of gradual changes Joseph Turner, Zuck lake, 1843 MA Rosa M. Brito
  • 53. Rhythm It is created through the careful repetition of elements to create a visual tempo or beatMarcel Duchamp,Nude Descending a Staircase #2,1912 MA Rosa M. Brito
  • 54. ProportionIt is therelationshipbetween theelements ofthe artwork,usuallyconnectedwithemphasis Feminine figure Iranian region, Caspian Sea Bronce Age MA Rosa M. Brito
  • 55. Activity Work in pairs. Observe the following images, analyze them, applying the elements and principles of art that correspond to each one of them MA Rosa M. Brito
  • 56. Painted 19th century Tibetan mandala of the Naropa tradition MA Rosa M. Brito
  • 57. Henri Matisse, The Red Room, 1908
  • 58. Mirón de Eleuteras, Discóbolo, 455 ac
  • 59. Frida Kahlo, Diego en mi pensamiento, 1943
  • 60. Castle Museum, Osaka, Japan
  • 61. Pablo Picasso, Los tres músicos, 1921
  • 62. Javier Marín, Cabeza de mujer
  • 63. Paul Rubens, The Four Continents, 1615
  • 64. Bayron Gálvez, En el escenario
  • 65. Caravaggio, Medusa, 1598-99
  • 66. Arq. Santiago Calatrava, Ciudad de las Ciencias y las Artes de Valencia, España
  • 67. Activity Choose a partner for the activity. Analyze each one of the artworks with the corresponding formats given to you by your professor. Henry Moore, Family Group, 1945-49, bronze, Tate , LondonTemplo del Expiatorio, Arq. AdamoBoari, 1897-1972, Guadalajara, Jal. Théodore Géricault, The Raft of the Medusa,México 1818-19, Oil on canvas, Musée du Louvre, Paris
  • 68. Referencias y BibliografíaArnason, H. H., & Prather, M. (1998). History of modern art: painting,sculpture, architecture, photography (4th ed.). New York: Harry N.Abrams, Inc.Figueroba, A., & Madrid, M. T. (1996). Historia del arte . Madrid: McGraw-Hill.Manzaneque Casero, J. A. (n.d.). Historia del Arte. almez.pntic.mec.es.Retrieved December 7, 2012, fromalmez.pntic.mec.es/~jmac0005/Bach_Arte/Teoria/Html/teoria_funcion.htmMittler, G. A. (2000). Art in focus: aesthetics, criticism, history, studio(4th ed.). New York : GLENCOE/MCGRAW-HILL.  APA formatting by BibMe.org. MA Rosa M. Brito