Art Appreciation-Chapter3

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  • Oil on cardboard. 35-1⁄2" × 30" (90.2 × 76.2 cm). Alfred Stieglitz Collection, 1949 (49.59.1). The Metropolitan Museum of Art, New York, NY, U.S.A. Image copyright © The Metropolitan Museum of Art/Art Resource, NY.
  • Private collection, courtesy of DC Moore Gallery, New York. ©2010 The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York.
  • National Gallery, London.
  • National Gallery, London.
  • The Museum of Contemporary Art, Los Angeles. The Panza Collection. Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY.
  • Maryland Historical Society, Baltimore.
  • Photograph: Antonio M. Rosario/Getty Images Inc. – Image Bank.
  • © Damien Hirst. Courtesy of Gagosian Gallery. Photograph: Purcence Cuming Associates, Inc. © 2010 Hirst Holdings Limited and Damien Hirst. All rights reserved, ARS, New York/DACS, London.
  • Erich Lessing/Art Resource, NY.
  • © The Cleveland Museum of Art, 2001, Leonard C. Hanna, Jr., Fund, 1981.18.
  • The Barber Institute of Fine Arts, University of Birmingham. Bridgeman Art Library.
  • The Barber Institute of Fine Arts, University of Birmingham. Bridgeman Art Library.
  • Ashmolean Museum, Oxford, England, UK.
  • Courtesy of The Hispanic Society of America, New York.
  • National Gallery of Canada, Ottawa. Photo: © NGC.
  • Freer Gallery of Art, Smithsonian Institution, Washington, DC: Purchase, F1956.20.
  • The Museum of Modern Art, New York. Given Anonymously. Photograph © 2002 The Museum of Modern Art, New York. © Clemente V. Orozco. Reproduction authorized by the Instituto Nacional de Bellas Artes.
  • North facade of The Nelson-Atkins Museum of Art, Kansas City, Missouri including one of four "Shuttlecocks," 1994, by Claes Oldenburg and Coosje van Bruggen. Purchase; acquired through the generosity of the Sosland Family. © Claes Oldenburg and Coosje van Bruggen. F94-1/1 Photograph by Jamison Miller.
  • Canali Photobank.
  • LVR-Landesmuseum Bonn.
  • Art Appreciation-Chapter3

    1. 1. How An Artwork Is Built Chapter 3
    2. 2. From Toolbox to Creation <ul><li>How does an artist use the visual tools in their toolbox to create an artwork? </li></ul><ul><li>They organize these tools into compositions, also called design </li></ul><ul><li>We’ll be looking at the basic design principles: </li></ul><ul><ul><li>Unity and variety </li></ul></ul><ul><ul><li>Balance </li></ul></ul><ul><ul><li>Emphasis and subordination </li></ul></ul><ul><ul><li>Contrast </li></ul></ul><ul><ul><li>Repetition and rhythm </li></ul></ul><ul><ul><li>Scale and proportion </li></ul></ul>
    3. 3. Bad Design <ul><li>Even those without formal art training can see when bad design is at work </li></ul>
    4. 13. Good Design It’s Easy to Spot
    5. 18. Charles Demuth (1883–1935). The Figure 5 in Gold . 1928. 35-1/2&quot; × 30&quot; (90.2 × 76.2 cm). Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    6. 19. Unity and Variety <ul><li>Unity-the appearance of oneness </li></ul><ul><ul><li>The feeling that the design is complete and all elements are working together </li></ul></ul><ul><li>Variety-diversity </li></ul><ul><li>Most artists try to find a balance </li></ul>
    7. 20. Yves Klein
    8. 21. Jacob Lawrence. Going Home . Line study. 1946. 21-1/2&quot; × 29-1/2&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    9. 22. Pieter de Hooch. Interior of a Dutch House . 1658. 29&quot; × 35&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    10. 23. Pieter de Hooch. Interior of a Dutch House . Line Study. 1658. 29&quot; × 35&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    11. 24. Robert Rauschenberg. Gift for Apollo . 1959. 43-3/4&quot; × 29-1/2&quot; × 41&quot; (111.1 × 74.9 × 104.1 cm). Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    12. 25. Balance <ul><li>Balance-equilibrium </li></ul><ul><li>Symmetrical Balance-left and right are near or exactly match each other </li></ul>
    13. 26. James Hoban. A Design for the President's House . Elevation. 1792. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    14. 27. James Hoban. A Design for the President's House . White House. Front View. 1997. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    15. 28. Damien Hirst. Posterity—The Holy Place . 2006. 89-5/8&quot; × 48&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    16. 29. Asymmetrical Balance <ul><li>Asymmetrical balance-the left and right sides are not the same </li></ul><ul><ul><li>Instead, balance is achieved through the size and meaning of the elements </li></ul></ul>
    17. 30. Lavinia Fontana. Noli Me Tangere . 1581. 47-3/8&quot; × 36-5/8&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    18. 31. Visual Weight <ul><li>A large form is heavier than a small one </li></ul><ul><li>A form close to the edge of the frame is heavier </li></ul><ul><li>A complex form is heavier than a simple one </li></ul><ul><li>Warm colors are heavier and advance toward the viewer </li></ul><ul><li>Intense colors are heavier </li></ul><ul><li>The weight of a color increases as the background approaches its complementary hue </li></ul>
    19. 32. Nicolas Poussin (French, 1594–1665). The Holy Family on the Steps . 1648. 72.4 × 111.7 cm. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    20. 33. Edgar Degas (1834–1917). Jockeys Before the Race . c. 1878–1879. 42-1/2&quot; × 29&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    21. 34. Edgar Degas (1834–1917). Jockeys Before the Race . Line Study. c. 1878–1879. 42-1/2&quot; × 29&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    22. 35. Emphasis and Subordination <ul><li>Emphasis-used to draw the attention of the viewer </li></ul><ul><li>Subordination-used to create areas of lesser interest </li></ul><ul><li>By using these two principles the artist shows the viewer where to look </li></ul>
    23. 36. Directional Forces <ul><li>Like emphasis and subordination, directional forces tell the viewer where to look </li></ul><ul><li>Directional forces have the added advantage of showing the viewer where to look next. </li></ul>
    24. 37. Francisco Goya. Bullfight: The Agility and Daring of Juanito Apinani . Plate 20. 9-1/2&quot; × 14&quot;.Francisco Goya. Bullfight: The Agility and Daring of Juanito Apinani . Line Study. Plate 20. 9-1/2&quot; × 14&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    25. 40. Annie Leibovitz
    26. 41. Contrast <ul><li>Contrast-opposing elements </li></ul><ul><ul><li>Dark vs. light </li></ul></ul><ul><ul><li>Large vs. small </li></ul></ul><ul><ul><li>Thick vs. thin </li></ul></ul>
    27. 42. Luster-Painted Bowl . Hispano-Moresque, Manises. Spain. c. 1400. Height 5-1/2&quot;, diameter 17-4/5&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    28. 43. Repetition and Rhythm <ul><li>Repition-repeating elements </li></ul><ul><li>Rhythm-regular repeating elements </li></ul>
    29. 44. Liubov Popova. The Pianist . 1915. 106.5 × 88.7 cm. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    30. 45. Ogata Korin (1658–1716.) Cranes . Japanese, Edo period (1615–1868). c. 1700. 166 H × 371 cm (65-3/8&quot; × 146-1/6&quot;). Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    31. 46. José Clemente Orozco. Zapatistas . 1931. 45&quot; × 55&quot; (114.3 × 139.7 cm). Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    32. 47. Scale and Proportion <ul><li>Scale-the size of one thing in relation to another </li></ul><ul><li>Proportion-size relationship of the parts that make up a whole </li></ul>
    33. 48. Scale Relationships. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    34. 49. Claes Oldenburg and Coosje van Bruggen. Shuttlecocks . One of four.1994. 215-3/4&quot; × 209&quot; × 191-3/4&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    35. 50. Michelangelo Buonarroti. Pietà. 1501. Height 6'8-1/2&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    36. 51. Roettgen Pietà . 1300–1325. Height 34-1/2&quot;. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

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