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Alex Undiano
Exhibition:Texture
Final Project Art 102
West Los Angeles College
Theme
• Each work of art in the following exhibition
will have texture to them, regardless of the
medium.
• The following artists will show their use of
texture and how it impacted their work.
• We will consider how the texture elevates the
art work and impacts them positively.
Donatello
marble
St Mark 1411-1413
Orsanmichele, Florence.
Donatello, like many artists of his time
was comissioned to create works of art
relating to religion. Here in his
Sculpture of St.Mark , Donatello
sculpts the robes in a flowing manner.
Because it is a sculpture, the work is
tough and hard. However, Donatello
would imply that with all the folds of
the clothing that it would in fact be
soft to the touch.
Michelangelo Buonarroti:
Pieta, 1498-1500,
marble, 5’ high
Following in the foot steps of the early
renaissance, Michelangelo's Pieta
further builds on the concept of
making a hard surface appear very
fluid and soft. The clothing of Mary is
folded and similar to the statue of
ST.Mark.
The Pieta breaks away from the old
renaissance by incorporating more
elements of naturalism.
The body of Christ appears to mimic
flesh itself by conforming to the
contours of a human body.
Albrecht Dürer
uses texture withing his prints in order to draw the viewer in.
(the sphere, the rib cage on the horse)
Melancolia I , 1514, engraving, 9”
x 6”
Four Horsemen of the Apocalypse, c.
1497, woodcut, 15” x 11”
Both work use a soft implied texture to
further increase the sensuality of the
work.Gianlorenzo Bernini
Ecstasy of St. Teresa, Cornaro Chapel, Santa Maria della Vittora, Rome
1645-52, marble, 11’ high
Diego Velazquez
Venus with a Mirror, c. 1648, o/c, 4’ x 5’
Jean-Auguste-Dominique
Ingres; 1814, Oil on Canvas;
2'11" x 5'3" (Neo-Classicism)
This painting is a prime example that
the implied texture of a nude body
transcends art movements and time
periods. Here the subject is undressed
and the delicate curves and soft lines
implies that the body is soft. The
drapery and even the bedding further
implies that the whole painting has an
over all soft feel.

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Alex undiano

  • 1. Alex Undiano Exhibition:Texture Final Project Art 102 West Los Angeles College
  • 2. Theme • Each work of art in the following exhibition will have texture to them, regardless of the medium. • The following artists will show their use of texture and how it impacted their work. • We will consider how the texture elevates the art work and impacts them positively.
  • 3. Donatello marble St Mark 1411-1413 Orsanmichele, Florence. Donatello, like many artists of his time was comissioned to create works of art relating to religion. Here in his Sculpture of St.Mark , Donatello sculpts the robes in a flowing manner. Because it is a sculpture, the work is tough and hard. However, Donatello would imply that with all the folds of the clothing that it would in fact be soft to the touch.
  • 4. Michelangelo Buonarroti: Pieta, 1498-1500, marble, 5’ high Following in the foot steps of the early renaissance, Michelangelo's Pieta further builds on the concept of making a hard surface appear very fluid and soft. The clothing of Mary is folded and similar to the statue of ST.Mark. The Pieta breaks away from the old renaissance by incorporating more elements of naturalism. The body of Christ appears to mimic flesh itself by conforming to the contours of a human body.
  • 5. Albrecht Dürer uses texture withing his prints in order to draw the viewer in. (the sphere, the rib cage on the horse) Melancolia I , 1514, engraving, 9” x 6” Four Horsemen of the Apocalypse, c. 1497, woodcut, 15” x 11”
  • 6. Both work use a soft implied texture to further increase the sensuality of the work.Gianlorenzo Bernini Ecstasy of St. Teresa, Cornaro Chapel, Santa Maria della Vittora, Rome 1645-52, marble, 11’ high Diego Velazquez Venus with a Mirror, c. 1648, o/c, 4’ x 5’
  • 7. Jean-Auguste-Dominique Ingres; 1814, Oil on Canvas; 2'11" x 5'3" (Neo-Classicism) This painting is a prime example that the implied texture of a nude body transcends art movements and time periods. Here the subject is undressed and the delicate curves and soft lines implies that the body is soft. The drapery and even the bedding further implies that the whole painting has an over all soft feel.