ArtH 100: Art Appreciation Date: Name: Special Talk1. Guest speaker: 2. Title of the presentation: 3. What is his/her purpose of creating artworks? (What does he/she express through the art activities/artworks?) 4. What materials does he/she use to make his/her art and why? 5. What has influenced the content of his/her work? 6. How has his/her artwork changed? (For example, describe how the artwork of the artist changed in early, middle, and latest periods of the artist’s work.) 7. Comments? Richland College Final Paper: Jean Metzinger's Le Port (The Harbor) Spring 2018 – Sections (83007, 83009, 83013) Mr. Jason Hose, MA Art Education Brief Artist Biography Jean Metzinger was born on June 24, 1883 in Nantes, France. He was the eldest son of Eugène François Metzinger and Eugénie Louise Argoud. The Metzinger's were a relatively famous military family due to Jean's great-grandfather's experience serving under Napoleon Bonaparte. However, Jean's mother had hopes that one day he would become a medical doctor. Unfortunately, after the untimely death of his father, Jean threw himself into his studies. He pursued interests in mathematics, painting, and music. By the year 1900, Jean was enrolled as a student at the Académie des Beaux-Arts in Nantes where he apprenticed under the portrait painter, Hippolyte Touront. It was not long before Jean moved to Paris using the money had made selling three of his paintings, and by the time he was twenty years old, he was successfully supporting himself as a professional painter. He exhibited his art regularly around Paris, and by 1906 Metzinger had officially made a name for himself. Jean Metzinger would continue to prosper and evolve throughout his career and become known as one of the foremost painters in cubism. Introduction to Le Port I chose Metzinger's Le Port (The Harbor) for a couple of reasons. The first being that I thought the vertical panels were unique. It was something I had not seen before (surprisingly) either in cubism or in abstract art. For me, it drew me in because it was a fascinating example of cubism that wasn't totally lost to the abstract realm. Le Port, although a cubist painting, is still a landscape: sharing the same moment from different angles of the same port spread out across several panels. The second thing was his use of color. Overall, the painting feels somewhat bleak and industrial, however, the use of red and white paint really made this piece of artwork “pop” for me and make it feel as though it were still abstract and relevant. Section I Description Le Port was painted in 1912 which was at the height of Metzinger's cubism period. The painting itself is rather large, and the canvas dimensions are 33 ½ x 39 ½ inches. Metzinger also used oil paints for this artwork – a popular choice among his peers. The painting is split into si.

1. ArtH 100: Art Appreciation
Date:
Name:
Special Talk1. Guest speaker:
2. Title of the presentation:
3. What is his/her purpose of creating artworks? (What does
he/she express through the art activities/artworks?)
4. What materials does he/she use to make his/her art and why?
5. What has influenced the content of his/her work?
6. How has his/her artwork changed? (For example, describe
how the artwork of the artist changed in early, middle, and
latest periods of the artist’s work.)
7. Comments?
Richland College

2. Final Paper: Jean Metzinger's Le Port (The Harbor)
Spring 2018 – Sections (83007, 83009, 83013)
Mr. Jason Hose, MA Art Education
Brief Artist Biography
Jean Metzinger was born on June 24, 1883 in Nantes, France.
He was the eldest
son of Eugène François Metzinger and Eugénie Louise Argoud.
The Metzinger's were a

3. relatively famous military family due to Jean's great-
grandfather's experience serving
under Napoleon Bonaparte. However, Jean's mother had hopes
that one day he would
become a medical doctor. Unfortunately, after the untimely
death of his father, Jean
threw himself into his studies. He pursued interests in
mathematics, painting, and music.
By the year 1900, Jean was enrolled as a student at the
Académie des Beaux-Arts in
Nantes where he apprenticed under the portrait painter,
Hippolyte Touront. It was not
long before Jean moved to Paris using the money had made
selling three of his
paintings, and by the time he was twenty years old, he was
successfully supporting
himself as a professional painter. He exhibited his art regularly
around Paris, and by
1906 Metzinger had officially made a name for himself. Jean
Metzinger would continue
to prosper and evolve throughout his career and become known
as one of the foremost
painters in cubism.
Introduction to Le Port

4. I chose Metzinger's Le Port (The Harbor) for a couple of
reasons. The first being
that I thought the vertical panels were unique. It was something
I had not seen before
(surprisingly) either in cubism or in abstract art. For me, it drew
me in because it was a
fascinating example of cubism that wasn't totally lost to the
abstract realm. Le Port,
although a cubist painting, is still a landscape: sharing the same
moment from different
angles of the same port spread out across several panels. The
second thing was his
use of color. Overall, the painting feels somewhat bleak and
industrial, however, the use
of red and white paint really made this piece of artwork “pop”
for me and make it feel as
though it were still abstract and relevant.
Section I Description
Le Port was painted in 1912 which was at the height of
Metzinger's cubism period.
The painting itself is rather large, and the canvas dimensions
are 33 ½ x 39 ½ inches.

5. Metzinger also used oil paints for this artwork – a popular
choice among his peers. The
painting is split into six vertical segments each depicting a
different scene of the same
industrial harbor from different viewpoints. The images
depicted in each segment
include buildings and warehouses, sailboats, commercial ships,
bridges, sky and ocean
water. Metzinger uses a variety of lines, ranging from sharp to
thick, straight to curved,
and horizontal to vertical and diagonal in order to create shapes
and bring this painting
to life. His use of color in this painting is reminiscent of cubist
painters because they
vary from cool, warm, and neutrals shades with bright pops of
color to enhance various
elements of the painting. The same can be said about his use of
shape and texture. The
painting is crowded to the very edges of the canvas with
geometrical shapes which
Metzinger emphasizes by adding texture using color.
Section II Analysis
Le Port can be analyzed as a whole or within its segments

6. which is another thing
I found interesting about this painting. It's almost like the
viewer is able to see multiple
paintings or only one. Each segment contains a small glimpse of
the bustling harbor
which contains various hints of buildings, ships, bridges, sky
and water. It is an
intriguing arrangement because it gives the viewer multiple
perspectives of the same
location, perhaps at the same moment or different times during
the day or even different
times in the year. Some perspectives are far off and distant,
whereas others are up
close and fill the entire segment. Metzinger uses a mixture of
squares, rectangles, and
triangles to depict his harbor scene, and it works quite well in
the abstract sense. There
is a sense of mechanical-ism among the shapes that are
somehow relaxing. The artist
also uses darker colors as well as neutral colors to maintain a
gloomy feel about the
scene, but it is important to note that he also adds stark whites
and vivid reds

7. throughout the painting to create a sense of balance and
contrast. Instead of using
leading lines, Metzinger uses various angles of the bridges at
the top of the painting to
help lead the viewer across the painting, taking in each segment
as if they were reading
a book. It is an interesting tactic because the viewer is able to
view the painting from left
to right and top to bottom.
Section III Interpretation
It is not always easy to interpret an artist's motive for a piece
of artwork,
especially when it comes to cubist or abstract painters, and
Metzinger's Le Port is no
exception. Metzinger is known to have painted other harbor and
sailboat type paintings,
however this painting is different. In a sense it is mechanical,
by breaking up the
painting into segments and painting specific aspects from the
harbor, we are able to see
the everyday functions of the port. Why would he choose to do
that? One reason I can
think of after reading more about the artist and his work, is that

8. he was obsessed with
the idea of bringing cubism and reality together. He didn't
believe that natural forms
should be completely obscured by abstraction, and instead he
committed his work to
marrying the two elements together to create balance and
harmony.
Section IV Judgment
Upon first inspection, Le Port seems to be a relatively
straightforward painting.
We see a bustling harbor, and it is the perfect description of
turn of the century
industrialism. When I first looked at this painting, I was
immediately drawn to the artist's
depiction of its commercialism because it is brooding,
industrial, and cramped. It is not
an image I could imagine myself relaxing to because some
elements are a bit jarring
like the use of dark colors and sharp, angular shapes. And yet,
even though I can
almost sense the hustle and bustle of the moment, it is still
somehow calming. I think it

9. is because there is so much to look at within it, and that is
another reason why I like this
painting. I really appreciate that the artist took great care in
finding an equilibrium
between a realistic form and abstract art, and in my opinion it is
very well done. I could
certainly look at this painting for hours and never get bored,
and for me, that is a sign of
“good art”!
Artist Presentation:
MARISA SEGOVIA
25 years young
Mexican, Portuguese, German & Native American.
Studio Arts (Major)
Art Education (Major)
Art History (Minor)

10. Modesto, CA
Born & raised
Chico, CA
Transferred/CSU
Printmaker
Glassworker
Future Educator
Etc.
4
2-D Art?
(a work of art) having its elements organized in terms of
a flat surface, especially emphasizing
the vertical and horizontal character of the picture plane:
The two dimensions depicted are length and width and the
objects on the picture are flat.

11. 3-D Art?
perceived to have height, width & depth, & having these three
makes it a form; meaning all 3D arts have form.
Three-dimensional pictures contain yet another dimension:
depth.
Printmaking?
Lithography: the process of printing from a plane surface (such
as a smooth stone or metal plate) on which the image to be
printed is ink-receptive and the blank area ink-repellent
Intaglio: an engraving or incised figure in stone or other hard
material depressed below the surface so that an impression from
the design yields an image in relief
Screen-printing: a stencil process in which coloring matter is
forced onto the material to be printed through the meshes of a
silk or organdy screen so prepared as to have pervious printing
areas and impervious nonprinting areas
Relief: the process of printing from an inked raised surface
especially when the paper is impressed directly upon the surface
Etc.
Sophia Larson
Lithography
Ryan Bongers
Etching
Aquatint

12. Damien Tran
Screen-print
Brett Day
Reduction Woodcut
ARTS 230 - Introduction to Printmaking
3422
Tuesday/Thursday
11:00AM - 1:50PM
Ayres Hall
Room 121/129
Eileen MacDonald
Glass-blowing?
Hot glass: involves molten glass with a temperature around
2000° degrees.
blown glass, solid sculpted glass, & cast glass
Warm glass: a process that involves heating the glass in an oven
or kiln.
slumping, fused glass
Cold glass: involves any techniques or processes done to the
glass that is not hot.
acid etching, sand-blasting
Lino Tagliapietra

13. System 96
Jamie Burress
90COE Bullseye glass
Pietro & Riccardo Ferro
System 96
ARTS 276 - Introduction to Glass Art
3429
Monday/Wednesday
11:00AM - 1:50PM
Arts & Humanities Building
Room 114
Robert Herhusky
Untitled

14. Collagraph
Her
Screen-print
Broadway St.
Relief
Burn Studies Pt.1
Hot glass

15. Drella
Screen-print
Acrylic pens
Art is my religion Pt.1
Screen-print
Who run the world?
Screen-print
http://mnsegovia.com/
MNSegovia.com

16. IN-BETWEEN
BFA Culminating Exhibition
By Marisa Segovia
April 22-26, 2019
Monday-Friday: 8AM-5PM
Ayres Hall, B-So Gallery, Rm 105
California State University, Chico.
Works Cited:
https://dmglass.com/artists/pietro-riccardo-ferros/
http://www.hellergallery.com/lino-tagliapietra
https://jamieburress.bigcartel.com
https://www.pinterest.com/search/pins/?q=intaglio&rs=typed&te
rm_meta[]=intaglio%7Ctyped
https://www.pinterest.com/search/pins/?q=screen%20print&rs=t
yped&term_meta[]=screen%7Ctyped&term_meta[]=print%7Cty
ped