The document is a course outline on art appreciation focusing on the elements of art, particularly value and space. It covers techniques for creating the illusion of depth using value, perspective, and various methods like chiaroscuro and hatching. Several historical artworks and artists are referenced to illustrate concepts of perspective and the application of values in art.

1. ART APPRECIATION:
VALUE & SPACE
PROFESSOR PAIGE PRATER
T, R, 9:30-10:50AM

2. 10 ELEMENTS OF ART:
1. COLOR
2. FORM
3. LINE
4. MASS
5. SHAPE
6. SPACE
7. TEXTURE
8. TIME/MOTION
9. VALUE
10.VOLUME

3. VALUE & SPACE
INTRO
• 2D = ILLUSION
• TECHNIQUES FOR CREATING ILLUSION OF DEPTH:
• VALUE: LIGHTNESS OR DARKNESS
• SPACE: DISTANCE BETWEEN POINTS
OR PLANES
• PERSPECTIVE: USES
MATHEMATICAL PRINCIPLES

4. René Magritte, The Treachery of Images (“This is not a pipe”), 1929. Oil on
canvas, 23¾ x 32”. LACMA

5. BUCKMINSTER FULLER, GEODESIC DOME (ART
DOME), 1963–79, REED
COLLEGE, PORTLAND, OREGON

6. BUCKMINSTER FULLER‟S
GEODESIC DOME (1963-79)
• DEMONSTRATES THE EFFECT OF LIGHT ON
PLANES
• EACH OF THESE PLANES HAS A DIFFERENT
RELATIVE DEGREE OF LIGHTNESS OR
DARKNESS
• VALUE CHANGES OCCUR GRADUALLY
• THE RELATIVE DARK VALUES INCREASE AS THE PLANES GET
FURTHER AWAY AND FACE AWAY FROM THE LIGHT
• THERE IS A VALUE RANGE OF BLACK, WHITE, AND EIGHT VALUES
OF GRAY
• FORMERLY USED AS A SCULPTURE STUDIO
AT REED COLLEGE IN PORTLAND, OREGON
• HTTP://YOUTU.BE/JN3FMX1TYT8

7. VALUE: LIGHTS & DARKS

8. CHIAROSCURO
 ITALIAN FOR “LIGHT DARK”
 A METHOD OF APPLYING VALUE TO A TWODIMENSIONAL PIECE OF ARTWORK TO CREATE
THE ILLUSION OF THREE DIMENSIONS
 RENAISSANCE ARTISTS IDENTIFIED FIVE
DISTINCT AREAS OF LIGHT AND SHADOW

HIGHLIGHT, LIGHT, CORE SHADOW, REFLECTED LIGHT,
AND CAST SHADOW

10. VALUE: LIGHTS & DARKS
Pierre Paul
Prud‟hon, Stu
dy for La
Source, c.
1801. Black
and white
chalk on blue
paper, 21¾ x
15¼”. Sterling
and Francine
Clark Art
Institute, Willi
amstown, Ma

11. CARAVAGGIO, TH
E CONVERSION ON
THE WAY TO
DAMASCUS (1601).

12. HATCHING & CROSS-HATCHING
• HATCHING CONSISTS OF A SERIES OF
LINES, CLOSE TO AND PARALLEL TO EACH
OTHER
• CROSS-HATCHING (LINES OVERLAP) IS
USED TO SUGGEST VALUES; GREATER
SENSE OF FORM AND DEPTH

13. HATCHING

14. CROSS-HATCHING

15. PUT „EM TOGETHER AND
WHAT‟VE YOU GOT?
Michelangelo, Head
of a Satyr, c. 1520–
30. Pen and ink on
paper, 10⅝ x 7⅞”.
Musée du
Louvre, Paris, Franc
e

16. SPACE
• SIZE
• OVERLAPPING
• POSITION
• ALTERNATING VALUE AND TEXTURE
• CHANGING BRIGHTNESS AND COLOR
• ATMOSPHERIC PERSPECTIVE

17. SPACE:
SIZE/OVERLAPPING/POSITION
Katsushika Hokusai, “The Great Wave off Shore at Kanagawa,”
from Thirty-Six Views of Mount Fuji, 1826–33 (printed later).
Print, color woodcut. Library of Congress, Washington, D.C.

18. FUNNY!

19. SPACE: ALTERNATING VALUE &
TEXTURE
• Each area of light and
dark occupies different
amounts of
space, making the design
more interesting
• Note the change in visual
texture from bottom to top
• These visual layers create
a sense of depth
Fan Kuan, Travelers among
Mountains and Streams, Northern
Sung Dynasty, 11th century. Hanging
scroll, ink and colors on silk, 81¼ x
40⅜”. National Palace

20. SPACE: CHANGING BRIGHTNESS
& COLOR
• LIGHTER AREAS SEEM TO BE CLOSER AS
DARK AREAS APPEAR TO RECEDE
• INTENSITY OF COLOR AFFECTS
PERCEPTION

21. Thomas Hart Benton, The Wreck of the Ole ’97, 1943. Egg tempera and
oil on canvas, 28½ x 44½”. Hunter Museum of
Art, Chattanooga, Tennessee

22. SPACE: ATMOSPHERIC
PERSPECTIVE
 DISTANT OBJECTS LACK CONTRAST, DETAIL,
AND SHARPNESS OF FOCUS BECAUSE
SURROUNDING AIR IS NOT COMPLETELY
TRANSPARENT
 THE ATMOSPHERE PROGRESSIVELY VEILS A
SCENE AS THE DISTANCE INCREASES

CONTEMPORARY FILMMAKERS USE THIS
ATMOSPHERIC EFFECT TO GIVE THE
ILLUSION OF GREAT DEPTH

24. • ASHER BROWN
DURAND, KINDR
ED
SPIRITS, 1849.
OIL ON
CANVAS, 44 X
36”. CRYSTAL
BRIDGES
MUSEUM OF
AMERICAN
ART, BENTONVI
LLE, ARKANSAS

25. PERSPECTIVE
• ISOMETRIC : PARALLELS COMMUNICATE
DEPTH; USUALLY DIAGONAL PARALLEL
LINES
• LINEAR: LINES APPEAR TO CONVERGE AT
POINTS IN SPACE

26. ISOMETRIC PERSPECTIVE

27. Graphic detailing isometric perspective: The
Qianlong Emperor’s Southern Inspection
Tour, Scroll Six: Entering Suzhou and the

28. LINEAR PERSPECTIVE
• USES MATH AND LINES TO CREATE THE
ILLUSION OF DEPTH IN A 2D ARTWORK
• BASED ON OBSERVATION OF SPACE IN THE
WORLD
• THE THEORY OF LINEAR PERSPECTIVE WAS
DEVELOPED IN DETAIL BY THE FIFTEENTHCENTURY ARTIST LEON BATTISTA ALBERTI
• THE ITALIAN FILIPPO BRUNELLESCHI WAS THE
FIRST ARTIST TO APPLY THE THEORIES OF

29. FILLIPPO BRUNELLESCHI, PERSPECTIVE
DRAWING FOR CHURCH OF SANTO SPIRITO
IN FLORENCE (1428).

30. 1 POINT PERSPECTIVE
• SINGLE VANISHING POINT
• UNLESS THE VIEWER IS SITUATED IN
DIRECT LINE OF SIGHT IT IS NOT AS EASY
TO SEE HOW THE PERSPECTIVE
CREATES THE ILLUSION OF A RECESSION
OF SPACE

31. 1 POINT
PERSPECTI
VE
• EDITH HAYLLAR, A
SUMMER
SHOWER, 1883. OIL
ON PANEL, 21
X 17⅜”.
PRIVATE
COLLECTION

34. Masaccio, Trinity, c.
1425–6.
Fresco, 21‟10½” x
10‟4⅞”. Santa Maria
Novella, Florence, It
aly

35. 2 POINT PERSPECTIVE
• TWO VANISHING POINTS
• RELIES ON HORIZON LINE

36. Raphael, The School of Athens, 1510–11. Fresco, 16‟8” x 25‟. Stanza della
Segnatura, Vatican City

37. 2 POINT PERSPECTIVE

38. PERSPECTIVE: 3 POINT +
• NEEDS POINTS AWAY FROM THE
HORIZON LINE AND OTHER VARIATIONS
ON PERSPECTIVE
• MULTIPLE ANGLES THAT NEED EVEN
MORE VANISHING POINTS
• A VANISHING POINT IS PLACED ABOVE OR
BELOW THE HORIZON LINE TO
ACCOMMODATE A HIGH OR LOW ANGLE
OF OBSERVATION
• WORM‟S-EYE VIEW: LOOKING UP

39. HUMAN VIEW: CONE OF VISION

40. M. C. Escher, Ascending and
Descending, March 1960.
Woodcut, 14 x 11¼”. The M. C.
Escher Company, Netherlands

41. Perspective: 3
POINT (Bird‟s
Eye)

42. FORESHORTENING
Albrecht Dürer, Draftsman Drawing a Recumbent
Woman, 1525. Woodcut. Graphische Sammlung
Albertina, Vienna, Austria

43. Andrea Mantegna, The Lamentation over the Dead Christ, c.
1480. Tempera on canvas, 26¾ x 31⅞”.
Pinacoteca di Brera, Milan, Italy

44. PRACTICE! WHICH TYPE OF
PERSPECTIVE?
Gustave Caillebotte, Paris Street; Rainy Day, 1877. Oil on canvas. Art
Institute of Chicago.