This document provides an overview of various visual elements of art including line, shape, color, light and value, texture, and space and time. It defines these elements and discusses how artists use them. For example, it defines line as the basic building block of art and discusses different types of lines. It explains how artists use techniques like shading to create the illusion of texture or perspective to depict depth in 2D works. The document uses many examples of artworks to illustrate how these different visual elements are employed.

1. CHAPTER 2: VISUAL ELEMENTS OF ART

2. I found I could say things with color and shapes that I couldn’t say in any other way – things I had no words for. –Georgia O’Keeffe Professor: Course/Section:

11. Fig 2-2 JACKSON POLLOCK. Number 14: Gray (1948). Enamel and gesso on paper. 223/4” x 31”.

14. Fig 2-4 A, B, and C Actual line (A) versus two kinds of implied lines, one formed by dots (B) and the other formed by psychologically connecting the edges of a series of straight lines (C).

16. Figure 2.5, p.30: LEONARDO DA VINCI. Madonna of the Rocks (c. 1483). Oil on panel, transferred to canvas. 78 1⁄2 ” x 48 ” . Figure 2.6, p30: The pyramidal structure of the Madonna of the Rocks .

17. Figure 2.7 p. 31. EMILY MARY OSBORNE. Nameless and Friendless (1834 - ?) Oil on Canvas. 34” x 44”.

19. Figure 2.8, p.31: RIMMA GERLOVINA AND VALERIY GERLOVIN. Madonna and Child (1992). Chromogenic print. To Give Outline and Shape

20. Figure 2.9, p.31: ELIZABETH CATLETT. Sharecropper (1968). Color linocut. 26 ” x 22 ”. To Create Depth and Texture

22. Fig. 2-12 Illusion of three-dimensionality.

23. Figure 2.11, p.32: SANDRO BOTTICELLI. The Birth of Venus (c. 1482). Oil on canvas. 5 ’ 8 7⁄8 ” x 9 ’ 1 7⁄8 ” . To Suggest Direction and Movement

25. SHAPE, VOLUME AND MASS SHAPE

27. Fig. 12 JACOB LAWRENCE. Harriet Tubman Series, No. 4 (1939 - 1940) Casein tempera on gessoed hardboard. 12” x 17 7/8”.

28. The word FORM - is often used to speak about shapes in sculpture and architecture - 3D works of art. Figure 2.14, p.34: HELENE BRANDT. Mondrian Variations, Construction No. 3B with Four Red Squares and Two Planes (1996). Welded steel, wood, paint. 22 ” x 19 ” x 17 ” .

29. Volume refers to the mass or bulk of a 3D work. It is the amount of space it contains. Fig. 2-15. GERRIT RIETVELDT. Schroeder House, Utrecht. (1924).

30. Mass - In 3D art, the mass of an object refers to its bulk. Fig. 2-16 RACHEL WHITEREAD. Holocaust Memorial, Vienna (2000).

32. Fig. 2-17 MARK TANSEY. Landscape (1994). Oil on Canvas. 181.6cm x 365.8 cm.

34. Geometric Shapes Fig. 18 DAVID SMITH. Cubi XVIII (1964). Polished stainless steel. 9’7 3/4” x 5” x 1’ 9 3/4”.

35. Organic Shapes Figure 2.21, p.39: FRANK GEHRY. Guggenheim Museum, Bilbao, Spain (1997). Figure 2.19, p.37: FRANK GEHRY. Guggenheim Museum, Bilbao, Spain (1997).

36. Compare and Contrast Picasso and Colescott Rectilinear forms versus curvilinear forms presented by two artists

37. Figure 2.20, p.38: PABLO PICASSO. Les Demoiselles d’Avignon (1907). Oil on canvas. 8 ’ x 7 ’ 8 ” .

38. Figure 2.21: ROBERT COLESCOTT. Les Demoiselles d’Alabama: Vestidas (1985). Acrylic on canvas. 96 ” x 92 ” .

40. Figure 2.22, p.39: ELIZABETH MURRAY. Tangled (1985–1990). Oil on shaped canvas with wood. 83 1/2 x 66 x 19 in.

43. Fig. 26 A Rubin Vase.

45. Figure 2.28, p.42: EDWARD STEICHEN. Rodin with His Sculptures “Victor Hugo” and “The Thinker” (1902). Carbon print, toned.

48. Fig. 2-33 Value contrast.

50. Figure 2.35, PIERRE-PAUL PRUD’HON. La Source (c. 1801). Black and white chalk on gray paper. 21 3/16 x 15 5/18 in.

52. Fig. 2-37 p.46 LORRAINE O’GRADY Mlle Bourgeoise Noire Goes to the New Museum (1981).

58. Figure 2.46, p.51: CLAUDE MONET. Haystack at Sunset near Giverny (1891). Oil on canvas. 28 7⁄8 ” x 36 1⁄2 ” .

59. Figure 2.49, p.51: VINCENT VAN GOGH. The Night Café (1888). Oil on canvas. 27 1⁄2 ” x 35 ” .

62. " Figure 2. 49 , p.53: LEON KOSSOFF. Portrait of Father, No. 2 (1972). Oil on board. 60 ” x 36 ” .

64. Fig. 2-52 P. 54 RACHEL RUYSCH. Flower Still Life (after 1700) Oil on Canvas. 29 3/4” x 23 7/8”.

65. Figure 2.53, p.55: DAVID GILHOOLY. Bowl of Chocolate Moose (1989). Ceramic. 10 ” x 6 ” x 7 ” (25.4 cm x 15.2 cm x 17.8 cm).

66. Figure 2.55 p.56 MERET OPPENHEIM. Object (1936). Fur covered cup, sauser, and spoon. Overall height: 2 7/8 in.

71. Fig. 2-64 RAFFAELLO SANZIO (CALLED RAPHAEL). PHILOSOPHY, OR SCHOOL OF ATHENS (1509-1511). Fig. 2-65 Perspective in School of Athens.

72. Fig. 2-66 GUSTAVE CAILLEBOTTE. Paris Street: Rainy Day *1877). Oil on Canvas. 83 1/2” 108 1/4”. Fig. 2-67. Perspective in Caillebottoes’s Paris Street: Rainy Day.

74. Figure 2. 69 , p.61: SYLVIA PLIMACK MANGOLD. Schunnemunk Mountain (1979). Oil on canvas. 60 ” x 80 1⁄8 ” .

76. Fig. 2-70 p. 62 ALEXANDER CALDER. Untitled (1972). East Building mobile.

78. Figure 2. 71 , p.63: GIANLORENZO BERNINI. Apollo and Daphne (1622–1624). Marble. 7 ’ 6 ” .

80. Figure 2.7 4 , p.64: THOMAS EAKINS. Man Pole Vaulting (c. 1884). Photograph.

81. UMBERTO BOCCIONI. Dynamism of a Soccer Player (1913). Oil on canvas. 6 ’ 4 1⁄8 ” x 6 ’ 7 1⁄8 ” .

82. BERNHARD JOHANNES AND ANNA BLUME. Kitchen Tantrums (1986–1987). Photo-piece. 51 1⁄8 ” x 35 7 / 8 ” .

85. Fig. 2-76. P.65 BRIDGET RILEY. Gala. (1974). Acrylic on canvas. 5’ 2 3/4” square.