The document provides an overview of key formal elements and principles of design used in visual art, including line, shape, space, color, texture, value, composition, balance, proportion, rhythm, emphasis, and unity. It discusses implied versus actual textures and various styles such as Impressionism. Specific artists and works mentioned include Thomas Gainsborough, Paul Klee, Picasso, William De Kooning, Michelangelo, Mark Rothko, Piet Mondrian, and Meret Oppenheim.
The document provides information about 4 pictures and their related words:
1. Leonardo da Vinci painting a picture with a paintbrush using watercolors.
2. The definition of painting including the various supports and materials used.
3. An overview of the different painting styles including abstract, surrealism, pop art, and impressionism. Famous works from artists who pioneered these styles are mentioned.
This document profiles several notable African American artists including Radcliffe Bailey who examines American history to promote healing from issues like slavery, Jean-Michel Basquiat who was a pioneering neo-impressionist from Brooklyn, and Diane Edison who explores race through self-portraits. It also mentions the enslaved artist Scipio Moorhead, Faith Ringgold who shares African American culture through story-quilts, and Kara Walker who depicts racial inequity and violence.
This document provides an introduction to art history, including definitions of key terms like art, history, and style. It discusses the purposes and functions of art, such as communication, spiritual sustenance, personal expression, and social/political influence. Fundamental techniques of interpretation like formal and contextual analysis are covered. The principles of design and style, including representational vs. abstract styles, are also introduced. Examples of seminal artworks are provided to illustrate concepts.
The document summarizes the history and development of digital art from the 1960s to the present. It discusses early pioneers and artworks created with mainframe computers and plotters. Key developments included the emergence of computer graphics in the 1960s, early exhibitions of digital art in the late 1960s, and expanded use of video and color in the early 1970s. The document outlines the evolution of digital art forms and platforms, from mainframes to personal computing and mobile devices. It provides examples of influential digital artworks from different historical periods and their connections to prior art movements.
Acrylic paint was developed in the 1940s and gained popularity in the 1960s when used by pop artists like Andy Warhol. Acrylics are water-based, dry quickly, and are easy to use and clean up. They can be applied opaque or transparent. Common acrylic painting techniques include color blocking, wet-on-wet blending, hard edges, glazing, scumbling, impasto, and watercolor effects. Proper brush care involves cleaning immediately after use to prevent dried paint from ruining the brush.
This document provides information about printmaking including its purpose of making multiple copies of an original image. It describes various printmaking processes such as silkscreen, lithography, intaglio/etching, monotype, relief, and reduction printing. Tools used in printmaking such as brayers, carving tools, ink plates, and blocks are also outlined. The document concludes with background on how Jennifer Schmitt created the Periodic Table of Printmaking project to combine art and science.
The document discusses different art movements through history and provides examples of artists and artworks within each movement. It defines an art movement as a style or tendency in art followed by a group of artists over a defined period of time with common goals or philosophies. The document then provides examples of Impressionism, Post-Impressionism, Fauvism, Cubism, German Expressionism, Surrealism, Abstract Expressionism, Pop Art, Geometric Abstraction, Minimalism, Photo-Realism, and Color Field painting, listing influential artists and their representative works within each movement. It poses questions about the visual elements, themes, and historical contexts to consider in analyzing art movements.
The document provides information about 4 pictures and their related words:
1. Leonardo da Vinci painting a picture with a paintbrush using watercolors.
2. The definition of painting including the various supports and materials used.
3. An overview of the different painting styles including abstract, surrealism, pop art, and impressionism. Famous works from artists who pioneered these styles are mentioned.
This document profiles several notable African American artists including Radcliffe Bailey who examines American history to promote healing from issues like slavery, Jean-Michel Basquiat who was a pioneering neo-impressionist from Brooklyn, and Diane Edison who explores race through self-portraits. It also mentions the enslaved artist Scipio Moorhead, Faith Ringgold who shares African American culture through story-quilts, and Kara Walker who depicts racial inequity and violence.
This document provides an introduction to art history, including definitions of key terms like art, history, and style. It discusses the purposes and functions of art, such as communication, spiritual sustenance, personal expression, and social/political influence. Fundamental techniques of interpretation like formal and contextual analysis are covered. The principles of design and style, including representational vs. abstract styles, are also introduced. Examples of seminal artworks are provided to illustrate concepts.
The document summarizes the history and development of digital art from the 1960s to the present. It discusses early pioneers and artworks created with mainframe computers and plotters. Key developments included the emergence of computer graphics in the 1960s, early exhibitions of digital art in the late 1960s, and expanded use of video and color in the early 1970s. The document outlines the evolution of digital art forms and platforms, from mainframes to personal computing and mobile devices. It provides examples of influential digital artworks from different historical periods and their connections to prior art movements.
Acrylic paint was developed in the 1940s and gained popularity in the 1960s when used by pop artists like Andy Warhol. Acrylics are water-based, dry quickly, and are easy to use and clean up. They can be applied opaque or transparent. Common acrylic painting techniques include color blocking, wet-on-wet blending, hard edges, glazing, scumbling, impasto, and watercolor effects. Proper brush care involves cleaning immediately after use to prevent dried paint from ruining the brush.
This document provides information about printmaking including its purpose of making multiple copies of an original image. It describes various printmaking processes such as silkscreen, lithography, intaglio/etching, monotype, relief, and reduction printing. Tools used in printmaking such as brayers, carving tools, ink plates, and blocks are also outlined. The document concludes with background on how Jennifer Schmitt created the Periodic Table of Printmaking project to combine art and science.
The document discusses different art movements through history and provides examples of artists and artworks within each movement. It defines an art movement as a style or tendency in art followed by a group of artists over a defined period of time with common goals or philosophies. The document then provides examples of Impressionism, Post-Impressionism, Fauvism, Cubism, German Expressionism, Surrealism, Abstract Expressionism, Pop Art, Geometric Abstraction, Minimalism, Photo-Realism, and Color Field painting, listing influential artists and their representative works within each movement. It poses questions about the visual elements, themes, and historical contexts to consider in analyzing art movements.
Collage is a visual art form that combines different materials like paper, photographs, and found objects glued to a backing surface. A collage forms a new whole from disparate parts. Popular collage artists from the early 20th century Dada movement included Kurt Schwitters, Hannah Hoch, and Raoul Hausmann. Later, Henri Matisse and Romare Bearden experimented with paper cutouts and representational collages incorporating social commentary. Today, many contemporary artists continue working in the collage medium.
Beginning drawing media and pencil holdingcequinn1
This document provides an overview of basic drawing techniques. It discusses different drawing media, including dry media like charcoal and pencils, as well as wet media like ink and paint. It also describes different types of pencils from graphite to ebony and how pencil hardness is determined by the ratio of graphite to binder material. Grip techniques like basic tripod, extended tripod, overhand and underhand are illustrated and their applications explained. A brief history of drawing and examples of drawings by famous artists like Da Vinci, Rembrandt, Degas and Warhol are also mentioned.
The document provides information on various art movements from 1960-1980 including mail art, hippie movement, conceptualism, performance art, installation art, psychedelic art, minimalism, photo-realism, environmental earthworks, post-minimalism, graffiti art, neo-expressionism, pop art, neo-pop art and op art. It also discusses art history in India and Pakistan during this period and mentions some famous Pakistani artists like Ali Imam and Sadequain. The comparison section outlines some key differences between 20th century and 21st century art in terms of materials, influences, globalization, and the study of visual culture.
Drawing with Ink: Variety of Line and Cross-Hatching (Pen and Brush)glennhirsch
This document discusses techniques for pen and ink drawing including different types of lines such as parallel, curving, short dashes, and cross-hatched lines. It also discusses techniques like stippling, parallel lines, contour, patterns, washes, brush and ink, and blind contour drawing. Blind contour drawing involves drawing for 3 minutes without looking at the paper to improve concentration, seeing without preconception, and expanding one's visual vocabulary of line qualities.
Visual Arts in the Classroom. Painting and Drawing, by Angela Clarke. Submitted as part of a Postgraduate Masters in Art & Design Education at NCAD, Dublin, Ireland
The visual arts are creations that can be seen such as paintings, drawings, sculptures, prints, photographs and more. They are made using various mediums like paint, clay, ink and involve elements such as line, shape, color, form and space. Visual arts are different from performing arts which use the artist's body as the medium. There are many organizations that support and promote the visual arts through exhibitions, grants, education and advocacy.
This document discusses watercolor painting techniques. It defines watercolors as pigments suspended in a water-soluble medium that interact with water and paper. Some basic techniques are washes, wet-on-wet, and dry brush. Washes allow for solid or faded effects, wet-on-wet uses a wet brush on wet paper for undefined marks, and dry brush drags dry paint for crisp contrasts. Examples where these techniques are used include landscapes, still lifes, portraits, and abstracts.
This document provides instructions for critiquing a piece of art. It outlines 4 steps: 1) Describe - list everything seen in the artwork, even if unknown; 2) Analyze - explain how lines, shapes, colors, textures are used; 3) Interpret - discuss what is happening and the intended message; 4) Decide - determine if the artwork is liked and why, and identify its strengths and weaknesses. Students are prompted to think critically about technical and compositional elements, as well as conceptual meaning. The goal is to analyze, interpret, and evaluate the effectiveness of the artwork.
This American painter is famous for his paintings of cakes, pastries and desserts. He uses heavy pigment and exaggerated colors to depict his subjects and almost always includes shadows in his work.
This document provides information about the artist Michael Craig-Martin and instructions for an art project in his style. It discusses Craig-Martin's use of everyday objects and bold colors in unexpected compositions. Students are guided through exercises to understand color theory, composition, and developing ideas through line drawings and overlapping objects before adding color to create a final painting. The goal is for students to produce a contemporary painting in Craig-Martin's style that demonstrates understanding of composition and color.
The document outlines a 4-step process for discussing and critiquing artwork: 1) Describe the key elements and subject matter, 2) Analyze use of design principles, 3) Interpret meaning and symbolism, 4) Judge quality and express opinion. Examples provided illustrate applying the process to various paintings and sculptures.
This document provides information on various types and methods of sculpture. It discusses free-standing or full-round sculptures that can be viewed from all sides. Relief sculptures are attached to surfaces and include high relief and bas relief. Linear sculptures emphasize construction using thin materials. Methods of creating sculpture include subtraction/carving, manipulation/modeling, substitution/casting, and construction/fabrication. Elements of sculptural design include mass, line and form, space, color, texture, and principles such as proportion, repetition, articulation, focal area, scale, and balance. The material, scale, lighting, and environment can all impact the viewing of a sculpture.
Monoprinting involves creating unique prints using ink and paper. To make a monoprint, an artist applies ink to a plate or rolling pin and then places paper on top, drawing into the ink. This creates a "printed painting" with one-of-a-kind textures and marks. Successful monoprints combine spontaneity with control using various tools like fingers, pencils or pens. The document provides step-by-step instructions for making monoprints and examples of techniques like adding shading. It also lists artists who have worked with the monoprinting technique such as Jim Dine, Cy Twombly and Paul Klee.
Form is one of the basic building blocks of art and refers to a three-dimensional shape that takes up space. There are two categories of forms: geometric forms like spheres, cubes, and cylinders that are precise mathematical shapes, and organic forms that are free-flowing and irregular like leaves or clouds found in nature. In art, forms can be depicted in two ways - as real, sculptural forms or as implied forms using techniques like shading to create the illusion of depth and volume on a two-dimensional surface. Examples of different types of three-dimensional forms include sculptures, ceramics, architectural structures, and earthworks.
Introduction To Portrait Painting PresentationFrank Curkovic
This document discusses how portrait paintings can convey meaning through facial expressions, posture, color, surroundings, and backgrounds. Artists may use swirling backgrounds to represent how they are feeling, or include more than just a face to provide context. Self-portraits allow artists to celebrate events or talents, and can show the artist from different stages of life. Elements like pose, brushwork, color, and background can reveal an artist's character, mood, beliefs, or talents in their own self-portrait. Various examples of portrait paintings are provided.
Painting involves applying pigments to a surface to create aesthetic and expressive works of art. Various mediums are used including tempera, oil, acrylic, and watercolor. Key elements of painting include color, line, shape, form, space, texture, and tone. Different styles have developed such as realism, impressionism, expressionism, cubism, and surrealism. Historically, common subjects of paintings were religious scenes, portraits, landscapes, and mythology. Artistic painting was introduced to the Philippines in the 16th century by Spanish colonizers and was initially used for religious propaganda before evolving to include more secular themes.
The document discusses value in art and provides guidance on a project to create a monochromatic self-portrait using value blocking. It defines value as the lightness or darkness of a color and lists five techniques for creating value: hatching, cross-hatching, stippling, scumbling, and blending. The project objectives are to emphasize tints and shades in a pop art style self-portrait using at least 5-6 blocked values ranging from pure black to pure white. Examples demonstrate the ideal complexity is a portrait utilizing 5-6 values without additional background elements.
The document discusses various visual tools and techniques used by artists to create artistic expression, including line, shape, mass, space, time, motion, light, and color. It explores characteristics of these different elements, such as how lines can define shapes and boundaries or depict light and shadow. Examples of works of art are provided to illustrate concepts like linear and atmospheric perspective, implied depth, motion, and representational versus abstract styles. The relationships between form and content, and iconography in conveying symbolic meaning, are also examined.
This document provides guidance for analyzing landscape paintings by looking for key elements such as the foreground, middle ground, and background to understand depth and scale; movement to understand flow; the focal point to understand emphasis; and texture to understand surfaces. Students are instructed to analyze a landscape image in four paragraphs describing, analyzing, interpreting, and evaluating the painting based on these elements.
The document discusses three artworks from different periods - Tintoretto's Last Supper from the Mannerism period, Raphael's School of Athens from the High Renaissance period, and Bernini's Ecstasy of Saint Teresa from the Baroque period. It provides background information on the artists, details on the artworks such as dimensions and locations, and analyses of stylistic elements in each piece. The sections also compare Tintoretto to da Vinci and interpret the biblical and scholarly themes in the works.
Collage is a visual art form that combines different materials like paper, photographs, and found objects glued to a backing surface. A collage forms a new whole from disparate parts. Popular collage artists from the early 20th century Dada movement included Kurt Schwitters, Hannah Hoch, and Raoul Hausmann. Later, Henri Matisse and Romare Bearden experimented with paper cutouts and representational collages incorporating social commentary. Today, many contemporary artists continue working in the collage medium.
Beginning drawing media and pencil holdingcequinn1
This document provides an overview of basic drawing techniques. It discusses different drawing media, including dry media like charcoal and pencils, as well as wet media like ink and paint. It also describes different types of pencils from graphite to ebony and how pencil hardness is determined by the ratio of graphite to binder material. Grip techniques like basic tripod, extended tripod, overhand and underhand are illustrated and their applications explained. A brief history of drawing and examples of drawings by famous artists like Da Vinci, Rembrandt, Degas and Warhol are also mentioned.
The document provides information on various art movements from 1960-1980 including mail art, hippie movement, conceptualism, performance art, installation art, psychedelic art, minimalism, photo-realism, environmental earthworks, post-minimalism, graffiti art, neo-expressionism, pop art, neo-pop art and op art. It also discusses art history in India and Pakistan during this period and mentions some famous Pakistani artists like Ali Imam and Sadequain. The comparison section outlines some key differences between 20th century and 21st century art in terms of materials, influences, globalization, and the study of visual culture.
Drawing with Ink: Variety of Line and Cross-Hatching (Pen and Brush)glennhirsch
This document discusses techniques for pen and ink drawing including different types of lines such as parallel, curving, short dashes, and cross-hatched lines. It also discusses techniques like stippling, parallel lines, contour, patterns, washes, brush and ink, and blind contour drawing. Blind contour drawing involves drawing for 3 minutes without looking at the paper to improve concentration, seeing without preconception, and expanding one's visual vocabulary of line qualities.
Visual Arts in the Classroom. Painting and Drawing, by Angela Clarke. Submitted as part of a Postgraduate Masters in Art & Design Education at NCAD, Dublin, Ireland
The visual arts are creations that can be seen such as paintings, drawings, sculptures, prints, photographs and more. They are made using various mediums like paint, clay, ink and involve elements such as line, shape, color, form and space. Visual arts are different from performing arts which use the artist's body as the medium. There are many organizations that support and promote the visual arts through exhibitions, grants, education and advocacy.
This document discusses watercolor painting techniques. It defines watercolors as pigments suspended in a water-soluble medium that interact with water and paper. Some basic techniques are washes, wet-on-wet, and dry brush. Washes allow for solid or faded effects, wet-on-wet uses a wet brush on wet paper for undefined marks, and dry brush drags dry paint for crisp contrasts. Examples where these techniques are used include landscapes, still lifes, portraits, and abstracts.
This document provides instructions for critiquing a piece of art. It outlines 4 steps: 1) Describe - list everything seen in the artwork, even if unknown; 2) Analyze - explain how lines, shapes, colors, textures are used; 3) Interpret - discuss what is happening and the intended message; 4) Decide - determine if the artwork is liked and why, and identify its strengths and weaknesses. Students are prompted to think critically about technical and compositional elements, as well as conceptual meaning. The goal is to analyze, interpret, and evaluate the effectiveness of the artwork.
This American painter is famous for his paintings of cakes, pastries and desserts. He uses heavy pigment and exaggerated colors to depict his subjects and almost always includes shadows in his work.
This document provides information about the artist Michael Craig-Martin and instructions for an art project in his style. It discusses Craig-Martin's use of everyday objects and bold colors in unexpected compositions. Students are guided through exercises to understand color theory, composition, and developing ideas through line drawings and overlapping objects before adding color to create a final painting. The goal is for students to produce a contemporary painting in Craig-Martin's style that demonstrates understanding of composition and color.
The document outlines a 4-step process for discussing and critiquing artwork: 1) Describe the key elements and subject matter, 2) Analyze use of design principles, 3) Interpret meaning and symbolism, 4) Judge quality and express opinion. Examples provided illustrate applying the process to various paintings and sculptures.
This document provides information on various types and methods of sculpture. It discusses free-standing or full-round sculptures that can be viewed from all sides. Relief sculptures are attached to surfaces and include high relief and bas relief. Linear sculptures emphasize construction using thin materials. Methods of creating sculpture include subtraction/carving, manipulation/modeling, substitution/casting, and construction/fabrication. Elements of sculptural design include mass, line and form, space, color, texture, and principles such as proportion, repetition, articulation, focal area, scale, and balance. The material, scale, lighting, and environment can all impact the viewing of a sculpture.
Monoprinting involves creating unique prints using ink and paper. To make a monoprint, an artist applies ink to a plate or rolling pin and then places paper on top, drawing into the ink. This creates a "printed painting" with one-of-a-kind textures and marks. Successful monoprints combine spontaneity with control using various tools like fingers, pencils or pens. The document provides step-by-step instructions for making monoprints and examples of techniques like adding shading. It also lists artists who have worked with the monoprinting technique such as Jim Dine, Cy Twombly and Paul Klee.
Form is one of the basic building blocks of art and refers to a three-dimensional shape that takes up space. There are two categories of forms: geometric forms like spheres, cubes, and cylinders that are precise mathematical shapes, and organic forms that are free-flowing and irregular like leaves or clouds found in nature. In art, forms can be depicted in two ways - as real, sculptural forms or as implied forms using techniques like shading to create the illusion of depth and volume on a two-dimensional surface. Examples of different types of three-dimensional forms include sculptures, ceramics, architectural structures, and earthworks.
Introduction To Portrait Painting PresentationFrank Curkovic
This document discusses how portrait paintings can convey meaning through facial expressions, posture, color, surroundings, and backgrounds. Artists may use swirling backgrounds to represent how they are feeling, or include more than just a face to provide context. Self-portraits allow artists to celebrate events or talents, and can show the artist from different stages of life. Elements like pose, brushwork, color, and background can reveal an artist's character, mood, beliefs, or talents in their own self-portrait. Various examples of portrait paintings are provided.
Painting involves applying pigments to a surface to create aesthetic and expressive works of art. Various mediums are used including tempera, oil, acrylic, and watercolor. Key elements of painting include color, line, shape, form, space, texture, and tone. Different styles have developed such as realism, impressionism, expressionism, cubism, and surrealism. Historically, common subjects of paintings were religious scenes, portraits, landscapes, and mythology. Artistic painting was introduced to the Philippines in the 16th century by Spanish colonizers and was initially used for religious propaganda before evolving to include more secular themes.
The document discusses value in art and provides guidance on a project to create a monochromatic self-portrait using value blocking. It defines value as the lightness or darkness of a color and lists five techniques for creating value: hatching, cross-hatching, stippling, scumbling, and blending. The project objectives are to emphasize tints and shades in a pop art style self-portrait using at least 5-6 blocked values ranging from pure black to pure white. Examples demonstrate the ideal complexity is a portrait utilizing 5-6 values without additional background elements.
The document discusses various visual tools and techniques used by artists to create artistic expression, including line, shape, mass, space, time, motion, light, and color. It explores characteristics of these different elements, such as how lines can define shapes and boundaries or depict light and shadow. Examples of works of art are provided to illustrate concepts like linear and atmospheric perspective, implied depth, motion, and representational versus abstract styles. The relationships between form and content, and iconography in conveying symbolic meaning, are also examined.
This document provides guidance for analyzing landscape paintings by looking for key elements such as the foreground, middle ground, and background to understand depth and scale; movement to understand flow; the focal point to understand emphasis; and texture to understand surfaces. Students are instructed to analyze a landscape image in four paragraphs describing, analyzing, interpreting, and evaluating the painting based on these elements.
The document discusses three artworks from different periods - Tintoretto's Last Supper from the Mannerism period, Raphael's School of Athens from the High Renaissance period, and Bernini's Ecstasy of Saint Teresa from the Baroque period. It provides background information on the artists, details on the artworks such as dimensions and locations, and analyses of stylistic elements in each piece. The sections also compare Tintoretto to da Vinci and interpret the biblical and scholarly themes in the works.
This document provides a guide to formal analysis of artworks. It discusses the key elements of form (physical aspects) and content (meaning). Formal analysis involves describing visual elements and analyzing their meaning. It then examines various formal qualities like the principles of design, elements of shape and space, qualities of line, effects of light, visual weight, color theory, and texture. The document provides questions to consider for each formal element when analyzing an artwork's form.
The document provides an overview of how to analyze and interpret artworks through a four step process: description, analysis, interpretation, and judgment. It discusses how art historical research helps provide context and external evidence to analyze what cannot be gleaned just from looking at the artwork. Interpretation involves uncovering what the artwork may mean based on description and analysis, though there are no definitive answers as artworks can mean different things to different people. The document also cautions that the artist's intention is not always a fixed idea and artworks are often meant to provoke thought rather than state a single meaning.
The document provides a list of terms related to the visual arts organized under the headings of line, shape/form, color, texture, space, value, principles, themes, technique/form, and style or period. It includes words like blurred, broken, curved, and diagonal under line; amorphous, biomorphic, closed, and geometric under shape/form; brash, bright, calm, and cool under color; actual, bumpy, corrugated, and furry under texture; ambiguous, deep, flat, and negative/positive under space; dark, light, and medium under value; balance, contrast, emphasis, and harmony under principles; adoration, children, cityscape, and mythology under
This document provides instructions for conducting a formal analysis of an artwork. It outlines a 4-step process: 1) Experiencing the artwork without preconceptions, 2) Identifying the genre, 3) Identifying the medium, and 4) Considering the dimensions. It then discusses focusing the analysis on specific formal elements like line, color, shape, texture and size. Finally, it provides context on the historical emphasis placed on line and color as the most basic elements of 2-dimensional art.
This document discusses the elements of art, which are the basic building blocks that artists use to create works of art. It defines and describes line, shape, form, space, color, and texture. Line is a mark with length and width, shape is a closed line, form is a three-dimensional shape, space is the area between objects, color has characteristics of hue, value and intensity, and texture is the surface quality of an object. The elements of art provide a common visual language for understanding and analyzing works of art.
This document provides criteria for analyzing works of art through formal analysis. It outlines considerations for analyzing various formal elements, including frame/pictorial area, technique, individual units, lines, colors, light, space, and organization. It emphasizes justifying observations by specifically referring to features in the artwork. It also provides questions for analyzing works through their historical and cultural context, such as who made it, what/when/where/why, and whether it is typical of its time and place. Finally, it notes these criteria can also be applied to sculpture by analyzing lines, edges, textures, weights, voids, and materials.
This document provides guidance on how to write a formal analysis paper about a work of art. It discusses how to describe the visual elements of the artwork, assumptions about the stable meaning of an artwork, and how to structure a paper with an introduction, thesis statement, and conclusion. The introduction should name the artist, title, date, medium, subject, and include a brief description. It also offers tips on ensuring the essay has good flow, develops ideas thoroughly, and clearly connects to the formal elements and narrative/function of the artwork. Students are advised on how to begin the analysis by describing first impressions, form, composition, context, and in-depth artistic choices. Examples of an effective thesis statement and conclusion are also provided.
Leonardo DaVinci was a 15th century Italian painter who is famous for three of his major works:
1) The Last Supper, a mural painting commissioned by the Duke of Milan depicting the biblical scene.
2) Mona Lisa, his most famous portrait currently housed in the Louvre known for its subject's enigmatic smile.
3) Lady with an Ermine, one of only four female portraits by Leonardo believed to depict the Duke of Milan's mistress and an early example of psychological portraiture.
Leonardo Da Vinci began painting The Last Supper on the wall of a refectory in Milan, Italy in 1495, depicting Jesus' last meal with his disciples before his arrest and crucifixion; over the years many artists paid tribute to Da Vinci's version including Andy Warhol who produced a series of paintings referencing the scene. The Last Supper has been adopted by films, television shows, and other cultural works, with Dan Brown dissecting its meaning and symbolism in his thriller The Da Vinci Code, while it has also been referenced or incorporated into television shows like The Sopranos, Apple advertising, characters in films by Quentin Tarantino, and video games.
How can the viewer begin to understand the meaning of artworks? This presentation gives some insight into how the viewer can depend on certain criteria for help in deriving meaning connected to visual art.
I did not make this presentation. I am simply uploading it to be able to use in a class about Egyptian Art. It was created by William V. Ganis, PhD, for educational use ONLY. Please give him all credit if you choose to use it.
This document provides a guide to formal analysis of sculptures by describing key formal elements to analyze, including form, content, description, analysis, relief vs. sculpture in the round, elements of design, principles of design, space, shape, composition, balance, light, line, mass, color, and texture. It suggests questions to consider for each element and how moving around a sculpture can change one's perspective.
The document discusses the mystery of why the Pyramids of Egypt were built. It provides details on some of the major pyramids constructed, including the locations and rulers who commissioned them, ranging from the earliest Step Pyramid built by Pharaoh Djoser to the largest Great Pyramid built by Pharaoh Khufu. Ancient Egyptians believed the pyramids symbolized the journey of the pharaoh's soul from mortal king to the gods Osiris and Horus in the afterlife.
The document discusses the formal elements and principles of art. It identifies the key elements as color, line, texture, tone, shape/form. It then explains each element in more detail providing examples of how different artists have used each element. It also discusses the principles of design including contrast, repetition, movement, rhythm, direction, space, balance, proportion, and emphasis, explaining how artists use these principles to combine the elements.
This document provides an overview of art appreciation and defines what art is. It discusses art as representation, mimesis, and how art replicates subjects faithfully. Art as expression of emotional content during the Romantic movement is covered, as well as art as form based on its formal qualities. The purposes and functions of art in transforming ideas into physical works that can be comprehended and responded to emotionally are presented. Assumptions about art being timeless, universal, and involving experience are discussed. Examples of famous artworks are provided to illustrate key points.
Scale refers to size while proportion is relative size. Artists use scale and proportion to create emphasis, focal points, and emotional effects. Very large or small scale can be arresting. Unexpected changes in scale surprise viewers. Proportion systems like the golden ratio and root rectangles provide aesthetic rules that influence artistic compositions. Scale within a work also provides meaning and clues for interpretation.
This document provides information about songs from the 1980s and discusses writing a thesis statement and analyzing artwork. It includes 3 songs from 1988 and 1985, discusses beginning the writing process and introducing a thesis statement. It provides examples of thesis statements about analyzing the artwork "The End of Earth" by Mariana Wells. It discusses understanding the artist, image, and ideas/feelings expressed. It also includes information about analyzing a photo by Gregory Crewdson and developing a thesis statement.
The document discusses the elements and principles of design. It defines elements as the basic building blocks of visual art, including line, shape, form, texture, color, value and space. It explains that principles are the rules that govern how elements are combined, such as balance, emphasis, rhythm and unity. Balance creates a sense of visual equilibrium, and can be symmetrical, asymmetrical or radial. Emphasis draws attention to specific elements through contrast, size, placement or other techniques. Understanding elements and principles allows artists to effectively structure compositions and convey meaning or emotion.
This document discusses principles of shape and volume in design. It defines key shape-related terms like figure/ground relationships, positive and negative shapes, rectilinear vs curvilinear shapes, abstraction, biomorphism, and naturalism vs idealism. Shape can be two-dimensional in pictures or three-dimensional with volume and mass in sculptures. Integration of positive and negative shapes is important for visual interest, as is considering distortion, abstraction levels, and ambiguity between figure and ground.
Elements and Principles of art and the Processes used to create artAramais Orkusyan
This document summarizes the key elements and principles of art. It outlines the core elements of line, color, value, shape, form, space, and texture. It then explains the principles of balance, emphasis, contrast, rhythm and movement, pattern and repetition, unity, variety, and proportion. The document concludes by briefly mentioning different artistic processes and techniques like drawing, printmaking, painting, photography, sculpture, and architecture.
1. The document provides an overview of different art elements, principles, styles and movements throughout history. It includes descriptions and examples of impressionism, expressionism, abstractionism, pop art, and contemporary art forms like installation and performance art.
2. Key aspects covered include elements like line, shape, form, space, color and principles such as pattern, rhythm, balance and unity. Distinct characteristics of different movements are examined, along with notable artists.
3. The document offers assessments and activities for students to practice identifying and applying different elements and analyzing works from various movements.
The document defines key terms related to visual art, including art, artist, fine art, applied art, and visual culture. It then explains the basic visual elements or "vocabulary" used by artists to create works, including line, color, value, shape, form, space, and texture. Each element is defined and examples are provided. The document also discusses principles of design such as balance, emphasis, contrast, movement, pattern, repetition, unity, harmony, variety, and scale/proportion.
1. Line is one of the basic elements of design and can convey mood, feeling, and motion. It is created by the movement of a point and has infinite variety.
2. There are three types of line: actual, implied, and psychic. Actual lines are visible, implied lines connect points the eye follows, and psychic lines are created by the placement of objects.
3. The direction, weight, and quality of lines can influence the composition and how viewers perceive the mood, motion, and meaning of an artwork. Line is a tool artists can manipulate to guide attention and depict form, value, and themes in a piece.
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.
The document discusses ten principles of design: repetition, variety, rhythm, symmetrical balance, asymmetrical balance, scale, proportion, emphasis, and unity. It provides examples to illustrate each principle. Repetition involves repeating shapes or objects, as seen in the minimalist art of Donald Judd and Andy Warhol's soup cans. Variety concerns variations on a theme, like different chair designs. Rhythm uses repetition and variety to create a pattern, like the stripes in Bridget Riley's paintings. Symmetrical balance has mirror symmetry across an axis, while asymmetrical balance maintains visual flow without symmetry. Scale relates objects to norms and emphasis draws attention to a focal point. Proportion concerns relationships between parts and whole, and
1. The document defines various art vocabulary terms including styles, techniques and mediums. It provides concise definitions for over 50 terms ranging from abstract art and expressionism to tempera, typography and woodcut.
2. Many of the terms describe artistic movements and styles such as cubism, fauvism and surrealism. Other terms define mediums and techniques for painting, drawing and sculpture.
3. The document serves as a useful reference for the key vocabulary used in visual arts and provides short, straightforward definitions for understanding different artistic concepts, processes and historical developments.
This document provides an overview of formal analysis concepts for interpreting works of art. It begins with definitions of form, subject matter, and content. It then discusses various formal elements including line, shape, space, texture, scale, and value. For each element, there are examples provided from historical works of art to illustrate techniques like implied line, figure/ground relationships, linear and atmospheric perspective, and chiaroscuro. The document emphasizes that analyzing how an artist manipulates formal elements provides insights into the message and meaning being conveyed.
The document lists various works of art from different cultures and time periods, along with brief descriptions of artistic styles, purposes, and terminology. It discusses concepts like mandalas, folk art, outsider art, representational vs. abstract works, and the purposes of art including communication, ritual, expression, and visual delight. Key terms are defined such as medium, aesthetics, form, content, iconography, and style.
1. The document discusses many aspects of art including definitions of art, theories about art, the elements of art such as line, shape, color, and principles of design.
2. It examines how art serves purposes like religion, narrative, social commentary, and reflecting everyday life. Examples of famous artworks are provided to illustrate different types and styles.
3. The visual elements of art - line, shape, color, light, texture and space - are defined and different types discussed along with principles of unity, variety, balance, emphasis and others.
This document provides an overview of key concepts for analyzing 3D artwork, including form, content, formal elements like line, shape, space, mass, color, texture, and principles of design like balance and unity. It discusses analyzing sculptures in terms of their composition of shapes, use of space, depiction of light, incorporation of lines, expression of mass, integration of color, and rendering of textures. A series of questions are suggested for carefully observing and interpreting how these formal elements are incorporated in a 3D work of art.
This document provides an overview of key principles of design, including:
- Visual weight, which draws attention based on size, color, contrast, etc.
- Balance, including symmetrical, asymmetrical, and radial types. Symmetrical balance mirrors elements across an axis while asymmetrical balance allows more variety.
- Emphasis and subordination, where certain elements are made more prominent through size, color, isolation, etc., directing the viewer's attention.
- Unity and variety, where a composition achieves a coherent whole through techniques like proximity and repetition while also including differences for visual interest.
The document discusses the elements of art (line, shape, space, value, texture, color) and principles of design (emphasis, balance, unity, contrast, movement/rhythm, pattern/repetition). It provides definitions and examples for each element and principle. The key ideas are that the elements are the basic building blocks of art, and the principles are ways to combine the elements to create a powerful composition. Applying an understanding of elements and principles can help photographers construct aesthetically pleasing photographs. However, creativity also allows for experimentation beyond rigid rules.
Chapter 4 Describing ArtFormal Analysis, Types, and Styles ofWilheminaRossi174
Chapter 4: Describing Art
Formal Analysis, Types, and Styles of Art
LEARNING OUTCOMES
• Employ a vocabulary of art specific terms and critical approaches to conduct a formal analysis of works of art.
• Identify different types of art based on the degree of representation or nonrepresentation a work displays.
• Distinguish between variations of representational qualities within a work of art.
• Identify characteristics that relate an individual or group of works to a cultural style, stylistic movement or period, or an individual artist’s style.
Elements and Principles of Design
Line – expressive, implied
Shape – organic, geometric, hard- or soft-edged
Volume has three dimensions: length, width, and height
Mass is the quantity of matter, often meaning its weight
Texture – actual or implied
Color – saturation, brightness, primary, secondary, scheme
(complementary, analogous, monochromatic)
Perspective – linear, atmospheric
Unity/Variety
Balance – symmetrical, asymmetrical
Emphasis/movement
Rhythm/repetition
Formal or critical analysis
A formal of critical analysis an examination of …
the elements and principles of design
present in an artwork and
the process of deriving meaning from
how those elements and principles are used
the ways the visual artist attempts to communicate a
concept,
idea, or
emotion
Representational or Non-representational
Representational art is a visual reference to the experiential world. The range of representational art is labeled as
naturalistic,
idealized, or
abstract
Non-representational or Non-objective is art that does not attempt to present an aspect of the recognizable world. Instead of suggesting a narrative by depicting objects meaning in non-objective art is communicated through shapes, colors, textures, and other elements and principles of design.
Style
can refer to the general appearance of a work or a group of works that were created in accordance with a specific set of principles about form or appearance.
can refer to the art as a whole that was made during a particular era and within a certain culture.
does the artwork belong to a more specific stylistic movement? Italian Renaissance? Realism? Abstract Expressionism?
can also refer to how elements and principles of design are employed by an individual artist: the visual features of that artist’s work and their characteristics when using a given medium.
Four Aspects of a Formal Analysis
Description – describe the use of visual elements.
Analysis – how are the elements arranged, describe the artist’s use of the principles of design.
Interpretation – the combination of what an object symbolizes to the artist and what it means to the viewer.
Evaluation – judging whether a work of art is successful given what you have understood from your description, analysis, and interpretation. Using steps 1-3 above can you justify your emotionally response (joyful, disturbing, calm, energeti ...
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
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This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
16. Impressionism . Claude Monet Waterloo Bridge in the Fog. 1903 Sunset - Sunlight Effect , Waterloo Bridge. 1900- 1903
17. Impressionism Bal au moulin de la Galette, Pierre-Auguste Renoir Ball at Moulin the Galette
18. Optics: The science of color A Sunday on the Grand Jatte , Georges Seurat, 1884 “ They see poetry in what I have done. Instead, I apply my method and that is all there is to it.” George Seurat
23. Two –point perspective an angle requiring both left and right vanishing point that converge on the horizon line . Joseph Paxton. The Crystal Palace. London. Graphite drawing 1851
42. Meret Oppenheim. Object- Luncheon in Fur 1936.Surrealism. Modern
43.
Editor's Notes
This portrait is the masterpiece of Gainsborough's early years. It was painted after his return home from London to Suffolk in 1748, soon after the marriage of Robert Andrews of the Auberies and Frances Carter of Ballingdon House, near Sudbury, in November of that year. The landscape evokes Robert Andrews's estate, to which his marriage added property. He has a gun under his arm, while his wife sits on an elaborate Rococo-style wooden bench. The painting of Mrs Andrews's lap is unfinished. The space may have been reserved for a child for Mrs Andrews to hold. The painting follows the fashionable convention of the conversation piece, a (usually) small-scale portrait showing two or more people, often out of doors. The emphasis on the landscape here allows Gainsborough to display his skills as a painter of convincingly changing weather and naturalistic scenery, still a novelty at this time. http://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-andrews This well-formed statuette of a hippopotamus demonstrates the Egyptian artist's appreciation for the natural world. It was molded in faience, a ceramic material made of ground quartz. Beneath the blue-green glaze, the body was painted with the outlines of river plants, symbolizing the marshes in which the animal lived. The seemingly begin appearance that this figurine presents is deceptive. To the ancient Egyptians, the hippopotamus was one of the most dangerous animals in their world. The huge creatures were a hazard for small fishing boats and other river-craft. The beast might also be encountered on the waterways in the journey to the afterlife. As such, the hippopotamus was a force of nature that needed to be propitiated and controlled, both in this life and the next. This example was one of a pair found in a shaft associated with the tomb chapel of the steward Senbi II at Meir, a site about thirty miles south of modern Asyut. Three of its legs, originally broken to prevent the creature from harming the deceased, have been restored. The hippo was part of Senbi's burial equipment, which included a canopic box (also in the Museum), a coffin, and numerous models of boats and food production. Source: Statuette of a Hippopotamus [Egyptian; Middle Egypt, Meir] (17.9.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
City of Berne( Germany) red bridge Expressionist initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express meaning or emotional experience rather than physical reality. Paul Klee is ranked as one of the most original masters of contemporary art. He was born in Bern, Switzerland and lived for many years in Germany. He was one of the instructors at the Bauhaus . In 1931 he began teaching at Dusseldorf Academy, but he was dismissed by the Nazis, who termed his work "degenerate."In 1933, Klee went back to his native Switzerland. He died on June 29, 1940. His highly individual style was influenced by movements in art that included expressionism, cubism, and surrealism. He was, as well, a student of orientalism. Klee was a natural draftsman who experimented with and eventually mastered color theory, and wrote extensively about it; his lectures Writings on Form and Design Theory
From Southern California, Martha Alf grew up in San Diego and became known for her cylinder painting of everyday household items transformed into mysterious objects for which the viewer often has reverence. Many of her subjects are based on photographs. Her style is akin to that of Josef Albers, whose paintings are studies in optics. She was also influenced by her intrigue with precise still life painting of 16th-century Spain and also her admiration for Georgia O'Keeffe. She raised her family as a traditional housewife and then went to the University of California at Los Angeles where she studied with well-known figurative painter Richard Diebenkorn.
Pat Steir’s complex paintings, prints, and drawings, encompass a lexicon of marks and signs. Born in Newark, New Jersey, in 1940, Steir developed an interest in art at a young age. She began her formal art training in 1956, studying graphic arts at the Pratt Institute in Brooklyn, where she eventually received her B.F.A. in 1962. Steir pursued her art while also working as a freelance book cover designer and as an art director at the New York publishing house, Harper & Row. In 1964, she had her first solo exhibition at the Terry Dintenfass Gallery, New York, and continued to show sporadically throughout the decade. Her work of the late 1960s was more figural, using male nudes juxtaposed with animal heads. Produced during a time when minimalism and conceptual art was the norm, these dramatic works demonstrate Steir’s single-minded pursuit of her own style. Steir rejected traditional forms of composition in favor of seemingly unrelated shapes and forms. She composed her works in combinations of random brushstrokes, grid lines, color charts, signs, color fields and pictorial elements to create canvases that display a self-conscious symbolism. Drips of paint in the works can refer to the actual process of painting. Within her works there is no fixed meaning, as the artist allows her viewers to draw their own inferences based on their personal history and associations. In process, Steir starts with a mark that is developed into a unit of signs and symbols.
His best-known, most popular works were produced during this time at Argenteuil, where he often painted alongside Renoir, Sisley, Caillebotte, and Manet. Monet regularly exhibited his paintings in the private Impressionist group shows, which first took place in 1874. During that first show his painting Impression: Sunrise (1872) inspired a hostile newspaper critic to call all the artists "Impressionists," a name that persists to characterize the artistic movement today. Claude Monet's paintings from the 1870s, notably Red Boats at Argenteuil (1875), are fine examples of the new Impressionist style. The paintings are essentially illusionist, but ring with a chromatic vibrancy. Monet worked directly from nature and revealed that even on the darkest, gloomiest day, an infinite variety of colors exist. To capture the fleeting lights and hues, Monet had to employ a new painting technique using short brushstrokes filled with individual color. The result was a canvas alive with painterly activity, the opposite of the smooth blended surfaces of the past. While traditional landscape artists painted what they saw in their mind, Claude Monet, sought to paint the world exactly how he saw it, not how he knew it should look. So rather than painting a myriad of separate leaves, he depicted splashes of constantly changing light and color. It’s important to note that in this aspect, Monet belongs to the tradition of Renaissance illusionism. In depicting the natural world, he based his art on perceptual rather than conceptual knowledge. Impressionism is a style of painting that uses fluid and abstract strokes to create compositions filled with mood and emotion. The formal movement was started in the mid-1800s by a group of French painters revolting against the accepted academic standards of high art. The movement grew so strong that when several Impressionist paintings were refused entry into the national art gallery, the emperor Napoleon created a second national art salon to exhibit the rejected works. The Impressionism movement was named after the painting Impression: Soleil Levant by Claude Monet. The abstract and brightly colored piece invokes the deep colors and overwhelming light of a sunrise, making it a perfect example of the Impressionism movement. However, many helped create the revolution, including Claude Monet, Berthe Morisot, Camille Pissarro, Auguste Renoir and Alfred Sisley. Famous Impressionist Painters Claude Monet (1840-1926) is one of the most famous of all the Impressionist painters. His abstract and emotional representations of nature focused on lighting and shadows. His best known works include one series of paintings portraying haystacks at different times of day and another series invoking the beauty and calm of waterlilies in his garden. Berthe Morisot (1841-1895) was one of the few female Impressionist painters during her life, and her work did not gain critical acclaim until long after her death. Morisot was the friend and sister-in-law of the famous painter Edouard Manet. Her work focused on portraits of daily life, usually with women as the main subject. Her famous painting, The Artist's Sister at a Window is a typical example of her tendency toward female subjects and the strong use of white. Camille Pissarro (1830-1903) focused most of his work on landscapes that captured moments of daily life and never strayed from the basic Impressionist ideals. He used both rural and urban settings for his paintings, displaying the movement of people among architectural and natural elements. One of his most famous pieces, Haymakers Resting , is filled with the dreamy gold hues of a hayfield as three sturdy women rest in the shade. Auguste Renoir (1841-1919) focused on beauty and joy in his paintings. His works tend to have happy moods that often include children, nature or attractive women. He had a gift for capturing large and complex compositions filled with crowds of people and intricate details, which was rare for an Impressionist painter. However, he could also capture intimate images, such as the casual conversation between two women in his painting Young Women Talking . Alfred Sisley (1839-1899) was one of the least successful Impressionist painters during his life. It wasn't until after his death that his work began to sell and collect praise. Sisley focused on landscape works and was particularly interested in re-creating different skies. One of his most famous piece, Bridge at Villeneuve-la-Garenne , is a perfect example of his attention to the environmental effects, such as sun, rain and snow, on architectural and natural settings.
Roger Fry coined the term post impressionist in 1910 , acknowledged that the artists did not share a unified style or approach to art, but they all used impressionism as a springboard for their individual expressions of modern art.
A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer. It dies by the same token. It is therefore a risky and unfeeling act to send it out into the world. How often it must be permanently impaired by the eyes of the vulgar and the cruelty of the impotent who would extend the affliction universally! Again, Rothko’s aims, in some critics’ and viewers’ estimation, exceeded his methods. Many of the abstract expressionists exhibited pretensions for something approximating a spiritual experience, or at least an experience that exceeded the boundaries of the purely aesthetic. In later years, Rothko emphasized the spiritual aspect of his artwork, a sentiment that would culminate in the construction of the Rothko Chapel. Many of the "multiforms" and early signature paintings display an affinity for bright, vibrant colors, particularly reds and yellows, expressing energy and ecstasy. By the mid 1950’s however, close to a decade after the completion of the first "multiforms," Rothko began to employ dark blues and greens; for many critics of his work this shift in colors was representative of a growing darkness within Rothko’s personal life. The general method for these paintings was to apply a thin layer of binder mixed with pigment directly onto uncoated and untreated canvas, and to paint significantly thinned oils directly onto this layer, creating a dense mixture of overlapping colors and shapes. His brush strokes were fast and light, a method he would continue to use until his death. His increasing adeptness at this method is apparent in the paintings completed for the Chapel. With a total lack of figurative representation, what drama there is to be found in a late Rothko is in the contrast of colors, radiating, as it were, against one another. His paintings can then be likened to a sort of fugal arrangement: each variation counterpoised against one another, yet all existing within one architectonic structure. In the spring of 1968, Rothko was diagnosed with a mild aortic aneurysm (defect in the arterial wall, that gradually leads to outpouching of the vessel and at times frank rupture). Ignoring doctor’s orders, Rothko continued to drink and smoke heavily, avoided exercise, and maintained an unhealthy diet. However, he did follow the medical advice given not to paint pictures larger than a yard in height, and turned his attention to smaller, less physically strenuous formats, including acrylics on paper. Meanwhile, Rothko's marriage had become increasingly troubled, and his poor health and impotence resulting from the aneurysm compounded his feeling of estrangement in the relationship. Rothko and his wife Mell separated on New Year’s Day 1969, and he moved into his studio. On February 25, 1970, Oliver Steindecker, Rothko’s assistant, found the artist in his kitchen, lying dead on the floor in front of the sink, covered in blood. He had sliced his arms with a razor found lying at his side. During autopsy it was discovered he had also overdosed on anti-depressants. He was 66 years old. The Seagram Murals on display at the Tate Gallery arrived in London on the very day of his suicide.
His subjects characteristically represent modern life, has an unconventional almost telescopic composition that tilts the perspective. The street itself seems to be the subject of this painting the people are huddled under umbrellas or pushed to the sides of the composition. The figure to the far right is even cropped in half, as in a photograph and the couple strolling toward us are squeezed between him and the lamppost. Caillebotte's ambitious modem history painting Paris Street; Rainy Day, much like his Floor-Scrapers, shown the previous year, secured the artist critical appreciation at the Impressionist exhibition in 1877 for its "science of design and arrangement . "According to one reviewer, it was a canvas "that, despite the bizarre quality of some of its details and its jerky handling ... would still figure honorably beside pictures receiving the approval of the Champs-Elysees (official Salon) jury." Indeed, in the relative finish of its brushwork, in the well studied rationality of its composition, and especially in its impressive size, Paris Street--despite the shocking modernity of its subject-must have looked familiarly academic in 1877, betraying Caillebotte's recent study with the Salon artist Leon Bonnat . It even prompted one critic to exclaim that "M. Caillebotte is an Impressionist in name only," because in comparison to many of his colleagues who were being derided for daring to exhibit sketches as finished works of art, this painting demonstrated that Caillebotte "knows how to draw and paint more seriously. . . ."The fact that Caillebotte followed an academic rather than "Impressionist" method in many of the large paintings of his early career is evidenced by a group of preparatory drawings and oil sketches for Paris Street, through which the artist developed and altered his original conception for the picture. These studies and sketches certainly attest to the 'considerable effort' described by the critic Georges Riviere in 1877 in reference to the painting, and "how difficult it was and how much skill was necessary to complete a canvas of these dimensions." Nevertheless, they also demonstrate the lengths to which the artist went in order to construct an image that would appear at once both obsessively ordered and precariously fragile-a construction that constitutes the very basis of the picture's meaning.
Frank Stella (born May 12, 1936) is an American painter and printmaker. He is a significant figure in minimalism and post-painterly abstraction.
28 de setembro de 2010 Luiz Sacilotto (Santo André, 1924 — São Bernardo do Campo, 9 february of 2003) Was an brazillian painter, drawer and sculpter. One of the biggest expressions of the abstractionism on Brazil, he was revealed on the 40's. On 1943, was formed lyricist on the Professional Male Institute of Brás. On 1944 he ingressed on the University Center of Beautiful Arts of São Paulo to study drawing, stopping on 1947. Sacilotto started working then as publicitary and drawer of architeture. Still on 1947, he participated on the Show of 19 painters on São Paulo. On 1952 he won the Governator of The State Prize, on the Pro-Modern Art Society(SPAM). On the same year he signed the Manifest of The Rupture Group, appearing in his works "The Concretism".
Dutch painter Composition with red blue and yellow: This composition seems to be a variation of Mondrian's prior piece. The expansion in color adds brightness to this image. His focuses on the construction of rectangular shapes from different types of lines reveals his deeper understanding of contrast and balance. This piece, in addition to Mondrian's compositions from 1922 and 1929, demonstrates his focus on simplicity. Boardway boogie woogie: This is the last piece that Mondrian completed. From his earlier works, where he focused on large rectangular planes divided by long continuous lines, he zooms out his perspective and paints these rectalinear shapes into much smaller forms. There is an unexpected feel of rhythym, as if the composition is to resemble a dancing city. Using the opposition of contraries, a deliberate harmony is found. When the war ended in 1919, Mondrian returned to France, where he would remain until 1938. Immersed in the crucible of artistic innovation that was post-war Paris, he flourished in an atmosphere of intellectual freedom that enabled him to embrace an art of pure abstraction for the rest of his life. Mondrian began producing grid-based paintings in late 1919, and in 1920, the style for which he came to be renowned began to appear. In the early paintings of this style the lines delineating the rectangular forms are relatively thin, and they are gray, not black. The lines also tend to fade as they approach the edge of the painting, rather than stopping abruptly. The forms themselves, smaller and more numerous than in later paintings, are filled with primary colors, black, or gray, and nearly all of them are colored; only a few are left white. During late 1920 and 1921, Mondrian's paintings arrive at what is to casual observers their definitive and mature form. Thick black lines now separate the forms, which are larger and fewer in number, and more of them are left white than was previously the case. This was not the culmination of his artistic evolution, however. Although the refinements became more subtle, Mondrian's work continued to evolve during his years in Paris. In the 1921 paintings, many of the black lines (but not all of them) stop short at a seemingly arbitrary distance from the edge of the canvas, although the divisions between the rectangular forms remain intact. Here too, the rectangular forms remain mostly colored. As the years passed and Mondrian's work evolved further, he began extending all of the lines to the edges of the canvas and he also began to use fewer and fewer colored forms, favoring white instead.
Weaving plays a role in the creation myth of Navajo cosmology, which articulates social relationships and continues to play a role in Navajo culture. According to one aspect of this tradition, a spiritual being called "Spider Woman" instructed the women of the Navajo how to build the first loom from exotic materials including sky, earth, sunrays, rock crystal, and sheet lightning. Then "Spider Woman" taught the Navajo how to weave on it. Use of traditional motifs sometimes leads to the mistaken notion that these textiles serve a purpose in Navajo religion. Actually these items have no use as prayer rugs or any other ceremonial function, and controversy has existed among the Navajo about the appropriateness of including religious symbolism in items designed for commercial sale. The financial success of purported ceremonial rugs led to their continued production.