This document provides an overview of key principles of design discussed in Chapter 7 of the textbook World of Art. It covers various types of balance (symmetrical, asymmetrical, radial), emphasis and focal point, scale and proportion, and pattern, repetition and rhythm. Examples are given of works that demonstrate these principles, such as Leonardo da Vinci's Vitruvian Man, the Taj Mahal, Hokusai's Great Wave, and the Parthenon. The document also discusses how artists can manipulate elements of design, as seen in works by Velazquez, Ingres, and Suh.
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
Art Appreciation Principles & Elements of Art: Focal Point, Contrast, Emphasi...Paige Prater
An introduction to the principles of art, especially focal point, contrast, emphasis, and pattern. Based on "Gateways to Art" (2012) by DeWitte, Larman, and Shields.
JUST NEED (4) REPLIES TO THE OTHER STUDENTS2-3 Sentences Replay.docxcroysierkathey
JUST NEED (4) REPLIES TO THE OTHER STUDENTS
2-3 Sentences Replay
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· Week Four Discussion 1
Compare the work of two artists from any two different art movements covered in Chapter 21.
· Describe, then compare, the contexts, concerns and main aspects of each movement and how those appear in the artworks you've selected.
· Be sure to explain why you made your particular choices of movements, artists and artworks.
· Evaluate the artwork you've selected according to any criteria you think are relevant (given what you have learned so far in the course).
Be sure that you are making an evaluative comparison of the two artists’ work, rather than simply discussing them in turn.
REPLY TO:Permenter
Week 4, Discussion 1
COLLAPSE
Top of Form
Romanticism and Impressionism vary greatly in their style. Romanticism was in favor for a much longer period of time, roughly 1800-1890, than Impressionism (1870-1880). Romanticism was more an attitude and choice of subjects than a true style. The artists of this period looked for emotions and imagination when deciding what they wanted to create. They looked for the risqué and exotic as well as mystery. Impressionist artists had some more flexibility with the new availability of equipment that was more portable. This allowed Impressionists to work in the actual outdoors as opposed to studios. These artists used natural light, shadows and a lighter color palette to express their ideas.
The pieces for this discussion were chosen due to the similar subject of the works yet stark contrast. Both pieces feature a group of people enjoying a leisurely activity, yet they are not alike at all. The way they contrast and show their specific movements is remarkably interesting. First, the Romanticism piece chosen is The Women of Algiers by Delacroix (p.485, fig. 21.2). This piece is very risqué, and the subject of the piece is quite scandalous. The women portrayed are women in a harem and it was unusual for outsiders to be allowed in, let alone document it such as this. Delacroix demonstrates this period by the subject of the piece being so exotic and mysterious. He does a great job showing unity yet variety here as well. The painting feels very dark and colors of the piece are mostly neutral and really work well together, with a kick of reddish orange here and there to brighten up the piece.
The Impressionist piece Le Moulin de la Galette (p.490, fig. 21.7) by Renoir is a stark contrast to The Women of Algiers . This piece, while detailed enough for one to see the subjects and understand the context of the painting, is not focused on the clear lines and defined objects as The Women of Algiers is. Renoir uses a freer stroke and uses emphasis and subordination. The emphasis of the painting is on the small group in the front of the painting as the rest get blurrier the farther away they are. This painting is so much brighter with a lighter palette than the other clearly showing that it is from a different mov ...
thGAP - BAbyss in Moderno!! Transgenic Human Germline Alternatives ProjectMarc Dusseiller Dusjagr
thGAP - Transgenic Human Germline Alternatives Project, presents an evening of input lectures, discussions and a performative workshop on artistic interventions for future scenarios of human genetic and inheritable modifications.
To begin our lecturers, Marc Dusseiller aka "dusjagr" and Rodrigo Martin Iglesias, will give an overview of their transdisciplinary practices, including the history of hackteria, a global network for sharing knowledge to involve artists in hands-on and Do-It-With-Others (DIWO) working with the lifesciences, and reflections on future scenarios from the 8-bit computer games of the 80ies to current real-world endeavous of genetically modifiying the human species.
We will then follow up with discussions and hands-on experiments on working with embryos, ovums, gametes, genetic materials from code to slime, in a creative and playful workshop setup, where all paticipant can collaborate on artistic interventions into the germline of a post-human future.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
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2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
The Legacy of Breton In A New Age by Master Terrance LindallBBaez1
Brave Destiny 2003 for the Future for Technocratic Surrealmageddon Destiny for Andre Breton Legacy in Agenda 21 Technocratic Great Reset for Prison Planet Earth Galactica! The Prophecy of the Surreal Blasphemous Desires from the Paradise Lost Governments!
2. Learning ObjectivesLearning Objectives
1 of 21 of 2
1. Define symmetrical, asymmetrical, and
radial balance.
2. Explain the relationship between
emphasis and focal point.
3. Differentiate between scale and
proportion.
4. Describe the relationship between
pattern, repetition, and rhythm.
3. Learning ObjectivesLearning Objectives
2 of 22 of 2
5. Discuss the traditional relationship
between unity and variety, and why
postmodernist artists have tended to
emphasize variety over unity.
4. IntroductionIntroduction
1 of 31 of 3
• Leonardo da Vinci's Study of Human
Proportion: The Vitruvian Man
embodies all the qualities of design.
Symmetry, proportion, and ratio derive
from the perfection of the human figure.
The figure's limbs fit perfectly within
their frame.
5. Leonardo da Vinci, Study of Human Proportion: The Vitruvian Man.
ca. 1492. Pen-and-ink drawing, 13-1/2 × 9-5/8". Gallerie dell'Accademia, Venice.
CAMERAPHOTO Arte, Venice. [Fig. 7-1]
6. IntroductionIntroduction
2 of 32 of 3
• In contrast, the Rasin Building in
Prague seems to teeter in its
playfulness.
It is nicknamed "Fred and Ginger" for its
seemingly dancing frame.
However, both parts of the building
balance each other out like a dialogue.
8. IntroductionIntroduction
3 of 33 of 3
• In the creative process, even such
"rules" as created by the Vitruvian Man
are meant to be broken so that artists
can discover new ways to express
themselves.
• Media are the materials that artists
use to create their works.
9. BalanceBalance
• Balance refers to even distribution of
weight in a composition.
In works, balance can be symmetrical,
asymmetrical, or radial.
• In sculpture, actual weight is the
physical weight of materials in pounds.
• All art deals with visual weight, or the
apparent "heaviness" or "lightness" of
the forms in the composition.
10. Symmetrical BalanceSymmetrical Balance
1 of 41 of 4
• Symmetrical representations recall
Leonardo's Study.
When each side is exactly the same, it is
called absolute symmetry.
When there are minor discrepancies but
the overall effect is symmetrical, it is
called bilateral symmetry.
11. Symmetrical BalanceSymmetrical Balance
2 of 42 of 4
• The Taj Mahal is one of the most
symmetrically balanced buildings in the
world.
Each facade is identical with openings
that give the building a sense of
weightlessness.
13. Symmetrical BalanceSymmetrical Balance
3 of 43 of 4
• Enguerrand Quarton's Coronation of the
Virgin is a composition featuring small
details at its edges with a cruciform
shape dominating the whole.
Father and Son flank Mary with near-
perfect symmetry.
14. Enguerrand Quarton, Coronation of the Virgin.
1453–54. Panel painting, 6' × 7' 2-5/8. Musée de l'Hospice, Villeneuve-lès-Avignon,
France.
Bridgeman Images. [Fig. 7-4]
15. Symmetrical BalanceSymmetrical Balance
4 of 44 of 4
• Frida Kahlo's Las Dos Fridas is
symmetrically balanced.
A Frida dressed in native Tehuana
costume is connected to the mirrored
Frida rejected by Diego Rivera by a
vein, which the rejected Frida cuts off
with surgical scissors.
17. Asymmetrical BalanceAsymmetrical Balance
1 of 31 of 3
• A composition that lacks symmetry can
still be balanced if sides possess the
same visual weight; this is called
asymmetry.
• While there are only a few ways in
which a work can appear balanced, but
there are no "laws" about how this can
be achieved.
19. Asymmetrical BalanceAsymmetrical Balance
2 of 32 of 3
• Johannes Vermeer's Woman Holding a
Balance contains several references to
balance, yet retains asymmetry of
subject matter.
The central axis of the composition
shows a woman weighing her jewelry
with scales; behind her is a painting in
which Christ weighs all souls during the
Last Judgment.
21. Asymmetrical BalanceAsymmetrical Balance
3 of 33 of 3
• Childe Hassam's Boston Common at
Twilight features a central axis left of
the middle, where a woman and her
daughters feed birds at the edge of a
tree-lined expanse of Boston Common.
• Tension between light and dark as well
as the open Common and the street
reinforce asymmetrical balance.
23. Radial BalanceRadial Balance
• In radial balance, everything radiates
outward from a central point.
The "rose window" above the south
portal of Chartres Cathedral is an
example.
• The Villa La Rotonda by Andrea Palladio
also features radial balance.
The central domed rotunda is flanked by
four symmetrical reception rooms.
24. Rose window, south transept, Chartres Cathedral.
ca. 1215. Chartres, France.
Angelo Hornak. [Fig. 7-9]
27. Emphasis and Focal PointEmphasis and Focal Point
1 of 31 of 3
• The focal point of a composition is an
area to which the artist draws the
viewer's attention the most.
• Strong contrasts of light and color can
create a focal point easily.
Still Life with Lobster uses
complementary colors with the focal
lobster in red and everything else in
green.
28. Anna Vallayer-Coster, Still Life with Lobster.
1781. Oil on canvas, 27-3/4 × 35-1/4". Toledo Museum of Art, Toledo, Ohio.
Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey,
1968.1A. Photo: Photography Incorporated, Toledo. [Fig. 7-11]
29. Emphasis and Focal PointEmphasis and Focal Point
2 of 32 of 3
• Light in Georges de La Tour's Joseph
the Carpenter draws attention away
from Joseph and to the brightly lit face
of Christ, symbolizing the Divine Light.
• It is also possible to make a work that
is afocal, or without a single point of
focus.
31. Emphasis and Focal PointEmphasis and Focal Point
3 of 33 of 3
• Lucas Samaras's Room No. 2 is an 8-
by-8-foot space lined entirely with
mirrors.
Only two visitors are allowed inside
simultaneously.
Viewer and work become inseparable;
the viewer enables the work, yet loses
their individuality.
33. The Creative ProcessThe Creative Process
1 of 21 of 2
• A Multiplication of Focal Points:Diego
Velázquez's Las Meninas
An obvious focal point is the infanta
Margarita at center, but figures outside
of her central group gaze away from the
infanta.
Their focal point appears to be the King
and Queen, who are reflected in the
mirror at the opposite end of the room.
37. The Creative ProcessThe Creative Process
2 of 22 of 2
• A Multiplication of Focal Points:Diego
Velázquez's Las Meninas
Either the royal couple is the actual
subject of the painting or they have
entered the room to see their daughter
being painted; or, in fact, their images
are a double portrait rather than
themselves reflected in the mirror.
The painting depicts a work-in-progress,
although it is unclear what that work is.
39. Scale and ProportionScale and Proportion
1 of 71 of 7
• Scale describes the dimensions of an
art object in relation to the original
object or objects around it.
• Julie Mehretu's Mural is "large-scale" at
80 feet long and 23 feet high.
• When looking at a textbook or screen
reproduction, it is important to consider
the actual size of the work.
40. Julie Mehretu, Mural, detail.
2010. Acrylic on canvas, 23 × 80'. Goldman Sachs headquarters, New York.
Courtesy of the artist and Marian Goodman Gallery, New York. [Fig. 7-18]
41. Scale and ProportionScale and Proportion
2 of 72 of 7
• Comparing Do-Ho Suh's Public Figures
and Kara Walker's Subtlety, both artists
have manipulated the scale of the
object depicted.
• Do-Ho Suh's work shows the people
carrying the pediment in a diminished
scale.
The expected figure atop the pedestal is
purposely absent.
42. Do-Ho Suh, Public Figures.
1998–99. Installation view, MetroTech Center Commons, Brooklyn, New York.
Fiberglass/resin, steel pipes, pipe fittings, 10 × 7 × 9'.
Courtesy the artist and Lehmann Maupin Gallery, New York. [Fig. 7-19]
43. Scale and ProportionScale and Proportion
3 of 73 of 7
• Walker's work is a large, exaggerated
homage to carved sugar centerpieces
that would have decorated the tables of
the upper classes through history.
• Artists can manipulate scale through
the relative scale of objects.
An object "closer" to us is larger, while
one that recesses in to the background
appears smaller.
44. Kara Walker, A Subtlety: The Marvelous Sugar Baby, an Homage to the unpaid and
overworked Artisans who have refined our Sweet tastes from the cane fields to the
Kitchens of the New World on the Occasion of the demolition of the Domino Sugar
Refining Plant.
2014. Installation view, Domino Sugar Factory, Williamsburg, Brooklyn, New York.
Carved polystyrene coated with 160,000 lb of sugar, 10 × 7 × 75'.
Courtesy the artist and Creative Projects, New York. [Fig. 7-20]
45. Scale and ProportionScale and Proportion
4 of 74 of 7
• Hokusai's views of Mount Fuji subvert
the knowledge of how large the
mountain is.
The Great Wave off Kanagawa shows
two boats in a tumultuous wave in the
foreground, visually diminishing the
importance of Fuji in the distance.
47. Scale and ProportionScale and Proportion
5 of 75 of 7
• Proportion refers to the relationship
between parts of an object and the
whole.
• Ingres's Mme. Rivière appears at first
to be natural, but upon closer
inspection, her arm has been elongated
to accommodate the curve of the
frame.
49. Scale and ProportionScale and Proportion
6 of 76 of 7
• Greek sculptor Polyclitus described
"perfect" proportions of the human
body in a text called The Canon.
Both the text and the original
Doryphoros statue were lost, but both
proclaim that each part of the body is a
common fraction of the figure's height.
50. Polyclitus, Doryphoros (The Spear Bearer).
450 BCE. Marble, Roman copy after lost bronze original, height 7'. National Archaeological
Museum, Naples.
Art Archive/Musée Archéologique Naples/Collection Dagli Orti. [Fig. 7-23]
51. Scale and ProportionScale and Proportion
7 of 77 of 7
• The Greek Parthenon possesses
proportions on the facade in a ratio
based on the algebraic formula x = 2y
+ 1.
The ratio of the length of the top step of
the platform (or stylobate) to its width
is 9:4.
53. Pattern, Repetition, and RhythmPattern, Repetition, and Rhythm
1 of 51 of 5
• Pattern is the systematic repetitive use
of the same motif or design and it can
be used as a decorative tool.
• The Lindisfarne Gospels, particularly
the Cross page, features pre-Christian
pagan motifs woven into Christian
imagery.
Beasts were drawn in "animal style"
with intricate, ribbonlike traceries.
55. Pattern, Repetition, and RhythmPattern, Repetition, and Rhythm
2 of 52 of 5
• Patterned kente cloths from Ghana's
Ewe and Asante societies contained
patterns that designated social
prestige.
• African sculptor El Anatsui used kente
cloths as inspiration for his pieces,
which are made from discarded
aluminum caps and seals rather than
strips of cloth.
58. Pattern, Repetition, and RhythmPattern, Repetition, and Rhythm
3 of 53 of 5
• Repetition can imply monotony, but if
certain elements are used repeatedly,
they can create a visual rhythm.
• Jacob Lawrence establishes rhythm in
Barber Shop through the repetition of
both shape and color.
Each diamond-shaped client wears a
different colored apron; the color is
repeated again elsewhere in the work.
60. Pattern, Repetition, and RhythmPattern, Repetition, and Rhythm
4 of 54 of 5
• Auguste Rodin's The Gates of Hell was
based on Dante's Inferno and features
nearly 200 figures.
At the top, a grouping of figures called
The Three Shades is actually the same
figure cast three times and arranged in
a semicircle.
Below, the posture of Adam echoes the
Shades, implying that it was he who
brought us to the Gates of Hell.
61. Auguste Rodin, The Gates of Hell with Adam and Eve.
1880–1917. Bronze, 20' 10-3/4" × 13' 2" × 33-3/8". Stanford University Museum of Art.
Photo: Frank Wing. [Fig. 7-29]
62. Auguste Rodin, The Three Shades.
1881–86. Bronze, Coubertin Foundry, posthumous cast authorized by Musée Rodin,
1980, 6' 3-1/2" × 6' 3-1/2" × 42". Iris & B. Gerald Cantor Center for Visual Arts at
Stanford University.
Gift of the B. Gerald Cantor Collections. [Fig. 7-30]
63. Pattern, Repetition, and RhythmPattern, Repetition, and Rhythm
5 of 55 of 5
• Layla Ali's Greenheads series features
brown-skinned, gender-neutral
"Others" that appear at once alien and
familiar.
In this piece, three nearly identical
Greenheads have been hanged in front
of a fourth victim.
• It symbolizes that such a horrifying act
can inevitably happen again, though the
place could be anywhere.
64. Laylah Ali, Untitled, from the series Greenheads.
2000. Gouache on paper, 13 × 19".
Courtesy of the artist and Paul Kasmin Gallery. [Fig. 7-31]
65. Unity and VarietyUnity and Variety
1 of 41 of 4
• In Barber Shop, Lawrence kept his
figures consistent, yet unique.
• If every subject or figure were the
same, there would be no need to
discuss the unity of diversity that
makes a work "complete."
Generally, variety must coexist with
unity in order for the work to succeed.
66. Unity and VarietyUnity and Variety
2 of 42 of 4
• Louise Lawler's Pollock and Tureen
brings seemingly contradictory objects
in a state of opposition and tension.
The Pollock painting is transformed into
a decorative object that seems as
marketable and empty of its original
meaning when placed by the tureen.
67. Louise Lawler, Pollock and Tureen.
1984. Cibachrome, 16 × 20".
Courtesy of the artist and Metro Pictures, New York. [Fig. 7-32]
68. Unity and VarietyUnity and Variety
3 of 43 of 4
• A sense that parts can never form a
unified whole is commonly called
postmodernism.
• Robert Venturi wrote in Learning from
Las Vegas that a collision of styles,
signs, and symbols such as those seen
on an American "strip" can be seen as a
new kind of unity; anything can be put
next to anything else.
70. Unity and VarietyUnity and Variety
4 of 44 of 4
• Elizabeth Murray's Just in Time appears
at first to be abstract, but reveals a
teacup split in half.
Its ordinary subject matter is
monumentalized by a height of 9 feet.
Animal forms and pop lyrics also inspire
interpretations.
The work is rich in meaning, each
fragment unifying the whole.
72. The Critical ProcessThe Critical Process
Thinking about the Principles of DesignThinking about the Principles of Design
• Claude Monet's The Railroad Bridge,
Argenteuil employs line in a number of
ways.
Opposition is apparent in the two
diagonals as well as opposing directional
lines of the train and boat.
• What appears to be a simple landscape
of a newly-built bridge is fraught with
complexities.
74. Thinking BackThinking Back
1 of 21 of 2
1. Define symmetrical, asymmetrical, and
radial balance.
2. Explain the relationship between
emphasis and focal point.
3. Differentiate between scale and
proportion.
4. Describe the relationship between
pattern, repetition, and rhythm.
75. Thinking BackThinking Back
2 of 22 of 2
5. Discuss the traditional relationship
between unity and variety, and why
postmodernist artists have tended to
emphasize variety over unity.