The document discusses light and color in art. It begins by introducing how artists use light and color to create space. It then covers various color theory topics like atmospheric perspective, value, hue, saturation, and color schemes. Specific artists and works are discussed to illustrate different techniques - for example, how Leonardo da Vinci used atmospheric perspective in the Madonna of the Rocks. The document also explores symbolic uses of color and how restoration affected perception of Michelangelo's frescoes. Overall it provides an overview of fundamental principles and vocabulary for understanding the use of light and color in visual art.
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 ...
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2. Learning ObjectivesLearning Objectives
1. Describe the ways in which artists use
light to represent space and model
form.
2. Outline the principles of color theory,
and describe the different sorts of
color schemes that artists might
employ.
3. Explain how color might be used both
in representational painting and as a
symbolic tool.
3. IntroductionIntroduction
• Light and color are elements that affect
the creation of space in art.
• Artist Dan Flavin transformed the space
of his gallery room with fluorescent
colored lights in 1936.
• Venezuelan artist Carlos Cruz-Diez
saturated three gallery chambers in
red, green, and blue in his
Chromosaturation.
4. The Dan Flavin Art Institute, Bridgehampton, New York.
1963–83.
Courtesy of Dia Art Foundation, New York. Photo: Florian Holzherr. [Fig. 5-1]
6. LightLight
• Natural light helps define spatial
relationships.
• Artists can control the experience of
their work through the manipulation of
light.
7. Atmospheric PerspectiveAtmospheric Perspective
1 of 31 of 3
• Leonardo da Vinci concerned himself
with writing "rules" for atmospheric or
aerial perspective.
Objects that are farther away appear
less distinct, bluer in color, and have
reduced light/dark contrast.
8. Atmospheric PerspectiveAtmospheric Perspective
2 of 32 of 3
• Leonardo's Madonna of the Rocks
shows three groupings of rocks with
different distances marked only by
atmospheric perspective.
The one nearest to the viewer is on the
right, and the one on the left that
appears blue is the farthest.
10. Atmospheric PerspectiveAtmospheric Perspective
3 of 33 of 3
• J. M. W. Turner's Rain, Steam, and
Speed—The Great Western Railway
does not depend solely on linear
perspective.
Light and atmosphere obscure the train
tracks near the center of the work and
create a more spiritual sense of reality.
11. J. M. W. Turner, Rain, Steam, and Speed—The Great Western Railway.
1844. Oil on canvas, 33-1/4" × 4'. National Gallery, London.
akg-image/NationalGallery, London. [Fig. 5-4]
12. Value: From Light to DarkValue: From Light to Dark
1 of 41 of 4
• The relative level of lightness or
darkness of an area or object is
traditionally called its relative value.
• When white is added to the basic hue
(color), the variation is called a tint.
• When black is added to the basic hue,
the variation is called a shade.
For example, pink is a tint of red;
maroon is a shade of red.
15. Value: From Light to DarkValue: From Light to Dark
2 of 42 of 4
• Pat Steir's Pink Chrysanthemum and
Night Chrysanthemum feature three
views of the same flower in stages of
abstraction.
• Western culture often associates light
with good and darkness with evil.
In the eighteenth century, Goethe
created a color theory linked with moral
and religious significance.
16. Pat Steir, Pink Chrysanthemum.
1984. Oil on canvas, three panels, each 5 × 5'.
Courtesy of the artist and Cheim & Read, New York. [Fig. 5-7]
17. Pat Steir, Night Chrysanthemum.
1984. Oil on canvas, three panels, each 5 × 5'.
Courtesy of the artist and Cheim & Read, New York. [Fig. 5-8]
18. Value: From Light to DarkValue: From Light to Dark
3 of 43 of 4
• For African Americans, particularly
during the 1960s, blackness signified
goodness and pride.
Ralph Ellison's Invisible Man influenced
the community to adopt the Black Power
movement, which asserted that black
was a color composed of all other colors.
19. Value: From Light to DarkValue: From Light to Dark
4 of 44 of 4
• Ben Jones's Black Face and Arm Unit is
a series of twelve arms and faces
decorated with bands of color that
recall ancient African sculpture.
20. Ben Jones, Black Face and Arm Unit.
1971. Acrylic on plaster, life-size plaster casts.
Courtesy of the artist. [Fig. 5-9]
21. Chiaroscuro and ModelingChiaroscuro and Modeling
1 of 31 of 3
• Chiaroscuro refers to the balance of
light and shade in a work, most often
exhibited when the artist transitions
from light to dark around a curved
surface.
• Using chiaroscuro on a curved surface
is called modeling.
22. Chiaroscuro and ModelingChiaroscuro and Modeling
2 of 32 of 3
• Paul Colin drew Figure of a Woman on
beige paper, indicating shadow with
black crayon and light with white
crayon.
• Highlights are indicated by white and
directly reflect the light source.
• Areas of shadow include the shadow
proper, the core of the shadow, and
the darkest cast shadow.
25. Chiaroscuro and ModelingChiaroscuro and Modeling
3 of 33 of 3
• Tenebrism is a technique separate
from modeling in which areas of dark
contrast sharply with smaller, brightly
illuminated areas.
Artemisia Gentileschi's Judith and
Maidservant with the Head of Holofernes
lights the heroic Judith strongly with a
candle, with her hand casting a powerful
shadow over her face.
26. Artemisia Gentileschi, Judith and Maidservant with the Head of Holofernes.
ca. 1625. Oil on canvas, 6' 1/2" × 4' 7-3/4". Detroit Institute of Arts.
Gift of Mr Leslie H. Green. Bridgeman Images. [Fig. 5-12]
27. Hatching and Cross-HatchingHatching and Cross-Hatching
1 of 21 of 2
• Hatching is an area of closely spaced
parallel lines.
The Coiffure by Mary Cassatt uses
parallel lines to render the depth of
shadow in the room.
29. Hatching and Cross-HatchingHatching and Cross-Hatching
2 of 22 of 2
• Michelangelo's Head of a Satyr employs
hatching on the back of the figure's
neck and head.
It also features cross-hatching, where
one set of hatches is crossed at an angle
by one or more sets of hatches, creating
a darker area of lines.
31. Contrast: Light and DarkContrast: Light and Dark
• Greater contrast between light and
dark often has greater dramatic impact.
• In Shirin Neshat's Fervor, women and
men worshiping at a mosque are
separated both by a divider and by the
color of their garments.
The single white face of a woman who
turns toward the camera draws the
viewer further into the narrative.
33. The Creative ProcessThe Creative Process
• The Play of Light and Dark: Mary
Cassatt's In the Loge
Cassatt sketched the idea with a clear
division between light and dark, with the
line of light abruptly stopping at the
figure's hand and face.
A slice of the woman's neck in the final
version creates two light-and-dark
diagonals.
36. ColorColor
• On the evening of June 29, 2002, Cai
Guo-Qiang's Transient Rainbow was
displayed across the East River in New
York City.
It was a fireworks display in the colors
of the rainbow.
The symbolic message was one of hope,
renewal, and healing in a post-9/11
period.
38. Basic Color VocabularyBasic Color Vocabulary
1 of 51 of 5
• Sir Isaac Newton discovered that light
breaks into a spectrum, or bands of
color, and he reorganized them into a
circle to create the conventional color
wheel.
• In this system, primary colors are
red, yellow, and blue.
41. Basic Color VocabularyBasic Color Vocabulary
2 of 52 of 5
• Secondary colors are orange, green
and violet, and are mixtures of two
surrounding primary colors.
• Intermediate colors mix a primary
color and nearby secondary color.
• In this system, mixing all colors
together creates black, the absence of
color; it is known as a subtractive
process.
42. Color mixtures of reflected pigment—subtractive process. [Fig. 5-21]
43. Basic Color VocabularyBasic Color Vocabulary
3 of 53 of 5
• Mixing colored light is an additive
process.
Primary colors are red-orange, green,
and blue-violet.
Secondaries are yellow, magenta, and
cyan.
As more colors are combined and more
light is added, the colors become
brighter.
45. Basic Color VocabularyBasic Color Vocabulary
4 of 54 of 5
• Color can be described by its hue,
relative value, and intensity or
saturation.
• Intensity can be reduced by adding a
gray or opposite hue, or by adding a
medium.
46. Basic Color VocabularyBasic Color Vocabulary
5 of 55 of 5
• Michelangelo's frescoes in the Sistine
Chapel were thought to have been
painted in dull, somber hues, but were
discovered to have been covered with
centuries of dust, smoke, grease, and
animal glue.
47. Michelangelo, The Creation of Adam (unrestored), ceiling of the Sistine Chapel.
1508–12. Fresco. Vatican City.
Canali Photobank, Milan, Italy. [Fig. 5-23]
48. Michelangelo, The Creation of Adam (restored), ceiling of the Sistine Chapel.
1508–12. Fresco. Vatican City.
akg-image/Erich Lessing. [Fig. 5-24]
49. Color SchemesColor Schemes
1 of 81 of 8
• Analogous color schemes are
composed of neighboring hues on the
color wheel.
• They are often organized on the basis
of color temperature.
50. Color SchemesColor Schemes
2 of 82 of 8
• Jane Hammond's Fallen consists of
warm yellows, oranges, reds, and the
occasional green, exuding warmth.
Each leaf is inscribed with the name of a
soldier killed in the Iraq War, a
testament to tragedy and healing.
52. Color SchemesColor Schemes
3 of 83 of 8
• Romare Bearden's She-ba features cool
blues and greens, accented with red,
yellow, and orange.
The subject seems to cool the arid
desert atmosphere with everything she
touches.
54. Color SchemesColor Schemes
4 of 84 of 8
• Complementary color schemes
include hues opposite each other on the
color wheel.
• Simultaneous contrast occurs when
two complementary colors appear
brighter when placed next to each
other without any mixing.
55. Color SchemesColor Schemes
5 of 85 of 8
• The Cara Grande features brilliant blue-
violet feathers surrounding a yellow-
orange face.
• Color interactions in Gerhard Richter's
180 Farben creates the effect of gray
spots in between blocks of color, a trick
of the eye.
56. Cara Grande feather mask, Tapirapé, Rio Tapirapé, Brazil.
ca. 1960. Height 31". National Museum of the American Indian, Washington, D.C. [Fig. 5-
27]
58. Color SchemesColor Schemes
6 of 86 of 8
• Georges Seurat uses pointilism in
paintings such as La Chahut to create a
sense of tension between
complementary colors.
He believed placing complements side
by side, the intensity of the colors would
be enhanced; however, there is a
limited range at which the viewers' eyes
can mix the colors, and the work
appears murky from farther away.
61. Color SchemesColor Schemes
7 of 87 of 8
• Robert Delaunay experimented with
"simultaneous disks" in an effort to
balance complements in giant color
wheels.
• His wife Sonia captured dynamic,
energetic colors and flowing lines in her
Prismes Electriques.
Her work is an open palette,
polychromatic with many colors.
64. Color SchemesColor Schemes
8 of 88 of 8
• Monochromatic works feature a single
color from a closed or restricted
palette.
The Dylan Painting by Brice Marden
appears to be a single purplish gray, but
when viewed in person the surface
changes with the light.
Marden was a Minimalist who rejected
polychromatic color.
66. The Creative ProcessThe Creative Process
• The New Pointilism: Chuck Close's
Stanley
Close's method includes overlaying a
large photograph with a grid, which he
then fills with micro-paintings to create
a larger image.
• Each micro-painting consists of two to
four concentric circles.
The work is both fully representational
and fully abstract.
69. Representational and Symbolic Uses ofRepresentational and Symbolic Uses of
ColorColor
1 of 31 of 3
• Local color is the color we "know" an
object to be, such as bananas being
yellow.
• Perceptual color is exemplified in
atmospheric perspective.
Monet did not paint his Grainstack to be
true to the knowledge that "hay is
yellow"; colors reflect the way natural
light rendered it to his eyes.
71. Representational and Symbolic Uses ofRepresentational and Symbolic Uses of
ColorColor
2 of 32 of 3
• Impressionist techniques involved
mixing color on the canvas.
This contrasts Seurat's paintings, where
the color mixing is in the eye of the
beholder.
• Arbitrary color is used by artists to
render subjects in hues that are true to
neither their optical nor local color.
72. Representational and Symbolic Uses ofRepresentational and Symbolic Uses of
ColorColor
3 of 33 of 3
• Pierre Bonnard's The Terrace at
Vernonnet features a violet tree
contrasting the orange-colored figures.
Space is flattened and backgrounds
seem to coexist in the same place.
74. Symbolic ColorSymbolic Color
1 of 21 of 2
• Color symbolizes different things in
different contexts and cultural
environment.
• In Vincent van Gogh's The Night Café,
the artist uses red and green to create
visual tension and emotional balance;
this context is different the red-and-
green color scheme Americans often
associate with Christmas.
75. Vincent van Gogh, The Night Café.
1888. Oil on canvas, 28-1/2 × 36-1/4". Yale University Art Gallery, New Haven.
Bequest of Stephen Carlton Clark, 1961.18.34. [Fig. 5-38]
76. Symbolic ColorSymbolic Color
2 of 22 of 2
• Wassily Kandinsky's Black Lines is
punctuated with nervous, black lines
that overlay nonobjective colors and
shapes.
Red and green juxtaposes active and
passive for the artist, whereas van
Gogh's work references "powers of
darkness."
78. The Critical Process: ThinkingThe Critical Process: Thinking
about Light and Colorabout Light and Color
• Katharina Grosse's Cincy features
swathes of spray painted color so
vibrant they appear to be light
projections.
• The Rosenthal Center, which was
designed by Iraqi-born Zaha Hadid and
housed this work, provides a stark
contrast.
81. Thinking BackThinking Back
1. Describe the ways in which artists use
light to represent space and model
form.
2. Outline the principles of color theory,
and describe the different sorts of
color schemes that artists might
employ.
3. Explain how color might be used both
in representational painting and as a
symbolic tool.