Texture
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The document discusses different types of texture used in art, including: 1) Impasto, which is thickly applied oil paint that would feel rough to the touch. Rembrandt began using impasto to create more realistic images. 2) Trompe l'oeil uses very smooth textures to create optical illusions and fool the viewer into thinking objects are real. 3) Texture can also be the subject of artwork, like Charles Sheeler's photograph of the side of a barn that focuses on the textures of the wood. Sculptures also showcase textures through materials like marble, fur, and clay. 4) While texture in the visual arts relates to how surfaces feel
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Texture
Texture refers to the surface qualities of artworks including painting, sculpture, and architecture. Impasto is a thick application of oil paint that creates a visibly textured surface. Rembrandt began using impasto techniques in his paintings to create realistic images from a distance. Texture can also be used illusionistically through trompe l'oeil techniques that fool the eye into thinking objects are really there, as seen in the still life paintings of William Harnett. Sculptors like Meret Oppenheim and Constantin Brancusi manipulate texture through materials like fur and smooth marble. Texture is also explored as a subject in Charles Sheeler's photographic work of barn siding.
Impresionism
Impressionism was a 19th century art movement known for relatively small, thin brush strokes; an emphasis on light and accurate depiction of changing light effects; common subject matter; inclusion of movement; and unusual angles. Impressionist paintings used short, thick strokes of unmixed paint applied side-by-side to create vibrant colors, with grays produced using complements and an avoidance of black paint. They emphasized the play of natural light and reflection of colors across objects, often painting outdoors to capture fresh shadows and evening effects.
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Texture
Texture refers to the surface qualities of artworks including painting, sculpture, and architecture. Impasto is a thick application of oil paint that creates a visibly textured surface. Rembrandt began using impasto techniques in his paintings to create realistic images from a distance. Texture can also be used illusionistically through trompe l'oeil techniques that fool the eye into thinking objects are really there, as seen in the still life paintings of William Harnett. Sculptors like Meret Oppenheim and Constantin Brancusi manipulate texture through materials like fur and smooth marble. Texture is also explored as a subject in Charles Sheeler's photographic work of barn siding.
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Impressionism was a 19th century art movement known for relatively small, thin brush strokes; an emphasis on light and accurate depiction of changing light effects; common subject matter; inclusion of movement; and unusual angles. Impressionist paintings used short, thick strokes of unmixed paint applied side-by-side to create vibrant colors, with grays produced using complements and an avoidance of black paint. They emphasized the play of natural light and reflection of colors across objects, often painting outdoors to capture fresh shadows and evening effects.
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- 2. Let's be superficial Texture - the nature of the surface of painting, sculpture, or building materials
- 3. Impasto – the application of thick oil paint in a texture that would be rough if you were to touch it
- 4. Rembrandt --begins to use impasto begins to use impasto --realistic images need to be realistic images need to be viewed from a distance viewed from a distance
- 6. VAN GOGH, Vincent The Starry Night 1889, Oil on canvas, 29 x 36 1/4 in p. 383
- 7. Illusionism Tromp l’oiel = fool the eye; tricks the viewer into perceiving that the actual objects represented are in fact there; usually a still-life painting, sometimes also used in murals (French, TROM- PLOY)
- 8. Usually a very smooth surface to heighten the illusion – no evident brush strokes William Harnett, The Faithful Colt, 1890
- 9. TEXTURE AS SUBJECT Charles Sheeler Side of a White Barn (1917) Gelatin silver print (photograph)
- 10. Charles Sheeler Side of a White Barn (1917) Gelatin silver print (photograph)
- 13. Meret Oppenheim, Fur covered cup, saucer, and spoon, 1936 (a.k.a. The Object)
- 14. Constantin Brancusi French, b. Hobitza, Romania, 1876 - 1957 Sleeping Muse I, (1909-1910) Marble 6 3/4 x 10 7/8 x 8 3/8 in. SMOOTH
- 17. TEXTURE in Music DIFFERENT – you can’t touch music!
- 18. wrapping up TEXTURE . . . - notice it in architecture and sculpture and watch for IMPASTO in painting
Editor's Notes
- Rembrandt Self Portrait with Beret and Turned-Up Collar (right) 1659 oil on canvas, 84.4x66cm National Gallery of Art, Washington
- Charles Sheeler American, 1917 Gelatin silver print 7 5/8 x 9 5/8 in.
- Charles Sheeler American, 1917 Gelatin silver print 7 5/8 x 9 5/8 in.
- Charles Sheeler American, 1917 Gelatin silver print 7 5/8 x 9 5/8 in.
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