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This document provides an agenda and overview for an art history class. It discusses key concepts of formal analysis, including distinguishing between the form and content of a work. Form refers to how something is expressed visually through elements like line, shape, color, etc. The document provides examples of self-portraits and discusses compositional elements. It also examines specific works to analyze elements of line, shape, orientation, and how titles can provide context. The last examples focus on the net motif in works by Yayoi Kusama.
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UVCSp15Module5.1
This document provides an agenda and overview for an art history class. It discusses key concepts of formal analysis, including form versus content, and how to analyze elements such as line, shape, composition, and orientation in works of art. Examples are provided of self-portraits by Parmigianino, Vigée-Lebrun, Courbet, Van Gogh, and Bacon to analyze composition. Additional works are discussed such as Degas's Four Jockeys, Magritte's The Listening Room, and Wyeth's Wind from the Sea to demonstrate concepts like line, shape, and orientation. Sculptures by Serra, Andre, and Hesse are also referenced. The document aims to teach students how
UVCSp15Module5.1
This document provides an agenda and overview for an art history class. It discusses key concepts of formal analysis, including form versus content, and how to analyze elements such as line, shape, composition, and orientation in works of art. Examples of self-portraits and paintings are presented to demonstrate these formal qualities. Techniques for formal analysis like noting subject matter then bracketing it are also covered.
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This document provides instructions for an art project involving designing a stained glass window using plane figures in the style of Wassily Kandinsky, a Russian painter who pioneered abstract art and taught at the Bauhaus school of art in Germany until it was closed by the Nazis in 1933, after which he moved to France. Students are asked to use plane figures to follow Kandinsky's style and create a stained glass art project.
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3) Felice Varini, a Swiss artist known for site-specific geometric paintings only visible from certain angles.
4) Dia Azzawi, an Iraqi-born painter who incorporates Arabic script into his work and helped establish modern Arab art in London.
Fauvism presentation
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UVCSp15Module5.1
This document provides an agenda and overview for an art history class. It discusses key concepts of formal analysis, including form versus content, and how to analyze elements such as line, shape, composition, and orientation in works of art. Examples are provided of self-portraits by Parmigianino, Vigée-Lebrun, Courbet, Van Gogh, and Bacon to analyze composition. Additional works are discussed such as Degas's Four Jockeys, Magritte's The Listening Room, and Wyeth's Wind from the Sea to demonstrate concepts like line, shape, and orientation. Sculptures by Serra, Andre, and Hesse are also referenced. The document aims to teach students how
UVCSp15Module5.1
This document provides an agenda and overview for an art history class. It discusses key concepts of formal analysis, including form versus content, and how to analyze elements such as line, shape, composition, and orientation in works of art. Examples of self-portraits and paintings are presented to demonstrate these formal qualities. Techniques for formal analysis like noting subject matter then bracketing it are also covered.
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This document provides instructions for an art project involving designing a stained glass window using plane figures in the style of Wassily Kandinsky, a Russian painter who pioneered abstract art and taught at the Bauhaus school of art in Germany until it was closed by the Nazis in 1933, after which he moved to France. Students are asked to use plane figures to follow Kandinsky's style and create a stained glass art project.
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This document provides biographical information on four artists:
1) František Kupka, a Czech painter who was a pioneer of abstract art and co-founder of Orphism. He developed interest in color theory and abstraction around 1910.
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3) Felice Varini, a Swiss artist known for site-specific geometric paintings only visible from certain angles.
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The document summarizes the Fauvism art movement. It began in the early 20th century in France and was characterized by bright, vivid colors and simplified forms that did not aim for realism. Major artists included Matisse, Derain, Vlaminck, Gauguin, and Marionot. They had their first exhibition in 1905 in Paris which brought recognition to the movement. Fauvism emphasized using color to convey emotion over realistic representation.
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This document provides information about various artists and their styles. It lists artists from the 16th century to the 21st century and includes brief biographies of Gustave Moreau, Karl Schmidt-Rottluff, Andrew Wyeth, and Georgia O'Keeffe. The document discusses having students study these artists' techniques by copying their paintings and using the color palettes in their own original compositions. It also notes various student responses to studying works by Karl Schmidt-Rottluff, Emile Nolde, John Singer Sargent, and others.
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Man Ray was an American artist who found success in Paris using cameraless photography techniques like photograms, creating images on photosensitive paper without a camera. Jerry Uelsmann was a leader in photomontage, constructing images from multiple negatives in the darkroom. Alvin Langdon Coburn was an early 20th century photographer considered one of the most elite of his time, known for pioneering abstract photography and donating works to institutions like the George Eastman House and Royal Photographic Society.
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2. Ages at death ranged from 29 (van Gogh) to 84 (Miró). Others who died younger included Kandinsky at 77 and Escher at 73. Vasarely and Stella both lived into their 90s.
3. Most began painting professionally in their 20s or 30s, but their styles evolved throughout their careers from figurative to abstract. Escher was notably
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Willem de Kooning was a Dutch-American painter born in 1904 in Rotterdam. He began training as a commercial artist and attended art academies in Rotterdam and Brussels. In 1926, he immigrated to the United States where he worked illegally as a commercial artist in New York. He was influenced by Surrealism and abstract expressionists like Pollock and Kline. In the 1950s, he developed his famous "Women" series which caused controversy for its abstract handling. He was granted U.S. citizenship in 1962 and received the Presidential Medal of Freedom in 1964. De Kooning is regarded as a leading abstract expressionist and continued painting and sculpting until his death in 1997.
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In this class we focus on Louis Kahn, in particular on two of his houses, the Esherick House and the Korman House.
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In this class we cover vernacular architectural forms such as the dogtrot, Cape Cod, shotgun house, bungalow and soddy.
ARCH417VenturiandScott-Brown
This document discusses the work of architects Robert Venturi and Denise Scott-Brown. It compares Renaissance and Mannerist paintings that either conform to ideal proportions or acknowledge exceptions. It contrasts Renaissance and Mannerist architecture, as well as Renaissance symmetry versus Frank Gehry's expressive modernist style. The document examines Palladio's Villa Foscari and Michelangelo's Laurentian Library. Finally, it analyzes Venturi and Scott-Brown's Vanna Venturi House and their concept of buildings as "mittens" that can change over time rather than "gloves" that strictly fit a function.
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In this class we discuss some major works over the course of Niemeyer's long career, with a special focus on Brasilia.
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Yoshitomo Nara is a contemporary Japanese pop artist known for his paintings and sculptures depicting pastel-colored children and animals with large eyes. While seemingly innocent, many of his subjects hold weapons like knives. Nara received his BFA and MFA from universities in Japan and later studied in Germany. He is represented by galleries in New York and Los Angeles and has had over 40 solo exhibitions. Nara was influenced by Japanese manga, anime, punk rock music, and his isolated childhood in post-World War II Japan.
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- British sculptors Gilbert Proesch and George Passmore met in 1967 as students and have worked together as a couple and collaboratively ever since.
- Christo and Jeanne-Claude were a married couple who created environmental artworks together, such as wrapping the Reichstag in Berlin. They took separate planes in case one crashed.
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This document provides information about ordinary and extraordinary starting points for an art exam question. It discusses ordinary and extraordinary definitions and gives examples of artists such as Andy Warhol, Chris Ofili, and Elizabeth Peyton who have worked with ordinary subjects of people. It also provides starting point categories of objects, places, and the natural world, with examples of artists such as Joseph Cornell, Rachel Whiteread, and Faith Ringgold who have incorporated these elements into their work in extraordinary ways. Students are encouraged to consider these starting points and artists as inspiration for the exam.
UVCSp15Module4.2
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The document discusses the basic elements of art including line, color, shape, and texture. It provides examples of how different artists have used these elements in their works. Line is demonstrated through images by Ben Shahn and Aubrey Beardsley. Color is shown through paintings by Vincent Van Gogh and others depicting mood. Shape is seen in abstract paintings by Kandinsky, Picasso, and Mondrian. Texture is displayed in works by Van Gogh, Klee, and Seurat using paint application and other mediums. The elements are important individually or together in art.
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1) The document provides an overview of key concepts related to analyzing and describing art, including defining form and content, discussing various formal elements like medium, shape, line, value, texture and pattern, color, and space.
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The document discusses how conceptual artists such as Richard Long and Michael Craig-Martin created works that questioned traditional notions of art by using ideas, actions, and transformations rather than physical objects. Long's "A Line Made by Walking" demonstrated how a simple action in nature could become a work of art. Craig-Martin's "An Oak Tree" transformed a glass of water into a tree through language and the viewer's perception rather than physically altering the objects. These works expanded what could be considered art by emphasizing concepts and the experience of the viewer over physical materials.
Year 11 exam
This document provides information and examples for the GCSE Art exam question on the topic of people, places, objects, activities, and the natural world. It lists many artists and their works as inspiration and includes weblinks for further information. Students should begin working on their exam paper using one of the six starting points as a theme or subject for their artwork.
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The document discusses modernist painting and Clement Greenberg's theory of modernism from the 1960s. It provides Greenberg's definition of modernism as using the methods of a discipline to critique itself, in order to strengthen its competence. Greenberg emphasized the flatness of the picture plane as unique to painting. The document also discusses Morris Louis' abstract painting Saraband from 1959 as exemplifying Greenberg's theories through its shimmering, translucent veil created by color drips and the removal of the artist's hand from the work.
SHGC Pop Art - Part 2
Roy Lichtenstein was a prominent American pop artist known for his large-scale paintings that emulated the style of comic strips and advertisements from popular magazines. Some of his most famous works include "Girl with Ball" from 1961, which simplified and enlarged comic imagery to create a monumental style. His 1963 painting "WHAAM" depicted violent imagery from war comics in a mechanical, removed style. Lichtenstein often used techniques like benday dots, solid colors and outlines to mimic the look of mass reproduction. His work commented on themes like violence, love and the intersection of popular and high art.
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This document provides an overview of the Impressionist and Post-Impressionist art movements that emerged in the late 19th century. It introduces some of the key figures such as Monet, Renoir, Degas, Seurat, Cézanne, Gauguin, Van Gogh, and Toulouse-Lautrec. It describes how Impressionists like Monet and Renoir painted outdoors and focused on capturing light and atmospheric effects using loose brushstrokes. Neo-Impressionists such as Seurat took a more radical approach known as pointillism, applying individual spots of color. Post-Impressionists moved in more symbolic and expressive directions, with Gaug
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This document provides an overview of installation art and performance art. It defines installation art as using sculptural materials and other media to modify how viewers experience space. Installation art is not confined to galleries and can be constructed publicly. Performance art uses the human body and actions in a particular time and place as the artwork. It may involve theater, dance or unexpected activities. The performer is the artist, and performances can vary in venue, duration, and level of improvisation. Examples of influential installation and performance artists from the Philippines are provided.
Vindobonaaltarpieceiii
This drawing is the third in the Vindobona Altarpiece series by the artist. It continues exploring themes from Vindobona Altarpieces I and II, completed in 1981-1993 and 1980 respectively. The drawing was influenced by the Vienna School of Fantastic Realism and features figures from Rudolf Hausner and Ernst Fuchs' works. Completed in 1994, it pays tribute to influences on the artist's style and imaginary world through the symbolism of its central figures and scenes.
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The document provides biographical information on American artist Louise Nevelson. It discusses that she was born in 1899 in Kiev, Russia and immigrated to the United States in 1905. Nevelson is known for her monumental painted wood assemblages consisting of found objects arranged in box-like frames. She pioneered working in black and white and creating sculptural installations by stacking boxes. The document includes images of some of her most famous works.
UVC100_Summer16_TuesJune7
This document discusses the evolution of subject matter in art from traditional religious and historical works to more ordinary scenes of everyday life. As photography was invented, artists gained more freedom to experiment with atmospheric effects, colors, and impressions rather than realistic depictions. The Impressionists embraced this change, focusing on capturing fleeting moments and effects of light. Photography's ability to record literal appearances allowed painting to become more abstract and experimental. The document traces key developments from early camera obscuras and daguerreotypes to studios popularizing photography among elites.
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SHGC Pop Art - Part 3
Robert Rauschenberg was an influential American artist known for pioneering combine paintings in the 1950s, which incorporated everyday objects with painting. Some key works include Canyon (1959) featuring a painted eagle, and Monogram (1955-1958) with a stuffed goat and tire. Rauschenberg sought to break down boundaries between art forms and challenge definitions of art. He used found objects and screenprinting to create dense, layered works that commented on modern consumer culture and the relationship between art and life.
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The document provides information on various artists and their works related to different themes: activities, the natural world, imagination, and timeline. It includes brief biographies of artists like Martha Rosler, Richard Hamilton, Zaha Hadid, Georgia O'Keefe, Yayoi Kusama, Henri Matisse, Vincent Van Gogh, Luke Jerram, Carl Warner, David Hockney, Damien Hirst, Tacita Dean, Manus Walsh, Arthur Rackham, Paula Rego, Brian Froud, Salvador Dali, Rene Magritte, Carel Weight, Anthony Green, William Blake, M.C. Escher, Alberto Schommer, and Rafal Olbinski.
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The document provides information on various artists and their works related to different themes: Activities, Natural World, Imagination. It includes brief biographies of artists like Ben Shahn, Richard Hamilton, Zaha Hadid, Georgia O'Keefe, Yayoi Kusama, Vincent Van Gogh, and Salvador Dali. It also shares links to websites with more details on the works of some artists like Lois Greenfield, Carl Warner, and David Hockney. Examples of artworks are shown for most artists along with their medium like photography, painting, sculpture, and more. Overall, the document exposes the reader to a wide range of artists and artworks connected to different subject areas.
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The document provides instructions for a partner activity where students independently choose an image, write down 3 reasons they think it is or is not a work of art, then share their reasons with a partner. It also includes examples of different styles, mediums, and classifications of art as well as artworks and favorite artists of various teachers.
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This document provides an overview of the rise of print culture and commercial graphic design from the 15th century to the late 20th century. It discusses the key developments in printing technology that enabled the growth of print media, including standardized paper, moveable type, steam powered presses, and techniques like wood engraving. This led to an explosion in printed ephemera, magazines, newspapers, books, and advertisements. As print reached a wider audience, graphic design emerged as a profession to design these printed materials. The document traces the evolution of graphic design through historical periods and influential designers, covering developments in branding, propaganda, and the expanding role of designers in creating total brand identities.
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Elisabeth Vigée-Lebrun was a prominent female portrait painter in late 18th century Europe. She painted several self-portraits throughout her career, including Self-Portrait in a Straw Hat and Self-Portrait with her Daughter Julie, which are housed at the National Gallery in London and the Louvre in Paris respectively. Albrecht Dürer also painted a famous self-portrait in 1500 when he was 26 years old, noting the date and his age directly on the work housed at the Prado Museum. Sofonisba Anguissola, one of the first female artists of the early modern era, also painted several self-portraits in the mid-16th century that focused
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This document discusses art in the 1960s and provides examples of different art movements that emerged during this period. It introduces abstract and representational art and shows works by artists like Jackson Pollock, Frantisek Kupka, and Robert Rauschenberg to illustrate these concepts. The text then summarizes some 1960s art movements like Pop Art, Minimalism, Conceptualism, and Performance Art that questioned notions of reality and engaged audiences in new ways. Examples of works by artists such as Roy Lichtenstein, Andy Warhol, Carl Andre, and Christo demonstrate these diverse 1960s approaches to art making.
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Once photography takes over the task of creating resemblances, painting is free to reinvent its mission.
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This document provides an overview of the rise of print culture and graphic design from the 15th century to the late 20th century. It discusses the technological developments that enabled mass printing, the growth of print media like newspapers and magazines, and the role of print in shaping public discourse. As printing became mechanized in the 1820s, it led to the emergence of graphic design as a distinct profession. The document traces the evolution of graphic design through major historical periods and highlights influential designers who advanced the field through their work in publication design, branding, and visual communication.
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Photography originated from the camera obscura, which was a darkened room or box with a small hole that projected an inverted image on the opposite wall. Over time, the camera obscura shrank in size and lenses were added to focus images. Two main photographic processes emerged in the 19th century - the daguerreotype invented by Daguerre and Niépce, which produced sharp detailed images on silver-coated plates, and the calotype process invented by Talbot which allowed for negatives and multiple prints. Entrepreneurs like Nadar and Disdéri popularized portraiture studios and new formats like cartes-de-visite. The development of photography influenced painting as Impressionists captured light
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The document discusses the history of art education from medieval guilds to the development of art academies. It describes how:
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This document discusses the history and techniques of printing. It begins by defining printing as creating identical copies from a single controlling surface through the transfer of ink via pressure. The earliest known printing methods involved woodblock printing in China during the Tang Dynasty. Moveable metal type was also invented in Korea in the 9th century. The document then covers various receptive surfaces used throughout history, including clay tablets, papyrus, bamboo, silk, paper, and parchment. It concludes by discussing the development of the printing press in Europe in the 15th century using moveable metal type, as well as early printed formats like broadsheets.
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This document discusses the emergence of representational painting techniques during the Renaissance. It describes how innovations like oil paint, codified rules of perspective, and direct study of human anatomy allowed artists to create more realistic representations. These new techniques, like thin layers of oil paint, helped artists capture fine details and create the illusion of three-dimensional space. Masters would take on apprentices to teach these specialized skills. The document also provides examples of frescoes painted by Raphael that demonstrate these techniques.
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This document discusses a medieval reliquary statue of Sainte Foy from the Abbey Church of Conques in France. The reliquary, made in the late 9th or 10th century, housed the physical remains or ashes of the saint and was adorned with gold, gems, and precious materials. For medieval pilgrims, physically traveling to the site to stand before the reliquary and make a tangible connection to the saint's remains was highly significant. The value of the piece came first from the relics themselves, then the precious materials used, and least from its artistic representation of the enthroned saint.
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The document discusses several ancient works of art from settled societies between 2500 BCE - 500 BCE, including reliefs from Assyria depicting kings engaging in lion hunts and receiving codes of laws, massive human-headed winged figures from Assyria, and evolving Greek sculptures moving from idealized male and female figures to more naturalistic poses using contrapposto. The works demonstrate the relationship between art and developing forms of social organization, kingship, and authority in these early civilizations.
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This painting by August Macke from 1913 depicts a lady in a green jacket standing in a grassy field with two couples nearby. In the background is a village along a wide blue river with mountains in the distance. The painting utilizes a wide range of bold colors and distinct shapes. Macke reduces the figures and objects to simple organic and geometric shapes. There is an emphasis on symmetry, patterns, texture through brushstrokes, lighting from dark in the front to bright in the back, and conveying a dramatic scene despite its small size. The elements work together to draw attention to the central female figure.
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- The transition from Paleolithic hunter-gatherer societies to Neolithic agricultural communities began around 8500 BC in the Fertile Crescent region near the Tigris and Euphrates Rivers.
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The document provides an overview of early human art from the Paleolithic period, beginning around 77,000 BCE. Key points discussed include engraved ochre fragments found at Blombos Cave in South Africa dating to 77,000 BCE, which represent some of the earliest known examples of human artistic expression. Other early art discussed includes cave paintings from Lascaux, France around 15,000-13,000 BCE depicting animals such as bison and horses. The document examines debates around defining art and discusses how archaeological discoveries are continually updating our understanding of early human history and artistic practices.
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This document provides an overview of semiotics and the theories of Saussure and Peirce. It discusses:
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- Peirce's classification of three types of signs: icons which resemble the object, indexes which are physically connected to the object, and symbols which are arbitrarily related to the object through social convention (such as language).
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This document provides an introduction to semiotics through discussing Ferdinand de Saussure and Charles Sanders Peirce. It explains that Saussure viewed language as a system of arbitrary signs composed of a signifier and signified. Peirce identified three types of signs: icons which resemble what they represent, indexes with a physical connection, and symbols based on social convention. Examples are used to illustrate how these theories help understand meaning in visual art through analyzing how color, marks, and images take on different meanings based on context.
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This document provides guidance on conducting a formal analysis of a visual work of art. It outlines several key steps:
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2. Briefly describe the subject matter depicted in the work.
3. Analyze the composition by examining the spatial relationships between elements and how the work is arranged. Note what is emphasized.
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UVCSp15Module5.1
- 1. Week 5, Class 2 ART 100
- 2. agenda • review of formal analysis: key concepts from last session • practicing formal analysis
- 3. form vs. content What is being expressed is the content. In visual art, we call this the subject matter. How it is being expressed in visual language, is the form.
- 4. formal analysis When beginning to analyze a visual work, we note the subject matter, then bracket it. (We will return to it later, but form comes first.)
- 5. Two works can have the same subject, but be formally quite different. The ultimate meanings will be different as well.
- 6. PARMIGIANINO Self Portrait in a Convex Mirror c. 1524
- 8. Gustave Courbet, Self Portrait (The Desperate Man), 1844-5, 17.7 x 21.7 inches
- 9. Vincent VAN GOGH Self Portrait 1888
- 10. Francis BACON, Three Studies for a Self Portrait, 1976
- 11. Composition composition: what goes where, how the various elements of the work are arranged in relationship to each other
- 12. Edgar Degas Four Jockeys c. 1889 oil on board 18 1/8 x 14 5/8 inches
- 13. René MAGRITTE, The Listening Room, 1952
- 14. Andrew WYETH, Wind from the Sea, 1947, tempera on hardboard, 18 1/2 x 27 9/16 inches
- 15. line “Line” can refer to literal lines that the artist uses to create shape, suggest depth, etc. These lines can have a variety of characteristics, for example; line can be fine and delicate, or bold and chunky, it can be fluid or halting, precise or sketchy. They can also be “implied lines” where one shape meets another.
- 16. How would you characterize line in this work? Pablo PICASSO Girl with a Fan 1905
- 17. Pablo PICASSO Woman with a Fan 1907 LINE
- 18. Pablo Picasso Woman with a Fan 1907 LINE
- 19. Willem de Kooning Untitled XIX 1977 LINE
- 20. SHAPE
- 21. Janine Antoni, Gnaw, 1992, chocolate, lard SHAPE
- 22. Damien Hirst, Mother and Child Divided, 1993 SHAPE
- 23. Damien Hirst, Mother and Child Divided, 1993
- 24. Richard Serra, Torqued Ellipse, 1996
- 25. Donald RODNEY, In the House of My Father, 1996-7
- 26. Carl ANDRE, Breda, 1986, blue Belgian granite Before 1960, sculpture was usually on a pedestal and paintings were hung on the wall. After 1960, artists began to use ORIENTATION as an expressive formal element.
- 27. Eva HESSE No title, 1970. Latex, rope, string, and wire. Dimensions variable. Whitney Museum of American Art © The Estate of Eva Hesse. photograph by Sheldan C. Collins
- 28. Martin PURYEAR Ladder for Booker T. Washington 1996 Ash, 438 x 22 3/4 x 1 1/4 inches Installation view at the Modern Art Museum of Fort Worth, Texas CONSIDER: line color shape size Can the title help us?
- 29. Yayoi Kusama INFINITY NETS [FBB], 2013, Acrylic on canvas 130.3 x 97
- 30. Yayoi KUSAMA Infinity Nets (MAE) 2013
- 31. Kusama working on an Infinity Net painting
- 33. Yoshitomo Nara, Too Young to Die, 2001
Editor's Notes
- The Desperate Man Date 1844-1845 Medium oil on canvas Dimensions 45 × 55 cm (17.7 × 21.7 in)