2. Thesis
❖ Painting is used throughout history to reveal the artist’s
personal vision. It is used for personal expression,
communication, and cultural and historical understanding.
Art in general has proven to improve personal and
intellectual development.
http://www.flickr.com/photos/32319368@N04/5331306245/sizes/m/in/photostream/
3. Personal Relevance
❖ I have always been interested in art. I wondered how
painters make the objects in their paintings look so realistic,
or the meaning behind paintings and how it relates to the
painter or his/her background. I want to learn how to paint
better.
4. What is painting?
❖ communication
❖ “A picture is worth a
thousand words”
❖ way to express yourself
http://www.earthcharterinaction.org/content/categories/Communication%20and%20Media
5. History of Painting
& painting around the world
http://tvsfa.com/index.php/tag/1980-2001/?lang=en
27. Acrylic
❖ 1900
❖ dries fast
❖ paints on any surface
❖ water soluble
http://www.lolajesse.com/drawings-and-paintings.htm http://rmepstei.stu.cofc.edu/Supplies.htm
39. Class Activity
❖ Non-Objective Art
❖ think of an emotion or
idea and try to capture
that feeling by painting it.
❖ Don’t use any objects!
http://tommcnease.tripod.com/id57.html
41. Works Cited
❖ Johanson, Donald, and Blake Edgar. "Art." From Lucy to Language. N.p.: Simon & Schuster, 1996. N. pag. Google Book Search. Web. 25 Feb. 2011.
❖ Brommer, Gerald F., and Nancy Kinne. Exploring Painting. Ed. Claire Mowbray Golding. Worcester: Davis, 1988. Print.
❖ Janson, Dora Jane, and H. W. Janson. The Story of Painting. Ed. Patricia Egan. New York: Abrams, 1977. Print.
❖ Milbrath, Susan. "Last Great Capital of the Maya." Archaeology 58.2 (2005): 26. MasterFILE Premier. EBSCO. Web. 20 Dec. 2010.
❖ Columbia University, Press. "Contemporary art." Columbia Electronic Encyclopedia, 6th Edition (2010): 1-2. History Reference Center. EBSCO. Web. 20 Dec.
2010.
❖ Vialou, Denis. "The prehistoric imagination." UNESCO Courier 51.4 (1998): 17. MasterFILE Premier. EBSCO. Web. 14 Feb. 2011.
❖ Picon, Gäeton. Modern Painting. Ed. Joseph L. Gardner and Giuliana Nannicini. Trans. Henry A. La Farge. New York: Newsweek, n.d. Print.
❖ Brubaker, Bill. "The Art of Resilience." Smithsonian (Vol. 41, No. 5). Sep 2010: 37+. SIRS Renaissance. Web. 15 Feb 2011.
http://www.ioffer.com/si/painting%20all
42. Works Cited
❖ Johanson, Donald, and Blake Edgar. "Art." From Lucy to Language. N.p.: Simon & Schuster, 1996. N. pag. Google Book Search. Web. 25 Feb. 2011.
❖ Brommer, Gerald F., and Nancy Kinne. Exploring Painting. Ed. Claire Mowbray Golding. Worcester: Davis, 1988. Print.
❖ Janson, Dora Jane, and H. W. Janson. The Story of Painting. Ed. Patricia Egan. New York: Abrams, 1977. Print.
❖ Milbrath, Susan. "Last Great Capital of the Maya." Archaeology 58.2 (2005): 26. MasterFILE Premier. EBSCO. Web. 20 Dec. 2010.
❖ Columbia University, Press. "Contemporary art." Columbia Electronic Encyclopedia, 6th Edition (2010): 1-2. History Reference Center. EBSCO. Web. 20 Dec.
2010.
❖ Vialou, Denis. "The prehistoric imagination." UNESCO Courier 51.4 (1998): 17. MasterFILE Premier. EBSCO. Web. 14 Feb. 2011.
❖ Picon, Gäeton. Modern Painting. Ed. Joseph L. Gardner and Giuliana Nannicini. Trans. Henry A. La Farge. New York: Newsweek, n.d. Print.
❖ Brubaker, Bill. "The Art of Resilience." Smithsonian (Vol. 41, No. 5). Sep 2010: 37+. SIRS Renaissance. Web. 15 Feb 2011.
http://www.ioffer.com/si/painting%20all
43. Conclusion
“An artist cannot fail; it is a
success to be one.”
~Charles Horton Cooley
http://intricateart.com/orange-poppy/
Editor's Notes
\n
cite this source: http://meridianstar.com/local/x681102607/The-arts-can-improve-education-and-economic-development\n
\n
background of quote\n- Confucius \n- napoleon?\n
History of painting helps us understand why and how artists have made paintings, and how centuries of exploration and change in painting have led us here. although reasons for paintings are different, artist have used painting as a means of visual expression. their paintings helps us understand their lives, history, likes and religious convictions.\n
How painting began...\nCave artists nearly 20,000 years ago, used art to imitate nature. They painted remarkably lifelike pictures of bison, deer, horses and other prehistoric animals as part of their hunting and fertility rituals. The immediate reaction of researchers was that such sophisticated painting could not have come from our Upper Paleolihic ancestors (late stone age) but after finding other cave paintings, it seemed true . more than 300 decorated caves in south western europe that date to the Upper Paleolihic period.\n3= map of sites of late stone age art\n4= harvest scene from a tomb\n\n
Later, Egyptian artists, also painting on the walls, used stylized forms and symbols to document historical events and everyday life. \n
ancient greek and roman artists also painted realistically on walls and vases, and started to create the illusion of depth, but most of their art was destroyed during wars and natural disasters.\n1= greek vase\n2= lady musician and young girl roman painting from italy\n
Mayapán was a very powerful city in mid-1400s. it is now it is considered a vital place full of artists. \nMayapán had diverse influences and a wide trade network with other parts of Mesoamerica. Therefore, their art had a mixture of symbols suggesting that they could be understood across different Mayan and Aztec languages. \nThey also painted many murals. Many murals that were in temples contained “Maya blue,” a rare pigment treasured by Aztecs. \n1= mayapan ruins\n2= mayan blood letting ritual; has mayan blue pigment\n\n
Birth of Christianity\ninfluenced painting tremendously. huge church walls became canvases for artists. they illustrated religious stories and depicted Heaven, Hell, and their inhabitants. \n1=christ as good shepherd, painted ceiling in the catacomb of Saints Peter and Marcellinus, rome\n2=madonna and child enthroned\n
Renaissance\nearly renaissance artists were also highly religious and symbolic but painters began to rediscover and emphasize more naturalistic forms. gradually they turned their attention to subjects that were not strictly religious-portraits, landscapes. Rapheal, Michelangelo, Leonardo, Titian, Van Eyck and Dürer were the art heroes of their times. since diversity of knowledge was important, renaissance artists were often also scientists, writers, doctors--and an interest in the scientific aspects of art was visible in their work.\n1=van eycks’ “the man in the red turban" early renaissance-portraits start appearing. not sure who the sitter is, could be van eycks.\n2= the crucifixion by Mantegna\n1-2=early renaissance...3-6=renaissance\n3=Da Vinci studying proportions\n5= the creation of adam, Michelangelo\n6=rapheal-the expulsion of heliodorus\n
Baroque\n- 17th and 18th century\n- expanded painting by working on huge canvases, developing swirling compositions, that extended beyond picture frame. \n- characterized by intense colors, dramatic use of light and shadow and an emphasis on emotion(rather than symbolism). \n- northern europe\n- Poussin, Rubens, and Rembrandt\n1=christ in the storm on the sea of galilee by Rembrandt\n2=the calling of st. matthew by caravaggio\n3=marie de’ medici by rubens\n
- 19th century\n- reflected renewed interest in ancient greek and roman ideas of morality, balance and restrain. \n- reaction against the emotion and liveliness of baroque\n- subjects were carefully drawn and calm\nThe Death of Socrates by Jacques Louis David-”give me liberty or give me death”\n
Romanticism\n- came from widespread popularity of romances-medieval stories of adventure and individual heroism\n- this style was much more emotional and expressive than the controlled neoclassical paintings.\n\n-the hay wain by constable\n
Realism\n- wanted to paint life as they saw it.\n- were also intensely interested in nature-painted outside in natural light\n-pic by courbet and daumier\n
Impressionism \n- last third of 19th century\n- outdoor painters became intensely aware of color and light by painting outside in sunlight in france \n- they wanted to paint their immediate response(or impression of) to this light\n- invention of camera helped isolate and freeze natural scenes\n- Monet, Pissarro, Renoir\n1=in the boat by edouard manet (crucial figure in the transition from realism to impressionism)\n2=claude monet\n3=\n
post-impressionism\n- some artist did not like the approach of impressionism and wanted to emphasize form and structure and express emotions in their paintings. \n- preferred to create images that appeared solid and emotional\n- Van Gogh(reflection of his inner turmoil), Gauguin(criticized European society by glorifying more primitive cultures, Toulouse-Lautrec(Partisan life), Seurat, Cézanne\n
Cubism\n- end of 19th century\n- developed by Picasso after experimenting with Expressionism and Fauvism\n- portrays its subjects as a collection of geometric shapes\n- public had never seen anything like it--found it hard to understand or appreciate\n
Abstract Expressionism \nafter WWII in US\nspattered, flowed, dripped, and splashed paint on canvas.\npop art\n1=pollock\n2=de kooning\n
Haiti\nHaitian art reflects African, French, Catholic, and tribal roots. It is an important representation of Haitian culture and history.\nThe devastating earthquake of 2010 not only took many lives but also destroyed many of their paintings worth millions of dollars. The Haitians artist still stayed resilient and continued to create and sell to survive. \n
even though there are all these different types of art movements, many different kinds of paintings are being produced and accepted side by side. this phenomenon is called pluralism. style is a form of expression. through their styles, painters reveal their personal vision. that purpose of art hasn’t changed much over thousands of years.\n
\n
uses eggs and water with pigment - started as early as 10 century \nused in fresco and in renaissance \nuse it quickly- it dies very quickly\ncomes in many bright colors.(like fluorescent colors)\nlook at some tempera paintings....\ncite: http://www.ehow.com/how_2123860_paint-tempera-paints.html\n
1: Mark Tobey; abstract painting of the city at night. use dry brush technique at some areas for a soft effect. named it broadway\n2: Andrew Wyeth: Christina’s World; shows the detail available with tempera. creates mood of loneliness by the empty space. \n3:Claude Buck: Shepherd Family, soft, rounded shapes, lack of detail. has a look of peace and gentleness. see the sheep and family\n
types of Watercolor have been used for several thousand years\nusually use white paper\noften combined with other media\ncan be used on wet and dry surfaces. \nit has many possibilities:\n\n
1: morris J shubin: worked in negative space. \n2: linda stevens, california tide pools. see light absorbed and reflected. study light patterns-by taking photos. uses many color overlays. \n3: jade fon: range of values in Chinese temple\n4: morris shubin: bikers; brusingin random shapes on paper wanated to emphasize form. \n5: rolland golden: angles and beer. \n
cite: http://docs.google.com/viewer?a=v&q=cache:BimIujrqSXkJ:www.csun.edu/~jcs42144/assignments/4F.pdf+history+of+acrylic+paint&hl=en&gl=us&pid=bl&srcid=ADGEESgAtBfELci7Lf0l3ZwW5FlazVyUIoerBKVB3cgfA3XXYUq1kMDfOgADpa3axtz8TUUxq4tchmNhFogn0qAvI2FBXm78AkhWwSX7cZNYR02hlrzFduqYRyvdBTw45uRUyL1ot7Fe&sig=AHIEtbSpOkLC5upaDkcUiXHnjEFNF2gVBg&safe=on&safe=on\n\ncame into american by experiments of Diego Rivera in mexico. revolutionary: dried quickly and worked like oil. can be used on many types of surfaces. \n
northern europe 1400s (early renaissance)’\nuses brushes and palette knifes. \n
showing the dry brush technique with oil paint\npainting by Igor Kazarin of Brittany Spears\n
not chalk-pastels are more soft and crumbly’\ncite: http://ctpastelsociety.com/aboutpastels.html\n\n
