Art 101
saturation
Intensifies the degree of the purity of a color
1. 4. 29
Kondratowics, 2008 - artists asked harlem neighbors to look at trash differently - pink trash bags instead of black - elicits a positive emotion from community - different from traditional
1. 8. 3
Lawrence, 1977 - broad emphasis, multiple elements within a work, but no element dominates - areas of emphasis are evenly balanced, composition is balanced - unifying all the parts into a large whole - no real focus point, eyes move around
1. 3. 8.
Michelangelo, c. 1520-30 - looks three dimensional, shows depth
1. 10. 10
Munch, 1893 - as a child he endured the death of his mother and sister and suffered from physical illness and depression - he felt psychologically driven to make art - depression fills his work drives him expresses what he felt - he's expressionist not naturalistic not what he saw but what he felt
the male gaze
Nochlin, the 19th century based on womens erotic need, wishes, or fantasies, the imagery of sexual delight or provocation has always been created about women for mens enjoyment by men, controlling both sex and art - consume with gaze, eyes, money
1. 7. 1
Oldenburg and van bruggen, 1992 - small, often overlooked objects are transformed into monumental sculptures - artists poke fun while expressing admiration, items of mass culture express truths about modern life - normal everyday object into art - balanced and colorful
1. 8. 6
Peiter Bruegel the elder, c. 1555-58 - divert our attention so we barely notice icarus plunging to his doom - emphasis is drawn to other areas, such as the plowman in the foreground - "no plough stands still because a man dies", life goes on even if someone died
1. 1. 26a
Shepard Fairey 1996 - the black features and the blank white space contrast with and complement each other, intensifying the design of the poster - was a street artist before so he liked to make big statements his need to catch his audiences attention quickly as they pass by. - bold colors red, black and white intensifying the design - image based on Andre the giant a professional wrestler
1. 9. 2
Valadon, 1923 - three contrasting patterns energize the work - organic patterns of leaves and stems in the blue bed covering - green and white striped pajama -mottled pattern of the background - analoguos colors, closer to one another
two-point and three-point perspective
a single
anamorphosis
a type of optical illusion
odalisque
a women in a harem
relief
a work in which forms project from a flat surface. it is designed to be viewed from one side only
monochrome
a work that uses only hue
1. 6. 12
album quilt, Mary evans, 1848 - named after a scrapbook kept by Baltimore girls - uses a variety of images and shapes - strong structure is implied by a grid, forming a unified composition - composition and variety of pattern and shapes
compositional unity
an artist creates compositional unity by organizing all the visual aspects of a work - too much similarity of single element can be monotonous - too much variety can mean lack of structure and lack of idea
futurism
an artistic and social movement, originating in italy 1909, passionately in favor of everything modern, futurists were artists working in this style
diagonal lines
are associated with action, motion and change. -imply movement
regular shape
are geometric ( circle, square, triangle, teardrop) - geometric shapes are composed of regular lines and curves.
geometric forms
are regular and are readily expressible in work or mathematics: cubes, spheres, cylinders, cones and pyramids are simple examples
elements
are the basic vocabulary of art
irregular shape
are unique and have no defining names. they are often organic or biomorphic (color patches of a cats fur, star clusters in space) they resemble living beings
abstract
art imagery that departs from recognizable images from the natural world
contrast
artists look to create effects of contrast by positioning elements next to one another that are very different - for ex. areas of different value, color, or size
1. 5. 12
calder, 1976 - he invented the mobile, a kinetic sculpture - relies on air current to power its movement
horizontal lines
can suggest calmness and passivity
chuck close
closes exhibition canceled, because of accusation of sexual misconduct that have engulfed the artist in controversy. officials made decision to cancel the show for month because of "allegation of misconduct" made against close. he stated that the allegations were not true and that he was under the impression the national gallery only postponed his show for a year. metropolitan museum still has his artwork on view
interpreting color
color can affect how we think and feel - we make associations between colors and language, we might call a severe depression a black mood - colors also have traditional symbolic values
optical color
color our minds create based on the information we can perceive
analogous colors
colors adjacent to each other on the color wheel - create color unity and harmony
complementary colors
colors opposite one another on the color wheel - when mixed produce gray or black - create dramatic effect
analysis of biographical context
consider whether the artists personal experiences and opinions may have affected the making or meaning of the artwork
analysis of historical context
considers historical events, either past or present, and the way they appear in an artwork
1. 4. 5
cyan, magenta, yellow - pigment twelve color wheel with black center - new set of primaries that can be combined into a subtractive mixture to produce true black for printing purposes - graphic designers
1. 7. 6
diagram of proportion - ex. of how proportion changes on vertical and horizontal axes - as size relationship change, proportion changes, the width or the height, the overall proportion changes.
1. 9 .7
great mosque of cordoba, 784-86 - each of the repeating elements, column, arches, and voussoirs create its own simple rhythm - enhances the function of the space, becomes a part of the activity of worship, like the timelessness of prayer
1. 2. 2
great sphinx of giza & pyramid of khafre c. 2500 BCE - example of geometric form in architectural design - shape, triangular, forms, mass, volume
symmertical balance
if a work can be cut in half and each side looks exactly (or nearly exactly) the same, then it is symmetrically balanced - ex. human bodies, most animals, a number of geometric shapes
1. 10. 8
ingres, 1814 - made for a male audience/viewer - objective subject (nude woman in a harem) - pose is sensual but disproportionate, back is painted with extra vertebrae - elongated lines - beautiful visually enticing - accepted in Europe at that time
cross contours
internal lines that delineates major areas within an object
line in art
is an effective way to focus our attention in an artwork
sculpture
is no longer a relief when the work can be viewed from all sides, this kind of form is known as in the round. - freestanding works of art occupy space in the same way that real life objects do
motion
is the effect of changing placement in time - occurs when an object changes location or position - artists can communicate motion by implying time or creating the illusion of it
mass
is the expression that a volume is solid and occupies space. whether it is enormous, such as a pyramid or relatively small, such as a piece of jewelry - suggests that something is solid and occupies space - mass does not necessarily imply heaviness. only that a volume is solid and occupies space
performance art
is theartical, artists intention is to create not an art object but an experience that can exist only in one place and time in history
kinetic sculpture
is three dimensional are that moves, impelled by air currents, motor, or people
addative color
light, white - mixing colored light, adding colors=lighter results - red, green , blue primaries - ex. theater lightning, light displays, and computer and video monitors use additive color system
tertiary colors (3)
mixing primary and secondary colors
form (type)
most things in the natural world is organic. it is irregular and unpredictable. another term is biomorphic in the round can be seen from all sides
1. 6. 14
muqi, c. 1250 - used asymmetrical balance to reflect on life and spirituality - dark, light, and the subtle differences in shape are not distributed evenly - he counteracts the visual "heaviness" of the right side by placing one shape lower on the left
irregular
no shape, not united
space
one of a variety of techniques artist use to create a sense of depth and the illusion of space in a work of art
secondary colors (2)
orange, green, purple - mixing two primaries
1. 3. 5
pierre-paul prud'hon, 1801 -chiaroscuro darkness creates depth and illusion of solidity
subtractive color
pigment, mixing pigments = darker results
kinetic art
plays out the passage of time through an art objet usually a sculpture that moves, moving parts
negative and positive space
positive space is defined by its surrounding empty space ex. words on a page, printed black ink on the negative space of white paper negative space is empty space given by its surround - contrasting positive and negative shapes draws out attention
crosshatching
produces tones or different areas of gray
psychological analysis
psychological analysis considers the artists state of minds when creating an artwork
RGB color wheel
red, green, blue light twelve color wheel with white center - additive color
irregular lines
reflect the wildness of nature, chaos, and, accident. free and unrestrained, passionate and full of feelings hard to express
foreshortening
results when the rules of perspective are applied to represent unusual points of view
color and light
science tells us we cannot perceive color without light.
implied shape
shape where no continuous boundary exits, like implied lines shapes can be implied to
regular
shape, equal distant group
outline
shows object
vertical lines
tend to communicate strength and energy
intensity
the brightness and dullness of a hue (chroma and saturation)
value
the color of lightness and darkness within a hue - a tint is a color lighter in value than its purest state - a shade is a color darker in value
communicative line
the direction of lines (whether they go up, across, or diagonally) both guide our attentions and suggest particular feelings.
rhythmic design structure
the idea of rhythmic structure helps us understand how artists divide visual space into different kids of sections to achieve different kinds of effects
subjective perception of color
the interpretation of color is very personal and subjective -
color
the optical effect caused when reflected white light of the spectrum is divided into separate wavelengths
placement
the placement of elements within a composition controls rhythm and creates multiple focal points
diminution
things get small further away and big when close
attributes of time
time based arts, such as film ex. duration, tempo, intensity, scope, setting and chronology
1. 4. 3
traditional twelve-step color wheel - center of wheel is gray - subtractive
stroboscopic motion
two or more repeated images in quick succession, they appear to fuse together - ex. flipbook
scale and meaning
usually a monumental scale (massive or impressive) indicates heroism or other epic virtues
emphasis and focal point
usually accentuate concepts, themes, or ideas the artist wants to express, they signal what the artwork is about
1. 2. 9
volume (left) and mass (right)
color deception
we can be deceived by a color because of the influence of color next, or adjacent to it
1. 5. 1
workshop of the master of osservanza, c. 1430-35 - 3 separate events - tells a story by merging a series of episodes into one picture - the entire painting signifies a long pilgrimage over time rather than a single moment
primary colors (1)
yellow, blue, red - cannot be created by mixing other colors
radial balance
(or symmetry) is achieved when all elements in a work are equidistant from a central point and repeat in a symmetrical way from side to side and top to bottom - can imply circular and repeating elements
form
- 2 dimensional object, such as a drawing of a triangle is called a shape. shapes are flat and do not have mass or volume - a 3 dimensional object such as a pyramid is called a form. - occupies 3d space and exists in a real and solid way - have volume and mass
volume
- 3 dimensional object necessarily have volume. volume is the amount of space occupied by an object - solid object have volume; so do objects that enclose an empty space
chiaroscuro
- Italian for light dark - its a method of applying value to a two dimensional piece of art work to create the illusion of a three dimensional solid form - dramatic and beautiful effects can be achieved through the use of chiaroscuro, especially if it is exaggerated
oldenburg sculpture at disney concert hall
- Oldenburgs sculpture at Disney hall concert, collar and bow dispute. - Frank Gehry hired Oldenburg and van Bruggen, signed a 2.2 mil. contract with music hall the sculpture was to be delivered aug. 2004 - the initial fabrication company kept having trouble keeping the collar aluminum skin attached to its steel bones the delivery time was puched back to aug. 2006. - new fabrication was hired. and then the second deadlines passed - Feb 2007 when music center sued Oldenburg and Van Bruggen of negligence breach of contract. - in the end the claims were dismissed they came to an agreement, "not an admission of any fault, wrongdoing and/or liability" by any parties. oldenburg stated: "It wasn't really our fault that all these things happened. It was very logical that we not be held responsible. - the unfinished sculpture was destroyed it was only design for that site if the site was no longer available, the sculpture wouldn't be available either - after van bruggen died of breast cancer, oldenburg would oversee their last huge piece "Tumbling tacks" - oldenburg would continue as an artist but not on a monumental scale
volume
- a 3d entity vs 2d shape. can be regular or irregular, geometric or biomorphic - can have more or less physical bulk or mass - the amount of space a form occupies
gestalt unity
- a german word for shape or form - refers to something in which the whole seems greater than the sum of its parts - the composition and idea that go to make a work of art - we get a sense of gestalt when we comprehend how compositional unity and conceptual unity work together - the composition and our experience create gestalt
cross-hatching
- a variant of hatching in which the lines overlap - it suggest values that create a greater sense of form and depth
Ai weiwei
- alcatraz art piece 4 locations - special for him felt a connection to the location - his freedom was taken from him, he rebelled against chinese gov. - passport taken he couldn't attend his art exhibitions - freedom of expression and human rights - the art related to the prison made connections , addressed the situation of people around the world who have been deprived of their freedom for speaking out about their beliefs, people like Ai himself. - flying artwork - beautiful colors - freedom cant be contrain, it will take flight and land on a wondowsill - site specific art he created from his studio in beijing - "the purpose of art, which is the fight for freedom.
distorted scale
- an artist may deliberately distort scale to create a supernatural or abnormal effect - in the 20th century, artist know as surrealists created works that use dreamlike image to subvert our conscious experience
texture
- any three dimensional object that can be touched and felt has actual texture - 2 dimensional images have implied or visual texture, which means the artist creates an effect that reminds us of our tactile memory of an actual texture
pattern
- are created by the recurrence of an art element - use of repetition in a work usually results in pattern - patterns can be based on occurrence in nature ex. such as the regular repetition of fish scales, or pattern created by the crack that open as mud dries - other patterns may be derived from the repeated shapes of mass-produced human made objects, such as tin cans or wrap and weft of woven cloth - pattern can impose order on a work - alternating patterns may be used to make a work more lively - leafs, manmade,lights
organic shapes
- are made up of unpredictable irregular lines that suggest the natural world. - may seem unrestrained and sometimes chaotic, reflecting the nerve ending change characteristic of living things
principles
- are the grammar that artists apply to turn the elements into art - the principle of design are a set of rules that explain how the element of a work of art are organized
contrast
- artist uses 2 noticeably different states of an element, she/he is applying the principle of contrast - ex. lines can be both regular and irregular, or shapes can be both geometric or organic - when we speak of positive or negative in visual form, they are most often represented by black and white
simple repetitive rhythm
- artists can create repetition by using the same shape, color, size, value, line, or texture over and over again - such regularity communicates reassurance - it is incorporated into architectural design as a sign of stability and durability
alternating rhythm
- artists can intertwine rhythms until they become quite complex - multiple rhythms can become complex - the addition and alternation can add unpredictability and visual excitement
illusion of motion
- artists create the illusion of motion through visual tricks that deceive our eye into believing there is no actual motion - visual tricks
proportional ratios
- artists have learned other ways to apply proportional formulas to organize their composition and unsure that their work is visually interesting - golden rectangles, have proportions of the golden section 1:1.618 - nested inside each other, the shorter side of the outer rectangle becomes the longer side of the smaller one - result in elegant spiral shape
pigment
- artists mix pigments with a binder to control the light that is reflected from them. - color produced from pigment= subtractive color
the psychology of color
- artists understand color effects the way we think and react to the world. - color can alter the way we feel and react - ex. red may provoke passion or anger green is associated with restfulness but also decay and illness
emphasis and focal point
- artists use direction, dramatic contrasts, and placement relationships to organize the element in a work and draw our attention to areas of emphasis and focal points
hierarchical scale
- artists use size to indicate the relative importance of figure or objects in a composition, almost always, larger means more important, and smaller means less important - refers to the deliberate use of relative size in a work in order to communicate difference in importance
time
- artists who work in static media have found imaginative ways to indicate the passage of time and the appearance of motion - artists often seek to tell a story
transfer of art
- artwork communicates visual ideas - for the transfer of art to take place through art, we must interpret the visual language of the artist. that involves analyzing the way he or she has created the artwork, as well as thinking about its subject matter and meaning or content. there is a number of ways we can analyze art
stylistic analysis
- artworks have have style, or specific characteristics that make them look the way they do - style allows us to recognize that an artwork was made by particular artist. - characteristics that contribute to style include use of formal elements (line, shape, color, texture) the use of design principles (symmetry or asymmetry) and the level of abstraction or representation used. - style can be related to the brushstrokes or marks and artist makes - styles can be individual or shared by a group , school, time, period, or movement. - We can use style to catagorize artworks or to identify who made a work or art, where it came from, or when it was created.
ten principles
- balance - contrast - emphasis - focal point - pattern - proportion - rhythm - scale - unity - variety
natural processes and the passage of time
- bio art is art that reflects the passage of time through the natural processes of growth and decay that organic materials undergo - some artists use biology and organic materials to indicate the passage of time in their artwork -
feminist analysis
- biographical analysis usually takes gender, race, and societal position into account. feminist analysis is a subset of biographical analysis when it studies the life experience of women artist in relation to their work - feminist analysis has been expanded to include gender studies, which also considers the perspective toward the gender of viewers, the treatment of women as subjects, and the tole of women at the time the artwork was made - can reflect the intentions of an artist, the perspective of a viewer, the interpretation of a critic or all three
directional lines
- can be either actual or implied lines - direct attention to something artist wants noticed
focal point
- can be used to describe a particular place or a place of visual emphasis - a tool that artists use to give specific emphasis to an important symbol, event, or distinguishing feature in a work - it is the place in an are of emphasis that draws our eye - artist can do lines, implied lines, or contrast
brightness and color
- can both be used to suggest depth in a work of art - lighter areas seem to be closer as dark areas appear to recede - this is especially true of color
ten elements
- color - form - line - mass - shape - space - texture - time and motion - value - volume
expressive aspects of color
- color in particular can express a wide range of emotion - artists can use color to engage the viewer and suggest meaning - can sometimes be used to change the way a viewer feels about his/her surroundings
analysis of religious context
- considered the artwork in relation to the religious context in which it was made - often includes identification of narratives, key symbolism, and important figures
hatching
- consists of a series of lines, close to and parallel to each other - artists use it to suggest value
light
- consists of energy that travels in waves, much as water forms wave. - is necessary to activate the color of an object, but it does not determine the color that we perceive. this depends on light and pigment
motif
- design repeated as a unit in a pattern - can represent ideas images and themes that can be brought together through the use of pattern - a repeated motif can create a strong unified design
1. 3. 4
- diagram of chiaroscuro - an effect that creates an illusion of solidity and depth by using 5 defined values light source - highlight - light - core shadow - reflected light - cast shadow
gender studies analysis
- gender analysis reveals the degree to which gender is a construction and suggests that not all people fir the conventional distinction between the sexes - expands the consideration raised by feminist analysis to explore ways in which an artwork reflects experiences based on a persons gender
hue
- general classification of a color, the distinctive characteristic of a color as seen in the visible spectrum, such as green or red. - the pure state of color in the spectrum and is that colors name - when black is added to a hue, a shade of that color is created and when white is added a tint is created
rhythm
- gives structure to the experience of looking - guides our eyes from one point to another in a work of art - occurs when there are at least two points of preference in an artwork
implied lines
- gives us the impression we are seeing a line where there is no continuous mark - painters often use these to guide a viewers eye as it scans the painting - can be objects, people, words
communicative lines (used)
- graphic designers use communicative qualities of directional lines when creating logos.
iconographic analysis
- identifying and interpreting the symbolic meanings of the objects and elements in artworks often reveals previously unsuspected insight into their content - reveals previously unsuspected insights into content
human proportion
- in ancient Egypt, the palm of the hand was a unit of measurement 4 finger=1 palm and 6 palms = 1 cubit - ancient greeks investigated the mathematical basis of beauty and ideal proportions, to them these proportions embodied the perfection of the gods
subversive texture
- in early 20th century artists called themselves surrealists and created work that drew on ideas and images from dream and unconscious mind
shape
- is a 2 dimensional area the boundaries of which are defined by lines or suggested by changes in color or value - are flat and do not have mass or volume
contour line
- mark the outer edges of a 3d object - is an outer edge or profile of an object - can suggest volume in space by giving us clues about the changing character of a surface
line
- most fundamental element artists use. almost in every work, they organize the visible world - can be a mark that connects 2 points - may direct our eyes to look at something artist wants us to notice -
1. 3. 19
- one point linear perspective - all the orthogonal lines go to a single point - single vanishing point - makes world naturalistic
time and motion in photography
- photographers move their subject, choosing the right focus for the shot and putting the camera in the best position to obtain the image they seek. - they are deeply concerned with motion and time - capture a moment in time
the golden section
- referred to as the golden mean of golden ratio - it is a proportional ratio of 1:1.618, which occurs in many natural objects - real human bodies do not have these exact proportions, but when then the ratio 1:1.618 is applied to making statues, it gives naturalistic results
value
- refers to lightness and darkness, depth - value range refers to a series of different values
conceptual unity
- refers to the cohesive expression of idea within a work of art - an artist may link different images that conjure up a single notion ex. in their appearance, have an idea or association in common - the conceptual link that artist make between symbols and ideas derive from collective experiences of their culture, this to influences both the means that artists use to create unity - artists idea conscious and unconscious can also contribute to conceptual unity of a work
balance
- refers to the distribution of elements within a work, whether unified or varied. - just as real object have weight, or impact; these need to be balanced to achieve a short of visual equilibrium - helps work appear complete - we identify visual balance by noticing differences between two halves
chroma
- refers to the strength or weakness of a color - describes the purity of a hue derived from the spectrum of pure white light
linear perspective
- relies on a system where lines appear to converge at points in space - can be actual or implied lines - ex. buildings, or implied lines of figures or shapes
progressive rhythm
- repetition that regularly increases or decreases in frequency creates a progressive rhythm as the eye moves faster or slower across the surface of the work
sensation of color
- some colors are associated with emotional states ex. feeling blue - color temperature is based on out association with warmth and coolness (red is hot) - color can reflect the way we see (illusion of optical color)
lightness and darkness
- strong dramatic contrast -
contextual analysis
- studies the atmosphere and ideas from a particular time and culture, artwork reflect - an artwork may convey a particular message to those who view it in the context in which it was made, but the same artwork may convey a different meaning to someone living in another time and place - in order to understand the context of the art you have to research and look closely at the artwork - various contexts can be considered, religious, historical, and biographical
alternating value and texture
- the illusion of depth in two dimension is often influenced by the arrangement of value and texture. - artists intersperse value and visual texture to create a sense of rhythm
emphasis
- the principle by which an artist draw attention to particular content - an entire artwork, a broad area within a work of art, multiple areas, and even specific point can be emphasized - can also be used to draw attention to a large portion of a work. Sometimes an artist wants the emphasis to encompass a significant area, but not quite the entire surface.
formal analysis
- the process of analysing the elements and principles used by the artist - line, form, shape, volume, mass, color, texture, space, time and motion, value (lightness & darkness)
proportion
- the relationship between the size of different parts of a work make up its proportions. - proportion can enhance the expressive and deceptive characteristics of the work
variety
- the visual diversity of different ideas, media, and elements together in one composition - in are it is a collection of ideas, elements, or materials fused together into one design, unifying - its about uniqueness and diversity - can invigorate a design - even while using a variety of different shapes, colors, values, or other elements, an artist can create a visual harmony
obama portraits
- unveiling at National portrait gallery of presidential likenesses of barack obama and former first lady - their portraits are different from past presidents - Artists, kehinde Wiley, Mr. obama and Amy Sherald, mrs obama - Mr. Wiley depicts Mr. Obama not as a self-assured, standard-issue bureaucrat but an alert troubled thinker - Ms. Sherald's image of Mrs. Obama overemphasizes an element of couturial spectacle, but also projects a rock-solid cool -
subordination
- use of emphasis to draw the viewers attention away from a particular part of a composition - can also involve deliberately reducing the impact of certain details
isometric perspective
- uses diagonal parallels to communicate depth - lines are drawn parallel and diagonal
implied motion
- we do mot actually see it occurring, but visual clues tell us that the work, although static, portrays motion
scale
- we perceive scale in relation to our own size - artists often ensure all parts of an artwork are in correct proportions but they also use discordant proportions to express meaning - an object created on monumental scale appear larger than they would in normal life. - scale is used to indicate importance sometimes the smallest thing is the most significant - Proportion is a core principle in the unity of any art object. Careful proportion is a sign of technical mastery; discordant proportions can express a wide range of meanings.
actual motion
- we preceive actual motion when something really changes over time. - we see it in performance art and in kinetic art
broad emphasis
- when an artist is interested in emphasizing an entire work in its wholeness - encompasses a large area, but not quite an entire surface - can also occur when there are multiple elements within a work but no one element dominates
asymmetrical balance
- when artists organize a composition they often use different visual "weight" on each side of the composition - elements on the left and the right are not the same, but the combination counters each other
1. 7. 13a and 1. 7. 13b
-Iktinos & Kallikrates, 447-432 BCE - the use of the golden section in the design of the parthenon - the greeks applied their proportional system to architecture as well as to sculpture. - creates a harmonious design - mathematical for visual beauty
atmospheric perspective
-modifies value, color, texture to create a sense that some parts of an image are situated farther away than others - small, distant, blue green cast - ex. channel islands
unity
-refers to the imposition of order and harmony on a design - creates order or wholeness - provides an artwork with cohesiveness and helps to communicate the visual idea it embodies - harmonious composition - compositional, conceptual and gestalt
scale artist
-the scale of a work communicates ideas. a small work communicates something different than a larger one - artists make conscious choices about scale, depending on the message they want to communicate - they will also consider the cost, time, and location available
1. 1. 6
Andre masson 1925-26 - lines can be irregular, reflecting the wildness of nature, chaos, and, accident. - he wanted to create images that expressed the depth of his subconscious - spontaneous and free, and perhaps unconstructed and rambling
1. 2. 16
Anish Kapoor 2004 - actual texture - tactile sensation of touching a smooth, slick, stainless steel surface
1. 3. 13
Asher B. Durand, 1849 - by using atmospheric perspective, Durand conveys an impression of the vastness of the american landscape
1. 9. 9
Bai-ra-irrai c.1700 - a place for meeting and ritual - roof area begins with regular rhythms of horizontal lines of fish but the images above become increasingly irregular as they change to other kinds of shapes - the facia display a regular series of symbolic icons that, together with the buildings horizontal beams, frame the composition and give the facade a dynamic feel
1. 6. 6
Della Francesca, c. 1469 - repetition of organic figure and composition - artist concentrates on foreground and background - the organic human shapes in foreground are balanced against the geometric lines on the background - two groups complement each other and create order that is reinforced by the strong horizontal and vertical lines throughout the work
1, 4. 18
Derain, 1906 - great advocate of strong chroma - intense color oranges and yellows - he was a member of an artistic movement known as fauves (wild beasts). they used the colors in their purest and strongest stat as an act of defiance against academy that set rigid rules for acceptable standard for art and artist in the 20th century
1. 2. 17
Gehry, 1997 - uses contrasts in geometric and organic form. - both sculptural relief and in the round forms - entire building is like a sculpture - interior has huge volume
1. 1. 18
Henri Matisse 1942 - matisse manages to create an impression of spontaneity that gives the work a fresh, relaxed feeling - is drawn almost entirely using contour lines - a contour lines outline the figure's overall shape, define her face, and describe the surface of her dress - bold, simple lines create a spontaneous, relaxed feeling
1. 8. 10
Hiroshige, 1857 - three separate focal points, moon, the bridge, and the figure in a boat - equal distance - the varying distances between the three shapes create rhythm that adds visual interest
1. 5. 2
Holt, 1995 - intertwines the passage of time with the motion of the sun - a different times of the year, sculpture casts shadows on notable date set into the surrounding concrete - nature, sight specific slow shadow moving
1. 10. 2
Hopper, 1942 - the darker background areas communicate a sense of vacancy - the bright lit anterior is an area of emphasis and contrast - formal devices intensify the effect of the painting: a mood of absence and loneliness - colors, red dress, triangle, shape, lines - darker areas vs light area might suggest everyone is away
