Art Appreciation Exam 1 review

Deborah Coates quilt

another example of a motif this 46:11 is a work by a quilter named Deborah 46:14 Coates Deborah cult's Coates was the 46:17 famous was a life of a very famous 46:18 abolitionist in the United States in the 46:21 19th century there were a group of 46:23 people mostly in the North who were 46:25 working very very hard for the abolition 46:27 of slavery and and these brave men and 46:30 women you know often helped slaves 46:34 escape they were the people both white 46:38 and black people who built the 46:41 Underground Railroad which helped freed 46:44 slaves get into free states and to get 46:48 funding for the abolitionist movement 46:51 oftentimes the women of the abolitionist 46:55 movement would sell quilts and these 46:58 were called abolitionist quilts because 47:01 they included motifs they included in 47:03 this case this was a motif called birds 47:06 in the air which was as you can see why 47:09 we have this lower triangle sort of 47:12 representing the ground whereas these 47:14 three triangles represent birds of 47:18 flight and of course this was symbolic 47:21 of the idea the idea of abolition 47:23 abolition itself which was to free and 47:27 freedom is often associated with birds 47:28 and flying so we have this motif was 47:37 used both as a decorative an element but 47:39 also symbolically if we look closely we 47:43 can see one of these there's a literal 47:46 sort of representation deliver me from 47:50 the oppression of a man here sort of 47:53 embedded into this this triangular shape 47:58 representing a bird

Iconography

are the symbols that are used to represents a concept or a person. color is used as an iconography of a figure for example virgin mary.

Vertical lines

communicate strength and stability and authority. columns on a building

Cone of Vision

cone of vision is basically what we see within our peripheral vision so anything beyond these parameters is called the cone of vision it's air we can see without moving our head or eyes right and so if you want to create a realistic depth you'd have to sort of create within that cone of vision okay another kind of perspective

Diagonal lines

create movement and drama. bird flying up through the air. or speed.

Line to regulate and control

imply control and logic and rationality. geometric and regular. feel logical and regulatory.

Masaccio, Holy Trinity

in this painting here by Masaccio in fact this is so realistic this painting here by Masaccio that he made it look like that you were looking into another room in this chapel in this church in Florence Italy it was so mathematically precise that people standing at a certain angle will think that they are actually looking into another three-dimensional space.

Apollo and Daphne, Gianlorenzo Bernini, Baroque Art

in this sculpture by Bernini here where we see the god Apollo attacking this nymph this woman Daphne and as he attacks her she runs away she also turns into a tree the Greek gods thought it would be a great idea to save Daphne's purity from Apollo by instead of just you know getting her the hell out of there they thought turning her to a tree would be a better idea anyway but we get this feeling that she is literally sort of not only running away from him but transforming as we can see these these sort of leagues springing from her fingertips as she flees from him now of course nothing is maxime moving it's all implied but because of the position of the arms and legs because of the twisting of the torsos and the bodies because of these leaves sort of emerging from her fingertips we get the knee of

Light

light can be used not only to show 3d objects to cerate the illusion of 3d. Also to help tell a story

Directional lines you see them alot in cartoons and comics to sort of imply movement. can be used to direct our eyes.

manga is the japanese word for comic

foreshorthening

objects that are really really close to you appear distorted and super large and objects that are further away appear very very small

Contour line

one of the basic kinds if line is contour line Can also exist color image

Proportion

proportion is something that the ancient Egyptians were were obsessed with the ancient Egyptians and wanted their artworks they're their art to all have the same proportions that's why all Egyptian art kind of looks the same they wanted the Egyptians were a very structured society they wanted it they had a lot of rules and those rules actually are based in their religious beliefs they believe that if you change things up if you broke the rules too much then the world would literally fall apart it would sort of cease to function and so they were they were a very strict society in a lot of ways and one of the ways they they sort of portrayed this regularity and these rules was through their artwork and the Egyptian figure is basically always the same height the Egyptian figure was always was based on a measurement called the cubit which is based on the the fingers of the hand and the palm so four fingers always equal one palm six palm would equal one cubit and then four cubits would equal one man's height and so all Egyptian all Egyptian art is portrayed this way or 29:23 most of it there's always exceptions but 29:25 for the most part it's portrayed this 29:27 way you could take like any Egyptian 29:29 image and take the hand and stack it in 29:32 the figure will be 24 hands tall the 29:36 Egyptians love their regularity so 29:40 though their statues are always the same 29:43 proportion

Votive FIGURES from the temple of abu eshunna

religious image and this comes from a 57:23 very ancient culture in fact the first 57:25 culture the first civilization from 57:27 ancient Iraq called meso what what is 57:31 known as Mesopotamia this culture is 57:33 called Sumer and this ancient these 57:36 ancients these are ancient Sumerian what 57:38 we call votive figures votive figures or 57:40 figures of offerings and these offerings 57:44 are of prayer if you look at their hands 57:46 so if we now realize that this these are 57:50 figures from a religious that have 57:53 religious meaning from religious context 57:55 these are offerings that were found in a 57:56 temple we can now understand a little 57:59 better what their big eyes mean these 58:01 eyes mean represent some sort of 58:04 spiritual revelation your eyes are open 58:07 spiritually right they could also 58:09 represent vigilance waiting for the God 58:12 to answer one's prayer so the historical 58:16 or the sin the religious context it 58:20 provides the meaning that the 58:23 iconography alone cannot so sometimes 58:27 when we look at a work of art we have to 58:29 sort of think about where where did this 58:31 come from what time period did this come 58:33 from what were the political or 58:35 religious or other contextual contextual 58:39 events that fed into the creation of 58:44 these images sort of like this image 58:47 here this is an image that is is gains 58:51 deeper

Sun Tunnels, Nancy Holt

she also created a large work out in the desert in Utah called Sun tunnels which relies on space and time these large concrete cylinders line up with the summer solstice once again you can see it at sunrise and sunset they line up but also there's holes on the side and these line up with different lunar cycles cycles of the moon and also at certain times of the year different constellations the stars will appear exactly lined up with those holes in the sides

Carolyn Davidson, Nike Company logo, 1971

she designed the nike logo which they paid her 35 dollars. but later give her a diamong ring and 500 shares in stock.

Yellow, red, blue by vasily kandinsky. 1925

some artists believe that color could express things beyond what we see this is a painting by a guy named Vasily Kandinsky and Kandinsky painted almost completely abstract works later on his career in his career because Kandinsky was a very spiritual guy and he believed that color could represent spiritual ideas he felt you know the best way to represent abstract concepts was using abstract colors so how do you express joy or love or God or faith and he wrote this entire book called concerning the spiritual on art and in it he wrote one of these different colors meant because he felt like if you wanted to portray sort of the spiritual world the abstract world

Nike logo

speed, lighting bolt, rocket. Feels fast. feel acomplishment, athelitic, ability, prowess

Compositional shapes

that form the structure of a work of art.

Jean-Francois Millet, The Gleaners, 1857

the Gleaners it's by an artist Jean Francois Millay it is and an artwork about peasants picking up the remnants of wheat left in the field this is a process called gleaning and this was at a time where peasants were treated very poorly in France and this was sort of the birth of of industrialization and modernization and the working-class were very much struggling for their rights and this was also the rise of sort of socialism and in the world and in Europe and people were really starting to pay attention and fight for the rights of the working classes and that is what's going on here Malay decided to create a large-scale work which were normally used for important subjects like kings or big historical battles things like that and sort of tell these large these stories of everyday people.

the night cafe by van gogh

the night cafe and Vince van Gogh is a is a man who not only suffered from a sort of emotional instability but also had some severe problems with alcohol to that he probably used as a way to self-medicate but in in this image we we see him using color to express his emotions Vincent van Gogh wrote prolifically about what his paintings meant and in this image called the night cafe he talks he talks about how the red is meant to represent almost kind of a hellish state and the green is represent to represent sickliness as we look in this cafe and see these sort of drunkards sitting around and and this was something that he very much understood and had his own struggles with and he's using color here to sort of represent sort of these kinds of negative almost evil kinds of aspects of what he saw in this bar.

The meeting of St. Anthony and St. Paul. Workshop of master of osservanza.

this is a medieval image about the meeting of st. Anthony in Saint Paul and if you if you look at this image you can see we have actually three st. Anthony's as he walks down his road here but we know that we're not not looking at triplets but the artist has chosen to show the passage of time by showing us three different Saint Anthony's in the same landscape but we understand that we're looking at three different moments in time.

The Hotel Eden Joseph Cornell

this is actually not unified by as much by its use of elements by the way it's designed but instead it is unified by its concept by its ideas and in this case this is a work by a guy named Joseph Cornell and it's unified by the way he acquired these items Joseph Cornell built these things called shadow boxes and he would fill them way these little shallow boxes that you can hang on the wall and fill with things but he filled them with objects that he would often find and as random as that sounds what he was really doing here was he felt that these objects that he would find on the street or run across and garage sales or thrift stores or things like that were actually put there by God for him to find and they were sort of messages he was creating these kind of divine if you if you will sort of concepts and these objects that might appear completely unrelated maybe there was a certain relationship or meaning to be had by putting them together because he felt like he was being pushed by sort of much stronger higher sort of divine forces so it's the concept that is unifying this as much as or even more so than the the design.

Hans Holbein the Younger, Jean de Dinteville and Georges de selve The Ambassadors, 1533

this is an image of two 53:23 ambassadors and this this is an image 53:30 that is rich with sort of symbolism 53:32 because at the time that this was 53:35 painting England was breaking away from 53:37 the Catholic Church so to fully 53:39 understand what's going on here we have 53:41 to understand this historical event we 53:45 have to understand the Protestant 53:48 Reformation and we have to understand 53:49 that the Protestants were splitting away 53:51 from the Catholic Church and so there 53:54 are symbols here that represent these 53:58 concepts for example in the far left 54:01 upper corner there is an image of a 54:04 cross a crucifix hidden by a curtain 54:07 this could represent you know the sort 54:13 of the breaking away of the church this 54:15 could represent sort of the doubt that 54:19 some of the English had but it 54:21 represents that now the Catholic Church 54:23 is obscured and there are several 54:25 different interpretations of this your 54:27 book gives you one but there is the idea 54:29 here now that the church which used to 54:32 be one United Church for all of Europe 54:34 now parts of it are hidden or parts of 54:37 it are divided by a curtain also there's 54:40 an image of a lute 54:42 a musical instrument in common at the 54:44 time with a broken string and this 54:47 string represents discord it represents 54:50 that once the church was one Church and 54:53 Europe was all in harmony but now this 54:56 broken string represents the the 54:59 breaking up of the church so there's a 55:02 lot of stuff going on here there's also 55:05 a strange thing happening at the bottom 55:08 it's hard to tell what this is if you 55:11 look at it just straight on but if you 55:13 had a curved mirror and put it next to 55:16 this image you would see that what 55:19 you're looking at is a skull and this is 55:23 what we call a memento mori in EMEA nto 55:27 more a reminder of death and this is a 55:32 common image in in a lot of Medieval and 55:39 Renaissance art because there's this 55:42 constant need to remind one that we die 55:46 and that we need salvation before death 55:50 because we're looking at various oh the 55:51 Christian a very Christian or culture 55:54 and it is the one truth hidden in plain

Vija Celmins, Untitled (Ocean)

vija Celmins 38:19 who is an artist value absolutely adore 38:21 because she's very meticulous her works 38:24 sometimes take months and months and 38:26 months to complete she does everything 38:29 she these are drawings this is not a 38:32 photograph of ripples in the water but 38:37 this is meticulously drawn obsessively 38:40 drawn minutely drawn waves but there's 38:46 not one sort of focal point here but 38:49 instead we're supposed to absorb this 38:51 thing in its in its totality broad 38:55 emphasis

Sculpture

which is a 3 dimensional can kind of come in a veriaty f different forms.

Anish Kapoor, Cloud Gate, 2004, stainless steel chicago.

who is a very successful but also very controversial artist he's an artist that is not liked by a lot of artists because he he's copyrighted a lot of his works and techniques which prevents other artists from using it but he's certainly very very successful artist and this is a work called Cloud Gate or as it's commonly known in Chicago it's known as the beam because it looks like a giant shiny beam but using our knowledge of the various sort of surfaces that we're looking at we have a pretty good idea of what what it would feel like right in the summer it probably feels hot or in the winter it feels cold it feels hard it feels slick or you know we we know just by looking at it what it's going to feel like without having to touch it but by touching it of course that would reveal what it would actually felt like

John, Brown Remained a full winter in Canada by Jacob Lawerance

work by the 39:00 african-american artist Jacob Lawrence 39:03 this is a work about the abolitionist 39:08 John Brown and this is a work that 39:13 doesn't have one particular focal point 39:18 but instead we're meant to sort of 39:21 absorb the whole thing once again in its 39:23 totality why doesn't it have a focal 39:26 point well if you look at it you can see 39:30 that all of the different colors and 39:31 shapes are 39:33 so they're repeated and distributed 39:34 evenly so there's not one part that 39:37 really stands out but once again we kind 39:41 of absorb it all at once

The fauves

A French term meaning "wild beast" and descriptive of an artistic style characterized by the use of bright and intense expressionistic color schemes. painting that is super saturated this is a painting by an artist named Andre de Raadt under the whren was a member of a group of artists called the foes the fo-fo in French means wild animal or wild beasts and these guys lived in the early 20th century and they wanted they were modern artists and they wanted to shake up the world they wanted to sort of you know they were this was this painting us or like the okay boomer of its day they wanted the old people to look at this and go oh my god kids these days and they painted they wanted to express their emotions and feelings and they wanted to do that with color and they use super saturated intense colors and the colors were so outrageous at the time that an art critic saw their show and said these guys paint like a bunch of wild animals they paint like a bunch of foes and these young guys who wanted to sort of shock the older crowd went yeah foes that's pretty cool we're gonna go with that

Open Window by Henri Matisse, Collioure

Artists use color to epress joy. honoré Matisse this image to express sort of the joy and the beauty of nature on the image

Bridget Riley, Cataract 3 and movement insquares

Bridget Riley was a pioneer in this and she created these optical illusions that are basically just deal with the limitations of our eye like for example the image on the right it appears those waves are but what is going on is that there are red and blue lines placed really close together and as you know there's red and blue cones in your retina and these lines are so close together your retinas don't know what to do with the information they keep sort of going back and forth focusing on the red and the blue this creates an illusion of movement and something very similar is happening with the black and white squares as they get closer here your eye is having trouble differentiating between the two it is losing focus and so it is moving back and forth giving this feeling of movement in motion.

Great Sphinx, Giza, Egypt

Burial of an Egyptian king(Pharaoh) named Khafre. Craved out of solid stone. Orginally it was a head of a lion but then craved away after Khafre died and to create a protrait of Pharoh. example of a form a three dimensional object.

Hue

Color in it's purest state like the red we think of stop sign.

Hoirzaontal lines

Communincate clam or peacefulness. think of sleeping.

Duane Hanson Housepainter !!! 1984/1988

Duane Hanson whose artwork and is 05:22 also hyper realistic like like the ones 05:27 I just showed you earlier with the 05:28 exception that they are of proper scale 05:33 so these aren't either super larger 05:36 super small in fact they're so realistic 05:38 that if you ever go to a Dwayne Hanson 05:39 exhibit it's kind of shocking because he 05:42 just has this figure standing around 05:44 without any sort of ropes or guards or 05:47 anything around them and at first it's 05:49 hard to tell what is the real part what 05:51 are the real people looking at the art. Naturalistic

The sneeze Thomas Edison and W.K. Dickson, Fred ott's

First film ever shot

Compositional lines

Form the structure or composition of a work of art. line create the composition. it can also create a different feeling.

The Two Fridas Frida Kahlo. 1939 C.E. Oil on canvas She typically painted self-portraits using vibrant colours in a style that was influenced by cultures of Mexico as well as influences from European Surrealism. Her self-portraits were often an expression of her life and her pain.

Frida Kahlo one of the well known artist of the 20th century. she was married to another very famous artists. The mexican painter Diego Rivera was her husband. her story is fascinating. she grew up in a very sort of traditional kind of household and she was in a bus accident when she was very young or well she was a teenager and this bus accident was horrific it basically she was more or less impaled on a pole it shattered her pelvis her spine and broke her legs it caused her problems for the rest of her life pain and agony and and led to of a rather short life for her it also prevented her from having children and she spent years and years in and out of hospitals with you know going through all sorts of different surgeries it was a very horrific event but also foundational kind of to who she was as a person because while she was recuperating in her bed which took something like a year or so to do her father bought her a set of paints to pass the time and she you know this she couldn't be on her phone because there were no phone but so she started to paint and that's how she sort of not only became an artist but also as a way of kind of getting herself through this horrific time in her life and Frida spent really the rest of her life as an artist painting self-portraits mostly self-portraits most of her images you can almost think of the most kind of diary entries and her life is very tragic her husband Diego Rivera off and cheated on her there's rumors I think he cheated on her with her sister I mean it's pretty heavy-duty stuff and at the same time she suffered some miscarriages and her her images are often filled with images of body parts of anatomy of surgery of blood and guts because well this was a big part of who she was and her images sometimes can be a little disturbing to look at and this image is no exception we see an image of artery a blood line really connecting these two Freitas and this is what I find fascinating about this image means this image is about the two different people that she feels that she is she's on on the right we see this woman in this modern dress she was very much an internationally known sort of artist she you know hung out with stars and politicians and sort of the big names of the world she you know hung out in New York in Paris the big sort of art centers of the world and was this very sort of you know there weren't Jets yet but she was kind of jet setter right at the same time she still was very traditional a lot of ways and drew very much from her Mexican heritage and we see the image of this woman on the left in this very traditional sort of Mexican dress and you'll notice that they're they both share a bloodline you can't really have one without the other and this is this in her sort of graphic gory sort of Frida Kahlo way she's sort of talking about even though we changed through our lives and as you guys get older you will change you'll become a different person in you were when you were young and yet that person is still part of you because they formed who you are we are just sort of a sum of all of the experiences good and bad that we've had right and even though we change over time and our opinions change and our beliefs change and we become different people. Frida's past her heritage her family her culture her childhood as part of her and if you sever one if one is severed is ignored is removed then the other one dies and it's all told through line simple little red line conveys all of that information so lines can do a lot right lines can sort of express feelings and emotions so you know your book sort of breaks it down into this very simple way vertical lines communicate strength and stability and authority

Gestalt Unity

Gestalt unity is when the concept and the design are both unified

Dynamism of a Dog on a Leash, Giacomo Balla, 1912

Giacomo Bala an Italian artist who was one of the first guys to experiment with this idea of of creating sort of overlapping moments to give this feeling of movement through time almost like a blurry photograph so you know for and when I look at this little dachshund running boy it looks like his little legs are really working really fast and hard aren't they but of course there is no motion another way of creating motion is to use mechanical devices

High relief

Imperial Procession from the Ara Pacis Augustae, 13 bce. rome italy.

Jenny Holzer

Jenny Holzer creates works of art using LED lights she she's been doing this since the late 1970s early 1980s she's one of the great pioneers really of modern art of contemporary art she was using sort of digital displays and stuff before it was even a thing

Pentateuch

Jewish holy book five first book of the old testament designed for rabbi at the temple to read. written in hebrew. broders are called the amis aura. but it's a text line. made an implied line.

The Last Supper, Leonardo da Vinci

Leonardo da Vinci's Last Supper where you can see that the vanishing point is actually behind the head of Christ here and every single line meets at that vanishing point he does this not only to create realistic three-dimensional it realistic freedom and make a realistic three-dimensional looking room but it also highlights the importance of the central figure of Christ literally all points lead to him. He is using these elements to help tell the story.

Spider, c. 500 BCE-500 CE 150 inch ft , Nazca, Peru

Line connects two points Line is present in most images contour line outline this spider is a part if a religious ceremony scraped in dersert in part. These images were made to be seen by god.

Ghostwriter, Ralph Helmich and Stuart Schechter

Located in a library in illonois and it's a large sculpture of a head.

Madonna of the Meadow, Raphael

Madonna blue and red. sometimes only blue. another name for virgin mary. Triangle. strong shape. Renaissance art. in italian it means my lady. another term is Notre dame in French means our lady. In european italian renaissance art it will be bluue and red.

Monument to the third international by Vladimir Tatlin 1919-1920 reconstruction of the lost model 1992-1993.

Model of a buliding that was never built. made to honor and celebrate the russian revolution of 1917 the Bolshevik revolution. where the communist party basically estabishes themselves. Tatlin wanted to bulit this building to sort of celebrate this kind of foward march into the future and embrace new technology and new ideas. open volume. soviet union (russia) they didn't had money to built it. Represent the possibilities of the future. open form kind of represents the open ideas the open possibilities of what could occur thanks to this glorious revolution which sort of ultimately failed.

Solar rotary, Nancy Holt

Nancy Holt Nancy hold is a belongs to a group of artists we call land artists or sometimes earth work artists because they do large-scale outdoor artworks built on large pieces of land or earth and Nancy Holt especially uses the passage of time a lot in her work this is a fascinating work this comes from the University of South Florida and this work called solar rotary and on the summer solstice the longest day of the year exactly at noon well you see what happens the Sun will cast a shadow so this spiral lays perfectly over this Dyess but also you if you look around you'll notice that there's these little markers and on certain days of the year that circle will be will align directly over that marker and highlight it and these five different markers all highlight different moments in Florida history so you know not only is she sort of conveying the idea of history of time passed but this work requires on the movement of the earth through space and time so that at certain times of the year the Sun will hit on those those markers right at the right moment.

Nigerian lfe artist, figure of Oni

Nigeria 29:47 this actually comes from the Yoruba 29:49 culture this is a figure of called the 29:55 Oni which is basically a big king and 30:00 the King is often portrayed with a large 30:03 head to show his wisdom to show his 30:06 power to show his divinity his status in 30:11 the world so in a way this is kind of 30:13 high erotic scale isn't it except only 30:16 his head is big but this is this is a 30:21 figure that is out of proportion but 30:24 it's also meant to convey a sense of 30:26 power

The Yellow Christ by Paul Gauguin

Paul Gauguin who used color in an expressive way to reflect once again spirituality here we have an image of these women who are having a spiritual vision this image of this crucifixion and Christ appears and as this is yellow here in this image literally called yellow Christ and he's using the yellow here kind of for a dual purpose it's meant to express sort of the idea of joy and salvation little Christ literally sort of the Sun rising but also yellow is a color that can represent sickliness it can represent disease and this is meant to sort of represent the horrors of the crucifixion so he's using color here though to express both the emotional and kind of the spiritual state so color can do do a lot

Pieter Bruegel the Elder

Pieter 41:58 Bruegel is a is an artist who had a 42:00 pretty funny sense of humor I think and 42:03 he would often kind of his his images 42:07 are often turned a full of jokes and 42:09 irony he's a little bit of a troll and 42:13 here he's taking this great story of the 42:15 Greek myth of Icarus which other artists 42:19 would paint with a lot of sort of you 42:21 know grandeur right Icarus dramatically 42:24 falling through the sky plunging into 42:27 the water and here Pieter Bruegel is 42:29 more worried about a dude plowing a 42:32 field than he is about some guy falling 42:35 from the sky into the water it's meant 42:38 to be funny and he's the the story is 42:44 actually told by de-emphasizing by 42:46 subordinating the main character pattern 42:54 and rhythm

Pieter Bruegel the Elder Landscape with the fall of Icarus

Pieter Bruegel came from a 40:57 culture that um didn't really wasn't 41:00 super in the Greek mythology they've 41:02 they thought in some ways it was maybe a 41:04 little frivolous it was a little silly 41:06 and in the way he's kind of making fun 41:09 of Greek mythology here because he's 41:11 emphasizing everything but icurus so look 41:16 at this image the emphasis is on well 41:21 this guy here he's emphasized because 41:24 he's placed in sort of the lower middle 41:26 he's the only figure wearing red and you 41:30 know everything else around him is sort 41:32 of emphasized our eyes then next travel 41:34 to this guy and the ship because they're 41:38 they're large or they're centrally 41:39 placed or they're a color that the 41:42 things around them are not but we don't 41:44 see Icarus

Thutmosis (workshop) Bust of Queen Nefertiti Egypt c. 1340 BCE Painted limestone New Kingdom (Amarna Period)

Queen Nefertiti from ancient 28:54 Egypt from the workshop of a artist 28:58 named Thutmose and so when we look at 29:01 this we can talk about first of all 29:05 let's start with some basic things would 29:07 you say it's more abstract or 29:10 naturalistic sounds like naturalistic 29:13 right so what makes it naturalistic well 29:18 I would say basic things like the 29:20 proportions of the of the face are that 29:24 of more or less a real person the the 29:29 skin tone the paint used for the flesh 29:32 is once again similar to an actual 29:36 person's skin tone the use of coloring 29:41 in the eyebrow and the lips also tend to 29:44 give this a feeling of life then looking 29:48 further deeper into it we would ask well 29:51 is any of it is it completely realistic 29:53 and the answer is no of course there is 29:56 some abstraction here the area around 30:00 the eyelids for instance have been 30:02 simplified to these sort of heavy smooth 30:06 kinds of eyelids the neck is very 30:11 elongated in in some ways you could say 30:15 it's it's maybe out of proportion with 30:18 the head the face is also perfectly 30:22 symmetrical in a way that other faces 30:26 are not there are no blemishes on the 30:29 faces on the face and then if we look at 30:33 it in terms of very specific kinds of 30:38 elements we could say there is a use of 30:41 pattern in the band on the headdress

Rebecca Purdum Chin

Rebecca Purdom who whose 18:17 work is meant to express emotion and so 18:20 she uses color and sort of blurry kinds 18:23 of abstract forms to represent us 18:27 oftentimes hard to express emotions to 18:31 express something that is inherently 18:34 inarticulate and if we think about it 18:38 you know when we think about abstraction 18:42 you know we haven't have trouble with it 18:45 especially if you're just coming into 18:46 looking at art seriously students often 18:49 have trouble with abstraction and the 18:51 reason is because we're kind of 18:53 hardwired in our brains to see things 18:56 that are recognizable you know you've 18:58 all looked up the clouds on a pretty day 19:00 and you've all you know made shapes 19:02 right that cow look that cloud looks 19:05 like a cow or that cloud looks like a 19:06 car or whatever and even though it might 19:09 barely look like a cow or a car it looks 19:12 close enough

Ron Mueck silicon fiberglass

Ron muak is an artist 01:43 who works in a very hyper realistic 01:45 style he creates these sculptures that 01:47 are so lifelike that you would almost 01:49 think they were real with one major 01:51 exception this scale of these figures 01:54 are really really off they're either 01:56 very very large like this dude here is 01:59 about 15 feet tall this pregnant woman 02:02 is about 12 feet tall or they're very 02:04 small or in this woman here is massive 02:06 she's like 30 feet long 02:07 or they're very very small this figure 02:10 here is you know maybe about 02:12 three and a half feet tall these ladies 02:14 here are about three feet tall now 02:17 besides the scale these are incredibly 02:22 realistic or what we could say 02:24 naturalistic works of art but these are 02:27 what we would call representational 02:30 works of art they are images of 02:32 something representational means that 02:35 it's an image of a real-world object

Rosa Bonheur, Plowing in the Nivernais, 1849

Rosa Bonheur I think 51:57 is one of the great animal artists she 51:59 was an artist who worked in the 19th 52:02 century and as a as a woman artist she 52:06 found a lot of difficulty working as a 52:09 as an artist she was often not taken 52:12 seriously she often had difficulty 52:14 getting her art work into various art 52:17 shows and she was often not allowed into 52:20 certain places that men were allowed 52:22 Rosa Bonn how are very famously dressed 52:26 like a man so she could would be more 52:30 accepted into into places where men went 52:37 and if she's one of my she's one of my 52:41 favorite animal artists

Roettgen Pieta, Middle Rhine region, c.1330. wood, boon germany.

Standard christian image pieta in italian it means pity. and it is an image of the virgin mary holding the christ in her arms after he's been removed from the cross.

Bas Relief or ba relief

Stela with supernatural scene, mexico or guatemala 761 ce.

Suzzanne Valadon

Suzzanne Valadon and not only a famous artist 44:13 but also a model a famous model who 44:15 worked for some of the great 44:17 impressionist artists and she was also 44:21 the mother of an artist named Utrillo 44:23

Monogram by Robert Rauschenberg

Texas artist Port Arthur Texas artist Robert Rauschenberg and his work monogram rauschenberg was a guy an artist who came around in the 1950s and 1960s and his art was meant to sort of challenge the kind of snooty innocence Todd genus of the art world and he often used in used materials that weren't considered to be art to sort of create works that were shocking and works that were meant to challenge the kinds of rules and regulations of the art world and he would use things like well a taxidermied goat and a spare tire um you know often in this sort of hodgepodge collage sort of way and so we have both a kind of a variety of elements different kinds of colors and shapes and patterns and textures

Compositional lines

The raft of the Medusa. by an artists named Theodore Gericault, 1819. Who was a french artist. it's 16 by 14 feet. It's massive this painting hangs in the louvre museum in paris. the story of a ship called the Medusa the Medusa is a French naval vessel that is on a diplomatic mission to Senegal and West Africa and on its way there these ship hits a sandbar and crashes now the reason it crashed is because the captain of the ship was incompetent and should not probably have been captain but he was made captain he was given this commission because he came from a wealthy and powerful French de Craddock family in fact this was not uncommon practice to give these Commission's to naval these naval Commission Sophos er C were unqualified because of the families they came from and his incompetence led to tragedy the ship hits this sandbar and this well the ship crashes and it wrecks and now the problem is there were about 400 people on board and 160 and the crew but unfortunately the lifebelts the lifeboats only held something around like 250 people and so that means they left somewhere around the hundred and forty six people behind now initially the officers took the lifeboats for themselves although it to be fair some officers did try to rescue some members of the crew but the captain ultimately said we should abandon them and then the life the those lifeboats carrying mostly the officers went and caught back up with the rest the fleet just basically abandoning these a hundred and forty six hundred fifty men or whatever was on the open ocean and as soon as they were abandoned chaos ensued these men started fighting with each other killing each other some of them and it was this horrific sort of situation and at the same time the the crew basically made a large raft out of the remnants of the Medusa now most people died but over a period about 13 days or so the a small amount of crew members did survive something like fifteen survived over this two-week period or so and and they survived through horrific means they had no first food they had no fresh water and some of them even resorted to cannibalism to survive now meanwhile the the ship carrying the captain had already arrived back in France and reported that there was a storm we crashed to a sandbar and we tried to rescue everybody but the ship sank immediately more or less that's what they reported and of course that's untrue the captain abandoned almost half of his crew so what happens is almost two weeks later the remnants of this crew are rescued they're rescued by a passing ship and if you look in the background here you can see this little smudge that's a little smudge it's actually a ship called the Argos and the Argos sees the Medusa and it sees the crew waving scraps of clothing or sales or whatever sort of fabric they had and they rescue them and they take these men back to France and when these men are right when the crew of the Medusa arrived back in France the remnants the 15 or so who survived they had a very different story to tell they told of the captain abandoning them abandoning that they told of the captain's incompetence right and it was absolutely horrific what they told their story and this caused a huge scandal this thing dominated the headlines in the papers for weeks and weeks and not only did it sort of show the incompetence of the captain but it showed the sort of you know the practices of the French Navy of giving these unqualified guys basically sort of rich guys positions that they didn't deserve and it cost people's their lives so the huge it was a huge deal Jericho the artist was fascinated by this story in fact he even rented in an apartment across the street from the hospital where many of these men were recovering and he interviewed them and he sketched them and he you know drew out their story and ended up creating this massive massive work one thing also I want to bring your attention here is the the figure up here this is a guy named Jean Charles and Jean Charles was a freed slave and he was part of the crew he and he and and and he is portrayed as the hero this black man at a time where a lot of European countries including France were still practicing slavery but Jericho was an abolitionist meaning he fought for the abolition of slavery it was one of his sort of passions and he was very much part of this political cause and he sort of highlights Jean Charles's role here as sort of a hero and as he's waving as he's waving his flag so a very dramatic story oops kind of sorry told in a very dramatic way so if you look at the use of line I think we're going back to that line you'll notice that the artist has created several different kinds of lines he's using the lines of course in the sail or the rope on the sail and the mast here and the side of the sail but if you look at the figures themselves they form a line and if you look closely that line almost kind of mirrors a wave doesn't it and it causes a sense of drama it also draws our eyes upwards towards this central figure here of John Charles so the artist is is very much using line to tell the drama of this story I mean imagine if he had painted this like the builds and brothers and it was all flat horizontal lines it'd be boring but this to me is a perfect example of how the artist is using an element in this case line to help tell the story okay in this case he's using very dramatic line to tell a very dramatic story pretty cool right here's

linear perspective

There's not really one person that we can say invented linear perspective there's a it goes all the way back there's an ancient Chinese philosopher named mozi who who came up started developing this idea there was an Arabic mathematician named Al Hassan and around the Year 1000 who started to lay down a lot of the groundwork and then in the Italian Renaissance well we sort of start to see it you know fully come together with a guy named Leon Battista Alberti and another guy named Philippa Brunelleschi but they they formulate kind of really write down the rules for linear perspective but this was so accurate and so lifelike that that a Brunelleschi actually came up with this proof he would do this little trick where you would hold a mirror with a hole in it are you a hold of I'll hold a mirror in front of you and then you would hold a painting of whatever it was you were looking at so it was reflecting the mirror and there'd be a hole in the painting and then you'd have the real object over here and so that way you could see both the the reflection of the painting and the real object next to each other and they looked they both looked real

Maman, Louise Bourgeois 1999, bilbao spain

Uses texture very successfully is the artist Louise Bourgeois is a interesting character in the history arge she's an artist who didn't really become famous until she was in her you know 60s almost she was an artist who had been around and working since the 1930s but it wasn't really until the 1970s or so that she started to become well-known and and so the 70s 80s and even to the 90s and later she became really quite famous and so she always gives me hope because she's an example of an artist who didn't really hit her stride until really her later years her art evolved over time she actually did a lot of different kinds of things but these are probably both her most famous works are these giant kinds of alien looking spiders and this is a large one this is actually in the in the front of the build our museum or the Guggenheim Museum in Bilbao Spain and it is called ma ma in French meaning mama and this was a tribute to her mother and as weird as that sounds she had a very close relationship with her mother and she had a very distant relationship with her father in fact her father was really quite a brutal guy he was abusive to his her mother he cheated on her he was quite cold to Louise and her mom sort of took it upon herself to kind of protect her daughter from her father's temper and his coldness and his more sort of negative aspects and for that she was always very grateful to her mother and so for her you know spiders are a symbol of her mother's strength and we can see that quote down here the spider is an ode to my mother she's my best friend and like a spider she was a weaver my family was in the business of tapestry restoration and my mother was in charge of the workshop like spiders my mother was very clever spiders are friendly presences that eat mosquitoes we know that mosquitoes spread diseases and are therefore unwanted so spiders are helpful and protective just like my mother so for her you know the spider sort of represents this kind of fierce motherhood that really helps save her

Vincent Van Gogh

Vince Van Gogh was a man who often suffered from sort of mental difficulties emotional problems and look at the way he's painted the lines especially in the floor of his bedroom here there's they feel nervous and unsure and intense he was often an intense sort of unsure sometimes even angry man

The bedroom by Van Gogh

Vince Van Gogh was a man who often suffered from sort of mental difficulties emotional problems and look at the way he's painted the lines especially in the floor of his bedroom here there's they feel nervous and unsure and intense he was often an intense sort of unsure sometimes even angry man and even though the colors of this bedroom looked calm and peaceful with sort of and greens dominating the line tells us another story it shows us an intensity and maybe even the passion here

The Starry Night, by Vincent van Gogh, indicates the power of the artist's

Vincent van Gogh use color to express emotion Vincent van Gogh as many of you know but Vincent van Gogh was a man who suffered from emotional and psychological problems and he associated color with emotion and with spirituality this is his very famous painting starry nights and for him when he looked up at the sky he felt that he was not looking at just stars in the sky but he was looking at souls up in heaven and he wanted to paint an image that sort of represented this kind of spiritual sort of feeling of Nate of nature and first of all notice how he's using complimentary or near complimentary colors blues and sort of purplish Blues contrasted with yellows and oranges to create this feeling of this use of simultaneous contrast and this this almost vibration because for him looking up at this night sky was almost like a spiritual experience and so he he's conveying that through color then also look how he's making the color ripple almost as if you're looking at color reflecting on puddles in a water as you throw in as stone or as rain drips into the water 'yes he's creating a almost otherworldly effect and then the colors appear as if they're moving he's creating these sort of swirls in the sky as almost if these are like souls flying up into heaven so he's using color to express this sort of emotional ecstasy and this kind of spiritual ecstasy that he is experiencing another very famous image by Vincent van Gogh where he expresses his emotional emotion through color