ART Chapter 4 and 5

Raphael's "Madonna of the Meadow,"

1505 - Raphael has grouped the figures of Mary, the young John the Baptist, and the young Jesus so that we perceive them as a single triangular whole. Just as artists use implied lines to help direct our eyes around a composition, they have used implied shapes to create a sense of order, so that we perceive a work as a unified and harmonious whole. If you cover her foot, Madonna becomes a triangle.

David's "Death of Socrates

1748-1825 Soctates is a vertical line symbolizing he is not afraid of death and is using logic. Everyone around him, even the executioner is sobbing and are curved lines, meaning they are more emotional.

pattern

Any formal element that repeats itself in a composition—line, shape, math, color, or texture—create a recognizable pattern

kinetic art

Art that moves

hatching

Closely spaced parallel lines.

stippling

Dots spaced close or far apart to suggest darker or lighter areas

Focal point and the five main ways artists create a focal point in a work

Focal Point is a specific spot to which one's attention is directed. Five ways: 1)Contrast - 2)Isolation - 3) Placement 4) Convergence 5) The Unusual

Hokusai's "The Great Wave off Kanagawa,"

In the foreground, two boats ascend into a trough between a great crashing wave that hangs over the scene like a giant, menacing claw. Fuji rises above the horizon, framed in a vortex of wave and foam. Hokusai has echoed its shape in the foremost wave of the composition. The wave is visually larger than the distant mountain, but our sense of scale causes us to diminish its importance. The wave will imminently collapse, yet Fuji will remain. For the Japanese, Fuji symbolizes not only the everlasting, but Japan itself, and print juxtaposes the perils of the moment with the enduring life of the nation

Vertical

Like an upright body or sky scraper. They have an assertive quality; They defy gravity.

Diagonal

Most dramatic line - imply movement and action

hue

Name of the color

Rhythm and how it is created in a work on art

Natural rhythms measure out the passing of time This idea of time structures our experiences. We experience art in time and therefore the experience can be structured through rhythm. Through repetition, any of the visual elements can take on a rhythm within a work of art.

cross hatching

Parallel lines intersect like a checkerboard

Margaret Bourke White's "Plow Blades"

Photo of blades on a farmer tool. Looks cold to the touch and smooth. Margaret Bourke-White was an American photographer and documentary photographer. She is best known as the first foreign photographer permitted to take pictures of the Soviet five-year plan,

Be able to explain how objects of different size, texture, color, value change the visual weight of an artwork to create asymmetrical balance

Th composition is balanced when it looks balanced. Understanding visual weight can help artists balance their piece.

foreshortening

The logic of linear perspective must apply to every form that recedes into the distance.

Manet's "A Bar at the Folies-Bergére,"

The right half of painting is darker the left. Womans reflection is balanced by the wine bottles adjacent and the reflection of the people is balanced by the darker, yet still colorful bottom right corner. White figure in left balances black.

Georgia O'Keefe's "Deer's Skull with Pedernal,"

The skull itself is perfectly symmetrical balance. top of image the dead tree branches off to the right, branches rhyming with the skulls horns. bottom, trunk sewrves off to right as well. pale branch & lone cloud add visual weight.

outline

a line or set of lines enclosing or indicating the shape of an object.

linear perspective

Two point, systematic application of two observations. Forms seem to diminish in sizes as they recede from us.

Unity and variety

Unity is a sense of oneness, of things belonging together and making up a coherent whole. Variety is difference, which provides interest. Unity and variety exist on a spectrum with total blandness one side and complete disorder on the other.

How are visual unity and conceptual unity different?

Visual unity comes from unity based in the elements of shape, line, and color. conceptual unity that asks for interpretation

chiaroscuro

a technique discovered and perfected by Italian painters during the Renaissance; it is the subtle blending of light and dark.

impasto

actual texture that we often in counter in art is paint applied in a thick, heavy manner

Actual weight and visual weight

actual weight, or the physical weight of materials in pounds isual weight, the apparent "heaviness" or "lightness" of the shapes and forms arranged in the composition

Horizontal

appear calm

visual texture

appears to be actual but is not. Like the representation of three-dimensional space on a two dimensional surface, a visual texture is an illusion.

organic shapes

are irregular and evoke the living forms of nature.

Op Art

art that is designed to give us the illusion of movement

geometric shapes.

can be mathematically defined (square, triangle, circle, cube, pyramid, and sphere)

analogous

combine adjacent colors on the color wheel ex: yellow-orange, orange, and red-orange.

asymmetrical

composition has two sides that do not match. It seems to be balanced because the visual weight in the two halves are similar 6 principals: 1. A large form is visually heavier than a smaller form. 2. A dark valued form is visually heavier than a lighter valued form of the same size. 3. A textured form is visually heavier than a smooth form of the same size. 4. A complex form is visually heavier than a simple form of the same size. 5. Two or more small forms can balance a larger one. 6. A smaller dark form can balance a larger light one.

triadic

harmonies composed if any 3 colors equidistant from each other on the colo wheel,

Flat Lines

horizontal lines that seem placed. Like a horizon line or a body in repose.

Implied shape

implied shapes create a sense of order, so that we perceive a work as a unified and harmonious whole. Example: Raphael. Madonna of the Meadow. 1505 - the figures of Mary, the young John the Baptist, and the young Jesus so that we perceive them as a single triangular whole. Just as artists use implied lines to help direct our eyes around a composition.

tertiary

intermediate colors - product of a primary and adjacent secondary color. yellow-green

secondary

orange, green, and violet. number 3 on color wheel

vanishing point

parallel lines receding into the distance seem to converge until they meet at a point on the horizon line where they disappear.

primary

red, yellow, and blue - numeral 1 on color wheel

value

shades of light and dark.

implied light

the illusion of shape and mass of objects.

modeling

when artists use light and shadow to create mass.

optimal color mixing

when small patches of different colors are close together, the eye may blend them to produce a new color.

Intensity

Relative purity of a color. The purest colors are said to have high intensity, duller colors lower intensity. To lower the intensity of a color an artist may add gray or the color's complement.

scale and proportion

Scale is the word we use to describe the dimensions of an art object in relation to the original object that it depicts or in relation to objects around it Proportion refers to the relationship between the parts of an object and the whole, or to the relationship between an object and its surroundings

Emphasis and subordination

Complementary concepts. Emphasis means that our attention is drawn more to certain parts of a composition than to others. If the emphasis is small & clearly defined it is called focal point. subordination is certain areas of the composition are purposefully made less visually interesting, so that the areas of emphasis stand out.

Parmigianino's "Madonna with the Long Neck."

Her body is the shape of a diamond: small head, big hips, tiny toes. Christ is large. shoulder looks dislocated. Arm is echoing Michelangelo's "Pieta."And Christ here, as a child, but perhaps echoing when Mary will hold Christ in images like the "Pieta" when Christ is dead.And, Christ looks asleep, there's also a way that he looks dead, too. This explains the massive size of Marry lap. Her deformation is like extreme elegance.

Delacroix' "Death of Sardanapalus

The main focus of Death of Sardanapalus is a large bed draped in rich red fabric. On it lies a man overseeing a scene of chaos with a disinterested eye. He is dressed in flowing white fabrics and sumptuous gold around his neck and head. A woman lies dead at his feet, prone across the lower half of the large bed. She is one of five or six in the scene, all in various shades of undress, and all in assorted throes of death by the hands of the half dozen men in the scene. The king was going to be killed so he decided to have all of his belongings (including women) killed. More loose and gestural lines seem less clear, less "logical," more emotional and intuitive, and traditionally have been identified with the female form -as in Delacroix' "Death of Sardanapalus."

Symmetrical,

the forms of a composition mirror each other across a central axis, an imaginary straight line that divides the composition in half. When each side is exactly the same, we have absolute symmetry

illusionistic light.

the impression of light created by the artist

monochromatic

variations of the same hue w/ different values and intensity.

Goya's "Executions of the Third of May,"

white, yellow, & red demand our attention. Napoleon had his men invaid spain. The focal point is the man in white with his arms up. He is the only face you can see.

Definition of line.

A path traced by a moving point.

The art historical meaning given to vertical and horizontal lines and geometries—as in David's "Death of Socrates" and the meaning given to loose, gestural lines like those seen in Delacroix' "Death of Sardanapalus."

Depending on how it is oriented, line can seem extremely intellectual and rational or highly emotional. Conventionally, vertical and horizontal geometries have been closely identified with male form -as in David's "Death of Socrates." More loose and gestural lines seem less clear, less "logical," more emotional and intuitive, and traditionally have been identified with the female form -as in Delacroix' "Death of Sardanapalus."

radial balance

In works of art with radial balance everything radiates outward from a central point Radial balance commonly possesses a spiritual and religious significance—perhaps because it is so familiar in nature

da Vinci's "The Last Supper"

Leonardo employs a fully frontal one point perspective system. This system focuses our attention on Christ, since the prospective lines appear almost as rays of light radiating from Christ's head. During the murals restoration, just to the left of his right eye. Leonardo evidently Drew strings out from this snail to create the perspective bull space. The paintings architecture appears to be continuous with the actual architecture of the refractory of the monastery of Santa Maria delle Grazie in Milan. It seems as if the world outside the space of the painting is organized around Christ as well everything in the architecture of the painting and refractory draws our attention to him his gaze controls the world

Leonardo da Vinci's "Vitruvian Man,"

Leonardo's famous Study of human proportion in bodies all of the principles of design balance, emphasis, proportion and scale, rhythm and repetition, and unity and variety. The figure is perfectly balanced and symmetrical. The very center of the composition is the figures navel, a focal point that represents the source of life it self, the fetus' connection by the end the local cord to its mother's womb. Each of the figure's limbs appear twice, once to fit in the square, symbol of the finite, earthly world, and once to fit in the circle, symbol of the heavenly world, the infinite and the universal. Thus, the various aspects of existence—mind and matter, the material and the transcendental—are unified by the design into a coherent whole.

Motion as a visual element

Lines are used to imply motion and movement in art. motion is the very sign of life itself.

What are lines used to indicate?

Lines are used to record the borders of form and to convey direction and movement. Line also possess direction- they can rise or fall, head off to the left or to the right, disappear in the distance.

after image

Prolonged staring at any saturated color fatigues the receptors in our eyes, which compensate when allowed to rest by producing the color's complementary as a ghostly afterimage in the mind.

Claes Oldenburg and Coosje van Bruggen's "Spoon Bridge with Cherry,"

Oldenberg and van Bruggen's work is gigantic in scale. It is an intentional exaggeration that parodies the idea of garden sculpture even as it wryly comments on art as the "maraschino cherry" of culture, the useless and artificial topping on the cultural sundae.

How are time and motion experienced differently in the plastic arts as opposed to the written arts?

One of the most traditional distinctions may between the plastic arts—painting and sculpture—and the written arts, such as music and literature, is that we experience a painting or sculpture all at once, but we experience music and literature over time, in a linear way.

atmospheric perspective

The third and final element of the optically bassed system for representing the world that was developed during the Renaissance. An optical effect caused by the atmosphere that interposes itself between us & the objects we perceive

Paul Klee's "Landscape with Yellow Birds."

There is a ryth, of bulginh, tapered silvery forms. The birds hold the composition together by forming an implied oval as out eyes follow them around the landscape. They may be circling the moon

Definition of space and how artists create visual space:

space is the dynamic visual element that interacts with the lines & shapes & colors & textures of a work of art to give them definition.

contour line

the boundaries drawn to indict three dimensional form.