T3 #9: Ch 4 & 5 Texture, Pattern, Space, Time, & Motion and Renaissance cont.

Sofonisba Anguissola, A Game of Chess, 1556.

1st female Italian artist that gained int'l acknowledgement, daughter of famous painter, 3 younger siblings and nanny of painter

Vertical positioning

A method of creating the illusion of space by placing objects designated as being farther from the viewer toward the upper edge of the composition.

Actual texture vs. Visual texture

Actual- Tactile, physical texture related to the material used to create the work. Visual- The illusion of an actual texture.

Actual space vs. implied or pictorial space

Actual- The three dimensions (height, width, and depth) in which we live. Implied- The space or depth suggested by an artist in a two-dimensional work.

Futurism

An early-twentieth-century style that portrayed modern machines and the dynamic character of modern life and science.

Impasto

Application of a medium such as oil or acrylic paint so that an actual texture is built up on a surface.

Coatlicue, from Tenochtitlán, Mexico City, Aztec, c. 1487-1520.

Coatlicue was the Earth goddess of creation and destruction, Aztecs were very brutal people, garland of hands and head, skirt made of snakes

Linear perspective

Formal systems developed by artists to portray three dimensional objects in two-dimensional space; based on the fact that objects appear smaller when they are farther from the viewer; therefore, parallel lines (such as train tracks) appear to converge as they recede from the viewer.

Vanishing point

In linear perspective, a point on the horizon where parallel lines appear to converge.

One-point (or single-point) perspective

Linear perspective in which a single vanishing point is placed on the horizon.

Optical and conceptual representation

Optical- The depiction of objects as they are actually seen from a single vantage point. Conceptual- The use of multiple perspectives to depict objects as they are known to be rather than as they are seen from a single vantage point.

Freestanding sculpture

Sculpture that is carved or cast in the round, unconnected to a wall, and thereby capable of being viewed in its entirety by walking around it. Freestanding sculpture can also be designed for a niche, which limits the visible portion of the sculpture.

Subversive texture

Texture that is chosen or created by artists to foil or undermine our ideas about the objects that they depict.

Invented texture

Texture that makes no reference to real or actual texture.

Vantage point

The actual or apparent spot from which a viewer observes an object or picture.

Atmospheric perspective (also known as aerial perspective)

The creation of the illusion of depth through techniques such as texture gradient, brightness gradient, color saturation, and the use of warm and cool colors; an indistinct or hazy effect produced by distance and the illusion of distance in visual art. Its name derives from recognition that the atmosphere between the viewer and the distant objects (with its water droplets, dust, or pollution) would cause the effect.

Hall of Supreme Harmony (looking north), Forbidden City, Beijing, China, Ming Dynasty, 15th century and later.

built on compass points, built for emperor to meet with visiting diplomats

Allen Jones, Echo, 2003.

contemporary, flattened dancing figures, actual 3D space, painted steel

Sofonisba Anguissola, Self-Portrait at the Easel, 1556.

ex. of actual and implied line from mixing tool and paint brush, focus on face and ends, rare bc she is actively engaged in painting, secular and spiritual skills shown

View of the Incan Citadel at Machu Picchu, Urubamba Valley, Peru, 1490-1530.

ex. of actual atmospheric perspective, photo

Alexander Calder, Little Spider, c. 1940.

ex. of actual motion, "stabile", moving statue

View Towards the Rialto Bridge, Grand Canal, Venice, Italy.

ex. of actual space through relative size and detail, photo

Céleste Boursier-Mougenot, From Here to Ear, 1999-ongoing.

ex. of actuall texture, contrasting to emphasize it, installation views

Frederic Edwin Church, The Heart of the Andes, 1859.

ex. of implied atmospheric perspective, details fade in background, oil on canvas

Jean Dubuffet, Blossoming Earth, 1959.

ex. of implied line and impasto, thick amount of paint to make it 3D, oil and collage

Bridget Riley, Gala, 1974.

ex. of implied motion, complimentary colors and varied thickness and separation of parallel lines to create illusion of movement

Giacomo Balla, Girl Running on the Balcony, 1912.

ex. of implied motion, futurist

Thomas Eakins, Study in Human Motion, 1884.

ex. of implied motion, running and jumping from left to right

Thomas Eakins, Jesse Godley, 1884.

ex. of implied motion, running from right to left

Giovanni Antonio Canaletto, The Rialto Bridge, c. 1735.

ex. of implied space through relative size, painting

Edgar Degas, In a Café, 1873.

ex. of implied space, b/w the couple, looking away and distance b/w them, absinthe that creates hallucinations, impressionism

William H. Johnson, Café, 1939-1940.

ex. of implied space, very close together, modern

Albrecht Dürer, Great Piece of Turf, 1503.

ex. of implied texture, watercolor

Edgar Degas, Frieze of Dancers, c. 1895.

ex. of implied time through different stages of putting on their shoes

Scenes from Genesis, c. 840. Illustration in the Moutier-Grandval Bible.

ex. of implied time through simultaneous narrative

Dennis Oppenheim, Reading Position for a Second Degree Burn, 1970.

ex. of implied time through the burn

Max Ernst, L'oeil du silence (The Eye of Silence), 1943-44.

ex. of invented texture, not real landscape

Table with drawers (Ming Dynasty), c. 1426-1435.

ex. of lacquer

Pieter Bruegel the Elder, The Peasant Wedding, 1568.

ex. of mannerism, elongation and flattening of the human figure, no focal point, not very 3D, no subject looking at viewer

Diagram of one-point linear perspective.

ex. of one point linear perspective is Raphael's School of Athens

Lorenzo Ghiberti, Joseph of Egypt Sold by His Brothers, 1425-1452.

ex. of overlapping, relative size, repetition of detail to all create depth

Juan Gris, The Bottle of Banyuls, 1914.

ex. of overlapping, to celebrate 2D style

Martina López, Heirs Come to Pass, 3, 1991.

ex. of relative size, collaged photos of family members

Mona Hatoum, Doormat II, 2000-2001.

ex. of subversive texture, nickel coated pins and push pins medium

Vincent van Gogh, Orchard in Blossom (Plum Trees), 1888.

ex. of texture, calm, more expressionistic than realistic, oil on canvas

Fowling (Bird-Hunting) Scene from the tomb of Nebamun, Thebes, Egypt, c. 1400-1350 BCE.

ex. of twisted perspective, profile of kings face but front of body to show his necklace, representative of rank

Gustave Caillebotte, Paris Street: Rainy Day, 1877.

ex. of two-point perspective, building creates two vanishing points

Vase in meiping shape with phoenix (Ming Dynasty).

ex. of underpainting and lacquer, blue color from Iran and very expensive, collaboration piece potters and painters, color lasts long bc it is painted under many layers of clear lacquer

William Pope.L, Training Crawl, Lewiston, ME, 2001.

ex. of vanishing point

Taj Mahal and gardens (looking north), Agra, India, 1632-1647.

from Mughal Empire- "descended from Monghols", Akbar (emperor) united India and built Taj Mahal, dedicated to his favorite wife, exactly symmetrical, 4 minaret towers

Umberto Boccioni, The Street Enters the House, 1911.

futurist, from balcony looking down on hectic parade on the street

Li K' An, Bamboo and Rocks, Yuan Dynasty, 1308.

ink on hand scroll, b/w Song and Ming dynasties, not 3D

Lynda Benglis, Eridanus, 1984.

metal sculpture, limited color

Basawan and Chatar Muni, Akbar and the Elephant Hawai, c. 1590.

mini painting of secular subject, Akbar showing his power by riding elephant Hawai

Vincent van Gogh, Mulberry Tree, 1889.

more turbulent, jagged brushstroke adds to the feeling, oil on canvas

Karesansui (dry landscape) garden Ryonaji, Kyoto, Japan (Muromachi period) c. 1488.

mostly religious buildings (Buddhist) built during Muromachi period

Jacopo Pontormo, Entombment of Christ, 1525-1528.

oil on panel, extreme elongation of figures, heightened emotional depiction, not realistic

Jean-Baptiste Simeon Chardin, Still Life with Bottle of Olives, 1760.

overlapping for relative size

Gabrielle de Veaux Clements, Church and Castle, Mont Saint Michel, 1885.

overlapping to create dimension

Tiffany Studios, Magnolia and Irises, c. 1908.

overlapping to show landscape perspective, cool tones in background to give depth

Hasegawa Tohaku, Pine Forest, (Momoyama period), late 16th century.

replication of nature, not necessarily realistic, similar to Chinese Mind Dynasty style

Aerial view of Machu Picchu (looking northwest), Urubamba Valley, Peru. (Inka) 1490-1530.

very safe location due to the steep drop offs