Mona Lisa （Artist: Leonardo da Vinci）5 page Research Paper. Read requirement carefully please
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StudentChapter4TheVisualElementPartB.ppsx© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
• Texture: surface quality (actual or visual; implied)
• Impasto
• Pattern (regular repetition)
• Space: 2- & 3-dimensional (height, width &/or depth)
(actual or implied)
• Positive/negative; figure/ground
• Overlapping; foreground/background
• Position
• Linear & isometric perspective
• Atmospheric perspective & chiaroscuro
• Foreshortening
• Time & motion: elapsed, implied, kinetic
Chapter Four, Part B
The Visual Elements
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Students will need to leave extra room in their notes after these terms for definitions and explanations as there wasn’t enough room on this slide. This chapter is presented in a condensed format to allow extra time for experiential activities using art media.
Suggested activities:
1. Go over perspective in the web site. Have students go outside to do perspective (1 pt. or isometric) drawings on campus.
2. Non-objective designs (see presentation 4a). This project is recommended if you did not have time to include it previously. It allows students do some dramatic interpretations of emotions.
Texture
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Texture and pattern are the perceived surface qualities of a work of art. They can be actual or implied.
Actual texture: a tactile experience
Visual or implied texture: an illusionary experience
Figure 4.37 Brancusi, Bird in Space, 1925.
Figure 4.38 Raoul Dufy, Regatta at Cowes, 1934.
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Texture can be described as a perception of smooth or rough, fine or coarse.
This sculpture could be experienced through touch (if we were allowed). Some museums have had to set up detection alarms due to our need to touch. Brancusi included three different textures, which grow more refined as our eyes move upward. This contributes to the sense of movement, as if the material world were falling away. The rough, wooden pedestal exerts an upward thrust; the small limestone base acts as a compression zone for gathering energy; the smooth marble bird makes a leap into space. Paint applied thickly creates an actual texture, called Impasto, that we could feel (again, if we were allowed).
Dufy’s painting is on a flat canvas, but he creates a visual illusion or an implied texture through his brushstrokes. They create “rough patches.” The water does not have a representational illusion, but still conveys choppiness.
Artists can create convincing illusions of actual texture created through ranges of VALUE and use of LINE. The mask is an example of actual textures which are tactile (can be felt), and create a dynamic visual PATTERN.
Texture with Pattern
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Pattern: Any decorative, repetitive motif or design.
Figure 4.36 Mona Hatoum, Prayer Mat, 1995.
Figure 4.39 Samuel Fosso, The Chief, 1997.
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This photograph has no actual texture, save for the smoothness of the glossy paper on which it is printed. The continuous tone of the printing creates an illusion of skin, hair and fabric. Within this photograph, the fabrics additionally have a regular repetition, which is a PATTERN. This is the same concept in most fabrics and wallpaper. Patterns tend to have a flattening effect, which makes the space hard to read. The patterns clamor for attention, and almost seem to blend together. Fosso is mocking traditional rulers, as artists have for centuries, in this self portrait by the African photographer.
Hatoum’s mat is made from brass pins glued on canvas, which is an example of both patterns and actual texture. It refers to the small portable prayer rugs that Muslims use to pray five times daily. It’s equipped with a compass that orients the user toward Mecca, no matter where they are located. Ask your students what questions are posed by this work. Is it meant to be functional?
Space
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Space interacts with other visual elements and helps give them definition. There exists both negative and positive space.
Figure 4.41 Do Ho Suh, Reflection, 2004.
Three dimensional space has height, width, and depth.
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Sculpture, architecture, and all forms with mass exist in three-dimensional space. We are as interested in the negative space as we are the positive space.
Giacometti created this sculpture after visiting a friend in the hospital. He recalled that his friend’s eyes and cheeks were sunken, but his bony nose seemed to rise upwards. The frame seems to accentuate the void around the man, and serves to contain all but the nose.
Do Ho Suh’s installation produces a heightened awareness of the shaped space it occupies by modifying that space in an unexpected and disorienting way.
Space
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Two dimensional space has only height and width. There exists the picture plane and the illusion of the negative (ground) and positive (figure) space.
Implied Space: Includes overlapping and position (foreground, middle- ground, background)
Illusionistic Space: Includes foreshortening, linear, isometric, and atmospheric perspective
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Sculpture, architecture, and all forms with mass exist in three-dimensional space. We are as interested in the negative space as we are the positive space.
Giacometti created this sculpture after visiting a friend in the hospital. He recalled that his friend’s eyes and cheeks were sunken, but his bony nose seemed to rise upwards. The frame seems to accentuate the void around the man, and serves to contain all but the nose.
Do Ho Suh’s installation produces a heightened awareness of the shaped space it occupies by modifying that space in an unexpected and disorienting way.
Implied Space
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Two dimensional space has only height and width. There exists the picture plane and the illusion of the negative (ground) and positive (figure) space.
Figure 4.42 Maharana Amar Singh II, Prince Sangram Singh…c. 1705-08.
Overlapping
Position (foreground, middle-ground, background)
Linear perspective or isometric perspective
Atmospheric perspective
Foreshortening
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The picture plane is the flat surface of a two-dimensional work. The space is only implied, as there is no actual depth. Artists use many devices to give the illusion of depth:
1. Overlapping: The elephant seen in its entirety is viewed as the closest.
2. Position: The performers at the bottom are viewed as the closest (foreground), followed by those in the middle-ground. The most important person in this story is the Indian prince in the background. The space of the architectural setting frames him, and the implied line of the gaze from his court and attendants points him out.
An important feature of the Eastern aesthetic is the flattened space. Profile views are common, as they give the least implication of depth. It is conceptually convincing, but not optically convincing.
Illusion of Space
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Figure 4.43 Basic principles of linear perspective.
Linear Perspective
Overlapping
Position (foreground, middle-ground, background)
Linear perspective or isometric perspective
Atmospheric perspective
Foreshortening
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In order to create a “window on the world,” Renaissance artists used the camera obscura, a drawing device, to replicate how structures recede into space. It is based on two observations: 1. Forms seem to diminish in size as they recede.
2. Parallel lines that recede seem to converge towards a vanishing point, where they appear to disappear on the horizon line.
Review each of these terms in one and two point perspective.
Illusion of Space
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Figure 4.45 Leonardo da Vinci, The Last Supper, 1495-97.
Linear Perspective
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This Renaissance artist used all of the above techniques to create depth except isometric perspective, which is an Eastern invention. The ceiling divisions and wall hangings have parallel lines that converge at the vanishing point behind Jesus’ head. The window frames him as he announces that one of them will betray him. Judas pulls back as he clutches the bag of silver, his price for handing over his leader to authorities.
Illusion of Space
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Figure 4.51 The Siege of Belgrade, Manuscript 1558.
Figure 4.50 Basic principles of isometric perspective.
Overlapping
Position (foreground, middle-ground, background)
Linear perspective or Isometric perspective
Atmospheric perspective
Foreshortening
Isometric Perspective
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This manuscript from Istanbul is an example of ISOMETRIC PERSPECTIVE, which is an Eastern aesthetic. Only the first 3 methods are contained here. The mobile and airborne viewpoint has no use for converging lines. It uses diagonals, but without allowing parallels to converge. Depicted here is the 16th century Ottoman ruler, Sulayman.
Illusion of Space
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Figure 4.48 Bierstadt, The Rocky Mountains, Lander’s Peak, 1863.
Figure 4.49 Detail, Gongwang, Dwelling in the Fuchun Mountains, 1530.
Atmospheric Perspective: As objects recede into the distance they become paler, bluer, and less distinct.
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In addition to the fact that our eyesight fails as objects reach the vanishing point, moisture and dust in the atmosphere scatters light. Blue light scatters the most, hence the sky appears blue, and things take on a bluish tinge as their distance from us increases. These concepts are clear on both of these paintings.
Bierstadt’s dramatic landscape draws our eyes through the Indian encampment, to a waterfall, and on to the distant mountain peaks.
This Chinese hand-scroll uses no color, but the values adhere to the concept as all detail is reduced to a hazy gray as our eyesight diminishes toward the horizon line. This detail is taken from a scroll that is over 20’ long. It is traditionally unrolled and rolled slowly, showing a foot or two at a time in order to savor the journey. All is painted from a “bird’s-eye view” so the viewer can be everywhere and see everything.
Illusion of Space
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Figure 4.46 Hans Baldung Grien, The Groom and the Witch, c.1540.
Figure 4.47 Dürer, Draftsman Drawing a Reclining Nude, c. 1527.
Foreshortening: The affect of linear perspective when applied to objects and human forms within a work of art.
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The logic of linear perspective applies to all forms that recede into the distance, including human and animal forms. Ask students to point an index finger upwards and look at it with one eye closed. They should watch how the size changes as they slowly tilt the finger until it points away from them. This effect is called foreshortening. To observe this accurately is more difficult, as there are no parallel lines. Artists during the Renaissance used a gridded window placed in front of their models. They drew each square in this window on a proportionally smaller square on their drawing paper. The artist must close one eye and stay in exactly the same viewpoint until all grids are replicated.
Time and Motion
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Figure 4.52 Calder, Southern Cross, 1963.
Kinetic art: (actual motion)
Time and motion have become increasingly important to art during the 20th and 21st centuries. There is more thought and emphasis placed on the nature of time in our modern world.
Kinetic art: Art that actually moves.
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During the 1930s Alexander Calder set sculpture in motion with works that came to be known as mobiles. The slender wire allowed the shapes to move independently on the lightest currents of air. His larger ones are motorized. Kinetic comes from the Greek word “kinetos,” which means moving. Calder also created “stabiles,” sculptures that do not move. Here, Calder combined these ideas. The orange stabile holds aloft a black mobile, to depict the southern constellation, Crux, by which sailors navigated.
The same Greek root also gives us the word cinema. Sussman uses time and motion to reference one of the world’s most famous paintings, “Las Meninas,” by Velazquez (see 17.11). Actors depict each of the people in his complex painting, but the space becomes even more disconcerting as the camera, in addition to the actors, moves fluidly. Once again, the viewer is left to wonder what is happening and who Velazquez is actually painting.
Time and Motion
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Figure 4.55 Steinkamp, Dervish, detail, 2004.
Time and Motion
Elapsed time · Implied motion
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This video installation by Jennifer Steinkamp consists of digitally animated trees, stand-ins for the Sufi mystics, who enter a state of spiritual ecstasy by means of a spinning dance. She begins with an image of a maple tree, then digitally modifies each tree until they are generic. She then animates the images, as the trunks twist like wrung laundry, and cycle through the seasons as they sway. They can also be programmed to change on cue (the sound of a slamming door, for example, could cause spring to turn into summer).
Line, shape, mass, light, value, color, texture, pattern, space, time, and motion are the raw materials, or elements, of a work of art.
In the next chapter, we examine how artists ORGANIZE all of these elements of design.
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Chapter Four, Part B
The Visual Elements
• Texture: surface quality (actual or visual; implied)
• Impasto
• Pattern (regular repetition)
• Space: 2- & 3-dimensional (height, width &/or depth)
(actual or implied)
• Positive/negative; figure/ground
• Overlapping; foreground/background
• Position
• Linear & isometric perspective
• Atmospheric perspective & chiaroscuro
• Foreshortening
• Time & motion: elapsed, implied, kinetic
‹#›
14
Students will need to leave extra room in their notes after these terms for definitions and explanations as there wasn’t enough room on this slide. This chapter is presented in a condensed format to allow extra time for experiential activities using art media.
Suggested activities:
1. Go over perspective in the website. Have students go outside to do perspective (1 pt. or isometric) drawings on campus.
2. Non-objective designs (see presentation 4a). This project is recommended if you did not have time to include it previously. It allows students do some dramatic interpretations of emotions.
