Art Appreciation

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Chapter 1.2 Form, Volume, Mass, and Texture

PART 1

FUNDAMENTALS

Introduction

Three-dimensional works of art:

Have height, width, and depth

Possess four of the visual elements: form, volume, mass, and texture

1.2.1 Three dimensions: height, width, and depth

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Form

A two-dimensional object is a shape; a three-dimensional object is called a form

Forms have two basic attributes

Volume: the amount of space a form occupies

Mass: the volume is solid and occupies space

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Forms vary widely in scale (the size of an object relative to another object)

Forms are tactile; texture can be experienced directly through touch or imagined simply by looking at it

Great Sphinx of Giza and Pyramid of Khafre

1.2.2 Great Sphinx of Giza (front), c. 2500 BCE, and Pyramid of Khafre, c. 2500 BCE, Giza, Egypt

Great Sphinx of Giza and Pyramid of Khafre

The Great Sphinx is the largest carving in the world from a single stone; it guards tombs

Pyramid of Khafre is an example of regulated geometric form

Egyptian art and architecture is ordered and controlled; governed by a canon (set of rules)

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Stone was a common material in ancient Egypt

Both artworks are located at Giza, near Cairo

Great Sphinx

Symbol of the power we, as humans, have to change our surroundings

The name “sphinx” comes from Greek, not Egyptian, mythology (creature with the body of a lion, wings of an eagle, and head of a man)

Believed to be a likeness of the Egyptian King Khafre

Pyramids

Emphasis on mathematical proportion and attention to detail

Geometric Form

Regular forms that are readily expressible in words or mathematics

Cubes, spheres, cylinders, cones, and pyramids are simple examples

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Geometric and Organic Forms

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The Pyramids of Giza

Video

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: David Smith, Cubi XIX

1.2.3 David Smith, Cubi XIX, 1964. Stainless steel, 113¼ × 21⅝ × 20⅝". Tate Gallery, London, England

David Smith, Cubi XIX

Smith combines geometric forms in angular relationships

Uses cubes, cuboids, and a thick disk

Diagonal angles imply movement

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American sculptor David Smith (1906–1965) learned welding in an automobile factory and fabricated tanks of thick armor plate during World War II

He burnished the stainless steel surfaces to create a counterpoint between industrial and natural form

Organic Form

The form of most things in the natural world is organic: irregular and unpredictable

Living things (and their form) change constantly

Can be used for expressive effect

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Roettgen Pietà (Vesperbild)

1.2.4 Roettgen Pietà (Vesperbild), Middle Rhine region, c. 1330. Wood, height 34½". Rheinisches Landesmuseum, Bonn, Germany

Roettgen Pietà (Vesperbild)

The human figure is an organic form

Artist carves the bodies of Mary and Jesus as irregular, awkward, and distorted

Expresses agony of death and grief

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

From fourteenth century; artist is unknown

Jesus is stiffly angular and lifeless

Prickly thorns, gushing wounds, and crumpled drapery give texture to pain and anguish

Mary is disproportionate, her face twisted in sorrow

Portal Artwork: Moai ancestor figures

3.5.16 Moai ancestor figures, Ahu Nau Nau, Easter Island (Chile), Polynesia, before the 15th century

The Easter Island moai ancestor figures are examples of artistically accentuated organic forms.

Artwork: Lino Tagliapietra, Batman

1.2.5 Lino Tagliapietra, Batman, 1998. Glass, 11½ × 15½ × 3½"

Lino Tagliapietra, Batman

The form of this artwork is lively and organic

The natural energy of light is captured in the glowing transparency of glass

Uses expressive form to allude to the character Batman

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Italian glass artist Lino Tagliapietra (b. 1934)

Tagliapietra conveys the idea of “a creature who emerges from his dark cave to share goodness and light”

He says of his work: “I imaged pieces that allow the viewer to see both the reality and fantasy of Batman’s world”

Form in Relief and in the Round

Relief

A work in which forms project from a flat surface

Designed to be viewed from one side only

A form in the round can be seen from all sides

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Form in the Round and in Relief

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Imperial Procession, Ara Pacis Augustae

1.2.6 Imperial Procession, from the Ara Pacis Augustae, 13 BCE. Marble altar, Museo dell’Ara Pacis, Rome, Italy

Imperial Procession, Ara Pacis Augustae

Figures in the foreground (high relief) are more deeply carved than figures in the background

Depth of the carvings suggest that some areas are further away

Implies a large crowd

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Relief sculpture on the south facade of the Ara Pacis (Latin for Altar of Peace) in Rome, Italy

Unknown artist

Artwork: Stela with supernatural scene

1.2.7 Stela with supernatural scene, Mexico or Guatemala, 761 CE. Limestone, 92 × 42 × 3". Fine Arts Museums of San Francisco

Stela with supernatural scene

This artwork is an example of bas-relief (low relief)

Large figure of a Maya ruler wearing an elaborate costume

All elements of the composition are of equal visual weight

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

A stela is an upright stone slab decorated with inscriptions or pictorial relief carvings

The Maya writing to the left of the figure seems to be of equal depth

Artwork: Naked Aphrodite Crouching at Her Bath

1.2.8a and 1.2.8b Naked Aphrodite Crouching at Her Bath (“Lely’s Venus”). Marble, Roman, 2nd century CE; copy of lost Greek original of the late 3rd/2nd century BCE, height 44⅛". British Museum, London, England (on loan from Her Majesty the Queen)

Naked Aphrodite Crouching at Her Bath

Sculptures in the round can be viewed from all sides

Aphrodite’s body is twisted, inviting the viewer to walk around the work

As the viewer moves, their perception changes, revealing new and different aspects of the work

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

This ancient Roman statue is also known as Lely’s Venus.

Portal Artwork: Giambologna, Rape of a Sabine

2.4.2a Giambologna, Rape of

a Sabine (model), 1582.

Gesso, height 13'8". Galleria dell’Accademia, Florence, Italy

Giambologna’s Rape of a Sabine is a freestanding sculpture depicting figures from Classical mythology

It is intended to be viewed in the round

Volume

Volume is the amount of space occupied by an object

Solid objects have volume; so do objects that enclose an empty space

1.2.9 Volume (left) and mass (right)

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Architectural forms usually enclose a volume of interior space to be used for living or working.

Volume

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Open Volume

When artists enclose a space with materials that are not completely solid, they create an open volume

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Ralph Helmick and Stuart Schechter, Ghostwriter

1.2.10a Ralph Helmick and Stuart Schechter, Ghostwriter, 1994. Cast metal/stainless cable, 36 × 8 × 10'. Evanston Public Library, Illinois

Detail of Helmick and Schechter's Ghostwriter

1.2.10b Detail of Ghostwriter

Detail of the sculpture Ghostwriter, showing smaller sculptures of heads and other metal pieces suspended from cables.

Ralph Helmick and Stuart Schechter, Ghostwriter

Helmick uses carefully suspended pieces of metal create an open volume

When seen as a whole, the shape of a large human head is implied

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The small metal pieces represent letters of the alphabet and other objects.

Artwork: Tatlin, Monument to the Third International

1.2.11 Vladimir Tatlin, Model for Monument to the Third International, 1919

Tatlin, Monument to the Third International

This monument was never built

Intended to be a huge steel-and-glass tower commemorating the triumph of Russia’s Bolshevik Revolution

The proposed materials and the interior's open volume symbolize the modernism of Communism

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Russian artist Vladimir Tatlin (1885–1953) envisioned this tower to house the offices and chamber of delegates of the Communist International

If built, it would have been larger than the Eiffel Tower

The open volume and proposed materials (steel and glass) symbolize the modernism and dynamism of Communism

Tatlin believed art should support and reflect the new social and political order

Artwork: Mickett and Stackhouse, In the Blue (Crest)

1.2.12 Carol Mickett and Robert Stackhouse, In the Blue (Crest), 2008. Painted cypress, 24 × 108 × 11'. Installation at St. Petersburg Art Center, Florida

Mickett and Stackhouse, In the Blue (Crest)

Open volume can make a work feel light

The negative space (openings between wooden slats) and irregular arrangement make the work seem to float

Implies the presence of water

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Created by American sculptors Carol Mickett (b. 1952) and Robert Stackhouse (b. 1942).

Mass

Mass suggests that something is solid and occupies space

Mass can suggest weight but it does not necessarily imply heaviness

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Our perception of mass is derived from our imagination, our previous experience with smaller objects, and our understanding of the forces of nature

Some artists imply mass to give the impression that the object we are looking at is very heavy

In movies, special-effect artists play with that illusion (e.g. boulders made of foam)

Mass

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Rachel Whiteread, House

1.2.13 Rachel Whiteread, House, 1993. Concrete. Bow, London, England (demolished 1994)

Rachel Whiteread, House

Whiteread's House suggests great weight and solidity

She filled the interior of a house with concrete before demolishing exterior walls

Empty volume of the interior is turned into a memorial of the lives of the people who used to live in it

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

British sculptor Rachel Whiteread (b. 1963)

We comprehend not only the weight of the concrete, but also the related associations of life and death, memory and change

Artwork: Marisol (Escobar), Father Damien

1.2.14 Marisol (Escobar), Father Damien, 1969. Bronze, height 7'. State Capitol Building, Honolulu, Hawaii

Marisol (Escobar), Father Damien

Father Damien was a humanitarian who served a leper colony in Hawaii

Steadfast compassion is suggested by the four-square mass

The stout form communicates stability and determination

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Venezuelan-born artist Marisol (b. Maria Sol Escobar, 1930) depicts the courage of a humanitarian hero

Father Damien was a Catholic missionary who supervised a leper colony on the island of Molokai during the nineteenth century

He died of leprosy while serving its victims

Hawaiian legislature voted to place this memorial to him in front of the State Capitol Building in Honolulu

Portal Artwork: Colossal Olmec Head

3.4.8 With the help of local villagers, Matthew and Marion Stirling discovered this 8-foot-tall colossal head in San Lorenzo in the state of Veracruz, Mexico, in 1945—a few years after their discoveries at La Venta.

Another example of mass can be found in the colossal Olmec head from Veracruz, Mexico.

Frank Gehry, Guggenheim Museum, Bilbao

1.2.15 Frank Gehry, Guggenheim Museum, 1997, Bilbao, Spain

Frank Gehry, Guggenheim Museum, Bilbao

The museum is located in Bilbao, Spain, which was once a center for shipbuilding

Undulating surfaces and complex shapes of Gehry’s creation extend into space like a huge boat

Uses contrasts in geometric and organic form

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.2 Form, Volume, Mass, and Texture

American architect Frank Gehry (b. 1929) designed the Guggenheim Museum, located between the River Nervión and a motorway

Gehry used computer programs originally invented for aerospace design

Most walls are irregular, curving organic forms, but entrance is composed of more familiar geometric form

Employs both relief and sculpture in-the-round

Covered with titanium tiles, resembling bas-relief

Building itself is like a sculpture in the round

This part of the city has been transformed from deteriorating industrial district to a vibrant cultural area

Artwork: Louise Bourgeois, Maman

1.2.16 Louise Bourgeois, Maman, 1999 (cast 2001). Bronze, stainless steel, and marble, 29’4⅜" x 32'9⅛" x 38'1". Guggenheim Museum, Bilbao, Spain

Louise Bourgeois, Maman

This sculpture stands beside the Guggenheim Museum, Bilbao

The massive solidity of the building is contrasted with the spindly form and open volume of Maman

Means “Momma” in French

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.2 Form, Volume, Mass, and Texture

French artist, Louise Bourgeois (1911–2010) wants to convey both the tenderness and the fierce protectiveness of motherhood

The subtle variations of angle in the legs imply movement

Even though this spider is made of bronze, the effect is one of lightness

Suspended below the central body is a container of marble spheres, like an egg sac

1.2.17a Constantin Brancusi, The Kiss, 1916. Limestone, 23 x 13¼ x 10", Philadelphia Museum of Art

Artwork: Constantin Brancusi, The Kiss

By fusing the separate figures into one solid stone mass, Brancusi communicates a transcendent and timeless love that is not bound by the human body and its limited time on earth, but becomes symbolic of something ancient and lasting.

1.2.17b Auguste Rodin, The Kiss, c.1882. Marble, 71½ × 44¼ × 46", Musée Rodin, Paris,

Artwork: Auguste Rodin, The Kiss

Rodin downplays the role of the material, instead creating a lighter expression of mass and revealing the form and texture of the human body to communicate the power of real, physical love.

Brancusi and Rodin: Using Mass to Describe Love

Rodin decided to carve a naturalistic image of two figures embracing

Brancusi carves directly into a block of limestone to express the idea of two lovers unified in their relationship with each other

PART 1

FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.2 Form, Volume, Mass, and Texture

Texture

Texture is the tactile sensation when we physically encounter a three-dimensional form

We rely mostly on the impressions we receive from our hands

Looking at a surface, we can imagine its texture based on our past experience

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Two-dimensional images have implied texture, which means the artist creates an effect that reminds us of our tactile memory of an actual texture.

Texture

Interactive Exercise

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Anish Kapoor, Cloud Gate

1.2.18 Anish Kapoor, Cloud Gate, 2004. Stainless steel, 32'9" × 65'7" × 41'12". Millennium Park, Chicago, Illinois

Anish Kapoor, Cloud Gate

Viewers of Cloud Gate experience actual texture when they see and touch the work

Highly polished, organic form that reflects the city of Chicago

Artist wants the viewer to interact with the sleek sculpture

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Indian-born British artist Anish Kapoor’s (b. 1954) sculpture is polished stainless steel

“Bean-like” form

Artwork: Wangechi Mutu, She’s Got the Whole World in Her

1.2.19a Wangechi Mutu, She’s Got the Whole World in Her, 2015. Mannequin, paper, wax and lights, 9' × 5' × 3'5"

Artwork: Wangechi Mutu, She’s Got the Whole World in Her

1.2.19b Wangechi Mutu, She’s Got the Whole World in Her (rear view), 2015. Mannequin, paper, wax and lights, 9' × 5' × 3'5"

Wangechi Mutu, She’s Got the Whole World in Her

This artwork features a female figure surrounded by natural textures—wood, animal horns, and rough papier maché—gazing at a lighted globe

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The artist employs a wide variety of organic textures derived from transient materials like paper and wax to symbolize issues of gender, colonialism, and those unique to people in Africa or of African descent

Mutu uses textured objects to express the changing role of African women, from traditional agrarian responsibilities to careers in business and government, as well as modern society in general

Subversive Texture

This type of texture contradicts our previous tactile experience

Artists use subversive texture to invite viewers to reconsider preconceptions

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Méret Oppenheim, Object

1.2.20 Méret Oppenheim, Object, 1936. Fur-covered cup, saucer, and spoon, height 2⅞". MoMA, New York

Méret Oppenheim, Object

Oppenheim was a Swiss Surrealist

Used texture to contradict the conscious logical experiences of viewers

She counts on our tactile memory to conflict with the actual experience

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

In the early twentieth century, Surrealists created work that drew on ideas and images from dreams and the unconscious mind

In her sculpture, Oppenheim (1913–1985) takes normally hard and cool objects, and makes them soft and furry

Conjures up an unexpected sensation of fur tickling our lips

Form is recognizable, but the associated experience is not

To learn more about artists whose work uses form, volume, mass, and texture, watch these videos of MoMA lecturers talking about artworks from the MoMA collection:

Joseph Beuys,

Eurasia Siberian Symphony

Umberto Boccioni,

Unique Forms of Continuity in Space

Dynamism of a Soccer Player

MoMA Videos

MoMA Video

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Constantin Brancusi

Marcel Duchamp,

Bicycle Wheel

MoMA Videos (contd.)

To learn more about the use of time and motion in art, watch these videos of MoMA lecturers talking about artworks in the MoMA collection:

MoMA Video

PART 1

FUNDAMENTALS

Chapter 1.2 Form, Volume, Mass, and Texture

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 1.2 Copyright Information

This concludes the PowerPoint slide set for Chapter 1.2

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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FUNDAMENTALS

PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 1.2 Form, Volume, Mass, and Texture

1.2.1 Ralph Larmann

1.2.2 iStockphoto.com

1.2.4 Rheinisches Landesmuseum, Bonn

1.2.5 Photo Russell Johnson. Courtesy Lino Tagliapietra, Inc.

1.2.6 Museo dell’Ara Pacis, Rome

1.2.7 Fine Arts Museum of San Francisco, Museum Purchase, Gift of Mrs. Paul Wattis 1999, 42 a–k

1.2.8a Photo Mary Cameron-Sarani

1.2.8b Prisma/SuperStock

1.2.9 Ralph Larmann

1.2.10a Photo Clements/Howcroft, MA. Courtesy the artists

1.2.10b Photo Clements/Howcroft, MA. Courtesy the artists

1.2.11 Photo Nationalmuseum, Stockholm

1.2.12 Photo Andrew Hawthorne. Courtesy the artists

1.2.17b Photo Szilas

Picture Credits for Chapter 1.2

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PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 1.2 Form, Volume, Mass, and Texture

1.2.18 Photononstop/SuperStock

1.2.20 Museum of Modern Art, New York, Purchase, 130.1946.a–c. Photo 2012, Museum of Modern Art, New York/Scala, Florence. © DACS 2018

Picture Credits for Chapter 1.2 (contd.)

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PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 1.2 Form, Volume, Mass, and Texture