Journal Entry 3

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Chapter 1.9 Pattern and Rhythm

PART 1

FUNDAMENTALS

Introduction

Pattern and rhythm bring order to space and create a dynamic experience of time

Patterns are created by the recurrence of an art element

Rhythm arises through the repetition of pattern

PART 1

FUNDAMENTALS

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

Chapter 1.9 Pattern and Rhythm

Repetition of patterns provides a sense of unity

Rhythm provides cohesiveness because it links elements together

The artist can also use rhythm to add variety

Pattern

The use of repetition in a work usually results in pattern

Pattern can impose order on a work

Alternating patterns may be used to make a work more lively

The area covered by pattern is called the field

PART 1

FUNDAMENTALS

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

Chapter 1.9 Pattern and Rhythm

Patterns can be based on occurrences in nature, such as the regular repetition of fish scales, or the pattern created by the cracks that open as mud dries in the desert

Other patterns may be derived from the repeated shapes of mass-produced objects, such as tin cans or the warp and weft of woven cloth

Artists often create unity by repeatedly using a similar shape, value, or color

Shape and Pattern

PART 1

FUNDAMENTALS

Interactive Exercises:

Chapter 1.9 Pattern and Rhythm

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

Vertical Alternating Pattern

1.9.1 Vertical alternating pattern

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

This pattern shows a series of star shapes set on alternating black and white backgrounds on a rectangular field

The drastic difference in value combined with the active shape causes a visual vibration

Unity and Contrast

PART 1

FUNDAMENTALS

Interactive Exercises:

Chapter 1.9 Pattern and Rhythm

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

Artwork: Suzanne Valadon, The Blue Room

1.9.2 Suzanne Valadon, The Blue Room, 1923. Oil on canvas, 35½ × 45⅝". Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France

Suzanne Valadon, The Blue Room

Three contrasting patterns energize the work:

Organic pattern of leaves and stems in the blue bed covering

Green-and-white striped pajamas

Mottled pattern of the background

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

A variety of different colors and patterns enlivens work by the French painter Suzanne Valadon (1865–1938).

Portal Artwork: Album Quilt

1.6.12 Album quilt, probably by Mary Evans, Baltimore, Maryland, 1848.

Appliquéd cottons with ink work, 9 × 9'. Private collection

The artist has used pattern and rhythm to structure the floral forms in this nineteenth-century quilt from Baltimore.

Motif

A design repeated as a unit in a pattern is called a motif

Motifs can represent ideas, images, and themes

A repeated motif can create a strong unified design

PART 1

FUNDAMENTALS

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

Chapter 1.9 Pattern and Rhythm

Motif

PART 1

FUNDAMENTALS

Interactive Exercises:

Chapter 1.9 Pattern and Rhythm

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

Artwork: Huqqa base

1.9.3 Huqqa base, India, Deccan, last quarter of 17th century.

Bidri ware (zinc alloy inlaid with brass), 6⅞ × 6½". Metropolitan Museum of Art, New York

Huqqa base

Many Islamic works use complex interlaced motifs

Elements, such as the flowers and leaves of the plants, recur at intervals

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

Created in seventeenth-century India

A huqqa is a water pipe used for smoking

Diagram of “Birds in the Air”

1.9.4 Diagram of block quilt pattern known as “Birds in the Air”

Motif is a common occurrence in traditional quilting

By unifying a series of simple patterns into a repeatable motif, a quilter could connect a series of blocks into a cohesive design

Deborah Coates, quilt

1.9.5a Deborah Coates, quilt, c. 1840−50. Pieced silk with stamp work, 96½ x 89".

Heritage Center Museum: Lancaster Quilt and Textile Museum, Lancaster, Pennsylvania

The choice of “Birds in the Air” was probably because the design, which implies the freedom of birds to fly away at will, was especially appropriate to the anti-slavery cause.

Detail of Deborah Coates’ quilt

1.9.5b Detail of stamp work by Deborah Coates

Inscribed with message: “Deliver me from the oppression of man”

Deborah Coates, quilt

Coates's quilt features a traditional pattern called “Birds in the Air”

“Abolitionist quilts” were made and sold to raise awareness and funding to free slaves

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

American quilter Deborah Coates (1801−1888).

Coates was the wife of the famed abolitionist Linley Coates

Such quilts were sold at popular quilting fairs in northern cities

Artwork: Maya Lintel Showing Shield Jaguar and Lady Xoc

1.9.6 Maya lintel showing

Shield Jaguar and Lady Xoc,

c. 725 CE. Limestone,

43 x 30¾ x 2⅜". British

Museum, London, England

Pattern Used to Emphasize Royal Power and Hierarchy

Repetitive patterns guide the eye toward the figures and show the wealth of objects worn by this powerful ruling couple

PART 1

FUNDAMENTALS

Gateway to Art:

Chapter 1.9 Pattern and Rhythm

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

Lady Xoc was one of the most forceful and influential women in Maya history.

Artwork: Chuck Close, Self-Portrait

1.9.7a Chuck Close, Self-Portrait, 1997. Oil on canvas, 8'6" × 7'. MoMA, New York

Detail of Chuck Close's Self-Portrait

1.9.7b Chuck Close,

Self-Portrait, detail

Further detail of Chuck Close's Self-Portrait

1.9.7c Chuck Close, Self-Portrait, detail

Chuck Close, Self-Portrait

Close’s paintings appear as abstract patterns when viewed closely

A grid that subdivides the entire image organizes the placement of each cell

The repeated cell motif unifies the work

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

American artist Chuck Close (b. 1940) uses a repeated pattern of organic concentric rings set into a diamond shape as the basic building blocks for his large compositions

There is a difference between a close-up view of the painting and the overall effect when we stand back from this enormous canvas

Rhythm

Rhythm gives structure to the experience of looking

Guides our eyes from one point to another in a work of art

Rhythm occurs when there are at least two points of reference in an artwork

PART 1

FUNDAMENTALS

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

Chapter 1.9 Pattern and Rhythm

Even the simplest works have an implicit rhythm

For example, the horizontal distance from one side of the canvas to the other is one rhythm, and the vertical distance from top to bottom, another

The intervals between elements provide points of reference for more complex rhythms

Types of Rhythm

PART 1

FUNDAMENTALS

Interactive Exercises:

Chapter 1.9 Pattern and Rhythm

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

Artwork: Pieter Bruegel, Hunters in the Snow

1.9.8 Pieter Bruegel, Hunters in the Snow, 1565. Oil on panel, 46 × 63¾".

Kunsthistorisches Museum, Vienna, Austria

Detail of Pieter Bruegel, Hunters in the Snow

1.9.8a Detail of Pieter Bruegel, Hunters in the Snow

Further detail of Pieter Bruegel's Hunters in the Snow

1.9.8 Detail of Pieter Bruegel, Hunters in the Snow

Pieter Bruegel, Hunters in the Snow

The party of hunters on the left side of the painting first draws our attention into the work

Our gaze circles from the left foreground, the middle ground on the right and background, then returns to the original focal point

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

Our attention follows the group’s direction, creating the first part of a rhythmic progression

In the middle ground, figures appear to be ice skating

The color of the sky and pond draw our attention to the horizon

The recession of the ridgeline pulls the eye to the left and into the far background

We then naturally inspect details in the painting and notice subsidiary rhythms, such as the receding line of trees

Bruegel paints the winter activities of the townspeople of sixteenth-century Flanders (a country that is now divided between Belgium, the Netherlands, and part of northern France)

Simple Repetitive Rhythm

Artists create repetition by using the same shape, color, size, value, line, or texture over and over again

Such regularity communicates reassurance

It is incorporated into architectural designs as a sign of stability and durability

PART 1

FUNDAMENTALS

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

Chapter 1.9 Pattern and Rhythm

We want reassurance that our buildings will endure

Stability was so important to the ancient Romans that architects were made to stand under archways while temporary support structures were removed

If the arch failed, the architect would be crushed

Great Mosque of Córdoba

1.9.9 Great Mosque of Córdoba, prayer hall of Abd al-Rahman I, 784–86, Córdoba, Spain

Great Mosque of Córdoba

Each of the repeating elements —columns, arches, and voussoirs—creates its own simple rhythm

This simple rhythm enhances the function of the space; becomes a part of the activity of worship

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

Voussoirs are the stone wedges that make up the arch

The simple repetitions become like prayer beads, reciting the Shahada (profession of faith), or the five-times-a-day call to prayer

Progressive Rhythm

Repetition that regularly increases or decreases in frequency creates a progressive rhythm as the eye moves faster or slower across the surface of the work

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FUNDAMENTALS

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

Chapter 1.9 Pattern and Rhythm

1.9.10 Edward Weston, Artichoke Halved, 1930. Silver gelatin print, 7⅜× 9⅜”.

Collection Center for Creative Photography, University of Arizona, Tucson

Artwork: Edward Weston, Artichoke Halved

Digital rights not available for this image. See p.165 of the textbook.

Edward Weston, Artichoke Halved

The outer layers (bracts) of the artichoke bud are closer together nearer the center

The highly focused close-up view and strong photographic contrasts of black and white accentuate the sense of speeding up

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

American photographer Edward Weston (1886–1958).

Alternating Rhythm

Multiple rhythms can become complex

Addition and alternation of rhythms can add unpredictability and visual excitement

PART 1

FUNDAMENTALS

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

Chapter 1.9 Pattern and Rhythm

Bai-ra-Irrai

1.9.11 Bai-ra-Irrai, originally built c. 1700 and periodically restored, Airai village, Airai State, Republic of Palau

Detail of Bai-ra-Irrai

1.9.11 Detail of Bai-ra-Irrai

Bai-ra-Irrai

This long house, or bai, serves as a place for meeting and ritual

Rhythms in the imagery above the entry become increasingly irregular

Edges of the roof display a regular series of symbolic icons

Helps to frame the composition and give the facade a dynamic feel

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

On the island of Palau in the western Pacific, a traditional men’s long house is called a bai

The imagery begins, at the bottom, with a horizontal line of fish that become irregular as they change to other kinds of shapes

Rhythmic Design Structure

Through the use of rhythmic design structure artists are able to divide visual space into different sections to achieve different kinds of effects

PART 1

FUNDAMENTALS

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

Chapter 1.9 Pattern and Rhythm

Rhythmic Structure

PART 1

FUNDAMENTALS

Interactive Exercises:

Chapter 1.9 Pattern and Rhythm

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

Artwork: Rosa Bonheur, Plowing in the Nivernais […]

1.9.12a Rosa Bonheur, Plowing in the Nivernais: The Dressing of the Vines, 1849. Oil on canvas, 4’4¾” × 8’6⅜". Musée d’Orsay, Paris, France

Rhythmic structure of Bonheur's Plowing in the Nivernais […]

1.9.12b Rhythmic structural diagram of 1.9.12a

Rosa Bonheur, Plowing in the Nivernais [...]

Horizontal rhythmic structure leads our eye in sequence from one group of shapes to the next, from left to right

Changing width of the gaps suggests the slow, irregular movement of the cattle

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

French artist Rosa Bonheur (1822–1899) may have been sympathetic toward those who worked outside of the stuffy social order of the time, yet she did not seek to glamorize her subject

Her gender may have been a disadvantage in a traditionally male profession

1.9.13 Francisco Goya, The Sleep of Reason Produces Monsters: plate 43 from The Caprices (Los Caprichos), 1799. Etching, aquatint, drypoint, and burin, 8⅞ × 5⅞". Metropolitan Museum of Art, New York

Artwork: Francisco Goya, The Sleep of Reason Produces Monsters

Francisco Goya, The Sleep of Reason Produces Monsters

Goya uses differing visual rhythms to denote ideas of good and evil

Use of aquatint heightens the contrast between dark and light creating a mysterious quality

Depicts the sleeping artist’s dream

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

Spanish painter Francisco Goya (1746−1828)

From the series "The Caprices" (Los Caprichos)

As the title suggests, the image is more than just a fantastical vision: it seems likely that the artist was expressing a belief that without rationality, there was a danger that life would descend into chaos and irrational prejudices and superstition

Portal Artwork: Alfred Stieglitz, The Steerage

2.8.25 Alfred Stieglitz, The Steerage, 1907. Photogravure, 13¼ × 10⅜". J. Paul Getty Museum, Los Angeles, California

Another example of rhythmic structure can be seen in Alfred Stieglitz’s photograph The Steerage

1.9.14 Jaune Quick-to-See Smith, Trade (Gifts for Trading Land with White People), 1992.

Oil paint and mixed media, collage, objects, canvas, 5’ × 14’1⅝", Chrysler Museum of Art, Norfolk, Virginia

Artwork: Jaune Quick-to-See Smith, Trade (Gifts for Trading Land with White People)

Created in 1992, as a reaction to the celebration of the five hundredth anniversary of Columbus’s landing in the Caribbean.

Jaune Quick-to-See Smith, Trade (Gifts for Trading Land with White People)

Two major components interact in this composition: a triptych, or three-panel artwork and a hanging collection of objects

The three panels of canvas are equal and create a simple repetitive rhythm

PART 1

FUNDAMENTALS

Chapter 1.9 Pattern and Rhythm

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

Native American artist Jaune Quick-to-See Smith (b. 1940)

Smith uses multiple rhythmic elements to communicate a reaction against the mistreatment of Native Americans that began with the arrival of Europeans

The hanging objects, a collection of stereotyped commercial images of Native Americans (mostly sports-team mascots), dangle above and in front of the canvas

Chapter 1.9 Copyright Information

This concludes the PowerPoint slide set for Chapter 1.9

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 1.9 Pattern and Rhythm

Picture Credits for Chapter 1.9

1.9.1 Ralph Larmann

1.9.2 Musée National d’Art Moderne, Centre Georges Pompidou, Paris

1.9.3 Metropolitan Museum of Art, Louis E. and Theresa S. Seley Purchase Fund for Islamic Art, and Rogers Fund, 1984, 1984.221

1.9.4 Ralph Larmann

1.9.5a, 1.9.5b Heritage Center Museum: Lancaster Quilt and Textile Museum, Lancaster, Pennsylvania. Photo courtesy Hearts and Hands Media Arts from the book and film Hearts and Hands: A Social History of 19th Century Women and Their Quilts, distributed by New Day Films

1.9.6 Photo Trustees of the British Museum, London

1.9.7a, 1.9.7b, 1.9.7c Museum of Modern Art, New York, Gift of Agnes Gund, Jo Carole and Ronald S. Lauder, Donald L. Bryant, Jr., Leon Black, Michael and Judy Ovitz, Anna Marie and Robert F. Shapiro, Leila and Melville Straus, Doris and Donald Fisher, and purchase, 215.2000. Photo Ellen Page Wilson, courtesy The Pace Gallery © Chuck Close, The Pace Gallery

1.9.8 Kunsthistorisches Museum, Vienna

1.9.9 iStockphoto.com

1.9.12a Musée d’Orsay, Paris

1.9.12b Musée d’Orsay, Paris. Line artwork by Ralph Larmann

1.9.13 Metropolitan Museum of Art, New York. Gift of M. Knoedler & Co., 1918, 18.64 (43)

1.9.14 Courtesy the artist Jaune Quick-to-See Smith (Salish) and the Garth Greenan Gallery, NYC

PART 1

FUNDAMENTALS

PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 1.9 Pattern and Rhythm