Journal Entry 3

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Chapter 2.2 Painting

PART 2

MEDIA AND PROCESSES

Introduction

Paint in its basic form is composed of pigment and a liquid binder

Pigments are extracted from minerals, soils, vegetable matter, and animal by-products

Binders are traditionally beeswax, egg yolk, vegetable oils and gums, water, and polymers

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

The First Paintings

Many discoveries of cave paintings have been made in southern France and Spain

Made of a saliva-and-pigment solution that was applied with a small tube

Paintings are mostly of animals, with some human imagery

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Artwork: Cave paintings from Pech Merle cave

2.2.1 Cave paintings from Pech Merle cave, c. 23,000 BCE. Pigment with saliva.

Near Cabrerets, Lot département, France

Cave paintings from Pech Merle cave

These paintings were created 25,000 years ago, in France

Made by blowing the saliva-and-pigment solution through a tube onto the stone cave walls

Researchers believe most artists involved in this work were female

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Pigment was probably derived from charcoal

Based on the finger lengths from handprints that surround the spotted horse paintings, researchers believe women created the work

Encaustic

To use encaustic, an artist must mix pigments with hot wax and then apply the mixture quickly

Can use brushes, palette knives, or rags, or can simply pour it

A stiff-backed support is necessary

Used by ancient Greeks and Romans

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

An Artist’s Tools

2.2.2 Commonly used brush types, and the parts of an artist’s brush: Round: sketching and thinned paint application, can be rolled in hand for special effect; Filbert: for applying color, short bristles for more control and softened edges; Flat: for long, fluid strokes and sharp edges; Bright: for controlled detailing and applying areas of color; Fan: for blending slow-drying paint and softening edges

2.2.3 Palette knife, a tool that can be used by the painter for mixing and applying paint

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Artwork: Portrait of a boy

2.2.4 Portrait of a boy, c. 100–150 CE. Encaustic on wood, 15⅜ × 7½". Metropolitan Museum of Art, New York

Portrait of a boy

This type of portrait would have been used as a funerary adornment

Artist created a naturalistic likeness of the deceased

Part of a group referred to as Fayum portraits after the Fayum Oasis in Egypt where many were found

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Made by an anonymous artist during the second century ce in Roman Egypt

Placed over the face of the mummified deceased or on the outside of the sarcophagus in the face position

2.2.5 Mary Black, Natura 9, 2015. Encaustic, oil stick, graphite, ink, and Sheetrock tape on panel, 10 × 10". Collection of the artist.

Artwork: Mary Black, Natura 9

Mary Back, Natura 9

Black uses a process of destruction, and then creation to build up layers of translucent and added material

Uses pocked and dripped paint

The finished artwork becomes a record of the spontaneous reactions that she values in her work

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

American artist Mary Black (b. 1948) works exclusively in encaustic

Works are abstract

Fresco

This is a painting technique in which the artist paints a mixture of pigment and water onto freshly applied plaster

Earliest examples come from Crete in the Mediterranean, c. 1600–1500BCE

Two methods: buon fresco (good fresco), which is more permanent and durable, and fresco secco (dry fresco)

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

The plaster absorbs the color and the pigment binds to the lime as it sets

Buon fresco

Wall surface is prepared with undercoats of rough plaster containing sand, gravel, cement, and lime

Another layer of plaster is allowed to dry for several days

Then, the artist transfers a design from a full-scale drawing (referred to as a cartoon)

Next, the artist applies the last finishing layer of plaster, re-transferring onto it the required part of the cartoon

Onto this, he or she will paint pigment suspended in water

Because there are just a few hours before the lime plaster sets, only a portion of the wall is freshly plastered each day

Fresco secco

Employed when an artist cannot finish painting a section in a day of plastering, or needs to retouch a damaged fresco

Frescoes painted using the fresco secco method tend to be less durable because the surface is less absorbent

Artwork: Michelangelo, The Libyan Sibyl

2.2.6 Michelangelo, The Libyan Sibyl, 1511–12. Fresco. Detail of the Sistine Chapel ceiling, Vatican City, Italy

Michelangelo, The Libyan Sibyl

Michelangelo used the buon fresco method to paint the ceiling of the Sistine Chapel

He used a strategic approach in order to disguise the seams between separate days’ work

Ceiling took four years to complete

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

St. Peter’s Basilica and the Sistine Chapel

(History/Themes)

For more on Michelangelo’s monumental work on the Sistine Chapel ceiling, watch:

Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Portal Artwork: Bull-Leapers

3.1.7 Bull-Leapers, from Palace of Knossos, Crete, Greece, c. 1450–1375 BCE.

Archaeological Museum, Heraklion, Crete, Greece

Some of the earliest examples of fresco are from the Minoan civilization (in modern Crete).

Artwork: José Clemente Orozco, Prometheus

2.2.7 José Clemente Orozco, Prometheus, 1930. Fresco mural (central panel), approx. 20 × 28½'.

Frary Hall, Pomona College, Claremont, California

José Clemente Orozco

From 1920s to mid-1930s, Mexican mural artists expressed their aspirations for social justice and freedom, and revived the art of fresco painting

Despite disabilities, Orozco became a significant and radical artist of the Mexican Mural Renaissance

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

Perspectives on Art:

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

José Clemente Orozco (1883–1949), lost his left hand and had his sight and hearing damaged in an explosion during his childhood

His writings about art emphasize his interest in the medium of fresco painting and in its formal aspects: as he wrote, he saw art as visual poetry

“A painting is a Poem and nothing else”

2.2.8 Walter O’Neill, Untitled, 2002. Fresco on wire mesh on wood, 24 x 24". Courtesy Walter O’Neill

Artwork: Walter O’Neill, Untitled

Walter O’Neill, Untitled

O’Neill uses a more painterly and abstract style to the buon fresco process

Energetic gestural strokes

Method derived from Renaissance fresco painting techniques

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

The American artist Walter O’Neill (b. 1951)

O’Neill, a student of Renaissance fresco painting, captures the essence of ancient techniques and fuses them with the expressive character of modern and contemporary painting

Tempera

Egg is the binding agent of tempera

Usually applied with a brush and dries almost immediately

Earliest examples found in Egyptian tombs

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Painters have different ideas about what parts of the egg work best, but many artists have favored the yolk

Despite its rich yellow color, egg yolk does not greatly affect the color of pigment; instead, it gives a soft, transparent glow

Tempera is best mixed fresh for each painting session

Artwork: Duccio di Buoninsegna, Entry into Jerusalem

2.2.9 Duccio di Buoninsegna, Entry into Jerusalem (from the back of the Maestà altarpiece, Siena Cathedral), 1308–11. Tempera and gold leaf on wood, 3'4½ × 1'9⅛". Museo dell’Opera Metropolitana del Duomo, Siena, Italy

Duccio di Buoninsegna, Entry into Jerusalem

This work is one of a series of images depicting the life of Christ from the back of a large, freestanding altarpiece

Brilliant detail and short, thin brushstrokes show Duccio’s mastery of a challenging medium (tempera dries very fast)

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Artwork: Riza Abbasi, Two Lovers

2.2.10 Riza Abbasi, Two Lovers, Safavid period, 1629–30. Tempera and gilt paint on paper, 7⅛ × 4¾". Metropolitan Museum of Art, New York

Riza Abbasi, Two Lovers

Abbasi combines a rich gold-leaf finish with the high detail of tempera

Transparency of the medium makes the plant life look delicate and wispy

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Persian miniaturist Riza Abbasi (1565–1635) worked for Shah Abbas the Great.

2.2.11 Andrew Wyeth, Christina’s World, 1948.

Tempera on gessoed panel, 32¼ x 47¾". MoMA, New York

Artwork: Andrew Wyeth, Christina’s World

Digital rights not available for this image. See p. 215 of the textbook.

Andrew Wyeth, Christina’s World

Wyeth uses a sense of realism and high detail in his work

Depicts his disabled neighbor and expresses her “extraordinary conquest of life”

High detail creates sense of mystery to stimulate the viewer's imagination

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Christina was Wyeth’s next door neighbor in Maine.

Portal Artwork: Edward Hopper, Nighthawks

1.10.2 Edward Hopper, Nighthawks, 1942. Oil on canvas, 33⅛ × 60". Art Institute of Chicago

Edward Hopper’s Nighthawks is a piece of realism that provides a snapshot of American life in the mid-twentieth century.

Oil

Artists used oil paint during the Middle Ages, but have regularly used it only since the fifteenth century

Linseed-oil used as binder (by-product of flax)

Flexible, slow drying, and can be blended days after application, allowing for smooth effects and fine detail

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Artwork: Jan van Eyck, The Madonna of Chancellor Rolin

2.2.12 Jan van Eyck, The Madonna of Chancellor Rolin, 1430–34. Oil on wood, 26 × 24⅜". Musée du Louvre, Paris, France

Jan van Eyck, The Madonna of Chancellor Rolin

Van Eyck was credited as the inventor of oil paint (he was not, but was an exceptional practitioner)

Masterful use of thin layers of color called glazes

Light reflecting between glazes creates a rich luminosity

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Giorgio Vasari was an Italian Renaissance writer and artist

Jan van Eyck (c. 1395–1441) was a fifteenth-century Flemish painter

Artwork: Jean-Auguste-Dominique Ingres, Odalisque in Grisaille

2.2.13 Jean-Auguste-Dominique Ingres, Odalisque in Grisaille, c. 1824–34. Oil on canvas, 32¾ x 43". Metropolitan Museum of Art, New York

Jean-Auguste-Dominique Ingres, Odalisque in Grisaille

Grisaille is a French term meaning turn gray

Similar to black and white photography in appearance

Used as an example for his students

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Glaze painting encouraged the use of underpainting (a preliminary layer of paint that is intended to support the final version of the work)

Grisaille is a black-and-white underpainting that establishes the light and dark values of the work

A verdaccio, or green underpainting, creates conditions that, for example, were well suited to realizing the light flesh tones often used in Renaissance portraiture

Oil painting gained another surge in popularity when the American artist John G. Rand (1801–1873) invented collapsible tubes

Became easier to transport and paint outdoors (used by French Impressionists)

Portal Artwork: Ingres, Grande Odalisque

1.10.8 Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814. Oil on canvas, 35⅞ × 63¾”. Musée du Louvre, Paris, France

The finished version of Jean-Auguste-Dominique Ingres’s Grande Odalisque uses verdaccio to great effect.

Artwork: Rosa Bonheur, The Horse Fair

2.2.14 Rosa Bonheur, The Horse Fair, 1852–55. Oil on canvas, 8’ x 16’ 7½ ”. Metropolitan Museum of Art, New York

Rosa Bonheur, The Horse Fair

Exploited the energetic quality of oil paint

Addresses changing rhythms animal biorhythms

Loose and vivacious oil brushwork

Image derived from the horse market in Paris

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Eldest child in family of French artists

Disruptive as a student and moved from one school to another

Father decided to educate her

Chose to wear pants, but she said that was a practical choice because she often worked with animals as subject matter

Artwork: Joan Brown, Girl in Chair

2.2.15 Joan Brown, Girl in Chair, 1962. Oil on canvas, 5 × 4’. Los Angeles County Museum of Art.(LACMA), California

Joan Brown, Girl in Chair

Used impasto (paint applied in thick layers)

Gives work a three-dimensional presence

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

San Francisco artist Joan Brown (1938–1990).

Artwork: Hung Liu, Interregnum

2.2.16 Hung Liu, Interregnum, 2002. Oil on canvas, 8’ × 9’6”. Kemper Museum of Contemporary Art, Kansas City, Missouri

Hung Liu, Interregnum

Utilizes the different qualities of oil paint to achieve her own unique style

Contrasts the ideal with the harsh reality of life in Communist China

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Chinese-born artist Hung Liu (b. 1948) grew up in Communist China before emigrating to the United States

An interregnum is a period when normal government is suspended, especially between successive reigns or regimes

Artwork: Gentileschi, Judith Decapitating Holofernes

2.2.17 Artemisia Gentileschi, Judith Decapitating Holofernes, c. 1620. Oil on canvas, 6’6⅜” × 5’3¾”. Uffizi Gallery, Florence, Italy

Artwork: Self-portrait as the Allegory of Painting

2.2.18 Artemisia Gentileschi, Self-portrait as the Allegory

of Painting (La Pittura), 1638–39. Oil on canvas, 38 × 29”. Royal Collection, London, England

Gentileschi, Judith Decapitating Holofernes and Self-portrait as the Allegory of Painting, Paintings as Personal Statements

Gentileschi’s talent was recognized and fostered by her artist father

Often depicted strong female figures with emotion, intensity, and power

Gentileschi’s self-portrait shows her succeeding in the male-dominated art world

Gateway to Art:

PART 2

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

Chapter 2.2 Painting

Italian Baroque artist Artemisia Gentileschi (1593–c. 1656) earned a reputation as a talented and accomplished painter

“Allegory” means an image of a person that represents an idea or abstract quality

The mask pendant around her neck signifies that painting is an illusion that only an inspired master can produce

Ink Painting

Commonly used on paper; the fibers hold the pigment

Painting inks are slightly different from drawing inks because they have a binder, usually gum arabic, rather than simply being suspended in water

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Artwork: Guo Xi, Early Spring

2.2.19 Guo Xi, Early

Spring, 1072 (Northern Song Dynasty). Ink and color on silk, 62⅜ × 42½ ”. National Palace Museum, Taipei, Taiwan

Guo Xi, Early Spring

Followed the tradition of Chinese literati painters

Created a type of floating perspective he called “the angle of totality”

Allows viewer to see a scene from many different points of view

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Chinese artist Guo Xi(1020-1090) makes good use of the expressive rich blackness of ink

Created during the Song Dynasty

Watercolor and Gouache

Pigment suspended in water with a sticky binder, usually gum arabic

Usually painted on paper

Watercolor is transparent; any white area in a watercolor is unpainted paper

An additive (often chalk) in gouache makes the paint opaque

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

White gouache can be used to cover areas of a watercolor that become too dark

The portability of watercolor has made it appealing to artists who paint en plein air, or outdoors, using the landscape as subject matter

Artwork: John Singer Sargent, Mountain Stream

2.2.20 John Singer Sargent, Mountain Stream, c. 1912–14. Watercolor and graphite on off-white wove paper, 13¾ × 21“. Metropolitan Museum of Art, New York

John Singer Sargent, Mountain Stream

Sargent worked en plein air, or outdoors, using the landscape as subject matter

Portrays the brilliance of outdoor light as an integral part

Was restrained and efficient with each brush stroke

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

American artist John Singer Sargent (1856–1925); born in Italy

Sargent's watercolors are noted for their masterful efficiency and attention to brilliant outdoor light

Artwork: Albrecht Dürer, A Young Hare

2.2.21 Albrecht Dürer, A Young Hare, 1502. Watercolor and gouache on paper, 9⅞ × 8⅞”. Graphische Sammlung Albertina, Vienna, Austria

Albrecht Dürer, A Young Hare

Reflects direct observation of a natural subject

Conveys a sense of the creature’s soft, striped fur

Combination of watercolor with opaque white heightening

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

The watercolors of the German Albrecht Dürer (1471–1528) are noted for their masterful naturalism.

Artwork: Sonia Delaunay, Prose […]

2.2.22 Sonia Delaunay, Prose of the Trans-Siberian Railway and of Little Jehanne of France, 1913. Watercolor and relief print on paper, support 77 × 14”. Tate, London, England

Sonia Delaunay, Prose [...]

Delaunay was the first woman to have her work shown at the Louvre in her lifetime

A “simultaneous” artist’s book; her watercolor illustrations are set next to poetry by Blaise Cendrars

Meant to be folded like a roadmap

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

French artist Sonia Delaunay (1885–1979), mastered the art of watercolor

Recounts a trip from Russia to Paris

Acrylic

Composed of pigments suspended in an acrylic polymer resin

In use since about 1950

Dries quickly and can be cleaned from surfaces with water

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Popular because of its versatility and practicality

When dry, acrylic paint has similar characteristics to oil paint

Sets easily on a variety of different artistic supports, from paper through to canvas and wood

Artwork: Julie Mehretu, Excerpt (Suprematist Evasion)

2.2.23 Julie Mehretu, Excerpt (Suprematist Evasion), 2003. Ink and acrylic on canvas, 32 x 54”

Julie Mehretu, Excerpt (Suprematist Evasion)

Uses acrylic paint for so she can alternate layers as she works

Draws between layers during process

Allows her to integrate other media

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Contemporary Ethiopian-American artist Julie Mehretu (b. 1970) uses acrylics to create abstract works that emphasize layering.

Artwork: Ralph M. Larmann, Coalopolis

2.2.24 Ralph M. Larmann, Coalopolis, 2010. Acrylic on canvas, 40 × 60”. Collection Indiana State University, Terre Haute, Indiana

Ralph M. Larmann, Coalopolis

Artist chose acrylic because the plastic quality reflects manufacturing processes

Emphasizes the relationship between economic progress and ecological damage

Glazing gives the image luminosity

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Mixed-Media Painting

Traditional boundaries between art media have been blurred as artists explore new ways to express themselves

Mixed-media and collage are popular ways of integrating imagery

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Artwork: Robert Rauschenberg, Bed

2.2.25 Robert Rauschenberg, Bed, 1955. Oil and pencil on pillow,

quilt, and sheet on wood supports, 75¼ × 31½ × 8”. MoMA, New York

Robert Rauschenberg, Bed

Used sheets and other bedding as his “canvas”

Accentuated the physical nature of the cloth and pillows

Splattered paint application emphasizes the physical nature of the work

PART 2

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Chapter 2.2 Painting

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

Best known master of mixed-media painting

Called his early mixed-media experiments “combines”

Artwork: Jane Frank, Frazer’s Hog Cay #18

2.2.26 Jane Frank, Frazer’s Hog Cay #18, 1968. Mixed media: oil paint and stones, 38 × 46”. Smithsonian American Art Museum,

Washington, D.C.

Jane Frank, Frazer’s Hog Cay #18

Incorporates oil paint and stones

Creates an association to a quiet Bahamian island

Although she did not represent a recognizable landscape, she alludes to it through the use of found objects

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

One of the first leading female practitioners of mixed-media painting was the American artist Jane Frank (1918–1986)

Studied under the abstract artist Hans Hofmann (1880–1966)

Mural Art and Spray Paint

The idea of collaborating on a painted mural with an entire neighborhood has become an important tool for urban renewal

Spray paint is a favorite of tag and graffiti artists

Today’s spray-paint techniques closely resemble those of ancient artists

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

The Mexican Muralists, who espoused ideas about social justice and freedom in their works, believed that a painting should belong to all the people of a community, so they often worked outside, usually on a large scale so all could share

Graffiti artists prefer to use spray enamel, a commercially produced paint, packaged in an aerosol can

Practitioners of spray-painted graffiti art are considered vandals and criminals by local governments when they paint places without the permission of the property owners

Because of this, many keep their identity secret and sign their work with an alias, called a tag

The ancient spray-paint artist, like today’s spray painters, would mask out areas to create hard edges

Artwork: Judy F. Baca, Danza de la Tierra

2.2.27 Judy F. Baca, Danza de la Tierra, 2008. Acrylic on canvas, 10 × 15’. Dallas Latino Cultural Center, Texas

Judy F. Baca, Danza de la Tierra

Painted for an interior wall in the Dallas Latino Cultural Center

Uses influences from the surrounding community and local traditions

Baca often employs members of the local area to help create her wall paintings

PART 2

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Chapter 2.2 Painting

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

Portal Artwork: Diego Rivera

4.1.13 Diego Rivera, Man,Controller of the Universe, or Man in the Time Machine, 1934. Fresco, 15’ × 37’6⅞”. Full composite view of the fresco. Palacio de Bellas Artes, Mexico City, Mexico

Diego Rivera, a Mexican Muralist, was keenly aware of the important role art can play within local communities.

Artwork: Banksy, Graffiti Removal Hotline

2.2.28 Banksy, Graffiti Removal Hotline, 2008. London, England

Banksy, Graffiti Removal Hotline

Uses stencils as a quick way of transferring his designs to surfaces

Taunts the authorities who seek to curb his street art activities

Captures the irony of the moment by using the color pink as a tool of criminal vandalism

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Banksy carefully guards his identity and personal information.

Painting

(Media/Processes)

Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Videos about Painters and their Methods

Audrey Flack: Photorealism and Vanitas

(History/Themes)

Diego Velázquez: Las Meninas

(History/Themes)

Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Videos about Painters and their Methods (contd.)

Angelica Kauffmann:

A Pioneering Female Artist

(History/Themes)

Georges Seurat: Sunday on La Grande Jatte

(History/Themes)

Video:

PART 2

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Chapter 2.2 Painting

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

Sandro Botticelli: The Birth of Venus

(History/Themes)

Théodore Géricault: Raft of the Medusa

(History/Themes)

Videos about Painters and their Methods (contd.)

Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Thomas Cole: The Oxbow

(History/Themes)

Vincent van Gogh in His Own Words

(History/Themes)

Videos about Painters and their Methods (contd.)

Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

MoMA Videos

To learn more about painting, watch these videos of MoMA lecturers talking about paintings from the MoMA’s collection:

Amedeo Modigliani

Anna Zborowska

Claude Monet, Water Lilies

MoMA Video

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Ernst Kirchner,

Street, Dresden

Street, Berlin

Henri Matisse, Red Studio

MoMA Videos (contd.)

To learn more about painting, watch these videos of MoMA lecturers talking about paintings from the MoMA’s collection:

MoMA Video

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Pablo Picasso, Girl before a Mirror

Pablo Picasso, Les Demoiselles d’Avignon

MoMA Videos (contd.)

To learn more about painting, watch these videos of MoMA lecturers talking about paintings from the MoMA’s collection:

MoMA Video

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Robert Rauschenberg,

Rebus

Bed

Salvador Dalí, The Persistence of Memory

MoMA Videos (contd.)

To learn more about painting, watch these videos of MoMA lecturers talking about paintings from the MoMA’s collection:

MoMA Video

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Vincent van Gogh, Starry Night

Willem de Kooning, Woman I

MoMA Videos (contd.)

To learn more about painting, watch these videos of MoMA lecturers talking about paintings from the MoMA’s collection:

MoMA Video

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

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

Chapter 2.2 Copyright Information

This concludes the PowerPoint slide set for Chapter 2.2

Gateways to Art: Understanding the Visual Arts

Third Edition

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

PowerPoints developed by CreativeMyndz Multimedia Studios

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

Picture Credits for Chapter 2.2

2.2.1 Photo courtesy Dean Snow

2.2.2 Ralph Larmann

2.2.3 Ralph Larmann

2.2.4 Metropolitan Museum of Art, Gift of Edward S. Harkness, 1918, 18.9.2

2.2.6 Vatican Museums, Rome

2.2.9 Museo dell’Opera Metropolitana del Duomo, Siena

2.2.10 Metropolitan Museum of Art, Purchase, Francis M. Weld Gift, 1950, Inv. 50.164

2.2.11 Museum of Modern Art, New York, Purchase, 16.1949. Photo 2012, Museum of Modern Art, New York/Scala, Florence. © Andrew Wyeth

2.2.12 Musée du Louvre, Paris

2.2.13 Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund, 1938, 38.65

2.2.14 Metropolitan Museum of Art, New York, Gift of Cornelius Vanderbilt, 1887, 87.25

2.2.15 Los Angeles County Museum of Art (LACMA), California. Gift of Mr. and Mrs. Robert H. Ginter, M.64.49 (www.lacma.org). Digital Image Museum Associates/LACMA/Art Resource NY/Scala, Florence. Courtesy Gallery Paule Anglim

2.2.16 Kemper Museum of Contemporary Art, Kansas City. Bebe and Crosby Kemper Collection, Gift of the William T. Kemper Charitable Trust, UMB Bank, n.a., Trustee 2006.7. Photo Ben Blackwell. © the artist

2.2.17 Galleria degli Uffizi, Florence

2.2.19 Collection National Palace Museum, Taipei, Taiwan

2.2.20 Metropolitan Museum of Art, New York, Purchase, Joseph Pulitzer Bequest, 1915, 15.142.2

2.2.21 Photo Austrian Archives/Scala Florence

PowerPoints developed by CreativeMyndz Multimedia Studios

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting

Picture Credits for Chapter 2.2 (contd.)

2.2.26 Smithsonian American Art Museum, Gift of Ruth M. Bernstein. Photo Smithsonian American Art Museum/Art Resource/Scala, Florence

2.2.28 Photo Kevin Flemen

PowerPoints developed by CreativeMyndz Multimedia Studios

PART 2

MEDIA AND PROCESSES

Chapter 2.2 Painting