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Gateways To Art Chap 1 Slides For Classroom
Gateways To Art Chap 1 Slides For Classroom
Gateways To Art Chap 1 Slides For Classroom
FUNDAMENTAL
S
Chapter 1.8
PART 1
FUNDAMENTALS
Introduction
Emphasis is the principle by which an artist
draws attention to particular content in a work
of art or design
A focal point is a specific place of visual
emphasis
An artist can emphasize focal points through the
use of line, implied line, value, colorany of the
elements of art
Emphasis and focal point usually accentuate
concepts, themes, or ideas the artist wants to
express
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.141 Double-chambered
vessel with mouse, Recuay,
Peru, 4th8th century.
Ceramic, 6 high.
Metropolitan Museum of
Art, New York
Jules Olitski,
Tin Lizzie Green
Because abstract works can
never directly evoke our
memories of things or
people, they frequently rely
on compositional principles,
such as emphasis
Olitski frames our attention
on the color field in the
center of the work with
three colored dots on the
right, red horizontal strokes
on the top and bottom, and
a tan-colored stroke on the
left
These color shapes support
the real focus of this work,
which is the blue-green
color in the center
Mark Tobey,
Blue Interior
When a work does not have
areas of emphasis, that
changes the way we
respond to it
Tobey was interested in
creating a meditative
response to the landscape
of the Pacific Northwest,
where he grew up
Because Tobey does not use
areas of emphasis, we are
free to roam visually in his
painting
We can immerse ourselves
in the work, as if it were an
ocean
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Focal Point
A focal point is the specific part of an area of
emphasis to which the artist draws our eye
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.144 slide 1: Pieter Bruegel the Elder, Landscape with the Fall of Icarus, c. 15558. Oil on canvas, mounted on wood,
29 x 44. Muses Royaux des Beaux-Arts de Belgique, Brussels, Belgium
1.145 Artemisia
Gentileschi, Judith
Decapitating Holofernes,
c. 1620. Oil on canvas,
66 x 53. Uffizi
Gallery, Florence, Italy
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.147 Francisco de
Zurbarn, The Funeral of St.
Bonaventure, 1629. Oil on
canvas, 8' 2 x 7' 4. Muse
du Louvre, Paris, France
Francisco de Zurbarn,
The Funeral of St. Bonaventure
Most of the lightest values
in the painting are reserved
for the clothing adorning
the dead body of St.
Bonaventure
These create a central focal
point that stands out in
contrast to the surrounding
dark values
The whiteness of his
clothing symbolizes
Bonaventure's spotless
reputation
Enough light value is
distributed to the other
figures to allow our eyes to
be drawn away from the
saints body, making the
composition more
interesting
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Conclusion
All the elements and principles of art can serve
to create emphasis
Both actual and implied lines shape our
examination of a work of art by directing the
movement of our gaze
Contrasts between different values, colors, or
textures can sometimes be so dramatic and
distinct that we cannot help but feel drawn to
that area of a work
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Copyright 2011 Thames & Hudson
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Chapter 1.9
PART 1
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Introduction
Artists use pattern and rhythm to bring order to
space and to create a dynamic experience of
time
When events recur, this creates a pattern
Patterns are created by the recurrence of an art
element
In a work of art, the repetition of such patterns
gives a sense of unity
Rhythm arises through the repetition of pattern
The rhythm of a series of linked elements
guides the movement of our eyes across and
through a design
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Pattern
The use of repetition in a work of art usually
results in the creation of a pattern
Artists often create unity in works of art by
repeatedly using a similar shape, value, or color,
for example
An artist can use repetition of a pattern to
impose order on a work
Sometimes artists use alternating patterns to
make a
work more lively
The area covered by pattern is called the field
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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1.149 Horizontal
alternating pattern
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Suzanne Valadon,
The Blue Room
Includes three
contrasting patterns
The blue bed covering,
in the lower portion of
the painting
The green-and-white
striped pattern in the
womans pajama
bottoms
Above the figure is a
mottled pattern
The differences in
these patterns energize
the work
1.150 Suzanne Valadon, The Blue Room, 1923. Oil on canvas, 35 45. Muse National dArt Moderne,
Centre Georges Pompidou, Paris, France
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Motif
A design repeated as a unit in a pattern is called
a motif
Motifs can represent ideas, images, and themes
that can be brought together through the use of
pattern
An artist can create a strong unified design by
repeating a motif
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Gateway to Art:
Huqqa base
Elements, such as the flowers and leaves of the
plants, recur at intervals
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Chuck Close,
Self Portrait
Uses motif to unify his
paintings
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
The motif that Close uses is
the result of a technical
process
A grid that subdivides the
entire image organizes the
placement of each cell
1.153c Chuck Close, Self Portrait, detail
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Randomness
The introduction of chance symbolizes antiorder
Artists who introduce randomness to a work try
to
avoid predictable repetition
Works made in this way purposely contradict
widely
used traditional methods
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Hans Arp,
Trousse dun Da
Dada reveled in
absurdity, irrationality,
the flamboyantly
bizarre, and the
shocking
Arp worked on creating
chance arrangements
Arp claimed that the
arrangement of the
shapes happened by
random placement
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Rhythm
Rhythm gives structure to the experience of
looking, just as it guides our eyes from one
point to another in a work of art
There is rhythm when there are at least two
points of reference in an artwork
The intervals between elements provide points
of reference for more complex rhythms
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.155 slide 1: Pieter Bruegel, Hunters in the Snow, 1565. Oil on panel, 46 x 63 in. Kunsthistorisches Museum, Vienna,
Austria
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1.156 Great Mosque of Crdoba, prayer hall of Abd al-Rahman I, 7846, Crdoba, Spain
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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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Alternating Rhythm
Artists can intertwine multiple rhythms until
they
become quite complex
Alternation of rhythms can add unpredictability
and visual excitement
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Bai-ra-Irrai
The imagery above
the entry of this bai
begins, at the
bottom, with the
regular rhythms of
horizontal lines of
fish, but the images
above become
increasingly
irregular as they
change to other
kinds of shapes
1.159 Francisco Goya, The Third of May, 1808, 1814. Oil on canvas, 84 x 113. Museo Nacional del Prado, Madrid
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.160a Rosa Bonheur, Plowing in the Nivernais: The Dressing of the Vines, 1849. Oil on canvas, 44 x 86.
Muse dOrsay, Paris, France
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Conclusion
In works of art, good composition articulates
patterns and rhythms in a way that grabs our
attention
Because the visual rhythm of pattern is
predictable, it tends to unify a work of art
Some artists try to contradict pattern by
imposing randomness and chance to free a work
from what they see as suffocating orderliness
Irregular rhythm can make a work seem
unpredictable or make us feel uneasy
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Chapter 1.10
PART 1
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Introduction
The artist uses a visual language to
communicate ideas, beliefs, emotions, and
opinions
Content: Subject
Analysis: Finding meaning
Imitation and individual style
u
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Content
Content refers to the meaning and the subject of
a work of art
Identifying the subject of an artwork:
u
Abstraction
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.162 Jos de Rivera, Infinity, 1967. Stainless steel sculpture in front of National Museum of American History,
Smithsonian Institution, Washington, D.C.
Abstraction
To emphasize, distort or
simplify forms
The degree to which an
artwork is less
representational
and moves toward nonobjective
PART 1
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Modes of Analysis
Iconographic
Biographical
Feminist
Contextual
Psychological
Formal (or visual)
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Iconographic Analysis
Interprets signs and symbols within an artwork
Historical and religious references
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Audrey Flack,
Marilyn Monroe
Representational:
Marilyn Monroe
Still life objects
Individual meaning:
Our mortality
Photograph of artist and her
brother
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Biographical Analysis
Relates artists life and experiences to artwork
Considers gender, race, nationality, and class
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Biographical analysis
Title may relate to issue
(hang-up) artist has not
resolved:
Born a Jew in Nazi
Germany
Mothers suicide
Divorced
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Feminist Analysis
Role of women as:
u
Artists
Subjects
Viewers
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Jean-Auguste-Dominique Ingres,
Grande Odalisque
Feminist analysis
u
Male audience/viewer
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.166 Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814. Oil on canvas, 35 x 63. Muse du Louvre, Paris,
France
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Contextual Analysis
Interprets artwork based on time and place in
which it was made
Considers historical, religious, political,
economic, and social factors
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Leni Riefenstahl,
still from Triumph of the Will
Contextual analysis
u
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Psychological Analysis
Considers the mental state of the artist when
the artwork was being made and uses this to
help interpret the work
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Edward Hopper,
Nighthawks
Psychological analysis
u
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.168 Edward Hopper, Nighthawks, 1942. Oil on canvas, 33 x 60. Art Institute of Chicago
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Formal Analysis
Considers the elements and principles used by
the artist
u
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Princess Margarita
King and Queen
Velzquez painting
Nieto in doorway
Contextual analysis
Identification of members
of the court in scene
Biographical analysis
Artists desire to be
knighted
Artists relationship with
King Philip IV
Iconographical analysis
Cross on Velzquez
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.171 Picasso, Las Meninas, first in a series, 1957. Oil on canvas, 64 86. Museo Picasso, Barcelona, Spain
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Comparison
Compare the original Las Meninas by Velzquez
with the reinterpretation by Picasso
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Thomas Struth,
Museo del Prado 7
Artist is studying the
act of looking
Discuss whether the
students are viewers or
are subjects of an
artwork
Consider the
experience of looking
at this photograph
while it hung next to
Las Meninas in the
Prado
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Conclusion
Artworks can be representational or nonobjective; the degree to which they are nonobjective is based upon the level of abstraction
Best interpretations are based on synthesis of
several modes of analysis
Artists often look to earlier artists for
inspiration
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Copyright 2011 Thames & Hudson
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