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[object Object]
What is art? ,[object Object],[object Object],[object Object],[object Object]
Unknown Dutch artist formerly thought to be Rembrandt, The Man with the Golden Helmet 17 th  Century, Oil on canvas
In both the sciences and the arts we strive to weave our experiences into coherent bodies of knowledge and to communicate them. 0
The Meaning of the Word Art… ,[object Object],[object Object],[object Object],[object Object],[object Object]
The philosophies about art: ,[object Object],[object Object],[object Object]
Aesthetic Theories ,[object Object],[object Object],[object Object]
Psychological Theories ,[object Object],[object Object],[object Object]
Artist as Outsider Theory ,[object Object],[object Object],Henry Darger
Popular Theories ,[object Object],[object Object]
Beauty is in the eye of the beholder, whether in Western civilizations or non-Western civilizations 0
Figure 1.1, p. 3: LEONARDO DA VINCI.  Mona Lisa  (c. 1503–1505). Oil on wood panel. 30  1/4”   x  21 ” .
Figure 1.2, p. 3: Kenyan woman, Masai tribe. Standards for beauty can differ from culture to culture.
“ A Closer Look” A Portrait in the Flesh Sometimes artists try to improve on nature  –  thereby creating an alternative standard 0
Figure 1 - 3, p. 4: French performance artist Orlan, who has dedicated herself to embodying Western classic beauty as found in the works of Leonardo, Botticelli, and Boucher through multiple plastic surgeries. Here Orlan is being “prepped” for one in a series of operations.
Figure 1 - 4, p. 4: SANDRO BOTTICELLI.  The Birth of Venus  (1486). Detail. Tempera on canvas. 5 ’ 8   7⁄8 ”   x  9 ’ 1   1⁄7 ” .
 
[object Object]
©  David Rakoff 2002 Reprinted from the New York Times   ,[object Object]
[object Object]
[object Object]
[object Object]
[object Object],[object Object]
[object Object]
Theories Based on Comparison Between the Arts ,[object Object],[object Object]
Symbolic Communication Theory ,[object Object],[object Object],[object Object]
 
Categories of Iconography ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Art in the Service of Religion   Magic and Survival ,[object Object]
Figure 1.1 3 , p. 9 : JESSIE OONARK.  A Shaman’s Helping Spirits  (1971). Stonecut and stencil. 37   1⁄6 ” x  25   1⁄6 ” . Art in the Service of Religion To make tangible the unknown
Figure 1.1 5 , p. 10 : ANTHEMIUS OF TRALLES AND ISIDORUS OF MILETUS. Hagia Sophia, Constantinople (modern-day Istanbul), Turkey (532–537 CE). Interior view. Art in the Service of Religion To inspire
NARRATIVE ARTS ART AND GLORY ,[object Object],[object Object],0
Fig. 1-11, p 8.  Column of Trajan, Forum of Trajan, Rome, dedicated 112. 128 feet high NARRATIVE ARTS ART AND GLORY
Narrative Arts Pride and Politics ,[object Object]
Art as the Mirror of Everyday Life Genre Painting He Takes Posession,The Rake’s Progress,  Engraving, 1697-1764, William Hogarth.
Art as the Mirror of Everyday Life ,[object Object]
Figure 1 - 7, p. 6: FRIDA KAHLO.  Diego in My Thoughts (Diego y yo)  (1949). Oil on canvas, mounted on Masonite. 24 ” x  36 ” . Art as the Mirror of Everyday Life
Figure 1 -9 , p.  7 :  ANDY WARHOL. Four Marilyns (1962) .   Synthetic polymer paint and silkscreen ink on canvas. 30" × 23 ⅞ ". Art as the Mirror of Everyday Life
Art as the Mirror of Everyday Life Art, Experience, and Memory ,[object Object],[object Object],0
Figure 1.26, p.17: ALFRED STIEGLITZ.  The Steerage  (1907). Photograph. Art as the Mirror of Everyday Life
Figure 1.27, p.17: FAITH RINGGOLD.  Tar Beach  (1988). Acrylic paint on canvas and pieced fabric. 74 ” x  68   1⁄2 ” . Art as the Mirror of Everyday Life
Figure 1.29, p.19: RICHARD HAMILTON.  Just What Is It That Makes Today’s Homes So Different, So Appealing ?  (1956).  Collage. 10   1⁄4 ” x  9   3⁄4 ” . Art as the Mirror of Everyday Life
ART AND SOCIAL CONSCIOUSNESS 0
Artists have taken on bitter struggles against the injustices of their times and have tried to persuade others to join them in their causes,  … by using their (art) skills.  0
Figure 1.31, p.20: EUGÈNE DELACROIX.  Liberty Leading the People  (1830). Oil on canvas. 8 ’ 6 ” x  10 ’ 10 ” .
Figure 1.36, p. 23: JOSÉ CLEMENTE OROZCO.  Epic of American Civilization: Hispano-America  (c1932–1934). Fresco. 10 ” x  9 ’ 11 ” .
Figure 1.32, p.21: SUZANNE LACY AND LESLIE LABOWITZ.  In Mourning and in Rage  (1977). Performance at Los Angeles City Hall.
Figure 1.33, p.21: BETYE SAAR.  The Liberation of Aunt Jemima  (1972). Mixed media. 11   3⁄4 ” x  8 ” x  2   3⁄4 ” .
Vocabulary ,[object Object],[object Object],[object Object]
Figure 1.34, p. 22:MIRIAM SCHAPIRO.  Wonderland  (1983). Acrylic and fabric collage on canvas. 90 ” x  144 ”  (framed)
Fig. 1-35 p.22  MARCEL DUCHAMP. Fountain (1917). 1951 version after lost original. Porcelain urinal. H: 24".
[object Object],[object Object],0 Art and Nature
Art and Nature ,[object Object]
Figure 1.20, p.14: Ryoanji Zen Temple, Japanese sand garden, Kyoto, Japan. Art and Nature
Personification and Allegory
1-16 p. 11 SUZANNE VALADON. Adam and Eve (1909). Oil on canvas. 63¾ × 51 ⅝ . Personification and Allegory
Imagination and Fantasy ,[object Object]
Insert Fig 1-17, p. 12 Marc Chagall  I and the Village Imagination and Fantasy
Insert Fig 1-18, p. 12 Max Beckman  The Dream Imagination and Fantasy
The Visual Elements
[object Object]
The Visual Elements of Art: ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],0
Types of Line ,[object Object],[object Object],[object Object],[object Object],0
Line ,[object Object],[object Object],Kara Walker
Figure 2.8, p.31:  RIMMA GERLOVINA AND VALERIY GERLOVIN.  Madonna and Child  (1992). Chromogenic print. To Give Outline and Shape
Figure 2.11, p.32:  SANDRO BOTTICELLI.  The Birth of Venus  (c. 1482). Oil on canvas. 5 ’ 8   7⁄8 ” x  9 ’ 1   7⁄8 ” . To Suggest Direction and   Movement
Line ,[object Object],[object Object],Piet Mondrian
[object Object],[object Object],Rembrandt
Types of Line ,[object Object]
Types of Line ,[object Object],[object Object]
Types of Line ,[object Object]
Types of Line ,[object Object]
Types of Line ,[object Object],[object Object]
Types of Line ,[object Object],[object Object],Henri Matisse
Characteristics of Line ,[object Object],[object Object],[object Object]
Shape and Mass/Form ,[object Object],[object Object]
The word  FORM  -  is often used to speak about shapes in sculpture and architecture - 3D works of art .  Figure 2.14, p.34:  HELENE BRANDT.  Mondrian Variations, Construction No. 3B with Four Red Squares and Two Planes  (1996). Welded steel, wood, paint. 22 ” x  19 ” x  17 ” .
Mass -  In 3D art, the mass of an object refers to its bulk. Fig. 2-16 RACHEL WHITEREAD. Holocaust Memorial, Vienna (2000).
Actual Mass versus Implied Mass ,[object Object],[object Object]
Fig. 2-17 MARK TANSEY. Landscape (1994). Oil on Canvas. 181.6cm x 365.8 cm.
Types of Shapes and Forms ,[object Object]
Types of Shapes and Forms ,[object Object],Paul Klee
Positive and Negative Shapes ,[object Object],[object Object]
Figure-Ground Terminology ,[object Object],[object Object],[object Object]
Fig. 26 A Rubin Vase .
Compare and Contrast Picasso and Colescott Rectilinear forms versus curvilinear forms presented by two artists
Figure 2.20, p.38:  PABLO PICASSO.  Les Demoiselles d’Avignon  (1907). Oil on canvas. 8 ’ x  7 ’ 8 ” .
Figure 2.21:  ROBERT COLESCOTT.  Les Demoiselles d’Alabama: Vestidas  (1985). Acrylic on canvas. 96 ” x  92 ” .
Light, Value, and Color
Light ,[object Object],[object Object],[object Object],Georges de La Tour
Figure 2.35, PIERRE-PAUL PRUD’HON. La Source (c. 1801). Black and white chalk on gray paper. 21 3/16 x 15 5/18 in .
Value
Value ,[object Object],[object Object],[object Object],[object Object]
Fig. 2-33 Value contrast.
Color ,[object Object],[object Object]
Color Wheel
Primary Colors
Secondary Colors
Intensity ,[object Object],[object Object],[object Object]
Color is relative It is effected by the colors around it So that a green next to blue looks more yellow than the same green next to yellow (which looks more blue)
The Psychology of Color ,[object Object],[object Object]
The Psychology of Color ,[object Object]
The Psychology of Color ,[object Object],[object Object],[object Object],[object Object]
The Psychology of Color ,[object Object],[object Object]
Local versus Optical Color ,[object Object],[object Object]
Surface and Space
Texture ,[object Object],[object Object],[object Object]
" Figure 2. 49 , p.53:  LEON KOSSOFF.  Portrait of Father, No. 2  (1972). Oil on board. 60 ” x  36 ” .
Space ,[object Object],[object Object]
Illusions of Depth ,[object Object],[object Object],[object Object],[object Object],[object Object]
Principles of Art ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Unity
Figure 3.2, p.69:  ARCHIBALD J. MOTLEY JR.  Saturday Night  (1935). Oil on canvas. 81.3 cm  x  101.6 cm. Variety
Ways to Achieve Unity and Variety with Unity ,[object Object],[object Object],[object Object],[object Object]
Fig. 3-1 p.68 ANDY WARHOL. Ethel Scull Thirty -Six Times (1963). Synthetic polymer paint silkscreen on canvas. 79 3/4” x 143 1/4”.
Balance ,[object Object],[object Object],[object Object]
Emphasis ,[object Object],[object Object],[object Object]
How to create a focal point: ,[object Object],[object Object],[object Object],[object Object],[object Object]
Composition with the Golden Section
Figure 3.36, p.89:  The east facade of the Parthenon, superimposed with a root five rectangle. When we do not consider the gable (which is absent in this photograph), the facade of the Parthenon is a root five rectangle.
Violating the Cannon for Expressive Purposes Figure 3.32, p.87:  ALICE NEEL.  The Family (John Gruen, Jane Wilson and Julia)  (1970). Oil on canvas.  4 ’ 11   7⁄8 ” x  5 ’ .
Proportion and Scale ,[object Object],[object Object],[object Object]
Rhythm and Movement
 

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what is art and the visual elements

  • 1.  
  • 2.
  • 3.
  • 4. Unknown Dutch artist formerly thought to be Rembrandt, The Man with the Golden Helmet 17 th Century, Oil on canvas
  • 5. In both the sciences and the arts we strive to weave our experiences into coherent bodies of knowledge and to communicate them. 0
  • 6.
  • 7.
  • 8.
  • 9.
  • 10.
  • 11.
  • 12. Beauty is in the eye of the beholder, whether in Western civilizations or non-Western civilizations 0
  • 13. Figure 1.1, p. 3: LEONARDO DA VINCI. Mona Lisa (c. 1503–1505). Oil on wood panel. 30 1/4” x 21 ” .
  • 14. Figure 1.2, p. 3: Kenyan woman, Masai tribe. Standards for beauty can differ from culture to culture.
  • 15. “ A Closer Look” A Portrait in the Flesh Sometimes artists try to improve on nature – thereby creating an alternative standard 0
  • 16. Figure 1 - 3, p. 4: French performance artist Orlan, who has dedicated herself to embodying Western classic beauty as found in the works of Leonardo, Botticelli, and Boucher through multiple plastic surgeries. Here Orlan is being “prepped” for one in a series of operations.
  • 17. Figure 1 - 4, p. 4: SANDRO BOTTICELLI. The Birth of Venus (1486). Detail. Tempera on canvas. 5 ’ 8 7⁄8 ” x 9 ’ 1 1⁄7 ” .
  • 18.  
  • 19.
  • 20.
  • 21.
  • 22.
  • 23.
  • 24.
  • 25.
  • 26.
  • 27.
  • 28.  
  • 29.
  • 30.
  • 31. Figure 1.1 3 , p. 9 : JESSIE OONARK. A Shaman’s Helping Spirits (1971). Stonecut and stencil. 37 1⁄6 ” x 25 1⁄6 ” . Art in the Service of Religion To make tangible the unknown
  • 32. Figure 1.1 5 , p. 10 : ANTHEMIUS OF TRALLES AND ISIDORUS OF MILETUS. Hagia Sophia, Constantinople (modern-day Istanbul), Turkey (532–537 CE). Interior view. Art in the Service of Religion To inspire
  • 33.
  • 34. Fig. 1-11, p 8. Column of Trajan, Forum of Trajan, Rome, dedicated 112. 128 feet high NARRATIVE ARTS ART AND GLORY
  • 35.
  • 36. Art as the Mirror of Everyday Life Genre Painting He Takes Posession,The Rake’s Progress, Engraving, 1697-1764, William Hogarth.
  • 37.
  • 38. Figure 1 - 7, p. 6: FRIDA KAHLO. Diego in My Thoughts (Diego y yo) (1949). Oil on canvas, mounted on Masonite. 24 ” x 36 ” . Art as the Mirror of Everyday Life
  • 39. Figure 1 -9 , p. 7 : ANDY WARHOL. Four Marilyns (1962) . Synthetic polymer paint and silkscreen ink on canvas. 30" × 23 ⅞ ". Art as the Mirror of Everyday Life
  • 40.
  • 41. Figure 1.26, p.17: ALFRED STIEGLITZ. The Steerage (1907). Photograph. Art as the Mirror of Everyday Life
  • 42. Figure 1.27, p.17: FAITH RINGGOLD. Tar Beach (1988). Acrylic paint on canvas and pieced fabric. 74 ” x 68 1⁄2 ” . Art as the Mirror of Everyday Life
  • 43. Figure 1.29, p.19: RICHARD HAMILTON. Just What Is It That Makes Today’s Homes So Different, So Appealing ? (1956). Collage. 10 1⁄4 ” x 9 3⁄4 ” . Art as the Mirror of Everyday Life
  • 44. ART AND SOCIAL CONSCIOUSNESS 0
  • 45. Artists have taken on bitter struggles against the injustices of their times and have tried to persuade others to join them in their causes, … by using their (art) skills. 0
  • 46. Figure 1.31, p.20: EUGÈNE DELACROIX. Liberty Leading the People (1830). Oil on canvas. 8 ’ 6 ” x 10 ’ 10 ” .
  • 47. Figure 1.36, p. 23: JOSÉ CLEMENTE OROZCO. Epic of American Civilization: Hispano-America (c1932–1934). Fresco. 10 ” x 9 ’ 11 ” .
  • 48. Figure 1.32, p.21: SUZANNE LACY AND LESLIE LABOWITZ. In Mourning and in Rage (1977). Performance at Los Angeles City Hall.
  • 49. Figure 1.33, p.21: BETYE SAAR. The Liberation of Aunt Jemima (1972). Mixed media. 11 3⁄4 ” x 8 ” x 2 3⁄4 ” .
  • 50.
  • 51. Figure 1.34, p. 22:MIRIAM SCHAPIRO. Wonderland (1983). Acrylic and fabric collage on canvas. 90 ” x 144 ” (framed)
  • 52. Fig. 1-35 p.22 MARCEL DUCHAMP. Fountain (1917). 1951 version after lost original. Porcelain urinal. H: 24".
  • 53.
  • 54.
  • 55. Figure 1.20, p.14: Ryoanji Zen Temple, Japanese sand garden, Kyoto, Japan. Art and Nature
  • 57. 1-16 p. 11 SUZANNE VALADON. Adam and Eve (1909). Oil on canvas. 63¾ × 51 ⅝ . Personification and Allegory
  • 58.
  • 59. Insert Fig 1-17, p. 12 Marc Chagall I and the Village Imagination and Fantasy
  • 60. Insert Fig 1-18, p. 12 Max Beckman The Dream Imagination and Fantasy
  • 62.
  • 63.
  • 64.
  • 65.
  • 66. Figure 2.8, p.31: RIMMA GERLOVINA AND VALERIY GERLOVIN. Madonna and Child (1992). Chromogenic print. To Give Outline and Shape
  • 67. Figure 2.11, p.32: SANDRO BOTTICELLI. The Birth of Venus (c. 1482). Oil on canvas. 5 ’ 8 7⁄8 ” x 9 ’ 1 7⁄8 ” . To Suggest Direction and Movement
  • 68.
  • 69.
  • 70.
  • 71.
  • 72.
  • 73.
  • 74.
  • 75.
  • 76.
  • 77.
  • 78. The word FORM - is often used to speak about shapes in sculpture and architecture - 3D works of art . Figure 2.14, p.34: HELENE BRANDT. Mondrian Variations, Construction No. 3B with Four Red Squares and Two Planes (1996). Welded steel, wood, paint. 22 ” x 19 ” x 17 ” .
  • 79. Mass - In 3D art, the mass of an object refers to its bulk. Fig. 2-16 RACHEL WHITEREAD. Holocaust Memorial, Vienna (2000).
  • 80.
  • 81. Fig. 2-17 MARK TANSEY. Landscape (1994). Oil on Canvas. 181.6cm x 365.8 cm.
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  • 86. Fig. 26 A Rubin Vase .
  • 87. Compare and Contrast Picasso and Colescott Rectilinear forms versus curvilinear forms presented by two artists
  • 88. Figure 2.20, p.38: PABLO PICASSO. Les Demoiselles d’Avignon (1907). Oil on canvas. 8 ’ x 7 ’ 8 ” .
  • 89. Figure 2.21: ROBERT COLESCOTT. Les Demoiselles d’Alabama: Vestidas (1985). Acrylic on canvas. 96 ” x 92 ” .
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  • 92. Figure 2.35, PIERRE-PAUL PRUD’HON. La Source (c. 1801). Black and white chalk on gray paper. 21 3/16 x 15 5/18 in .
  • 93. Value
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  • 95. Fig. 2-33 Value contrast.
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  • 101. Color is relative It is effected by the colors around it So that a green next to blue looks more yellow than the same green next to yellow (which looks more blue)
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  • 109. " Figure 2. 49 , p.53: LEON KOSSOFF. Portrait of Father, No. 2 (1972). Oil on board. 60 ” x 36 ” .
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  • 113. Unity
  • 114. Figure 3.2, p.69: ARCHIBALD J. MOTLEY JR. Saturday Night (1935). Oil on canvas. 81.3 cm x 101.6 cm. Variety
  • 115.
  • 116. Fig. 3-1 p.68 ANDY WARHOL. Ethel Scull Thirty -Six Times (1963). Synthetic polymer paint silkscreen on canvas. 79 3/4” x 143 1/4”.
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  • 120. Composition with the Golden Section
  • 121. Figure 3.36, p.89: The east facade of the Parthenon, superimposed with a root five rectangle. When we do not consider the gable (which is absent in this photograph), the facade of the Parthenon is a root five rectangle.
  • 122. Violating the Cannon for Expressive Purposes Figure 3.32, p.87: ALICE NEEL. The Family (John Gruen, Jane Wilson and Julia) (1970). Oil on canvas. 4 ’ 11 7⁄8 ” x 5 ’ .
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