Art 110 ch 2.1 and ch 2.2

ART 110

CHAPTERS 2.1 & 2.2

Chapter 2.1

Drawing

PART 2MEDIA AND PROCESSES

Copyright © 2011 Thames & Hudson

Chapter 2.1 Drawing


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

Introduction

Drawing—defined as the depiction of shapes and forms on a surface, primarily by means of lines—is a fundamental artistic skill

Even before we learn to write, we learn to draw

Drawing provides a primal outlet for artistic energyand ideas

Artists draw for many reasons To define their ideas

To plan for larger projects

To resolve design issues in preparatory sketches

To record their visual observations

2.1 Leonardo da Vinci, Drawing for a wing of a flying machine, from the Codice Atlantico, fol. 858r. Pen and ink. Biblioteca Ambrosiana, Milan, Italy

Leonardo da Vinci,Drawing for a wing of a flying machine

• Leonardo considered whether humans might also be able to fly if the mechanics of a bird’s wing were re-created on a human scale

• His drawing of a flying machine illustrates a concept that had never been considered in this way before

• Drawing provided Leonardo with a way to express his ideas beyond what could be said in words

2.2 Leonardo da Vinci, Studies of the foetus in the womb, c. 1510–13. Pen and ink and wash over red chalk and traces of black chalk, 12 x 8¾”. Royal Collection, England

Leonardo da Vinci, Studies of the foetus in the womb

• Drawings like this are rare because the Church banned all acts that desecrated the body, including dissection

• Leonardo may have been allowed to record his observations because he practiced his drawing methodically and with great care

• Some speculate that the Church was interested in Leonardo’s observations as possible evidence of how the human soul resides in the body

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Functions of Drawing

All artists draw for the same reasons as Leonardo: as an end in itself, to think, and to prepare and plan other works

Drawing played an essential role in Raphael’s planning of his fresco The School of Athens

2.3a Raphael, Cartoon for The School of Athens, c. 1509. Charcoal and chalk, 9’4¼” × 26’4⅝”. Biblioteca Ambrosiana, Milan, Italy

2.3b Raphael, The School of Athens, 1510–11. Fresco, 16’8” × 25’. Stanza della Segnatura, Vatican City

Gateway to Art:

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Raphael, The School of Athens Drawing in the Design Process

Raphael’s preliminary drawings allowed him to refine his ideas and perfect the image at a smaller scale

• The artist began the painting process by creating a large drawing of the work

• This design, called the cartoon, was perforated with small pinholes all along where the lines were drawn

• It was then positioned on the wall where Raphael intended to paint the work, and powdered charcoal dust was forced through the small holes in the cartoon’s surface

• The impression left behind would aid Raphael in drawingthe image onto the wall

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The Materials of Drawing: Dry Media

Dry media offer the artist some unique andversatile properties

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Dry Media: Pencil

A deposit of solid graphite was discovered in themid-1500s and gave rise to the manufacture of thebasic pencil we know today

Pencils have different degrees of hardness The B or black graphite pencils are softer and darker

The H or hard graphite pencils create a relatively light mark

2.4 Pencil hardness scale from 9H to 9B

2.5 Ilka Gedö, Self-portrait, 1944. Graphite on paper, 11⅝ x 8⅜”. British Museum, London, England

Ilka Gedö, Self-portrait

• Used thick dark lines to imply darkness and thin light lines to suggest lightness– The dark value of the eye and

wavy hair, where the pencil has been pressed hard, concentrates our attention on the artist’s face

– Notice how softly the artist handles the graphite in the areas representing the skin compared with the hair or clothing

• Gedö was a survivor of the Holocaust– This drawing records her gaunt

features shortly after her internment

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Dry Media: Color Pencil

Color pencil is manufactured much like the traditional graphite pencil, but the mixture that makes up the lead has higher amounts of wax and pigment

Color pencils are used just like graphite pencils, although their marks may be harder to erase or alter

2.6 Birgit Megerle, Untitled, 2003. Pencil and colored pencil on paper, 16¾ x 11¾”. MOMA, New York

Birgit Megerle, Untitled

• Megerle applies the colored pencil lightly, allowing the whiteness of the paper to dominate

• These pale tones of color give the drawing a light overall appearance

• Megerle’s highly regarded style communicates a sense of stillness

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Dry Media: Silverpoint

Silverpoint is a piece of silver wire set in a holder to make the wire easier to hold and control

The artist hones the end of the wire to a sharp point

Because of the hardness of the silver, artists can create finely detailed drawings

Because silver tarnishes, the drawing becomes darker and the image more pronounced over time

Historically, artists have drawn with silverpoint on wood primed with a thin coating of bone ash

2.7 Raphael, Heads of the Virgin and Child, c. 1509–11. Silverpoint on pink prepared paper, 5⅝ x 4⅜”. British Museum, London, England

Raphael, Heads of the Virgin and Child

• Because silverpoint has such a light value and is usually drawn with very thin lines, much of the white paper is exposed

• Closely overlapping many parallel lines across each other creates the illusion of a darker value. This is called hatching

• Artists use this technique to darken values and create the effect of shading

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Dry Media: Charcoal

Charcoal smudges easily, creates lines that can be easily shaped and altered, usually has strong dark value, and is soft compared to metal-based drawing materials

Artists choose charcoal as a drawing material when they want to express strong dark tones, add interest to a surface, and make something look solid rather than linear

Vine charcoal is made from thin vine branches and is very soft and easily erased

Compressed charcoal, to which a binding agent such as wax is sometimes added, is much denser

To draw with charcoal, an artist drags the stick across a fibrous surface, usually paper, leaving a soft-edged line

2.8 Käthe Kollwitz, Self-portrait in Profile to Left, 1933. Charcoal on paper, 18¾ × 25”. National Gallery of Art, Washington, D.C.

Käthe Kollwitz, Self-portrait in Profile to Left

• In her self-portrait we feel a sense of energy from the way Kollwitz applies the charcoal

• Although she renders her own face and hand realistically, in the space between we see the nervous energy connecting the eye to the hand

• Kollwitz draws with a spontaneous burst of charcoal marks along the arm, in expressive contrast to the more considered areas of the head and hand

2.9 Léon Augustin Lhermitte, An Elderly Peasant Woman, c. 1878. Charcoal on wove paper, 18¾ x 15⅝”. National Gallery of Art, Washington, D.C.

Léon Augustin Lhermitte, An Elderly Peasant Woman

• Each line and blemish on this woman’s face has been carefully rendered

• The charcoal’s dark value accentuates the contrast between the highlights in the face and the overall darkened tone of the work

• Lhermitte has controlled charcoal’s inherent smudginess to offer an intimate view of the effects of aging

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Dry Media: Chalk, Pastel, and Crayon

Sticks of chalk, pastel, and crayon are made by combining pigment and binder

Binders include oil, wax, gum arabic, and glues Chalk is powdered calcium carbonate mixed with a gum

arabic (a type of tree sap) binder

Pastel is pigment combined with gum arabic, wax, or oil, while crayon is pigment combined with wax

Conté crayon is a heavily pigmented crayon sometimes manufactured with graphite

2.10 Michelangelo, Studies for the Libyan Sibyl, 1510–11. Red chalk, 11⅜ x 8⅜”. Metropolitan Museum of Art, New York

Michelangelo, Studies for the Libyan Sibyl

• Drawn using red chalk known as sanguine

• Made in preparation for painting the Sistine Chapel ceiling in Rome

• The artist’s study concentrates on the muscular definition of the back and on the face, shoulder, and hand, and gives repeated attention to the detail of the big toe

• These details are essential to making this twisting pose convincing

2.11 Edgar Degas, The Tub, 1886. Pastel, 23⅝ x 32⅝”. Musée d’Orsay, Paris, France

Edgar Degas, The Tub

• Degas is noted for pastel studies that stand as finished works of art

• Degas lays down intermittent strokes of different color pastels

• The charcoal-like softness of the material is used toblend the colors together, giving them a rich complexity and creating a variety of contrasting textures

2.12 Georges Seurat, Trees on the Bank of the Seine (study for La Grande Jatte), 1884. Black Conté crayon on white laid paper, 24½ x 18½”. Art Institute of Chicago

Georges Seurat,Trees on the Bank of the Seine

(study for La Grande Jatte) • Conté crayon drawing

• Seurat designates the foreground by using darker values

• He allows the color of the paper to be more dominant in areas he wants to recede into the distance

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Click the image above to launch the video

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Erasers and Fixatives

Erasers are used not only for correction but also to create light marks in areas already drawn

In this way the artist can embellish highlights by working from the dark to light

2.13 Robert Rauschenberg, Erased de Kooning Drawing, 1953. Traces of ink and crayon on paper, in gold leaf frame, 25¼ x 21¾ x ½”. San Francisco Museum of Modern Art

Robert Rauschenberg, Erased de Kooning Drawing

• Rauschenberg created a new work of art by erasinga drawing by Willem de Kooning

• De Kooning agreed to give Rauschenberg a drawing, understanding what the younger artist had in mind

• But, in order to make it more difficult, de Kooninggave Rauschenberg a drawing made with charcoal,oil paint, pencil, and crayon

• It took Rauschenberg nearly a month to erase it

• Rauschenberg’s idea was to create a performed work of conceptual art and display the result

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The Materials of Drawing: Wet Media

The wet media used in drawings are applied with brushes or pens

Wet media dry or harden as the liquid evaporates

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Wet Media: Ink

Ink is a favorite of artists because of its permanence, precision, and strong dark color

Carbon ink, made by mixing soot with water and gum, has been in use in China and India since around 2500 BCE

• A contemporary version of carbon ink, called India (or Indian) ink, is a favorite of comic book artists

Most European ink drawings from the Renaissance to the present day are made with iron gall ink

• Gall ink is not entirely lightfast, however, and tends to lighten to brown after many years

Other types of fluid media include bistre, which is derived from wood soot and usually a yellow-brown color, and sepia, a brown medium that is derived from the secretions of cuttlefish

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Wet Media: Quill and Pen

Traditionally a quill—the shaft of a bird’s feather, ora similarly hollow reed—is carved to a point to applythe ink

A slit, running parallel to the shaft, helps control itsrate of flow

The artist can control the flow of the ink by pressing harder or more softly

The artist can further increase or decrease the widthof the drawn line by holding the pen at different angles

2.14 Vincent van Gogh, Sower with Setting Sun, 1888. Pen and brown ink, 9⅝ × 12⅝”. Van Gogh Museum, Amsterdam, Netherlands

Vincent van Gogh, Sower with Setting Sun

• Van Gogh uses a reed pen and brown ink

• By changing the way he applies his pen strokes and by controlling their width, he creates an undulating, restless design

• Van Gogh’s emphatic direction of line expresses the characteristic energy of his work

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Wet Media: Brush Drawing

The ancient Chinese used brush and ink for both writing and drawing

These brushes are made with a bamboo shaft and either ox, goat, horse, or wolf hair

Traditionally, Asian artists use a stick of solid ink that they hold upright and grind on a special ink stone with a small amount of water

Artists wet the brush by dipping it into this reservoir, and then adjust the shape and charge of the brush by stroking it on the flat of the grinding stone

2.15 Wu Zhen, Leaf from an album of bamboo drawings, 1350. Ink on paper, 16 x 21”. National Palace Museum, Taipei, Taiwan

Wu Zhen, Leaf from an album of bamboo drawings

• This finely planned design contains carefully controlled brushstrokes as well as loose, freer ink applications

• Because the artist uses only a few shapes, the arrangement of the bamboo leaves becomes like a series of letters in a word or sentence

• Wu achieves the changing dark and light values by adding water to create a wash and lighten the ink

• This work was intended as a model for Wu’s son to follow as he learned the art of brushwork from his father

2.16 Claude Lorrain, The Tiber from Monte Mario Looking South, 1640. Dark brown wash on white paper, 7⅜ x 10⅝”. British Museum, London, England

Claude Lorrain, The Tiber fromMonte Mario Looking South

• Thoughtful brushstrokes give us a feeling of thegreat expanse of the Italian countryside

• The wash that Lorrain uses gives a sense of depthby making the values of the foreground areas boththe darkest and lightest of the whole drawing

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Paper

Paper was invented in China by Cai Lun, who manufactured it from pounded or macerated plant fibers

2.17 Hishikawa Moronobu, Papermaking in Japan, showing the vatman and the paper-drier, from the Wakoku Shoshoku Edzukushi, 1681. Woodblock print

Hishikawa Moronobu, Papermaking in Japan

• This work depicts how the fibers are suspended in water and then scooped up into a flat mold with a screen at the bottom, so that the water can escape

• The fibers are now bonded to each other enough to keep their shape when they are taken out

• The sheet is then pressed and dried

• Handmade papers are still manufactured this way in many countries, mostly from cotton fiber, although papers are also made of hemp, abaca, flax, and other plant fibers

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2.18 Surface texture of wove and laid paper

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The Drawing Process

Life drawing is the practice of drawing from a live model

We associate this process with nude models, but life drawing can also involve animals, plants, and architecture

Life drawing is one of the core skills that art students learn

Two types of introductory drawing methods are popular in the teaching of life drawing: gesture and contour

2.19 Henri Matisse, Themes and Variations, series P, Woman Seated in an Armchair, pl. 2, 1942. Pen and ink, 19¾ x 15¾”. Musée des Beaux-Arts,Lyons, France

2.20 Henri Matisse, Icarus, from Jazz, 1943–7. Page size 16⅞ x 12⅞”. MOMA, New York

Gateway to Art:

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Matisse, Woman Seated in an Armchair and Icarus, Line and Shape

Contour lines provide linear clues about the surface ofan object

The outer profile and undulating surfaces of the figure in Woman Seated in an Armchair are depicted in a long continuous line

Matisse’s interest in economically defining a shape can be seen not only in his contour drawings but also in his “cutouts,” such as Icarus

Matisse described his cutouts as “drawing with scissors,” implying that to him there was no great difference between working with contour lines and paper cutouts

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Gesture Drawing

Gesture drawing aims to identify and react to themain visual and expressive characteristics of a form

Since artists often confront changing subjects and situations, capturing the energy of the moment is the essential goal of gesture drawing

2.21 Umberto Boccioni, Muscular Dynamism, 1913. Pastel and charcoal on paper, 34 x 23¼”. MOMA, New York

Umberto Boccioni,Muscular Dynamism

• In this drawing the movement of the body is impliedby the undulating strokes of the chalk and charcoal

• The rhythms of the composition lead our eye through a series of changing curves and values that give us a feeling of the energy of the figure

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Contour Drawing

Contour drawing aims to register the essential qualities of three-dimensional form by rendering the outline, or contour, of an object

An artist uses contour drawing to sharpen hand–eye coordination and gain an intimate understanding ofform, increasing his or her sensitivity to essential detail

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Conclusion

As an innate part of our humanity, we may have the urge to draw in order to record, visualize, and express ourselves

Artists use a variety of dry media, including pencil, silverpoint, and charcoal; and chalks, pastels, and crayon

Artists achieve the rich blackness or softly subtle washes in their wet media drawings by applying a variety of inks with either quills, pens, or brushes

Gesture and contour drawing are two techniques that aim to capture the essence of the subject

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PowerPoints developed by CreativeMyndz Multimedia Studios

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This concludes the PowerPoint slide set for Chapter 2.1

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



Chapter 2.1 Drawing


2.1 Biblioteca Ambrosiana, Milan 2.2 The Royal Collection © Her Majesty The Queen 2.3a Biblioteca Ambrosiana, Milan2.3b Stanza della Segnatura, Vatican Museums, Rome2.4 Ralph Larmann2.5 © DACS 20112.6 Museum of Modern Art, New York, The Judith Rothschild Foundation Contemporary Drawings Collection

Gift. Courtesy Daniel Reich Gallery, New York 2.7 British Museum, London2.8 © DACS 20112.9 Photo Peter Nahum at The Leicester Galleries, London/Bridgeman Art Library2.10 Metropolitan Museum of Art, Purchase, Joseph Pulitzer Bequest, 1924, Acc. no. 24.197.2. Photo

Metropolitan Museum of Art/Art Resource/Scala, Florence2.11 Musée d’Orsay, Paris2.12 The Art Institute of Chicago, Helen Regenstein Collection, 1966.1842.13 San Francisco Museum of Modern Art, Purchased through a gift of Phyllis Wattis. © Estate of Robert

Rauschenberg. DACS, London/VAGA, New York 20112.14 Van Gogh Museum (Vincent Van Gogh Foundation), Amsterdam2.15 National Palace Museum, Taipei2.16 British Museum, London2.17 From Wakoku Shoshoku Edzukushi, 16812.18 Ralph Larmann2.19 Musée des Beaux-Arts de Lyon. © Succession H. Matisse/DACS 20112.20 Teriade Editeur, Paris, 1947. Printer Edmond Vairel, Paris. Edition 250. Museum of Modern Art, New York,

The Louis E. Stern Collection, 930.1964.8. Photo 2011, Museum of Modern Art, New York/Scala, Florence. © Succession H. Matisse/DACS 2011

2.21 Museum of Modern Art, New York, Purchase, 330.1949. Photo 2011, Museum of Modern Art, New York/Scala, Florence

Picture Credits for Chapter 2.1


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STUDY QUESTIONS CH 2.1


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1. Which English artist and poet suggested that drawing is a fundamental artistic skill?

a. William Blakeb. Geoffrey Chaucerc. William Shakespeared. e. e. cummingse. Henry Wadsworth Longfellow

Feedback/Reference: Page 166


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1. Which English artist and poet suggested that drawing is a fundamental artistic skill?

a. William Blakeb. Geoffrey Chaucerc. William Shakespeared. e. e. cummingse. Henry Wadsworth Longfellow



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2. Leonardo da Vinci engaged in which illegal activity in order to get detailed drawings of the human anatomy?

a. cremationb. embalmingc. dissectiond. cannibalisme. nudity

Feedback/Reference: Pages 166–67


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2. Leonardo da Vinci engaged in which illegal activity in order to get detailed drawings of the human anatomy?

a. cremationb. embalmingc. dissectiond. cannibalisme. nudity

Feedback/Reference: Pages 166–67


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3. When Raphael transferred his drawing of The School of Athens to the wall for painting he forced which substance through perforations in the paper?

a. clayb. paintc. inkd. charcoal duste. none of these



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3. When Raphael transferred his drawing of The School of Athens to the wall for painting he forced which substance through perforations in the paper?

a. clayb. paintc. inkd. charcoal duste. none of these



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4. Which material that looks and writes like lead, was discovered in the mid-1500s, and became the medium for use in pencils?

a. charcoalb. graphitec. silverd. pewtere. petroleum



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4. Which material that looks and writes like lead, was discovered in the mid-1500s, and became the medium for use in pencils?

a. charcoalb. graphitec. silverd. pewtere. petroleum



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5. Historically, when artists used silverpoint for a drawing they did so on wood that was covered with a thin coating of ______.

a. gessob. inkc. bone ashd. chalke. paint



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5. Historically, when artists used silverpoint for a drawing they did so on wood that was covered with a thin coating of ______.

a. gessob. inkc. bone ashd. chalke. paint



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6. The German artist Käthe Kollwitz used charcoal to express ______ in her self-portrait of 1933, even though she rendered her face and hand in a static, realistic way.

a. a sense of humorb. a sense of energyc. a sense of balanced. common sensee. sense of proportion



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6. The German artist Käthe Kollwitz used charcoal to express ______ in her self-portrait of 1933, even though she rendered her face and hand in a static, realistic way.

a. a sense of humorb. a sense of energyc. a sense of balanced. common sensee. sense of proportion



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7. Chalk, pastel, and crayon are created using pigment with a binder. Which of the following is a binder?

a. gum arabicb. waxc. oild. gluee. all of these



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7. Chalk, pastel, and crayon are created using pigment with a binder. Which of the following is a binder?

a. gum arabicb. waxc. oild. gluee. all of these



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8. Robert Rauschenberg created a work titled Erased de Kooning Drawing by erasing a work by the Abstract Expressionist artist Willem de Kooning. How long did it take Rauschenberg to erase the whole drawing?

a. nearly a monthb. about an hourc. nearly a weekd. almost six monthse. ten minutes



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8. Robert Rauschenberg created a work titled Erased de Kooning Drawing by erasing a work by the Abstract Expressionist artist Willem de Kooning. How long did it take Rauschenberg to erase the whole drawing?

a. nearly a monthb. about an hourc. nearly a weekd. almost six monthse. ten minutes



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9. Which of these is not used to make the bristles for a brush with a bamboo shaft, like those used by Asian artists?

a. wolf hairb. horse hairc. goat haird. ox haire. all of these are used



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9. Which of these is not used to make the bristles for a brush with a bamboo shaft, like those used by Asian artists?

a. wolf hairb. horse hairc. goat haird. ox haire. all of these are used



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10. Paper was invented by Cai Lun in China around the end of the ______ century ce. He used macerated vegetable fibers suspended in water.

a. firstb. tenthc. sixteenthd. nineteenthe. twentieth


Chapter 2.1 Drawing


10. Paper was invented by Cai Lun in China around the end of the ______ century ce. He used macerated vegetable fibers suspended in water.

a. firstb. tenthc. sixteenthd. nineteenthe. twentieth

CH 2.2

PAINTING

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Introduction

Artists have painted surfaces of many kinds for tensof thousands of years

Paint in its most basic form is composed of pigment suspended in a liquid binder that dries after it hasbeen applied

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

Binders are traditionally beeswax, egg yolk, vegetable oils and gums, and water; in modern times, art-supply manufacturers have developed such complex chemical substances as polymers

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Encaustic

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

Artists can apply the paint with brushes, palette knives, or rags, or can simply pour it

A stiff-backed support is necessary because encaustic, when cool, is not very flexible and may crack

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

2.23 Portrait of a boy, c. 100–150 CE. Encaustic on wood, 15⅜ x 7½”. Metropolitan Museum of Art, New York

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Portrait of a boy

This type of portrait would have been used as a funerary adornment that was placed over the face of the mummified deceased or on the outside of the sarcophagus in the face position

Was made by an anonymous artist during the second century CE in Roman Egypt

Encaustic portraits from this era are referred to asFayum portraits after the Fayum Oasis in Egypt where many of them were found

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Tempera

Painters who use egg tempera have different ideas about what parts of the egg work best for tempera painting, but artists during the Renaissance preferred the yolk

Tempera is best mixed fresh for each painting session

Tempera is usually applied with a brush and dries almost immediately

2.24 The Virgin and Child with Angels, Ferrarese School, c. 1470–80. Tempera, oil, and gold on panel, 23 x 17⅜”. National Gallery of Scotland, Edinburgh

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The Virgin and Child with Angels, Ferrarese School

Tempera paint consists of pigment and egg yolk Also incorporates oil and gold leaf, a common

combination at this time

Artist has chosen to paint an illusionistic frame that makes us think we are looking at the back of a damaged canvas

Tempera is normally painted with short thin strokes and lends itself to such careful detail

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

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Riza Abbasi, Two Lovers

Islamic artists enjoyed the sensitive detail that can be achieved with tempera, and some used tempera with gold leaf to create rich images for the ruling class

This work, Two Lovers, combines a rich gold-leaf finish with the high detail of tempera

The artist used the transparency of the medium to make the plant life look delicate and wispy

The intertwined lovers stand out proudly from thesoftness of the plants in the background

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Fresco

This technique involves pigment mixed with water painted onto a freshly applied lime-plaster surface

The pigment is not mixed into a binder, as it is in other painting techniques

Once this chemical reaction is complete the color is extremely durable, making fresco a very permanent painting medium

The earliest examples of the fresco method come from Crete in the Mediterranean (the palace at Knossos and other sites) and date to c. 1600–1500 BCE

2.27 Michelangelo, The Libyan Sibyl, 1511–12. Fresco. Detail of the Sistine Chapel Ceiling, Vatican City

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Michelangelo, The Libyan Sibyl

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

It took four years to complete

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

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2.28 Diego Rivera, Sugar Cane, 1931. Fresco on plaster, 4’10” x 7’11”. Philadelphia Museum of Art

2.29 Melchor Peredo, Remembrance Fresco, 1999. Fresco, each panel 4 x 8’. Harton Theater, Southern Arkansas University, Magnolia

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Perspectives on Art:


Melchor PeredoFresco Painting Inspired by the Mexican Revolution

In the 1920s a group of artists decided to champion the struggles of ordinary Mexicans and express the ideals of the Mexican Revolution by reviving the art of fresco painting

The muralists were political radicals who wereinfluenced by the ideas of socialist and communist leaders

Diego Rivera’s fresco Sugar Cane portrays the exploitation of workers on the large sugar farms in Morelos, south of Mexico City

Peredo studied with the great mural painters His Remembrance Fresco focuses on important historical

figures and local folklore, based on ideas given to him by students and members of an Arkansas community

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Oil

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

The oil most used as a binder was linseed oil, a by-product of the flax plant from which linen cloth is made

Giorgio Vasari, an Italian Renaissance writer and artist, credits the fifteenth-century Flemish painter Jan van Eyck with the invention of oil paint

2.30 Jan van Eyck, The Madonna of Chancellor Rolin, 1430–34. Oil on wood, 26 x 24⅜”. Musée du Louvre, Paris, France

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Jan van Eyck, The Madonna of Chancellor Rolin

Although Van Eyck did not invent oil paint, he was an exceptional practitioner of oil painting

This painting exhibits his masterful use of thin layers of color called glazes

Glazes attain a rich luminosity, as though lit from within

2.31 Joan Brown, Girl in Chair, 1962. Oil on canvas, 5 x 4’. LACMA

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Joan Brown, Girl in Chair

Used oil in an impasto (thickly painted) fashion

The paint can pile up, giving Brown’s work a three- dimensional presence

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

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Hung Liu, Interregnum

Hung grew up in Communist China before emigrating to the United States

Hung’s images express her Chinese roots

The traditional Chinese style is reflected in the idyllic figures in the upper part of Interregnum

Hung’s work shows the discontinuity between realityand the ideal

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

2.34 Artemisia Gentileschi,Self-portrait as the Allegoryof Painting (La Pittura), 1638–9. Oil on canvas, 38 x 29”. Royal Collection, London, England

Gateway to Art:

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

Gentileschi was the daughter of an artist, and her talent was recognized and fostered by her father

Gentileschi often depicted strong female figures with emotion, intensity, and power

Artists have always made self-portraits to show off their skill and define themselves as they wish others to see them

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

Gentileschi’s self-portrait shows her succeeding in the male- dominated world of the professional artist

Chapter 2.1 Drawing



Acrylic

Acrylic paints are composed of pigments suspended in an acrylic polymer resin

These paints have only been in use since about 1950

They dry quickly and can be cleaned up with relative ease, using water

When dry acrylics have similar characteristics to those of oil paint

2.35 Roger Shimomura, Untitled, 1984. Acrylic on canvas, 5’½” × 6’¼”. Kemper Museum of Contemporary Art, Kansas City, Missouri

Chapter 2.1 Drawing



Roger Shimomura, Untitled

Shimomura uses acrylic paint to create works that investigate the relationships between cultures

He merges traditional Japanese imagery with popular culture and typically American subjects

This combination of styles reflects the mixing of cultures resulting from communication and contact between nations

The painting explores the effects of conflict betweentwo cultures

Chapter 2.1 Drawing



Watercolor and Gouache

Watercolor and gouache suspend pigment in water with a sticky binder, usually gum arabic

Watercolor is transparent An additive (often chalk) in gouache makes the paint

opaque

Usually watercolor and gouache are painted on paper because the fibers of the paper help to hold the suspended pigments in place

Any white area in a watercolor is simply unpainted paper

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

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

Chapter 2.1 Drawing



Albrecht Dürer, A Young Hare

Reflects direct observation of a natural subject

Combination of watercolor with opaque white heightening

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

2.37 Sonia Delaunay, Prose of the Trans-Siberian Railway and of Little Jehanne of France, 1913. Watercolor and relief print on paper, support 77 x 14”

Chapter 2.1 Drawing



Sonia Delaunay, Prose of the Trans-Siberian Railway and of Little Jehanne of France

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

Prose… is an artist’s book

Collaboration with the poet Blaise Cendrars

If all 150 copies of the first edition were placed end to end, it was intended they would stretch the height of the Eiffel Tower

Meant to be folded like a roadmap

Illustration progressively changes as the reader advances down the page

Chapter 2.1 Drawing



Ink Painting

If you are drawing on a surface that is not fibrous enough, you need to modify the ink

Painting inks are slightly different from drawing inks because they have a binder

Ink can be painted in much the same way as watercolor

Artists sometimes incorporate ink into their watercolor paintings to give extra richness and darker values

2.38 Suzuki Shonen, Fireflies at Uji River, Meiji period, 1868–1912. Ink, color, and gold on silk; hanging scroll, 13¾ x 50”. Clark Family Collection

Chapter 2.1 Drawing



Suzuki Shonen,Fireflies at Uji River

The luscious darkness of the ink on silk-scroll supports the retelling of a night scene from an eleventh-century Japanese novel

The story, from The Tale of Genji, describes a young man trying to overhear the conversation of two young women

The rushing waters of the Uji obscure their wordsfrom the eager ears of the would-be suitor

The artist emphasizes the power of the rushing waterwith strong brushstrokes and powerful diagonals

Chapter 2.1 Drawing



Spray Paint and Wall Art

Spray paint is one of the oldest painting techniques

Some images on the cave walls of Lascaux, France, were applied by blowing a saliva-and-pigment solution through a small tube

Although today’s spray paint comes in a can, the technique is essentially the same as it was 16,000 years ago

Because the spray spreads out in a fine mist, the ancient spray-paint artist, like today’s spray painters, would mask out areas to create hard edges

2.39 John Matos, a.k.a. “Crash,” Aeroplane 1, 1983. Spray paint on canvas, 5’11¼” × 8’7”. Brooklyn Museum, New York

Chapter 2.1 Drawing



John Matos, a.k.a. “Crash” Aeroplane 1

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 artists keep their identity secret and sign their work with an alias, called a tag

John Matos (b. 1961), whose tag is “Crash,” is considered a founder of the graffiti art movement

He began spray painting New York City subway cars at the age of thirteen

2.40 Blek le Rat, David with the Machine Gun, 2006. New York

Chapter 2.1 Drawing



Blek le Rat, David with the Machine Gun

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

Ironically juxtaposes an image of Michelangelo’s famous statue David with a superimposed machine gun

Blek le Rat is considered an artivist: an artist/activist

Part of a larger movement, called culture jamming, that draws attention to social or political issues

This unauthorized rendering was spray painted on a building in support of Israel

Chapter 2.1 Drawing



Conclusion

The wax of encaustic, the egg of tempera, and the wet plaster of fresco have all offered artists technically demanding ways of combining pigment with a binder to depict subjects in durable and vivid color

The invention of oil paint helped artists achieveastonishing naturalism and luminosity of light effects

Acrylic is a water-based medium with results similar to oil

Watercolor, gouache, and inks are other kinds of water-based paint










Chapter 2.1 Drawing


This concludes the PowerPoint slide set for Chapter 2.2

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



Chapter 2.1 Drawing


2.22 Ralph Larmann2.23 Metropolitan Museum of Art, Gift of Edward S. Harkness, 1918, 18.9.2. Photo Metropolitan Museum of

Art/Art Resource/Scala, Florence2.24 National Gallery of Scotland, Edinburgh2.25 Metropolitan Museum of Art, Purchase, Francis M. Weld Gift, 1950, Inv. 50.164. Photo Metropolitan

Museum of Art/Art Resource/Scala, Florence2.26 Please note that this image is not available for digital use but can be found on page 182 of the textbook 2.27 Vatican Museums, Rome2.28 Philadelphia Museum of Art, Gift of Mr. and Mrs. Herbert Cameron Morris, 1943. © 2011 Banco de México

Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./DACS2.29 Photo Steven Ochs2.30 Musée du Louvre, Paris2.31 Los Angeles County Museum of Art, Gift of Mr. and Mrs. Robert H. Ginter, M.64.49. Digital Image Museum

Associates/LACMA/Art Resource NY/Scala, Florence. Courtesy Gallery Paule Anglim2.32 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 artist2.33 Galleria degli Uffizi, Florence2.34 The Royal Collection © Her Majesty The Queen2.35 Kemper Museum of Contemporary Art, Kansas City. Bebe and Crosby Kemper Collection, Kansas City,

Missouri. Museum Purchase, Enid and Crosby Kemper and William T. Kemper Acquisition Fund 2000.13. © the artist

2.36 Photo Austrian Archives/Scala Florence2.37 Photo Tate, London 2011. © L&M Services B.V. The Hague 20110512. © Miriam Cendrars2.38 Clark Family Collection. Image courtesy The Clark Center for Japanese Art & Culture2.39 Courtesy Art Link International, Florida. © the artist2.40 Photo Sybille Prou

Picture Credits for Chapter 2.2


Chapter 2.1 Drawing


CHAPTER 2.2STUDY QUESTIONS


Chapter 2.1 Drawing


1. Pigment names are often derived from their source. For example the pigment that we call umber is named after ______.

a. a zinc extraction processb. the stone lapis lazulic. Umbria, Italyd. Afghanistane. none of these



Chapter 2.1 Drawing


1. Pigment names are often derived from their source. For example the pigment that we call umber is named after ______.

a. a zinc extraction processb. the stone lapis lazulic. Umbria, Italyd. Afghanistane. none of these



Chapter 2.1 Drawing


2. The Roman-era encaustic portraits from Fayum are excellent examples of Roman painting in wax. What was Fayum?

a. an oasisb. a mountain retreatc. a riverd. a volcanoe. a Roman road



Chapter 2.1 Drawing


2. The Roman-era encaustic portraits from Fayum are excellent examples of Roman painting in wax. What was Fayum?

a. an oasisb. a mountain retreatc. a riverd. a volcanoe. a Roman road



Chapter 2.1 Drawing


3. In The Virgin and Child with Angels, an egg tempera painting from the Ferrarese School, the artist has chosen to paint ______ frame that looks like the back of a canvas.

a. a goldenb. a Byzantinec. a flower coveredd. an illusionistice. none of these



Chapter 2.1 Drawing


3. In The Virgin and Child with Angels, an egg tempera painting from the Ferrarese School, the artist has chosen to paint ______ frame that looks like the back of a canvas.

a. a goldenb. a Byzantinec. a flower coveredd. an illusionistice. none of these



Chapter 2.1 Drawing


4. Fresco painting was practiced in which of these locations?

a. Egyptian tombsb. Roman housesc. Sistine Chapel ceilingd. Palace at Knossose. all of these



Chapter 2.1 Drawing


4. Fresco painting was practiced in which of these locations?

a. Egyptian tombsb. Roman housesc. Sistine Chapel ceilingd. Palace at Knossose. all of these



Chapter 2.1 Drawing


5. Diego Rivera, a Mexican muralist, practiced what kind of painting when he created large-scale works to celebrate the Socialist movement in Mexico?

a. frescob. encausticc. temperad. oile. watercolor



Chapter 2.1 Drawing


5. Diego Rivera, a Mexican muralist, practiced what kind of painting when he created large-scale works to celebrate the Socialist movement in Mexico?

a. frescob. encausticc. temperad. oile. watercolor



Chapter 2.1 Drawing


6. Linseed oil came into general use as a painting binder in the fifteenth century, particularly in this country.

a. Italyb. Flandersc. Chinad. Indiae. Greece



Chapter 2.1 Drawing


6. Linseed oil came into general use as a painting binder in the fifteenth century, particularly in this country.

a. Italyb. Flandersc. Chinad. Indiae. Greece



Chapter 2.1 Drawing


7. Such artists as Jan van Eyck took advantage of the transparency of oil paint glazes to attain a rich ______ , as though lit from within.

a. impastob. texturec. luminosityd. smelle. sound



Chapter 2.1 Drawing


7. Such artists as Jan van Eyck took advantage of the transparency of oil paint glazes to attain a rich ______ , as though lit from within.

a. impastob. texturec. luminosityd. smelle. sound



Chapter 2.1 Drawing


8. Artemisia Gentileschi lived at a time when women were not easily accepted into the art profession but she was supported by ______, who was also an artist.

a. her husbandb. her fatherc. her brotherd. her unclee. a female relative



Chapter 2.1 Drawing


8. Artemisia Gentileschi lived at a time when women were not easily accepted into the art profession but she was supported by ______, who was also an artist.

a. her husbandb. her fatherc. her brotherd. her unclee. a female relative



Chapter 2.1 Drawing


9. The binder used to suspend pigment in acrylic paint is ______.

a. gum arabicb. honeyc. beeswaxd. caseine. polymer resin



Chapter 2.1 Drawing


9. The binder used to suspend pigment in acrylic paint is ______.

a. gum arabicb. honeyc. beeswaxd. caseine. polymer resin



Chapter 2.1 Drawing


10. Which painter and watercolorist was the first woman to have her work shown at the Louvre during her lifetime?

a. Artemisia Gentileschib. Rosa Bonheurc. Georgia O’Keeffed. Sonia Delaunaye. Joan Brown


Chapter 2.1 Drawing


10. Which painter and watercolorist was the first woman to have her work shown at the Louvre during her lifetime?

a. Artemisia Gentileschib. Rosa Bonheurc. Georgia O’Keeffed. Sonia Delaunaye. Joan Brown

Art 110 ch 2.1 and ch 2.2

Documents

materials of drawing

large drawing

school of athens drawing

dry media dry media

kathryn shields dry

visual arts

processes gateways

color pencil color pencil