Art 110 wk 2

Week 2

Quiz

1. William G. Wall’s print Fort Edward is a vehicle for expressing the artist’s thoughts about ______.

• a. the expansion and development of America

• b. the beauty of the American landscape

• c. the struggles between Native and European Americans

• d. all of the above• e. none of the above

• 2. Western artists since the Renaissance have usually considered ______ to be the highest forms of art.

• a. painting and ceramics• b. painting and calligraphy• c. sculpture and painting• d. sculpture and furniture• e. none of the above

• 3. Traditionally, artists in China learned their craft by ______.

• a. copying the work of a great master• b. attending a school or academy that taught artistic

technique• c. practicing painting in the open air without a teacher• d. producing still life drawings that were sold to local

people• e. traveling to Beijing and looking at art in museums

and galleries

• 4. African masks displayed in museums were originally made ______.

• a. to be worn during spiritual or magic ceremonies• b. to be worn during elaborate tea-drinking

ceremonies• c. to be exchanged as gifts with people from other

communities• d. to be displayed as beautiful, finely crafted museum

objects• e. for sale to European travelers

5. The Nazis’ Degenerate Art Exhibition contained work that ______.

• a. offended most of the German people

• b. attracted a large number of visitors

• c. was bought for Adolf Hitler’s personal collection

• d. depicted the beauty of the German landscape

• e. encouraged viewers to join the military

PART 1FUNDAMENTALS

PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 1.1 Art in Two Dimensions: Line, Shape, and the Principle of Contrast

6.The dark printed words on the page of a book are easily read because they are printed on a light ground. This is an example of the principle of ________.

a. harmony

b. variety

c. contrast

d. proportion

e. emphasis

7. These 1300-year-old South American drawings, which include an enormous image of a spider, were first discovered by overflying commercial aircraft because they are so huge.

a. Nazca Lines b. Pampas Incisions c. Amazon Sketches d. Rio Etchings e. Andean Carvings


PART 1FUNDAMENTALS

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

8. Line can be used as a tool to __________ . a. demarcate boundaries b. imply direction c. give a sense of surface d. indicate movement e. all of the above answers

9. In the work The Connectors, the artist James Allen uses this kind of line to draw the viewer’s attention to the great height that faced the builders of the Empire State

Building.

• a. Directional• b. Organic• c. Implied• d. Unfettered• e. Irregular

10. Using negative shape, the graphic designer Al Grivetti inserted this number into the Big Ten logo to express the league’s expansion.

• a. 12• b. 10• c. 11• d. 22• e. 42

ANSWERS



















and galleries





and galleries























PART 1FUNDAMENTALS




a. harmony

b. variety

c. contrast

d. proportion

e. emphasis

PART 1FUNDAMENTALS




a. harmony

b. variety

c. contrast

d. proportion

e. emphasis

REVIEW QUESTIONS


• a. Nazca Lines• b. Pampas Incisions• c. Amazon Sketches• d. Rio Etchings• e. Andean Carvings


• a. Nazca Lines• b. Pampas Incisions• c. Amazon Sketches• d. Rio Etchings• e. Andean Carvings

• 8. Line can be used as a tool to __________ .• a. demarcate boundaries• b. imply direction• c. give a sense of surface• d. indicate movement• e. all of the above answers

• 8. Line can be used as a tool to __________ .• a. demarcate boundaries• b. imply direction• c. give a sense of surface• d. indicate movement• e. all of the above answers


Building.



Building.



• a. 12• b. 10• c. 11• d. 22• e. 42


• a. 12• b. 10• c. 11• d. 22• e. 42

Ch 1.2 &1.3

Chapter 1.2

Three Dimensional Art: Form, Volume, Mass, and Texture

PART 1FUNDAMENTALS

Copyright © 2011 Thames & Hudson

PART 1FUNDAMENTALS

Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture


Three Dimensional Art

Three-dimensional works Have height, width, and depth

Pyramids are an example

Possess four of the visual elements: form, volume, mass, and texture

1.28 Three dimensions: height, width, and depth

PART 1FUNDAMENTALS



Form

Shapes are flat; forms are three-dimensional

Scale refers to the size of an object

Forms have two fundamental attributes: volume and mass

Volume is the amount of space a form occupies

Mass is the expression of solidity

Texture is the sensation of touching Artists sometimes evoke our memory of touch

Materials can communicate ideas

1.29 Great Sphinx of Giza, c. 2650 BCE, Giza, Egypt

Great Sphinx of Giza

• Largest carving in the world from a single stone– Artists sculpted the

living rock– Symbol of the power to

change our surroundings

• Name derived from Greek, not Egyptian, mythology

PART 1FUNDAMENTALS



Geometric Form

Regular forms, readily expressible in words or numbers

Cubes, spheres, cylinders, cones, and pyramids are simple examples

1.30 Great Pyramid of Khufu, c. 2560 BCE, Giza, Egypt

PART 1FUNDAMENTALS

Gateway to Art:



Great Pyramid of KhufuThe Importance of Geometric Form

Regulated and controlled geometric form

Stands as a monument to the engineering and construction skills of the ancient Egyptians

Base of Khufu’s pyramid is level to within less than an inch

Greatest difference in the length of the sides is 1¾” Originally encased in fine white limestone

Egyptian art and architecture exhibit carefully ordered and controlled characteristics

Work of these artists was governed by a canon, or set of rules

PART 1FUNDAMENTALS

Gateway to Art:



1.31 David Smith, Cubi XIX, 1964. Stainless steel, 113¼ x 21⅝ x 20⅝”

David Smith, Cubi XIX

• Uses cubes, cuboids, and a thick disk

• Combines geometric forms in angular relationships

• Diagonal angles imply movement– Smith learned welding in an

automobile factory and became expert while fabricating tanks of thick armor plate during World War II

PART 1FUNDAMENTALS



Organic Form

Organic forms are derived from living things

Irregular and unpredictable

Can be used for expressive effect

1.32 Vesperbild (Pietà), Middle Rhine region, c. 1330. Wood, 34½” high. Rheinisches Landesmuseum, Bonn, Germany

Vesperbild (Pietà)

• The human body is an organic form

• Artists can use irregular awkward forms for expressive effect

• Artist distorted the bodies of Mary and Jesus to communicate pain and suffering

• Twisting and distorting Mary’s face expresses sorrow

1.33 Lino Tagliapietra, Batman, 1998. Glass, 11½ x 15½ x 3½”

Lino Tagliapietra, Batman

• Artist uses a form that is lively and organic

• The natural energy of light is captured in the glowing transparency of the glass

• The artist says of this work:– “I imaged pieces that allow

the viewer to see both the reality and fantasy of Batman’s world.”

PART 1FUNDAMENTALS



Form in Relief and in the Round

A relief is a work in which forms project from a flat surface

It is designed to be viewed from one side only

A form in the round can be seen from all sides

1.34 Imperial Procession, from the Ara Pacis Augustae, 13 BCE. Marble altar. Museo dell’Ara Pacis, Rome, Italy

Imperial Procession, from theAra Pacis Augustae

• A relief can be mounted on a wall or other surface

• A sculptor can create the illusion of a three-dimensional space, with dramatic results

• The unknown artist uses the depth of the carvings to suggest that some areas of the composition are farther away from us than others– The figures in the foreground are

deeply carved (in high relief)– The figures behind those in the

foreground are also carved in relief, but not quite so deeply

– The artist suggests even greater depth by using a third group of figures who are carved in shallow relief

1.35 Stela with supernatural scene, Mexico or Guatemala, 761 CE. Limestone, 92 x 42 x 3”. Fine Arts Museums of San Francisco

Stela with supernatural scene

• Done in bas-relief (low relief)

• Stela: upright stone slab decorated with inscriptions or pictorial relief carvings

• All elements of the composition are of equal depth

PART 1FUNDAMENTALS



Volume

Volume is the amount of space occupied by an object

Architectural forms usually enclose a volume of interior space to be used for living or working

1.36 Volume and mass

PART 1FUNDAMENTALS



Open Volume

When artists enclose a space with materials that are not completely solid, they create an open volume

1.37a Ralph Helmick and Stuart Schechter, Ghostwriter, 1994. Cast metal/stainless cable, 36 x 8 x 10’. Evanston Public Library, Illinois

1.37b Detail of Ghostwriter

Ralph Helmick and Stuart Schechter, Ghostwriter

• An open volume that, when looked at as a whole, creates the image of a large human head

• Made of carefully suspended pieces of metal

• In the stairwell where the piece hangs, the empty space and the “head” are not distinct or separate, but the shape is nonetheless implied

1.38 Vladimir Tatlin, Model for Monument to the Third International, 1919

Vladimir Tatlin, Monument to the Third International

• Intended to be a huge tower• To commemorate the triumph

of Russia’s Bolshevik Revolution

• Never built, but it would have been much higher than the Eiffel Tower in Paris

• Spiraling open volume of the interior

• Designed to be made from steel and glass

• Tatlin believed that art should support and reflect the new social and political order

1.39 Carol Mickett and Robert Stackhouse, In the Blue (Crest), 2008. Painted cypress, 24 x 108 x 11’.Installation at St. Petersburg Art Center, Florida

Carol Mickett and Robert Stackhouse, In the Blue (Crest)

• Open volume can make a work feel light

• Creating negative space (the openings between the wooden slats) makes the work seem to float

• Many subtle changes in direction

• The artists hope that viewers will experience a feeling of being surrounded by water as they walk through the passage

PART 1FUNDAMENTALS



Mass

Mass suggests that something is solid and occupies space

Our perception of mass is derived from our imagination, our previous experience with smaller objects, and our understanding of the forces of nature

Mass can suggest weight in a three-dimensional object

Mass does not necessarily imply heaviness, only that a volume is solid and occupies space

1.40 Colossal Head,Olmec, 1500–1300 BCE. Basalt. Museo de Antropología, Veracruz, Mexico

PART 1FUNDAMENTALS

Gateway to Art:



Colossal Olmec HeadsMass and Power

The monumental quality of some artworks is directly related to their mass

The sheer size of the work was almost certainly intended to impress and overwhelm

At La Venta, Mexico, three heads were positioned in a “processional arrangement”

The massive scale of this head makes an imposing statement

Size suggests the power of a mighty ruler or an important ancestor

1.41 Rachel Whiteread, House, 1993. Concrete. Bow, London, England (demolished 1994)

Rachel Whiteread, House

• Suggests great weight and solidity

• Filled the interior space of a house with tons of concrete

• This building’s interior was transformed into a lasting memorial of the lives of the people who used to live in it

• Associations with life and death, memory, and change

1.42 Marisol (Escobar), Father Damien, 1969. Bronze, State Capitol Building, Honolulu, Hawaii

Marisol (Escobar), Father Damien

• Father Damien was a Catholic missionary who supervised a leper colony on the Hawaiian island of Molokai during the nineteenth century

• Steadfast compassion is suggested by the foursquare mass of Marisol’s work

• The stout form communicates stability and determination

• Father Damien died of leprosy while serving its victims

PART 1FUNDAMENTALS



Texture

Texture is the tactile sensation we experience when we physically encounter a three-dimensional form

When we think of texture, we mostly rely on the impressions we receive from our hands

When we look at a surface we can imagine how itstexture feels

1.43 Nam June Paik, TV Buddha, 1974. Closed-circuit video installation with bronze sculpture, monitor, and video camera, dimensions vary with installation. Stedelijk Museum, Amsterdam, Netherlands

Nam June Paik, TV Buddha

• Viewers experience actual texture when they see and touch the work

• The artist successfully draws on our past tactile experiences to give us a fuller experience of the artwork

• The low-tech sense of touch contrasts with the high-tech process of capturing a visual image

• A camera installed in the work shoots video of the actual texture and translates it into an image that can be experienced only from our tactile memory

1.44 Méret Oppenheim, Object, 1936. Fur-covered cup, saucer, and spoon, 2⅞” high. MOMA, New York

Méret Oppenheim, Object

• A subversive texture contradicts our previous tactile experience

• Artists and designers use the contradictions and contrasts of subversive texture to invite viewers to reconsider their preconceptions about the world around them

• Méret Oppenheim (1913–85) used texture to contradict the conscious logical experiences of viewers

• The artist counts on our tactile memory to conflict with the actual experience

1.45 Frank Gehry, Guggenheim Museum, 1997, Bilbao, Spain

Guggenheim Museum, Bilbao

• Bilbao was once a center for ship-building, and the undulating surfaces of Gehry’s creation suggest shipsand ship construction

• Uses contrasts in geometric and organic form

• Gehry used computer programs originally invented for aerospace design

• Irregular, curving organic forms that rise and fall unpredictably

• Employs both sculptural relief and in-the-round forms

• Covered with titanium tiles

1.46 Louise Bourgeois, Maman, 1999 (cast 2001). Bronze, stainless steel, and marble, 29’4⅜” x 32’9⅛ x 38’1”. Guggenheim Museum, Bilbao, Spain

Louise Bourgeois, Maman• Means “Momma” in French

• The sculpture stands beside the Guggenheim Museum, Bilbao. The museum’s apparently solid mass is contrasted with the spindly form and open volume of Maman

• The subtle variations of angle in the legs imply movement

• Even though this spider is made of bronze, the effect is one of lightness

• Bourgeois wants to suggest both the tenderness and the fierce protectiveness of motherhood

PART 1FUNDAMENTALS



Conclusion

Three-dimensional art is expressed in height, width,and depth

Forms can be geometric or organic

Volume is the amount of space occupied by the form

Mass is the impression that the volume is solid and occupies space

The surface of the form can be described in terms ofits texture

Artists can use the language of three-dimensional artto express many ideas and emotions

1. Which of these is a form?

a. Triangle b. Circle c. Pyramid d. Square e. Rectangle

1. Which of these is a form?

a. Triangle b. Circle c. Pyramid d. Square e. Rectangle

2. This famous object is the largest carving in the world created from a single stone.

a. The Sphinx b. Pyramid of Khufu c. Vesperbild d. Ara Pacis e. Colossal Head

2. This famous object is the largest carving in the world created from a single stone.

a. The Sphinx b. Pyramid of Khufu c. Vesperbild d. Ara Pacis e. Colossal Head

3. Which of these is not a geometric form?

a. Leaf b. Sphere c. Cube d. Pyramid e. Cylinder

3. Which of these is not a geometric form?

a. Leaf b. Sphere c. Cube d. Pyramid e. Cylinder

4. The human figure communicates the rich experience of humanity, and artists emulate this experience using this kind of

form:

a. geometric. b. subversive. c. regular. d. static. e. organic.

4. The human figure communicates the rich experience of humanity, and artists emulate this experience using this kind of

form:

a. geometric. b. subversive. c. regular. d. static. e. organic.

5. There are two kinds of relief sculpture, a pronounced surface treatment called high relief

and a shallow surface low relief called: a. facade relief. b. bas relief. c. intaglio relief. d. stela relief. e. planar relief.

5. There are two kinds of relief sculpture, a pronounced surface treatment called high relief

and a shallow surface low relief called: a. facade relief. b. bas relief. c. intaglio relief. d. stela relief. e. planar relief.

6. This element of art is used to describe the usable interior space of an architectural form.

a. Volume b. Mass c. Texture d. Shape e. Color

6. This element of art is used to describe the usable interior space of an architectural form.

a. Volume b. Mass c. Texture d. Shape e. Color

7. This element of art is used to describe the solidity of a form, such as that of the Colossal

Olmec Heads. a. Volume b. Texture c. Shape d. Mass e. Color

7. This element of art is used to describe the solidity of a form, such as that of the Colossal

Olmec Heads. a. Volume b. Texture c. Shape d. Mass e. Color

8. A slick cold surface of a finely finished metal object, the rough-hewn splintery character of a broken branch, and the

pebbly surface of a rocky beach are all examples of this element of art:

a. mass. b. texture. c. volume. d. shape. e. color.

8. A slick cold surface of a finely finished metal object, the rough-hewn splintery character of a broken branch, and the

pebbly surface of a rocky beach are all examples of this element of art:

a. mass. b. texture. c. volume. d. shape. e. color.

9. Artists use this kind of texture if they want to contradict a viewer’s normal expectations of a

textured surface. a. Organic b. Geometric c. Implied d. Actual e. Subversive

9. Artists use this kind of texture if they want to contradict a viewer’s normal expectations of a

textured surface. a. Organic b. Geometric c. Implied d. Actual e. Subversive

10. Frank Gehry’s design for the Guggenheim Museum, Bilbao, uses contrasts of:

a. subversive and implied texture.

b. soft and hard texture.

c. natural and manmade materials.

d. organic and geometric form.

e. large and small shapes.

10. Frank Gehry’s design for the Guggenheim Museum, Bilbao, uses contrasts of:

a. subversive and implied texture.

b. soft and hard texture.

c. natural and manmade materials.

d. organic and geometric form.

e. large and small shapes.

Chapter 1.3

Implied Depth: Value and Space

PART 1FUNDAMENTALS

Copyright © 2011 Thames & Hudson

PART 1FUNDAMENTALS

Chapter 1.3 Implied Depth: Value and Space


Introduction

When artists create an image in two dimensions, they are creating an illusion

Techniques artists use to imply depth—value, space, and perspective

Value—the lightness or darkness of a surface

Space—the distance between identifiable points or planes

Perspective—the creation of the illusion of depth in atwo-dimensional image by using mathematical principles

1.47 René Magritte, The Treachery of Images (“This is not a pipe”), 1929. Oil on canvas, 23¾ x 32”. LACMA

PART 1FUNDAMENTALS



René Magritte, The Treachery of Images(“This is not a pipe”)

Uses value and perspective to imply depth Painted in varying values The top of the pipe bowl is composed of two

concentric ellipses Magritte understands our habits of visual perception

Magritte wants us to recognize that what appears to be a pipe is not really a pipe

Nothing more than paint on a flat surface

PART 1FUNDAMENTALS



Value

An artist’s use of value can produce a sense of solidity and influence our mood

Film noir, French for “dark film”

The serious mood of these mysteries was enhanced by the filmmaker’s choice of dark values

Artists use dark and light values as tools for creating depth

1.48 Buckminster Fuller, Geodesic Dome (Art Dome), 1963–79, Reed College, Portland, Oregon

Buckminster Fuller,Geodesic Dome (Art Dome)

• Demonstrates the effect of light on planes in varying locations– Many triangular flat planes

make up this surface– Each of these planes has a

different relative degree of lightness or darkness

– Value changes occur gradually– The relative dark values

increase as the planes get further away and face away from the light

– There is a value range of black, white, and eight valuesof gray

• Formerly used as a sculpture studio at Reed College in Portland, Oregon

PART 1FUNDAMENTALS



1.49 Values and planes of a geodesic sphere, vector graphic

PART 1FUNDAMENTALS



Chiaroscuro

Italian for “light dark”

A method of applying value to a two-dimensional piece of artwork to create the illusion of three dimensions

Renaissance artists identified five distinct areas of lightand shadow

Highlight, light, core shadow, reflected light, and cast shadow

PART 1FUNDAMENTALS



1.50 Diagram of chiaroscuro

1.51 slide 1: Pierre Paul Prud’hon, Study for La Source, c. 1801. Black and white chalk on blue paper, 21¾ x 15¼”. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

1.51 slide 2: Chiaroscuro graphic with Pierre Paul Prud’hon, Study for La Source, c. 1801. Black and white chalk on blue paper, 21¾ x 15¼”. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

Pierre Paul Prud’hon, Study for La Source

• Uses chiaroscuro in the drawing of a female figure– There is an area of highlight on

the knee, leading intothe lighted thigh

– Under the knee and thigh there is a strong core shadow

– Reflected light can be seen on the calf and the underside of the thigh

– The reflected light is accented by the dark cast shadow behind the calf

• Use of black and white chalk on a gray paper allows the artist to accentuate the lightest and darkest areas

1.52 Caravaggio, The Calling of St. Matthew, c. 1599–1600. Oil on canvas, 11’1” x 11’5”. Contarelli Chapel, Church of San Luigi dei Francesci, Rome, Italy

Caravaggio, The Calling of St. Matthew

• Dramatic effects can be achieved through the use of chiaroscuro

• Uses strongly contrasting values to convert a quiet gathering into a pivotal and powerful event– The intense difference

between lights and darks places extra emphasis on Christ’s hand

– The light also frames Matthew

PART 1FUNDAMENTALS



Hatching and Cross-Hatching

Hatching consists of a series of lines, close to and parallel to each other

Cross-hatching (a variant of hatching in which the lines overlap) is used to suggest values that create a greater sense of form and depth

PART 1FUNDAMENTALS



1.53 Creating value using hatching and cross-hatching

1.54 Michelangelo, Head of a Satyr, c. 1520–30. Pen and ink on paper, 10⅝ x 7⅞”. Musée du Louvre, Paris, France

Michelangelo, Head of a Satyr

• Cross-hatched pen-and-ink drawing

• By building up layers of brown ink, Michelangelo overcomes the restrictions created by the thin lineof the pen

• The bright white highlight uses no lines; the surrounding hatch lines define the transition from bright light to a darker value

• As the hatching lines cross over and over, the valueappears to get darker

PART 1FUNDAMENTALS



Space

The strategies whereby an artist creates a sense of depth and the illusion of space include:

Size

Overlapping

Position

Alternating value and texture

Changing brightness and color

Atmospheric perspective

PART 1FUNDAMENTALS



Size, Overlapping, and Position

The size of one shape compared to another often suggests that the larger object is closer to us

If one shape overlaps another, the shape in front seems to be closer

A shape lower in the picture plane appears to be closer

1.55 Katsushika Hokusai, “The Great Wave off Shore at Kanagawa,” from Thirty-Six Views of Mount Fuji, 1826–33 (printed later). Print, color woodcut. Library of Congress, Washington, D.C.

“The Great Wave off Shore at Kanagawa”The Artist’s Methods for Implying Depth

• The artist makes one boat shape smaller than the others

• The shape of the wave overlaps the two largest boat shapes

• By placing the wave shape at the lowest point on the page, the artist suggests that it is closest to the viewer

• The placing of Mt. Fuji lower than the top of the waves deliberately confuses the composition– Adds to our sense of the size

of the wave

PART 1FUNDAMENTALS



Alternating Value and Texture

Artists intersperse value and visual texture to create a sense of rhythm

1.56 Fan Kuan, Travelers among Mountains and Streams, Northern Sung Dynasty, 11th century. Hanging scroll, ink and colors on silk, 81¼ x 40⅜”. National Palace Museum, Taipei, Taiwan

Fan Kuan, Travelers among Mountains and Streams

• Each area of light and dark occupies different amounts of space, making the design more interesting

• Note the change in visual texture from bottom to top

• These visual layers create a sense of depth

PART 1FUNDAMENTALS



Brightness and Color

Lighter areas seem to be closer as dark areas appear to recede

Especially true of color

We are more likely to think that a green that is very pure and intense is closer to us than a darker green

1.57 Thomas Hart Benton, The Wreck of the Ole ’97, 1943. Egg tempera and oil on canvas, 28½ x 44½”. Hunter Museum of Art, Chattanooga, Tennessee

PART 1FUNDAMENTALS



Thomas Hart Benton, The Wreck of the Ole ’97

Used brightness and color to create a sense of distance in his painting

We see the bright, pure greens come forward as the darker, less intense greens fall away

We perceive color that is more intense as being closer

PART 1FUNDAMENTALS



Atmospheric Perspective

Distant objects lack contrast, detail, and sharpness of focus because the air that surrounds us is not completely transparent

The atmosphere progressively veils a scene as the distance increases

Contemporary filmmakers use this atmospheric effect to give the illusion of great depth

PART 1FUNDAMENTALS



1.58 The effects of atmospheric perspective

1.59 Asher Brown Durand, Kindred Spirits, 1849. Oil on canvas, 44 x 36”. Crystal Bridges Museum of American Art, Bentonville, Arkansas

Asher Brown Durand, Kindred Spirits

• The trees in the foreground are detailed and bright green, but as the trees recede into the landscape behind the two figures they become a lighter gray and increasingly out of focus

• By using atmospheric perspective, Durand conveys an impression of the vastness of the American landscape

PART 1FUNDAMENTALS



Perspective

Artists, architects, and designers who wish to suggest the illusion of depth on a two-dimensional surface use perspective

Isometric perspective uses parallels to communicate depth

Linear perspective relies on a system where lines appear to converge at points in space

PART 1FUNDAMENTALS



Isometric Perspective

Arranges parallel lines diagonally in a work to give a sense of depth

Derives from the Greek meaning “equal measure” It was particularly suitable for painting on scrolls, which can

be examined only in sections

1.60 Xu Yang, The Qianlong Emperor’s Southern Inspection Tour, Scroll Six: Entering Suzhou and the Grand Canal , Qing Dynasty, 1770 (detail). Handscroll, ink, and color on silk, 2’3⅛” x 65’4½”. Metropolitan Museum of Art, New York

1.61 Graphic detailing isometric perspective: The Qianlong Emperor’s Southern Inspection Tour, Scroll Six: Entering Suzhou and the Grand Canal (detail)

Xu Yang, The Qianlong Emperor’s Southern Inspection Tour

• Parallel diagonal lines define the small L-shaped building in the center of the work

• This method of implying depth is not “realistic”

• The artist makes use of other spatial devices—for example, the diminishing size of the trees as they recede into the distance—to help us understand how the space is structured

1.62 Screenshot from The Sims, a computer simulation game, 2000

The Sims

• Isometric perspective is common in contemporary computer graphics

• The designers have created the architecture of the game using parallel diagonal lines to make “tiles”

• Allows players to manipulate the architecture without distortion

PART 1FUNDAMENTALS



Linear Perspective

A mathematical system that uses lines to create the illusion of depth in a two-dimensional artwork

The linear perspective systems used by artists are based on observation of space in the world

The theory of linear perspective was developed in detail by the fifteenth-century artist Leon Battista Alberti

The Italian Filippo Brunelleschi was the first artist to apply the theories of Alberti and others to create works of art using linear perspective

1.63 slide 1: Edith Hayllar, A Summer Shower, 1883. Oil on panel, 21 x 17⅜”. Private collection

1.63 slide 2: The effect of convergences: Edith Hayllar, A Summer Shower, 1883. Oil on panel, 21 x 17⅜”. Private collection

Edith Hayllar, A Summer Shower

• The artist, British painter Edith Hayllar, uses linear perspective to create an orderly composition that reflects the well-regulated life of Victorian aristocracy in England

• The converging lines represent planes that are parallel to each other in reality

• Parallel lines appear to converge on one single point in front of the male tennis player on the left

• Edith Hayllar exhibited many works at the Royal Academy in London—a rare honor for a woman artist at the time

PART 1FUNDAMENTALS



One-Point Perspective

One-point perspective relies on a single vanishing point

Unless the viewer is situated in direct line of sight it is not as easy to see how the perspective creates the illusion of a recession of space

Uses a single vanishing point

PART 1FUNDAMENTALS



1.64 Applying one-point perspective technique

1.65 Use of one-point perspective: Masaccio, Trinity, c. 1425–6. Fresco, 21’10½” x 10’4⅞”. Santa Maria Novella, Florence, Italy

Masaccio, Trinity

• Places the horizon line, an imaginary line that mimics the horizon, at the viewer’s eye level

• The horizon line represents our eye level

• The orthogonals (lines of convergence) create an illusion that the background is an architectural setting

PART 1FUNDAMENTALS



Two-Point Perspective

Uses two separate vanishing points

Relies on horizon line

1.66a Raphael, The School of Athens, 1510–11. Fresco, 16’8” x 25’. Stanza della Segnatura, Vatican City

1.66b Applying two-point perspective: detail from Raphael,The School of Athens

Raphael, The School of AthensPerspective and the Illusion of Depth

• Raphael introduces two additional vanishing points into a one-point perspective composition– One vanishing point is

positioned to the left of the central vanishing point

– The right vanishing point is outside of the picture

• Since the block in the center of the picture is turned at an angle, Raphael had to integrate another level of perspective into the work

PART 1FUNDAMENTALS



Multi-Point Perspective

If we are looking at an object from a position other than ground level, then we need points away from the horizon line and other variations on perspective

Many objects are made up of multiple angles that need even more vanishing points

The most common multiple-point perspective system is three-point perspective

A vanishing point is placed above or below the horizon line to accommodate a high or low angle of observation

Worm’s-eye view: looking up

Bird’s-eye view: looking down

PART 1FUNDAMENTALS



Cone of vision

1.67 Cone of vision

1.68 slide 1: M. C. Escher, Ascending and Descending, March 1960. Woodcut, 14 x 11¼”. The M. C. Escher Company, Netherlands

1.68 slide 2: Three-point perspective, bird’s-eye view: M. C. Escher, Ascending and Descending, March 1960. Woodcut, 14 x 11¼”. The M. C. Escher Company, Netherlands

M. C. Escher, Ascending and Descending

• Three distinct vanishing points– Two of the vanishing

points are placed on the horizon line

– One point is well below horizon line

PART 1FUNDAMENTALS



Foreshortening

Results when the rules of perspective are applied to represent unusual points of view

Especially applies to figures

1.69 Albrecht Dürer, Draftsman Drawing a Recumbent Woman, 1525. Woodcut. Graphische Sammlung Albertina, Vienna, Austria

PART 1FUNDAMENTALS



Albrecht Dürer, Draftsman Drawing a Recumbent Woman

At this oblique angle the usual proportions of different parts of the body do not apply

The artist has a fixed lens or aperture in front of him to make sure he always views from the same point

He looks through the gridded window to view the figure

Then he aligns his drawing to a similar grid marked onthe piece of paper in front of him

1.70 Andrea Mantegna, The Lamentation over the Dead Christ, c. 1480. Tempera on canvas, 26¾ x 31⅞”.Pinacoteca di Brera, Milan, Italy

Andrea Mantegna, The Lamentation over the Dead Christ

• The figure of Christ is oriented so that the wounded feet are placed in the extreme foreground

• Rest of the body receding away from the viewer backinto space

• Mantegna only slightly enlarges the feet

• Depicts the body in shortened sections

PART 1FUNDAMENTALS



Conclusion

Artists anticipate the effects of light on an object by subtle variations in value

We see depth when an artist overlaps different shapes, or contrasts their sizes in a particular way

From observation of the real world, the artist mimics variations in texture, brightness, color intensity, and atmospheric perspective to create an imaginary space

Different systems of perspective allow artists to create a new and convincing sense of depth

1. In The Treachery of Images, Magritte tell us that painting is a______.

• a. visual trick• b. matter of romance• c. a window to the soul• d. political tool• e. rectangle

1. In The Treachery of Images, Magritte tell us that painting is a______.

• a. visual trick• b. matter of romance• c. a window to the soul• d. political tool• e. rectangle

2. These two values are at the extreme ends of a value range.

• a. Dark gray and light gray

• b. White and dark gray• c. Black and gray• d. Light gray and white• e. Black and white

2. These two values are at the extreme ends of a value range.

• a. Dark gray and light gray

• b. White and dark gray• c. Black and gray• d. Light gray and white• e. Black and white

3. Artists sometimes use this method of applying value to give a feeling of three-dimensionality.

• a. Chiaroscuro• b. Tinting• c. Atmospheric

perspective• d. Smoothing• e. Contrast

3. Artists sometimes use this method of applying value to give a feeling of three-dimensionality.

• a. Chiaroscuro• b. Tinting• c. Atmospheric

perspective• d. Smoothing• e. Contrast

4. A series of closely arranged parallel lines that are overlapped by another set of parallel strokes to create a sense of value is

called ?

• a. chiaroscuro• b. cross-hatching• c. isometric perspective• d. pigment• e. scumbling

4. A series of closely arranged parallel lines that are overlapped by another set of parallel strokes to create a sense of value is

called ?

• a. chiaroscuro• b. cross-hatching• c. isometric perspective• d. pigment• e. scumbling

5. Artists intersperse value and texture to create a sense of ______.

• a. relief• b. disquiet• c. mystery• d. rhythm• e. chaos

5. Artists intersperse value and texture to create a sense of ______.

• a. relief• b. disquiet• c. mystery• d. rhythm• e. chaos

6. An artist can create an illusion of depth using only color by varying the ______ .

• a. relief• b. mass• c. complements• d. volume• e. intensity

6. An artist can create an illusion of depth using only color by varying the ______ .

• a. relief• b. mass• c. complements• d. volume• e. intensity

7. Contemporary filmmakers use this aerial effect to give the illusion of great depth, even when the scene is in a limited space.

• a. Mass• b. Texture• c. Atmospheric

perspective• d. Shape• e. Color

7. Contemporary filmmakers use this aerial effect to give the illusion of great depth, even when the scene is in a limited space.

• a. Mass• b. Texture• c. Atmospheric

perspective• d. Shape• e. Color

8. This type of perspective is used by game designers because it allows them to create depth using parallel diagonal lines.

• a. Isometric• b. Linear• c. Atmospheric• d. One-point• e. Multi-point

8. This type of perspective is used by game designers because it allows them to create depth using parallel diagonal lines.

• a. Isometric• b. Linear• c. Atmospheric• d. One-point• e. Multi-point

9. This Italian artist was the first to apply the tenets of linear perspective to the creation of artworks.

• a. Michelangelo• b. Leonardo da Vinci• c. Raphael• d. Warhol• e. Brunelleschi

9. This Italian artist was the first to apply the tenets of linear perspective to the creation of artworks.

• a. Michelangelo• b. Leonardo da Vinci• c. Raphael• d. Warhol• e. Brunelleschi

10. This kind of perspective is best used when the artist is confronted by a complex scene where some of the image is placed at a high or low angle.

• a. Isometric• b. Atmospheric• c. Multi-point• d. One-point• e. Two-point

10. This kind of perspective is best used when the artist is confronted by a complex scene where some of the image is placed at a high or low angle.

• a. Isometric• b. Atmospheric• c. Multi-point• d. One-point• e. Two-point

11. The method whereby rules of perspective are applied to represent unusual points of view is called ______.

• a. woodcutting• b. variable angling• c. coordinating• d. foreshortening• e. alternating two-

dimensionality

11. The method whereby rules of perspective are applied to represent unusual points of view is called ______.

• a. woodcutting• b. variable angling• c. coordinating• d. foreshortening• e. alternating two-

dimensionality

SKETCHBOOK EXERCISES

BLIND CONTOUR DRAWING

• DRAW YOUR HAND WITHOUT LOOKING AT THE PAPER

MODIFIED CONTOUR DRAWING

• DRAW YOUR HAND LOOKING AT THE DRAWING.

HATCHING/ CROSS HATCHING

1 POINT PERSPECTIVE

• DEMO ( Draw)

• PICTURE PLANE• HORIZON LINE

• VANISHING POINT• GROUND PLANE

2 POINT PERSPECTIVE

3 POINT PERSPECTIVELooking down…

3 point perspectivelooking up…

SHADING

Draw these shapes…

Art 110 wk 2

Education

practicing painting

western artists

expressingthe artists

great master

life drawings

fort edward

struggles betweennative

open air