![Chapter 4 - The Visual Elements ,[object Object],Spotted horses and negative hand imprints, wall painting in the cave at Pech-Merle, Lot, France, ca. 22,000 BCE. Approx. 11’ 2” long. Deborah Butterfield Earth Measure, 1997 found welded metal 83 x 120 x 30"](https://image.slidesharecdn.com/week2visualelementspart1b-090828135021-phpapp01/85/Week2-Visual-Elements-Part1-1-320.jpg)
![The Visual Elements ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)
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Week2 Visual Elements Part1
- 6. Types of Line Active Lines contrapposto Static Lines
- 13. Brice Marden , Grove IV, 1976. Oil and wax on canvas, two panels, 72 x 108 inches overall.
- 14. PIET MONDRIAN, Composition in Red, Blue, and Yellow, 1930. Oil on canvas, 2’ 4 5/8” x 1’ 9 1/4”.
- 15. Keith Haring, Untitled, 1982 Vinyl Ink on Vinyl Tarp 72 x 72 inches 182.88 x 182.88cm
- 17. MARK LOMBARDI
- 20. Egon Schiele, “Selbstporträt”, 1912
- 21. Otto Zitko, Cheim & Read, New York 2003
- 23. SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
- 24. Implied Line / Eye Movement SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’8”x 9’ 1”.
- 25. Theodore Gericault, “ The Raft of the Medusa”, 1819, Oil on canvas, 491 x 716 cm
- 26. Implied Lines / Eye Movement
- 30. KAZIMIR MALEVICH, Suprematist Composition: Airplane Flying, 1915 (dated 1914). Oil on canvas, 1’ 10 7/8” x 1’ 7”. Museum of Modern Art, New York
- 31. Zaha Hadid (architect), Cincinnati Center for Contemporary Art
- 34. GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4” Austrian Gallery, Vienna.
- 38. LEONARDO DA VINCI, study for Virgin and Child with Saint Anne and the Infant Saint John, ca. 1505–1507. Charcoal heightened with white on brown paper, approx. 4’ 6” x 3’ 3”. National Gallery, London.
- 41. Hatching: Closely spaced parallel lines Cross-hatching: Parallel lines intersect like a checkerboard Stippling: Dots spaced close or far apart to suggest light/dark
- 51. Color is relative It is effected by the colors around it
- 52. JOSEF ALBERS, Homage to the Square: “Ascending”, 1953. Oil on composition board, 3’ 7 1/2” x 3’ 7 1/2”. Analogous
- 53. Vermeer, 'A Young Woman standing at a Virginal', about 1670-2 Analogous
- 54. Complimentary
- 55. Peter Doig
- 57. GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.
- 58. GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, Chicago
- 59. Mark Tansey, Forward Retreat, 1986
- 60. Ad Reinhardt. (American, 1913-1967). Abstract Painting, Red . 1952. Oil on canvas, 9' x 40 1/8"
- 61. Magdalena Jetelova “Domestizierung Einer Pyramide” (Domestication of a Pyramid) aprox 15m high, 1992, Red quartz Sand.
- 62. Otto Dix, Pisarka Sylvia von Harden , 1926
- 64. Pablo Picasso The Tragedy , 1903
- 65. Kirchner, Ernst Ludwig Self-Portrait with Model 1910/1926 Oil on canvas 150.4 x 100 cm (59 1/4 x 39 3/8 in.)
- 66. Texture - Surface quality (can be actual or implied) Actual Texture : a tactile experience Visual or Implied Texture : an illusionary experience Brancusi , Bird in Space, 1925. Richard Patterson's "Minotaur With Brushstrokes" (1998), oil on canvas.
- 67. Impasto – thick paint (“paste”)
- 69. Chris Jordan Plastic Bottles, 2007 60x120" Depicts two million plastic beverage bottles, the number used in the US every five minutes.
- 72. Prison Uniforms, 2007 10x23 feet in six vertical panels Depicts 2.3 million folded prison uniforms, equal to the number of Americans incarcerated in 2005. The U.S. has the largest prison population of any country in the world.
- 76. "Where There's a Will a Way”, glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches, 2007,
- 77. Agnes Martin. (American, born Canada. 1912-2004). The Tree . 1964. Oil and pencil on canvas, 6 x 6' (182.8 x 182.8 cm).
- 78. Frank Stella, Zambezi, 1959; painting; enamel on canvas, 90 3/4 in. x 78 3/4 in.
- 79. Gregory Hayes, Primary Array #19 acrylic on canvas 48 x 48 inches 2010
Notes de l'éditeur
- This chapter is divided into 2 parts, as there are a lot of terms. This also allows lecture time to be divided by an activity. Students will find the need to take notes on individual slides, so they should save more room beneath each term. Activity: Non-objective design using line, shape, and color to convey meaning. Write several adjectives on the board (Anger, Exuberance, Alienation, Passion). Students must use Nonobjective lines, shapes, and colors to convey the meaning. Remind students to bring supplies (paper, pencils, range of color media). There are excellent interactive study activities, Web links and videos related to this chapter available at www.mhhe.com/lwa8.
- Texture can be described as a perception of smooth or rough, fine or coarse. This sculpture could be experienced through touch (if we were allowed). Some museums have had to set up detection alarms due to our need to touch. Brancusi included three different textures, which grow more refined as our eyes move upward. This contributes to the sense of movement, as if the material world were falling away. The rough, wooden pedestal exerts an upward thrust; the small limestone base acts as a compression zone for gathering energy; the smooth marble bird makes a leap into space. Paint applied thickly creates an actual texture, called Impasto, that we could feel (again, if we were allowed). Dufy’s painting is on a flat canvas, but he creates a visual illusion or an implied texture through his brushstrokes. They create “rough patches.” The water does not have a representational illusion, but still conveys choppiness. Artists can create convincing illusions of actual texture created through ranges of VALUE and use of LINE. The mask is an example of actual textures which are tactile (can be felt), and create a dynamic visual PATTERN.