22. HUANG GONGWANG, Dwelling in the Fuchun Mountains, Yuan dynasty, 1347-1350. Section of a handscroll, ink on paper, 1' 7/8" x 20' 9". National Palace Museum, Taibei.
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25. LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505. Oil on wood, approx. 2’ 6” x 1’ 9”. Louvre, Paris.
61. CIMABUE, Madonna Enthroned with Angels and Prophets, ca. 1280–1290. Tempera on wood, 12’ 7” x 7’ 4”. Galleria degli Uffizi, Florence. Perspective prior to the Renaissance
62. Duccio, Christ Entering Jerusalem , detail of Maesta Alter, 1308-11, Tempra on Panel, 40x21” Perspective prior to the Renaissance
63. MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1428. Fresco, 21’ x 10’ 5”.
64. DIRK BOUTS, Last Supper (central panel of the Altarpiece of the Holy Sacrament), Saint Peter’s, Louvain, Belgium, 1464–1468. Oil on wood, approx. 6’ x 5’.
65. PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.
69. Selim II receiving the Safavid ambassador in the palace at Edirne in 1567. Nehzetu'l-Ahbar der Sefer-i Sigetvar Nakkas Osman 1568. Hazine. 1339, folio 247b
70. From the Procession of the Guilds: the Procession of Makers of Bath-towels, Sur-nama ('Book of Festivities')., Istanbul, 1582. Hazine 1344, folios 338b-39a
77. GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 2’ 11 3/8” x 3’ 7 1/4”. Albright-Knox Art Gallery, Buffalo, New York
78. Giacomo Balla, Swifts Paths of Movement – Dynamic Sequences
79. Umberto Boccioni. States of Mind: The Farewells . 1911. Oil on canvas. 70. x 96cm.
80. MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, approx. 4’ 10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia EADWEARD MUYBRIDGE, Nude Descending Stairs, 1884
81. UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913 (cast 1931). Bronze, 3’ 7 7/8” high x 2’ 10 7/8” x 1’ 3 3/4”. Museum of Modern Art, New York
82. Nam June Paik, Zen for TV 1963, 1976 version manipulated vintage television and components 19 x 22 1/2 x 18 in. (48.3 x 57.2 x 45.7 cm) Smithsonian American Art Museum
84. • Texture: surface quality (Actual or Visual, implied) • Impasto • Pattern (regular repetition) • Space: 2 & 3-dimensional (height, width &/or depth) (Actual or Implied) • Positive/negative; figure/ground • Overlapping; foreground/background • Position • Linear & isometric perspective • Atmospheric perspective & chiaroscuro • Foreshortening • Time & motion: elapsed, implied, Kinetic Chapter Four-B Design Elements
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Notes de l'éditeur
The picture plane is the flat surface of a two-dimensional work. The space is only implied, as there is no actual depth. Artists use many devices to give the illusion of depth: 1. Overlapping: The elephant seen in its entirety is viewed as the closest. 2. Position: The performers at the bottom are viewed as the closest (foreground), followed by those in the middle-ground. The most important person in this story is the Indian prince in the background. The space of the architectural setting frames him, and the implied line of the gaze from his court and attendants points him out. An important feature of the Eastern aesthetic is the flattened space. Profile views are common, as they give the least implication of depth. It is conceptually convincing, but not optically convincing.
BURTYNSKY - CHINA In the autumn of 2005, Edward Burtynsky presents his latest release of work, photographs of both remnant and newly established zones of Chinese industrialization. Using diplomatic channels Burtynsky has gained rare access to the extreme expressions of Chinese industry, creating images that are at once arresting and unsettling. These photographs afford us a privileged glimpse of the vast social and economic transformations currently underway in China.
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![Implied Space ,[object Object],Maharana Amar Singh II , Prince Sangram Singh… c. 1705-08.](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)