The Visual Elements
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The Ingredients for a Great Composition - line, shape, value, color, texture, mass
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The Visual Elements
- 1. The Language of Art > The Visual Elements The Ingredients for a Great Composition
- 2. What are the elements of art?
- 5. Directional Lines Vertical Horizontal Diagonal Curvilinear
- 9. Implied Line A line that is completed by the viewer. Closure is a concept that accounts for how the viewer perceives a discontinuous line as being continuous. Leonardo. The Virgin of the Rocks
- 10. Outline describes the outer edge of a shape
- 11. Leonardo da Vinci Proportion of the Human Figure c. 1490, pen and ink Contour lines describe the outer edge of a form. Contour Line
- 14. Jackson Pollock Abstract Expressionism
- 16. Using Line to Create Depth and Texture Elizabeth Catlett. Sharecropper (1968) color linocut Modeling on a two-dimensional surface is the illusion of volume through the use of shading. Hatching is the use of fine parallel lines to represent shading.
- 22. Geometric Shapes Piet Mondrian. Composition with Red, Blue, and Yellow (1930) oil on canvas
- 24. Matisse, cut paper
- 26. Shape Botticelli. The Birth of Venus (detail) (c. 1482) oil on canvas Elements of Art >
- 27. Sandro Botticelli Botticelli. The Birth of Venus (detail) (c. 1482) oil on canvas
- 33. Turning Shapes into Forms David Smith. Untitled (1954) ink, tempera The word volume refers to the mass of a three-dimensional work. David Smith. Cubi XX (1964) welded steel, UCLA
- 36. Value Scale of Grays Two values or colors, side by side, interact with one another and change our perception accordingly. The effect of this interaction is called simultaneous contrast .
- 42. Value in Painting Chiaroscuro is a type of modeling that has a soft gradation of value over the form. Tenebrism is a type of modeling that has a sharp contrast in value that gives a spot-light effect on the subject. Leonardo da Vinci. Virgin of the Rocks oil on panel, 1486, Louvre, Paris
- 47. Victor Vasarely. Orion (1956) cut paper
- 56. Complementary Colors Vincent Van Gogh, Night Cafe
- 60. Cool colors with warm accents Romare Bearden. J Mood (c. 1985) paper collage
- 62. CLAUDE MONET. Haystack at Sunset near Giverny (1891). Oil on canvas. 2 9” x 3 7” .
- 64. Expressive Colors Van Gogh The Night Café (1888) oil on canvas
- 68. RACHEL RUYSCH. Flower Still Life (after 1700) Oil on Canvas. 29 3/4” x 23 7/8”.
- 69. Meret Oppenheim. Object (1936) Fur-Covered Cup, Saucer, and Spoon Camille Claudel’s The Waltz Creating simulated texture… subversive texture Transition from smooth skin to rough, bumpy, rippling base
- 70. DAVID GILHOOLY. Bowl of Chocolate Moose (1989). Ceramic. 10 ” x 6 ” x 7 ”
- 71. Elements of Art > Texture > Impasto Impasto is the actual, thick texture of the paint as applied by an artist. Vincent Van Gogh. Irises (1889) oil on canvas
- 72. Guitar, Sheet Music, and Glass. paper, gouache, charcoal Elements of Art > Texture > Collage Pablo Picasso – The first artist to attach paper and other materials to his art work.
- 74. Components of Art Unity Order/Oneness Subject Form Content Principles of Design Harmony Emphasis Proportion Balance Economy Rhythm Variety Elements of Art Value Color Line Shape Texture Mass
- 79. RAFFAELLO SANZIO (RAPHAEL). PHILOSOPHY, or SCHOOL OF ATHENS (1509-1511). Linear Perspective in The School of Athens.
- 80. GUSTAVE CAILLEBOTTE. Paris Street: Rainy Day *1877). Oil on Canvas. 83 1/2” 108 1/4”. Perspective in Caillebottoes’s Paris Street: Rainy Day.
- 82. SYLVIA PLIMACK MANGOLD. Schunnemunk Mountain (1979). Oil on canvas. 60 ” x 80 1⁄8 ” .
- 84. ALEXANDER CALDER. Untitled (1972). East Building mobile.
- 86. GIANLORENZO BERNINI. Apollo and Daphne (1622–1624). Marble. 7 ’ 6 ” .
- 88. THOMAS EAKINS. Man Pole Vaulting (c. 1884). Photograph.
- 89. UMBERTO BOCCIONI. Dynamism of a Soccer Player (1913). Oil on canvas. 6 ’ 4 1⁄8 ” x 6 ’ 7 1⁄8 ” .
- 90. BERNHARD JOHANNES AND ANNA BLUME. Kitchen Tantrums (1986–1987). Photo-piece. 51 1⁄8 ” x 35 7 / 8 ” .
- 92. Fig. 2-76. P.65 BRIDGET RILEY. Gala. (1974). Acrylic on canvas. 5’ 2 3/4” square.
Notes de l'éditeur
- Pyramidal structure of the composition
- Rubin Vase This ambiguous figure demonstrates our ability to shift between figure and ground which provides the basis for the two interpretations of these figures.
- Volume refers to the mass or bulk of three-dimensional works. This work by David Smith is a good example of geometric form.
- In its original historical meaning, a cartoon (from the Italian cartone , meaning "big paper") is a full-size drawing made on paper as a study for a further artwork, such as a painting or tapestry. Cartoons were typically used in the production of frescoes, to accurately link the component parts of the composition when painted onto plaster over a series of days. Such cartoons often have pinpricks where the outline of the design has been picked out in the plaster. Cartoons by painters such as Raphael and Leonardo da Vinci are highly prized in their own right. Sanguine refers to a reddish, often tending to brown, color of chalk used in drawing. The word may also refer to a drawing done in sanguine.
- Op Art
- Primary colors with neutrals Pop Artist, Roy Lichtenstein, c. 1960’s
- J. Paul Getty Museum, Los Angelos, CA