art appreciation: value, space (and perspective)
DESCRIPTION
An in-depth look at value, space, one-point, two-point, and three-point (+) perspective in a discussion of the principles and elements of art.TRANSCRIPT
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Art Appreciation
Professor Paige PraterT, R, 9:30-10:50AM
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10 ELEMENTS of Art:
1. Color 2. Form 3. Line4. Mass5. Shape6. Space7. Texture8. Time/Motion9. Value10. Volume
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Value & SpaceIntro
• 2D = illusion• Techniques for creating illusion of depth:
– Value: lightness or darkness– Space: distance between points or planes– Perspective: uses mathematical principles
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René Magritte, The Treachery of Images (“This is not a pipe”), 1929. Oil on canvas, 23¾ x 32”. LACMA
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VALUE: lights & darks
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Buckminster Fuller, Geodesic Dome (Art Dome), 1963–79, Reed College, Portland, Oregon
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Buckminster Fuller’s Geodesic Dome (1963-79)
• Demonstrates the effect of light on planes • 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
• http://youtu.be/jN3FMx1TYt8
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VALUE: lights & darks
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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 light and shadow
Highlight, light, core shadow, reflected light, and cast shadow
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VALUE: lights & darks
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
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Caravaggio, The Conversion on the Way to Damascus (1601).
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Hatching & Cross-Hatching
• Hatching consists of a series of lines, close to and parallel to each other
• Cross-hatching (lines overlap) is used to suggest values;greater sense of form and depth
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Hatching
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Cross-Hatching
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Put ‘em together and what’ve you got?
Michelangelo, Head of a Satyr, c. 1520–30. Pen and ink on paper, 10⅝ x 7⅞”. Musée du Louvre, Paris, France
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Space
– Size– Overlapping– Position– Alternating value and texture– Changing brightness and color– Atmospheric perspective
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Space: Size/Overlapping/Position
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.
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Funny!
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Space: Alternating Value & Texture
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
• 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
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Space: Changing Brightness & Color
• Lighter areas seem to be closer as dark areas appear to recede
• Intensity of color affects perception
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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
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Space: 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
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• Asher Brown Durand, Kindred Spirits, 1849. Oil on canvas, 44 x 36”. Crystal Bridges Museum of American Art, Bentonville, Arkansas
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Perspective
• ISOMETRIC : parallels communicate depth; usually diagonal parallel lines
• LINEAR: lines appear to converge at points in space
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ISOMETRIC PERSPECTIVE
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Graphic detailing isometric perspective: The Qianlong Emperor’s Southern Inspection Tour, Scroll Six: Entering Suzhou and the Grand Canal (detail)
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LINEAR Perspective
• Uses MATH and lines to create the illusion of depth in a 2D artwork
• 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
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Fillippo Brunelleschi, Perspective drawing for Church of Santo Spirito in Florence (1428).
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1 POINT Perspective
• 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
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1 POINT PERSPECTIVE
• Edith Hayllar, A Summer Shower, 1883. Oil on panel, 21 x 17⅜”. Private collection
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Masaccio, Trinity, c. 1425–6. Fresco, 21’10½” x 10’4⅞”. Santa Maria Novella, Florence, Italy
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2 POINT Perspective
• TWO vanishing points• Relies on horizon line
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Raphael, The School of Athens, 1510–11. Fresco, 16’8” x 25’. Stanza della Segnatura, Vatican City
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2 POINT Perspective
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Perspective: 3 POINT +
• Needs points away from the horizon line and other variations on perspective
• multiple angles that need even more vanishing points
• 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
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Human View: Cone of Vision
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M. C. Escher, Ascending and Descending, March 1960. Woodcut, 14 x 11¼”. The M. C. Escher Company, Netherlands
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Perspective: 3 POINT (Bird’s Eye)
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FORESHORTENING
Albrecht Dürer, Draftsman Drawing a Recumbent Woman, 1525. Woodcut. Graphische Sammlung Albertina, Vienna, Austria
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Andrea Mantegna, The Lamentation over the Dead Christ, c. 1480. Tempera on canvas, 26¾ x 31⅞”.Pinacoteca di Brera, Milan, Italy