Tuesday, August 31, 2010
Monday, August 30, 2010
The Principles of Art
http://www.goshen.edu/art/ed/Compose.htm#principles
Principles of Art
The principles of art help artists plan their art and think about how other people will react to the artwork. The principles are balance, contrast, proportion, pattern, rhythm, emphasis, unity, and variety.
Understanding the elements and principles of art helps people talk and think about art.
To see examples of the principles of art click on the following link:
http://www.mrkolber.org/wp-docs/Principles%20%20W-examples%20Deff.pdf
Principles of Art
The principles of art help artists plan their art and think about how other people will react to the artwork. The principles are balance, contrast, proportion, pattern, rhythm, emphasis, unity, and variety.
Understanding the elements and principles of art helps people talk and think about art.
To see examples of the principles of art click on the following link:
http://www.mrkolber.org/wp-docs/Principles%20%20W-examples%20Deff.pdf
Modern Architecture
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| Marina City (left) and IBM tower (right) in Chicago. |
Modern architecture is characterized by simplification of form and creation of ornament from the structure and theme of the building. The first variants were conceived early in the 20th century. Modern architecture was adopted by many influential architects and architectural educators, gained popularity after the Second World War, and continues as a dominant architectural style for institutional and corporate buildings in the 21st century.
Some historians see the evolution of Modern architecture as a social matter, closely tied to the project of Modernity and thus the Enlightenment. The Modern style developed, in their opinion, as a result of social and political revolutions.
Others see Modern architecture as primarily driven by technological and engineering developments, and it is true that the availability of new building materials such as iron, steel, and glass drove the invention of new building techniques as part of the Industrial Revolution.
By the 1920s the most important figures in Modern architecture had established their reputations. The big three are commonly recognized as Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany.
Modern architecture is usually characterized by:
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| Bailey House, Case Study # 21 |
an adoption of the machine aesthetic
an emphasis of horizontal and vertical lines
a creation of ornament using the structure and theme of the building, or a rejection of ornamentation.
a simplification of form and elimination of "unnecessary detail"
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| Melnikov House in Abbat Street in Moscow, by Konstantine Melnikov. |
Form follows function
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| The Seagram Building, New York City, 1958. One of the finest examples of the functionalist aesthetic and a masterpiece of corporate modernism. |
Neo Impressionism
NEO IMPRESSIONISM
http://www.impressionniste.net/neo-impressionism.htm
Neo-Impressionism is the specific name given to the Post-Impressionist work of Seurat and Signac and their followers.
The term Neo-Impressionism refers to a pictorial technique where color pigments are no longer mixed either on the palette or directly on canvas, but instead placed as small dots side by side. Mixing of colors takes place from a suitable distance, in the observor's eye, as an "optical mixture".
In the early 1880s, French painter Georges Seurat studied writings on color theory by French chemists Eugène Chevreul (1786-1889), Charles Henry, and American physicist Ogden Rood, and invented a new painting technique that he named "separation of color" or "Divisionism", the main advantage of which is to give a greater vibrancy of color.
Seurat's first large painting (206x305cm) "A Sunday Afternoon on the Island of La Grande Jatte" - 1884-1886 may be considered as the founding masterpiece of Divisionism.
http://www.impressionniste.net/neo-impressionism.htm
Neo-Impressionism is the specific name given to the Post-Impressionist work of Seurat and Signac and their followers.
The term Neo-Impressionism refers to a pictorial technique where color pigments are no longer mixed either on the palette or directly on canvas, but instead placed as small dots side by side. Mixing of colors takes place from a suitable distance, in the observor's eye, as an "optical mixture".
In the early 1880s, French painter Georges Seurat studied writings on color theory by French chemists Eugène Chevreul (1786-1889), Charles Henry, and American physicist Ogden Rood, and invented a new painting technique that he named "separation of color" or "Divisionism", the main advantage of which is to give a greater vibrancy of color.
Seurat's first large painting (206x305cm) "A Sunday Afternoon on the Island of La Grande Jatte" - 1884-1886 may be considered as the founding masterpiece of Divisionism.
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| Brut Signat |
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| A Sunday Afternoon on the Island of La Grande Jatte Georges SEURAT, 1884-86 The Art Institute of Chicago |
Friday, August 27, 2010
OP ART
http://arthistory.about.com/cs/arthistory10one/a/op_art.htm
Op Art relies on optical illusions and is sometimes called optical art or retinal art. Op painters and sculptors used geometric designs in order to create feelings of movement or vibration, sometimes in vibrant colors and other times in simply black and white. The movement had its origins in the work of Victor Vasarely, who created tessellations and work with shocking perspectives. It also developed from the Abstract Expressionist movement that discredited the importance of subject matter. The term was coined in 1964 by Time magazine. A major Op Art exhibit in 1965, titled “The Responsive Eye,” caught the public interest. As a result, the style began appearing in print, television, advertising, album art, fashion, and interior decorating. Despite Op Art’s popularity, it never became a full-fledged mass movement of modern art like Pop Art.
Op Art’s primary goal was to fool the eye. Works were composed to create the illusion of movement, although all Op Art pieces were flat and two-dimensional. Based on geometry, Op Art is almost completely non-representational. The color, line, and shapes were chosen for the purposes of illusion and not to evoke any emotion or mood. Colors and perspective and chosen carefully to achieve the desired effect, and both positive and negative spaces are of equal importance in the composition.
Artists:
Lohse, Richard Paul - 1902 - 1988
Mack, Heinz - -
Riley, Bridget - 1931 -
Vasarely, Victor - 1908 - 1997
Lohse, Richard Paul - 1902 - 1988
Mack, Heinz - -
Riley, Bridget - 1931 -
Vasarely, Victor - 1908 - 1997
Op Art relies on optical illusions and is sometimes called optical art or retinal art. Op painters and sculptors used geometric designs in order to create feelings of movement or vibration, sometimes in vibrant colors and other times in simply black and white. The movement had its origins in the work of Victor Vasarely, who created tessellations and work with shocking perspectives. It also developed from the Abstract Expressionist movement that discredited the importance of subject matter. The term was coined in 1964 by Time magazine. A major Op Art exhibit in 1965, titled “The Responsive Eye,” caught the public interest. As a result, the style began appearing in print, television, advertising, album art, fashion, and interior decorating. Despite Op Art’s popularity, it never became a full-fledged mass movement of modern art like Pop Art.
Op Art’s primary goal was to fool the eye. Works were composed to create the illusion of movement, although all Op Art pieces were flat and two-dimensional. Based on geometry, Op Art is almost completely non-representational. The color, line, and shapes were chosen for the purposes of illusion and not to evoke any emotion or mood. Colors and perspective and chosen carefully to achieve the desired effect, and both positive and negative spaces are of equal importance in the composition.
Artists:
Lohse, Richard Paul - 1902 - 1988
Mack, Heinz - -
Riley, Bridget - 1931 -
Vasarely, Victor - 1908 - 1997
Lohse, Richard Paul - 1902 - 1988
Mack, Heinz - -
Riley, Bridget - 1931 -
Vasarely, Victor - 1908 - 1997
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| riley |
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| Op autumn |
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| Flemming rules |
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| vanishing point |
Principles of art
Principles of Art
Emphasis in a composition refers to developing points of interest to pull the viewer's eye to important parts of the body of the work.
Balance is a sense of stability in the body of work. Balance can be created by repeating same shapes and by creating a feeling of equal weight. Harmony is achieved in a body of work by using similar elements throughout the work, harmony gives an uncomplicated look to your work.
Variety refers to the differences in the work, You can achieve variety by using difference shapes, textures, colors and values in your work.
Movement adds excitement to your work by showing action and directing the viewers eye throughout the picture plane.
Rhythm is a type of movement in drawing and painting. It is seen in repeating of shapes and colors. Alternating lights and darks also give a sense of rhythm.
Proportion or scale refers to the relationships of the size of objects in a body of work. Proportions gives a sense of size seen as a relationship of objects. such as smallness or largeness.
Unity is seen in a painting or drawing when all the parts equal a whole. Your work should not appear disjointed or confusing.
Emphasis in a composition refers to developing points of interest to pull the viewer's eye to important parts of the body of the work.
Balance is a sense of stability in the body of work. Balance can be created by repeating same shapes and by creating a feeling of equal weight. Harmony is achieved in a body of work by using similar elements throughout the work, harmony gives an uncomplicated look to your work.
Variety refers to the differences in the work, You can achieve variety by using difference shapes, textures, colors and values in your work.
Movement adds excitement to your work by showing action and directing the viewers eye throughout the picture plane.
Rhythm is a type of movement in drawing and painting. It is seen in repeating of shapes and colors. Alternating lights and darks also give a sense of rhythm.
Proportion or scale refers to the relationships of the size of objects in a body of work. Proportions gives a sense of size seen as a relationship of objects. such as smallness or largeness.
Unity is seen in a painting or drawing when all the parts equal a whole. Your work should not appear disjointed or confusing.
Elements of art
Elements of Art
http://www.williamsclass.com/ElectiveClassArt/ArtElementNotes.htm
http://www.msdsteuben.k12.in.us/jrider/elements_and_principles_of_art.htm
Form
is an element of art that is three-dimensional and encloses volume. Cubes ,spheres,and cylinders are examples of various forms.
Line
is an element of art which refers to the continuos mark made on some surface by a moving point. It may be two dimensional, like a pencil mark on a paper or it may be three dimensional(wire) or implied( the edge of a shape or form) often it is a outline,contour or silhouette.
Shape
is an enclosed space defined by other elements of art. shapes may take on the appearance of two-d or three- objects.
Color
Is an element of art with three properties1) Hue, the name of the color, e.g. red, yellow, etc. 2) Intensity or the purity and strength of the color such as bright ness or dullness. And 3) value, or the lightness or darkness of the color.
Texture
refers to the surface quality or "feel" of an object, such as roughness, smoothness, or softness. Actual texture can be felt while simulated textures are implied by the way the artist renders areas of the picture.
Space
refers to the distance or area between, around, above or within things. It can be a description for both 2 and 3 dimensional portrayals.
Value
describes the lightness or darkness of a color. Value is needed to express Volume.
http://www.williamsclass.com/ElectiveClassArt/ArtElementNotes.htm
http://www.msdsteuben.k12.in.us/jrider/elements_and_principles_of_art.htm
Form
Line
Shape
Color
Texture
Space
Value
describes the lightness or darkness of a color. Value is needed to express Volume.
Shape and Form
http://char.txa.cornell.edu/language/element/form/form.htm
http://www.wisegeek.com/what-are-organic-shapes.htm
7th Grade
PROJECT: Create a non objective drawing using organic and geometric shapes.
Form and shape are areas or masses which define objects in space. Form and shape imply space; indeed they cannot exist without space. There are various ways to categorize form and shape. Form and shape can be thought of as either two dimensional or three dimensional. Two dimensional form has width and height. It can also create the illusion of three dimension objects. Three dimensional shape has depth as well as width and height.
Form and shape can also be described as either organic or geometric. Organic forms such as these snow-covered boulders typically are irregular in outline, and often asymmetrical. Organic forms are most often thought of as naturally occurring.
Are those which correspond to named regular shapes, such as squares, rectangles, circles, cubes, spheres, cones, and other regular forms.
Are shapes with a natural look and a flowing and curving appearance. For this reason, they are often also referred to as curvilinear shapes. Examples of organic shapes include the shapes of leaves, plants, and animals.
http://www.wisegeek.com/what-are-organic-shapes.htm
7th Grade
PROJECT: Create a non objective drawing using organic and geometric shapes.
Form and shape are areas or masses which define objects in space. Form and shape imply space; indeed they cannot exist without space. There are various ways to categorize form and shape. Form and shape can be thought of as either two dimensional or three dimensional. Two dimensional form has width and height. It can also create the illusion of three dimension objects. Three dimensional shape has depth as well as width and height.
Form and shape can also be described as either organic or geometric. Organic forms such as these snow-covered boulders typically are irregular in outline, and often asymmetrical. Organic forms are most often thought of as naturally occurring.
Geometric forms
Organic shapes
Theory of Color
Color can be a touchy subject. Sometimes artists use colors that evoke certain emotions. Other times artists use colors simply because they like the way they look. In my personal opinion, color always has meaning. This meaning can be, as I mentioned, an emotional one or it can be a personal preference on the part of the artist himself, but it ALWAYS has purpose behind it.
There is nothing wrong with choosing a color because you like it because, after all, it is your work. However, when choosing a color you still want to make sure its use does not conflict with what you are trying to say with your work. Proper use of basic color theory can help you decide what colors match, as well as what each color makes people feel.
2. THE WHEEL
The color wheel has earned a place in the hearts of many artists and designers across the globe. Not because its the perfect tool, but because everybody, at some point, has had to make one of their own as part of a ridiculous art class project.
The wheel's construction is actually quite simple. You have your 6 basic colors: red, orange, yellow, green, blue, and purple. Then, depending on which wheel you're looking at, you have extra, "in-between" colors that are mixes of the basic colors.
There are names for all of these colors, which are important to know. The following is a list of some colors that are important that you know.
Primary Colors:
Red, Yellow, Blue. These 3 colors are the base colors for every other color on the color wheel. This is why they're called "primary." When you mix two primaries together, you get a secondary color.
Also note the triangular positioning of the primary colors on the color wheel, and how the secondary colors are next to them.
Secondary Colors:
Orange, Green, Purple. These 3 colors are what you get when you mix the primary colors together.
They're located in-between the primary colors to indicate what colors they're made from. Notice how green is in-between yellow and blue.
Tertiary Colors:
These are those "in-between" colors like Yellow-Green and Red-Violet. They're made by mixing one primary color and one secondary color together. There can be endless combinations of tertiary colors, depending on how they're mixed.
Complementary Colors: Red and Green, Blue and Orange, Purple and Yellow. These are the colors directly across from eachother on the color wheel. Don't let the name fool you, they rarely look good when used together. They're called "complementary" because, when used together, they become extremely vibrant and have heavy contrast.
Complementary colors are useful when you want to make something stand out. For example, if you use a green background and have a red circle on it, the red will jump off the page and be almost blinding.
Analogous Colors:
Red and Orange, Blue and Green, etc. These are colors right next to eachother on the color wheel. They usually match extremely well, but they also create almost no contrast. They're good for very serene-feeling designs and artwork where you want viewers to feel comfortable.
There are plenty of other names and titles that refer to different aspects of color, but this is where it starts getting complex. If you want to know more about color, read on.
Warm Colors: Colors such as red, yellow, and orange. These colors evoke warmth because they remind us of things like the sun or fire.
Cool Colors: Colors like blue, green, and purple (violet). These colors evoke a cool feeling because they remind us of things like water or grass.
Neutral Colors: Gray, Brown. These aren't on most color wheels, but they're considered neutral because they don't contrast with much of anything. They're dull and uneventful.
There is nothing wrong with choosing a color because you like it because, after all, it is your work. However, when choosing a color you still want to make sure its use does not conflict with what you are trying to say with your work. Proper use of basic color theory can help you decide what colors match, as well as what each color makes people feel.
2. THE WHEEL
 |
| THE COLOR WHEEL |
The wheel's construction is actually quite simple. You have your 6 basic colors: red, orange, yellow, green, blue, and purple. Then, depending on which wheel you're looking at, you have extra, "in-between" colors that are mixes of the basic colors.
There are names for all of these colors, which are important to know. The following is a list of some colors that are important that you know.
Primary Colors:
Also note the triangular positioning of the primary colors on the color wheel, and how the secondary colors are next to them.
Secondary Colors:
They're located in-between the primary colors to indicate what colors they're made from. Notice how green is in-between yellow and blue.
Tertiary Colors:
Complementary Colors: Red and Green, Blue and Orange, Purple and Yellow. These are the colors directly across from eachother on the color wheel. Don't let the name fool you, they rarely look good when used together. They're called "complementary" because, when used together, they become extremely vibrant and have heavy contrast.
Complementary colors are useful when you want to make something stand out. For example, if you use a green background and have a red circle on it, the red will jump off the page and be almost blinding.
Analogous Colors:
 |
| analogous color scheme |
There are plenty of other names and titles that refer to different aspects of color, but this is where it starts getting complex. If you want to know more about color, read on.
Warm Colors: Colors such as red, yellow, and orange. These colors evoke warmth because they remind us of things like the sun or fire.
Cool Colors: Colors like blue, green, and purple (violet). These colors evoke a cool feeling because they remind us of things like water or grass.
Neutral Colors: Gray, Brown. These aren't on most color wheels, but they're considered neutral because they don't contrast with much of anything. They're dull and uneventful.
Impressionism – A 19th Century Movement
Source: http://www.bellaonline.com/articles/art62992.asp
Introduction to Impressionism
Impressionism, one of the most vividly elaborated styles of the era, was brought to prominence on the account of independent exhibitions and soon extended its impact on literary and musical media which resulted in its ongoing popularity and re-applications of the style in modern interior engineering and web design.
The Origin of the Term
The term “impressionism” was coined by Claude Monet, a spectacular artist of the movement, in an essay titled “Impression, soleil levant”. Initially, impressionism failed to garner popularity among academicians and top-notch artistic galleries which is why it relied on independent and self-financed contributions. With mixed reviews from academia, impressionism was a frequent object of satire and wasn’t recognized as a legitimate art style until years later. Its impact quickly spread from France to other European countries-most substantially to England where it became popular as an element of literary symbolism applied in the works of Virginia Woolf and Joseph Conrad, e.g.
The Methods of Impressionism
Pre-occupied with how the human mind perceives the surrounding reality, impressionists privileged unusual, often intentionally misleading receptors of reality and concentrated on movement, light, and overexposition of what can only be perceived at a specific angle. The truthfulness of the representation was to be achieved thanks to painting en plein air rather than indoors and, consequently, impressionism sought representative authority via the close relationship with nature.
The Aims of Impressionism
Originating in France and not withstanding art’s position mainly as a political and social tool, impressionism sought to rectify the status of art with respect to abstraction, nature, and still life. In a way, it opened the gateway to the birth of modernist playfulness and absurd in art witnessed at the beginning of the 20th century.
Content and Methodology of Impressionism
1) Avoidance of black paint;
2) Use of colorful, diversified paints;
3) The essence of the subject re-presented on canvas is captured hastily, with intentional awkwardness and no detail is granted attention;
4) Play of light achieved thanks to painting en plein air;
5) Frivolous and everyday subjects of re-presentation included accidental captures of the landscape, meaningless still life, etc.
6) Play of light and shade giving paintings a slightly surreal touch.
A List of Impressionist Artists
Each of the following artists will be featured in separate articles in the following weeks.
Frédéric Bazille
Gustave Caillebotte
Mary Cassatt
Paul Cézanne
Edgar Degas
Armand Guillaumin
Édouard Manet
Claude Monet
Berthe Morisot
Camille Pissarro
Pierre-Auguste Renoir
Alfred Sisley
POST IMPRESSIONISM
Breaking free of the naturalism of Impressionism in the late 1880s, a group of young painters sought independent artistic styles for expressing emotions rather than simply optical impressions, concentrating on themes of deeper symbolism. Through the use of simplified colors and definitive forms, their art was characterized by a renewed aesthetic sense as well as abstract tendencies. Among the nascent generation of artists responding to Impressionism, Paul Gauguin (1848–1903), Georges Seurat (1859–1891), Vincent van Gogh (1853–1890), and the eldest of the group, Paul Cézanne (1839–1906), followed diverse stylistic paths in search of authentic intellectual and artistic achievements. These artists, often working independently, are today called Post-Impressionists. Although they did not view themselves as part of a collective movement at the time, Roger Fry (1866–1934), critic and artist, broadly categorized them as "Post-Impressionists," a term that he coined in his seminal exhibition Manet and the Post-Impressionists installed at the Grafton Galleries in London in 1910.
Source: Post-Impressionism
Thematic Essay
Heilbrunn Timeline of Art History
The Metropolitan Museum of Art
Introduction to Impressionism
 |
| Frederic Bazille - Bathers - |
The Origin of the Term
The term “impressionism” was coined by Claude Monet, a spectacular artist of the movement, in an essay titled “Impression, soleil levant”. Initially, impressionism failed to garner popularity among academicians and top-notch artistic galleries which is why it relied on independent and self-financed contributions. With mixed reviews from academia, impressionism was a frequent object of satire and wasn’t recognized as a legitimate art style until years later. Its impact quickly spread from France to other European countries-most substantially to England where it became popular as an element of literary symbolism applied in the works of Virginia Woolf and Joseph Conrad, e.g.
The Methods of Impressionism
 |
| Edgar Degas - Combing Hair |
The Aims of Impressionism
Originating in France and not withstanding art’s position mainly as a political and social tool, impressionism sought to rectify the status of art with respect to abstraction, nature, and still life. In a way, it opened the gateway to the birth of modernist playfulness and absurd in art witnessed at the beginning of the 20th century.
Content and Methodology of Impressionism
 |
| Mary Casatt |
1) Avoidance of black paint;
2) Use of colorful, diversified paints;
3) The essence of the subject re-presented on canvas is captured hastily, with intentional awkwardness and no detail is granted attention;
4) Play of light achieved thanks to painting en plein air;
5) Frivolous and everyday subjects of re-presentation included accidental captures of the landscape, meaningless still life, etc.
6) Play of light and shade giving paintings a slightly surreal touch.
A List of Impressionist Artists
 |
| Paul Cézanne |
Frédéric Bazille
Gustave Caillebotte
Mary Cassatt
Paul Cézanne
Edgar Degas
 |
| Claude Monet |
Édouard Manet
Claude Monet
Berthe Morisot
Camille Pissarro
Pierre-Auguste Renoir
Alfred Sisley
POST IMPRESSIONISM
Source: Post-Impressionism
Thematic Essay
Heilbrunn Timeline of Art History
The Metropolitan Museum of Art
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