Art Appreciation-Chapter3

How An Artwork Is Built

Chapter 3

From Toolbox to Creation

• How does an artist use the visual tools in their toolbox to create an artwork?

• They organize these tools into compositions, also called design

• We’ll be looking at the basic design principles:– Unity and variety– Balance– Emphasis and subordination– Contrast– Repetition and rhythm– Scale and proportion

Bad Design

• Even those without formal art training can see when bad design is at work

Good Design

It’s Easy to Spot

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Charles Demuth (1883–1935). The Figure 5 in Gold. 1928.35-1/2" × 30" (90.2 × 76.2 cm).

Unity and Variety

• Unity-the appearance of oneness– The feeling that the design is complete and

all elements are working together

• Variety-diversity

• Most artists try to find a balance

Yves Klein


Jacob Lawrence. Going Home. Line study. 1946.21-1/2" × 29-1/2".


Pieter de Hooch. Interior of a Dutch House. 1658.29" × 35".


Pieter de Hooch. Interior of a Dutch House. Line Study. 1658.29" × 35".


Robert Rauschenberg. Gift for Apollo. 1959.43-3/4" × 29-1/2" × 41" (111.1 × 74.9 × 104.1 cm).

Balance

• Balance-equilibrium

• Symmetrical Balance-left and right are near or exactly match each other


James Hoban. A Design for the President's House. Elevation. 1792.


James Hoban. A Design for the President's House. White House.Front View. 1997.


Damien Hirst. Posterity—The Holy Place. 2006.89-5/8" × 48".

Asymmetrical Balance

• Asymmetrical balance-the left and right sides are not the same– Instead, balance is achieved through the

size and meaning of the elements


Lavinia Fontana. Noli Me Tangere. 1581.47-3/8" × 36-5/8".

Visual Weight

• A large form is heavier than a small one• A form close to the edge of the frame is heavier• A complex form is heavier than a simple one• Warm colors are heavier and advance toward

the viewer• Intense colors are heavier• The weight of a color increases as the

background approaches its complementary hue


Nicolas Poussin (French, 1594–1665). The Holy Family on the Steps. 1648. 72.4 × 111.7 cm.


Edgar Degas (1834–1917). Jockeys Before the Race.c. 1878–1879. 42-1/2" × 29".


Edgar Degas (1834–1917). Jockeys Before the Race. Line Study.c. 1878–1879. 42-1/2" × 29".

Emphasis and Subordination

• Emphasis-used to draw the attention of the viewer

• Subordination-used to create areas of lesser interest

• By using these two principles the artist shows the viewer where to look

Directional Forces

• Like emphasis and subordination, directional forces tell the viewer where to look

• Directional forces have the added advantage of showing the viewer where to look next.


Francisco Goya. Bullfight: The Agility and Daring of Juanito Apinani.Plate 20. 9-1/2" × 14".Francisco Goya. Bullfight: The Agility and Daring of

Juanito Apinani.Line Study. Plate 20. 9-1/2" × 14".

Annie Leibovitz

Contrast

• Contrast-opposing elements– Dark vs. light– Large vs. small– Thick vs. thin


Luster-Painted Bowl. Hispano-Moresque, Manises. Spain. c. 1400.Height 5-1/2", diameter 17-4/5".

Repetition and Rhythm

• Repition-repeating elements

• Rhythm-regular repeating elements


Liubov Popova. The Pianist. 1915.106.5 × 88.7 cm.


Ogata Korin (1658–1716.) Cranes. Japanese, Edo period (1615–1868).c. 1700. 166 H × 371 cm (65-3/8" × 146-1/6").


José Clemente Orozco. Zapatistas. 1931.45" × 55" (114.3 × 139.7 cm).

Scale and Proportion

• Scale-the size of one thing in relation to another

• Proportion-size relationship of the parts that make up a whole


Scale Relationships.


Claes Oldenburg and Coosje van Bruggen. Shuttlecocks. One of four.1994. 215-3/4" × 209" × 191-3/4".


Michelangelo Buonarroti. Pietà. 1501.Height 6'8-1/2".


Roettgen Pietà. 1300–1325. Height 34-1/2".

Art Appreciation-Chapter3

Education

Transcript of Art Appreciation-Chapter3