Art Appreciation: Drawing & Painting

Professor Paige PraterT, R, 9:30-10:50AM

10 Elements of Art:

Drawing: Dry Media

• Pencil• Charcoal• Silverpoint• Conté crayon• Chalk• Pastel• Crayon

Drawing: PencilIlka Gedö, Self-portrait, 1944. Graphite on paper, 11 5/8”x8 3/8”. British Museum, London, England.

Drawing: Colored Pencil

Birgit Megerle, Untitled, 2003. Pencil and colored pencil on paper, 16 ¾” x 11 ¾” – MOMA, New York.

Drawing: CharcoalKäthe Kollwitz, Self-Portrait in Profile to Left, 1933. Charcoal on Paper. 18 ¾” x 25”. National Gallery of Art, Washington, D.C.

Léon Augustin Lhermitte, An Elderly Peasant Woman, c. 1878. Charcoal on wove paper, 18 ¾” x 15 5/8” National Gallery of Art, Washingon, D.C.

Drawing: Silverpoint

Raphael, Heads of the Virgin and Child, c. 1509-11. Silverpoint on Pink Prepared Paper. 5 5/8” x 4 3/8”. British Musuem, London, England.

Drawing: Conté crayon

Georges Seurat, Trees on the Bank of the Seine (Study for Le Grande Jatte), 1884. Black Conté Crayon on White Laid Paper. 24 ½” x 18 ½”. Art Institute of Chicago.

Drawing: Chalk

Michelangelo, Studies for the Libyan Sibyl, 1510-11. Red chalk, 11 3/8” x 8 3/8”. Metropolitan Museum of Art, New York.

Drawing: PastelEdgar Degas, The Tub, 1886. Pastel, 23 5/8” x 32 5/8”, Musee d’ Orsay, Paris, France.

Drawing: Wet Media

• Ink• Quill & Pen• Brush & ink

Drawing: Ink

Vincent Van Gogh, Sower with Setting Sun, 1888. Pen and brown ink, 9 5/8” x 12 5/8”. Van Gogh Museum, Amsterdam, Netherlands.

Types of Ink

• Carbon ink: 2500 BCE in China/India– soot+water+gum– Smudges

• India ink: contemporary version of carbon ink• Iron gall ink: – tannin (oak galls/parasitic on trees)+iron sulfate+gum

arabic+water– Not lightfast

• Bistre: wood soot/yellow-brown• Sepia: derived from cuttlefish secretions!

Drawing: Ink

Claude Lorrain, The Tiber from Monte Mario Looking South, 1640. Dark brown wash on white paper, 7 3/8” x 10 5/8”. British Museum, London, England.

Drawing: Process

• Life-drawing• Plaster cast• Photographs• Gesture• Contour

Henri Matisse, Themes and Variations, series P, Woman Seated in an Armchair, 1942. Pen and ink 19 ¾” x 15 ¾”. Musee des Beaux-Arts, Lyons, France.

Painting

• Encaustic• Tempera• Fresco: buon & secco• Oil– Impasto

• Acrylic (1950)• Watercolor/gouache• Ink• Spray paint

Painting: Encaustic

Portrait of a Boy, c. 100-150 CE. Encaustic on Wood, 15 3/8” x 7 ½”. Metropolitan Museum of Art, New York.

Jasper Johns, Three Flags, 1958, Whitney Museum of Art. https://www.youtube.com/watch?v=unExZ9LUuv8

Painting: Tempera

• EGGS!• The Virgin and Child with Angels,

Ferrarese School, c. 1470-80. Tempera, oil, and gold, on panel, 23 x 17 3/8”. National Gallery of

Scotland, Edinburgh.

Painting: Fresco

• Fresco secco - dry• Buon fresco – wet

– https://www.youtube.com/watch?v=-prAIz0urTE

– Michelangelo’s technique:https://www.youtube.com/watch?v=Cej4Ggq5nQI

Michelangelo, The Libyan Sibyl, 1511-12. Fresco. Detail of the Sistine Chapel Ceiling, Vatican City.

Painting: Oil

Jan van Eyck, The Madonna of Chancellor Rolin, 1430-34. Oil on wood, 26 x24 3/8”. Musee de Louvre, Paris, France.

https://www.youtube.com/watch?v=Xs6Q3IciYG0&list=WLlePtehZrJwhNPA_a1nuc2XiQZyqu3qKc

Jan van Eyck• Most Astonishing Oil

Painter

• “As I Can”

• Man in a Red Turban, 1433. Oil on wood panel. The National Gallery, London

Painting: Oil (impasto)

Joan Brown, Girl in Chair, 1962. Oil on canvas, 5 x 4’. LACMA.

Painting: Acrylic

Roger Shimomura, Untitled, 1984. Acrylic on canvas, 5’ ½” x 6’ ¼”. Kemper Museum of Contemporary Art, Kansas City, Missouri.

• Pigment suspended in polymer resin

• Only in use since ~1950!

Painting: Watercolor/Gouache

Albrecht Durer, A Young Hare, 1502. Watercolor and gouache on paper, 9 7/8” x 8 7/8”. Graphische Sammlung Albertina, Vienna, Austria.

• Pigment suspended with sticky binder • French: honey!

• Watercolor= transparent• Gouache helps make it

opaque (usually chalk)• Painted on PAPER• Highly portable!

Albrecht Durer (1471-1528)

Self-Portrait, 1500. Oil on wood panel, 26 ¼ x 19 ¼”. Alte Pinakothek, Munich.

Melencolia I, 1514. Engraving, 9 3/8 x 7 ½”. Victoria and Albert Museum, London.

Painting: Ink (gum Arabic binder)

Suzuki Shonen, Fireflies at Uji River, Meigi period, 1868-1912. Ink, co.lor, and gold on silk; hanging scroll, 13 ¾” x 50”. Clark Family Collection.

Versus drawing with ink: no binder

Painting: Spray Paint/ Wall Art

John Matos, a.k.a. “Crash”, Aeroplane 1, 1983. Spray paint on canvas, 5’ 11 ¼” x 8’ 7”. Brooklyn Museum, New York. Blek le Rat, David with the Machine Gun,

2006. New York.

Critical Thinking: Can Art Change the World? Group Work…

• French Street Artist, JR’s ‘Inside Out’ project:• http://www.youtube.com/watch?v=Gn2W3X_pGh4 (~6 minutes)• http://www.dallasdesigndistrict.net/2014/01/jrs-inside-out-project-comes-to-dalla

s-via-the-dallas-contemporary/

• What is JR’s street art project?• How does he accomplish it?• What is it changing?• Who is it changing?• Is art being made on a more global scale?• How does our artistic context compare with that of van Eyck?• Can you draw any similarities between van Eyck and JR? What

differences?