1.ART APPRECIATION: VALUE & SPACE PROFESSOR PAIGE PRATER T, R, 9:30-10:50AM

2. 10 ELEMENTS OF ART: 1. COLOR 2. FORM 3. LINE 4. MASS 5. SHAPE6. SPACE 7. TEXTURE 8. TIME/MOTION 9. VALUE 10.VOLUME 3. VALUE & SPACE INTRO 2D = ILLUSION TECHNIQUES FOR CREATING ILLUSION OF DEPTH: VALUE: LIGHTNESS OR DARKNESS SPACE: DISTANCE BETWEEN POINTS OR PLANES PERSPECTIVE: USES MATHEMATICAL PRINCIPLES 4. Ren Magritte, The Treachery of Images (This is not a pipe), 1929. Oil on canvas, 23 x 32. LACMA 5. BUCKMINSTER FULLER, GEODESIC DOME (ART DOME), 196379, REED COLLEGE, PORTLAND, OREGON 6. BUCKMINSTER FULLERS 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 VALUES OF GRAY FORMERLY USED AS A SCULPTURE STUDIO AT REED COLLEGE IN PORTLAND, OREGON HTTP://YOUTU.BE/JN3FMX1TYT8 7. VALUE: LIGHTS & DARKS 8. CHIAROSCURO ITALIAN FOR LIGHT DARK A METHOD OF APPLYING VALUE TO A TWODIMENSIONAL 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 9. VALUE: LIGHTS & DARKSPierre Paul Prudhon, Stu dy for La Source, c. 1801. Black and white chalk on blue paper, 21 x 15. Sterling and Francine Clark Art Institute, Willi amstown, Ma 10. CARAVAGGIO, TH E CONVERSION ON THE WAY TO DAMASCUS (1601). 11. 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 12. HATCHING 13. CROSS-HATCHING 14. PUT EM TOGETHER AND WHATVE YOU GOT?Michelangelo, Head of a Satyr, c. 1520 30. Pen and ink on paper, 10 x 7. Muse du Louvre, Paris, Franc e 15. SPACE SIZE OVERLAPPING POSITION ALTERNATING VALUE AND TEXTURE CHANGING BRIGHTNESS AND COLOR ATMOSPHERIC PERSPECTIVE 16. SPACE: SIZE/OVERLAPPING/POSITIONKatsushika Hokusai, The Great Wave off Shore at Kanagawa, from Thirty-Six Views of Mount Fuji, 182633 (printed later). Print, color woodcut. Library of Congress, Washington, D.C. 17. FUNNY! 18. SPACE: ALTERNATING VALUE & TEXTURE 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 Fan Kuan, Travelers among Mountains and Streams, Northern Sung Dynasty, 11th century. Hanging scroll, ink and colors on silk, 81 x 40. National Palace 19. SPACE: CHANGING BRIGHTNESS & COLOR LIGHTER AREAS SEEM TO BE CLOSER AS DARK AREAS APPEAR TO RECEDE INTENSITY OF COLOR AFFECTS PERCEPTION 20. Thomas Hart Benton, The Wreck of the Ole 97, 1943. Egg tempera and oil on canvas, 28 x 44. Hunter Museum of Art, Chattanooga, Tennessee 21. SPACE: ATMOSPHERIC PERSPECTIVE DISTANT OBJECTS LACK CONTRAST, DETAIL, AND SHARPNESS OF FOCUS BECAUSE SURROUNDING AIR 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 22. ASHER BROWN DURAND, KINDR ED SPIRITS, 1849. OIL ON CANVAS, 44 X 36. CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, BENTONVI LLE, ARKANSAS 23. PERSPECTIVE ISOMETRIC : PARALLELS COMMUNICATE DEPTH; USUALLY DIAGONAL PARALLEL LINES LINEAR: LINES APPEAR TO CONVERGE AT POINTS IN SPACE 24. ISOMETRIC PERSPECTIVE 25. Graphic detailing isometric perspective: The Qianlong Emperors Southern Inspection Tour, Scroll Six: Entering Suzhou and the 26. 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 FIFTEENTHCENTURY ARTIST LEON BATTISTA ALBERTI THE ITALIAN FILIPPO BRUNELLESCHI WAS THE FIRST ARTIST TO APPLY THE THEORIES OF 27. FILLIPPO BRUNELLESCHI, PERSPECTIVE DRAWING FOR CHURCH OF SANTO SPIRITO IN FLORENCE (1428). 28. 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 29. 1 POINT PERSPECTI VE EDITH HAYLLAR, A SUMMER SHOWER, 1883. OILON PANEL, 21 X 17. PRIVATE COLLECTION 30. Masaccio, Trinity, c. 14256. Fresco, 2110 x 104. Santa Maria Novella, Florence, It aly 31. 2 POINT PERSPECTIVE TWO VANISHING POINTS RELIES ON HORIZON LINE 32. Raphael, The School of Athens, 151011. Fresco, 168 x 25. Stanza della Segnatura, Vatican City 33. 2 POINT PERSPECTIVE 34. 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 WORMS-EYE VIEW: LOOKING UP 35. HUMAN VIEW: CONE OF VISION 36. M. C. Escher, Ascending and Descending, March 1960. Woodcut, 14 x 11. The M. C. Escher Company, Netherlands 37. Perspective: 3 POINT (Birds Eye) 38. FORESHORTENINGAlbrecht Drer, Draftsman Drawing a Recumbent Woman, 1525. Woodcut. Graphische Sammlung Albertina, Vienna, Austria 39. Andrea Mantegna, The Lamentation over the Dead Christ, c. 1480. Tempera on canvas, 26 x 31. Pinacoteca di Brera, Milan, Italy 40. PRACTICE! WHICH TYPE OF PERSPECTIVE?Gustave Caillebotte, Paris Street; Rainy Day, 1877. Oil on canvas. Art Institute of Chicago.