Chapter 11 Painting - learning.hccs.edu
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Chapter 11 Painting • Medium: material that pigments are suspended in • Binder: holds the particles together (glue) • Support: in painting what the artist paints on • Transparent: paint that can be seen through • Opaque: paint that cannot be seen through • Ground: primer used to even the surface of the support, even application • Solvent: thinner that allows for paint to flow easier
Transcript of Chapter 11 Painting - learning.hccs.edu
Chapter 11 Painting
• Medium: material that pigments are suspended in
• Binder: holds the particles together (glue)
• Support: in painting what the artist paints on
• Transparent: paint that can be seen through
• Opaque: paint that cannot be seen through
• Ground: primer used to even the surface of the support, even application
• Solvent: thinner that allows for paint to flow easier
Title: The Art of Painting
Artist: Giorgio Vasari
Date: 1542
Source/Museum: Vault of the Main Room, Arezzo, Casa Vasari.
Canali Photobank, Capriolo, Italy.
Medium: Fresco
Size: n/a
1. Painting as the ability to copy during
the Middle Ages
2. La Pittura: personification of Painting
1. Why is this important?
Title: Self-Portrait as the Allegory of Painting
Artist: Artemisia Gentileschi
Date: 1630
Source/Museum: The Royal Collection © Her Majesty Queen Elizabeth II.
Medium: Oil on canvas
Size: 35 ¼ x 29 in.
1. Representation
1. Herself
2. La Pittura
1. Why this representation?
2. Pendent: symbol of imitation
3. Accurate representation
1. Representation of nature through artist
eyes
4. Portrayal
1. Real women
2. Idealized personification
5. Copy work or creative?
6. Equal to Leonardo and Michelangelo?
7. Western Painting: Painting the Nature
1. Zeuxius Vs. Parrhasius
1. Zeuxius: paints grapes and birds
come down to eat them
2. Parrhasius: paints a curatian and
Zeuxius asks him to remove the
curtain so he can see the painting
La Pintura
Encaustic
Title: Mummy Portrait of a Man
Artist: n/a
Date: c. 160 – 170 CE.
Source/Museum: Albright-Knox Art Gallery, Buffalo, New York. Charles
Clifton Fund, 1938.
Medium: Encaustic on wood
Size: 14 x 18 in.
Encaustic
1. Combining pigment with binder of hot wax
2. Funerary portraiture from Faiyum 60 miles South of
Cairo
3. Real person
1. Naturalistic sensitive depiction of the face
Encaustic
Encaustic
Fresco
• Greek and Classical Frescos deal with the representation of real objects: nature
• European Fresco deals with the illusion of space
Title: Still Life with Eggs and Thrushes
Artist: n/a
Date: Before 79 CE.
Source/Museum: Villa of Julia Felix, Pompeii, National Museum, Naples.
Scala/Art Resource, New York.
Medium: Fresco
Size: 35 x 48 in.
Fresco
1. Buon fresco
1. Limewater (calcium
hydroxide and slaked
lime)
2. Fresco Secco
1. Binders of yolk, oil, or wax
3. Naturalistic depiction
4. Life size
5. Breaking the picture plane
6. Mt. Vesuvius eruptions in 79CE
near the city of Pompeii
Fresco
Title: The “Toreador” Fresco
Artist: n/a
Date: c 1500 BCE, Knossos, Crete
Fresco
10Figure 22-4 LEONARDO DA VINCI, Last Supper, ca. 1495–1498. Oil and tempera on plaster, 13’ 9” x 29’
10”. Refectory, Santa Maria delle Grazie, Milan.
Fresco Secco
11Figure 22-4 LEONARDO DA VINCI, Last Supper, ca. 1495–1498. Oil and tempera on plaster, 13’ 9” x
29’ 10”. Refectory, Santa Maria delle Grazie, Milan.
Fresco Secco
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Figure 19-1 Giotto di Bondone, Arena Chapel
(Cappella Scrovegni; interior looking west),
Padua, Italy, 1305–1306.
1. Arena Chapel : built on ancient Roman
arena ruins of an amphitheatre
2. Barrel vaulted:
3. Story of Mary and Jesus
4. Gesso made of gypsum
5. Tempera; powdered pigments, egg yolk,
little water and sometimes glue
6. Grisaille (gray monochrome paintings)
1. Resemble sculpture and relief
7. Christian pictorial cylcels (38)
1. Life of Virgin and her parents,
Joachim and Anna (top register,
level)
2. Life of Jesus (middle)
3. Passion, Crucifixion, and
Resurrection (bottom)
4. Last Judgment on west wall over
entrance
8. Medallions: Christ, Mary and Prophets
Buon Fresco
Artist: Giotto di Bondone
Title: Marriage at Cana, Raising of Lazarus, Resurrection, and Lamentation
Medium: Frescoes
Size: Each scene approx. 6' 5” x 6' (2 x 1.85 m)
Date: 1305-6
Source/ Museum: North wall of Scrovegni (Arena) Chapel, Padua
Title: Lamentation
Artist: Giotto
Date: c. 1305
Source/Museum: Arena Chapel, Padua, Italy. Scala/Art Resource, New York.
Medium: Fresco
Size: Approx. 70 x 78 in.
Buon Fresco
1. Off center for emotional effect
1. Emphasis
2. Focus
2. Barren land
1. Death
3. Virgin in mute intensity
1. Intensity of the scene
4. Convulsive despair
1. John the Evangelist
5. Real human suffering
6. Foreshortened angels
1. Hysterical grief
7. Tree of knowledge (good and evil)
8. Stagecraft
1. Figures with back turned
2. Set places.
3. Fore ground to background
4. Emotion
9. Chiaroscuro to show depth:
10. Mystery Plays holy
representations Stages (stages of
the cross)
11. Giornatta: a days work while painting
a fresco
Title: The Glorification of Saint Ignatius
Artist: Fra Andrea Pozzo
Date: 1691-1694
Source/Museum: Nave of Sant' Ignazio, Rome. Scala/Art Resource, New York.
Medium: Ceiling fresco
Size: n/a
1. Foreshortening
2. Architectural illusion
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Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome,
Italy, 1509–1511. Fresco, 19’ x 27’.
1. Athena and Apollo
1. Arts and wisdom
2. Portraits
1. Plato and Aristotle
2. Euclid (mathematician)
1. Theorem
3. Bramante
4. Zoroaster and Ptolemy
5. Michelangelo
6. Raphael
7. Diogenes
3. Humanists vs. Scientist
4. Timaeus:
5. Nicomachean Ethics:
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Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19’ x 27’.
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Figure 22-18 Interior of the Sistine
Chapel (looking east), Vatican City,
Rome, Italy, built 1473.
1. Creation, Fall, Redemption
2. Prophets, Sibyls, Religious
Imagery
3. Narrative from Genesis
4. 12 old testament prophets
5. 12 sibyls or women of
classical antiquity
1. Possessed prophetic
powers
6. Preparation
1. Theme
2. Scaffolding
3. Drawings
1. Cartoon
4. Transcription of
drawing with Stylus
Title: The Libyan Sibyl
Artist: Michelangelo Buonarroti
Date: 1511-1512
Source/Museum: Detail of the Sistine Ceiling, Sistine Chapel, Vatican City. Canali
Photobank, Capriolo, Italy.
Medium: Fresco
Size: n/a
1. Spiral contrapposto
Title: Study for the Libyan Sibyl
Artist: Michelangelo Buonarroti
Date: c. 1510
Source/Museum: Metropolitan Museum of Art, New York. Purchase, Joseph Pulitzer
Bequest, 1924 (24.197.2). Photo © 1995 Metropolitan Museum of Art.
Medium: Red chalk on paper
Size: 11 3/8 x 8 7/16 in.
Tempera
• Medium made by combining water, pigment, and some gummy water, usually containing egg yolk
• Cannot be blended
• Hatching was used for blending and volume (chiaroscuro)
• Gesso: ground used for tempera on wood panels containing glue and plaster of Paris, chalk
Title: Madonna Enthroned
Artist: Cimabue
Date: c. 1280
Source/Museum: Galleria degli Uffizi, Florence. Scala/Art Resource, New
York.
Medium: Tempera on panel
Size: 12 ft. 7 ½ in. x 7 ft. 4 in.
Title: Madonna and Child Enthroned
Artist: Giotto
Date: c.1310
Source/Museum: Galleria degli Uffizi, Florence.
Medium: Tempera on panel
Size: 10 ft. 8 in. x 6 ft. 8 ¼ in.
1. Realism?
2. Problems of Scale
3. Drapery
4. Depiction of face and
head
5. Mimesis:
representations that
transcend mere
appearance; sacred
or spiritual essence
6. Didactic function:
ability to teach and
1. Connotation:
transcends
the meaning
of what is
there
2. Denotation:
clearly before
us
7. Support:
8. Opaque
9. Ground (pre-
treatment)
10. Solvent
11. Vehicle
Title: Primavera
Artist: Sandro Botticelli
Date: c. 1482
Source/Museum: Galleria degli Uffizi, Florence. Scala/Art Resource, New York.
Medium: Tempera on gesso ground on poplar panel
Size: 80 x 123 ¼ in.
1. Venus
1. Caduceus
2. Three Graces
3. Venus
1. Son cupid
4. Chloris
1. Flora, goddess of spring
1. Floral Gown
5. God Zephyrus
1. West wind
Tempera: Glazing
Title: Braids
Artist: Andrew Wyeth
Date: 1979
Source/Museum: Private collection. © 1986 Leonard E. B. Andrews. Photo
courtesy of Ann Kendall Richards, Inc., New York.
Medium: Egg tempera on canvas
Size: 16 ½ x 20 ½ in.
Oil Painting
• Best way to depict realistic three-dimensional forms
• Binder: linseed oil
• Solvent: turpentine
• Qualities of Oil Painting– Can make modeling while on the surface of the painting
– Can blend hues and tones on the painting seamlessly
– Can work with big, bold, and energetic brush strokes
• 1st used by Romans for furniture
• 15th Century used for Painting in Flanders
Oil Paint: Glazing
Figure 20-4 ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on
wood, center panel 2’ 1 3/8” X 2’ 7/8”, each wing 2’ 1 3/8” X 10 7/8”. Metropolitan Museum of Art, New York (The
Cloisters Collection, 1956). 30
1. Religion and everyday life
2. Book, lilies, screen, towels: purity and divine mission
3. Mousetrap: Christ as bait
4. Flower of humility
5. Peter Inghelbrecht (angel bringer)/ Scrynmakers (cabinet or shrine makers)
6. Triptych: painting usually an altar made of three panel which can be closed
7. Small in size: portable and probably used for private worship
Title: The Annunciation (The Mérode Altarpiece)
Artist: The Master of Flémalle (probably Robert Campin)
Date: c. 1425 – 1430
Source/Museum: Metropolitan Museum of Art, New York. Cloisters
Collection 1956 (56.70). Photo © 1996 Metropolitan Museum of Art.
Medium: Oil on wood
Size: Triptych. Central panel: 25 ¼ x 24 7/8; Each wing: 25 3/8 x 10 ¾ in.
Title: Still Life with Lobster
Artist: Jan de Heem
Date: Late 1640's
Source/Museum: Toledo Museum of Art, Toledo, Ohio. Purchased with funds
from the Libbey Endowment, Gift of Edward Drummond Libby.
Medium: Oil on canvas
Size: 25 1/8 x 33 ¼ in.
1. Feast for the eyes
2. Glazing: layers of transparent paint to make luminous effect
3. Trompe l’oeil: deceit of the eyes
4. Deliberate display of wealth
Trompe L’oeil
34Figure 25-6 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1
1/4”. Museo del Prado, Madrid.
1. Breakfast pieces
2. Still life : dead nature
1. Inanimate objects artfully arranged
1. Feast for the eyes
2. Glazing: layers of
transparent paint to make
luminous effect
3. Trompe l’oeil: deceit of the
eyes
Vanitas Paintings
• Vanity
– Vanity or frivolous existence of human life
Title: Still Life or Vanitas (tulip, skull, and hour glass)
Artist: Philippe de Champaigne
Date: n/a
Source/Museum: Musée de Tessé, Le Mans, France. Photo:
Giraudon/Art Resource, New York.
Medium: Oil on canvas
Size: 11 ¼ x 14 ¾ in.
Vanitas Still Life
Title: Parrot Tulip
Artist: Robert Mapplethorpe
Date: 1985
Source/Museum: © 1985 Estate of
Robert Mapplethorpe.
Medium: n/a
Size: n/a
Vanitas Still Life
Vanitas Still Life
1. Realism Vs. Abstraction
2. Local Color of Objects
in the refrigerator
3. Detail within the
environment
4. Expressive of the
artist’s mental or
emotional conception of
the world
Oil Painting and Its Expressive Potential
• Oil can record the brush strokes
• Record of the artist’s presence
Title: Biker
Artist: Susan Rothenberg
Date: 1985
Source/Museum: Museum of Modern
Art, New York. Fractional gift of Paine
Webber Group, Inc., 1986. © 2003
Susan Rothenberg/Artists Rights
Society (ARS), New York.
Medium: Oil on canvas
Size: 74 x 69 ½ in.
Title: Dancing Shoes
Artist: Pat Passlof
Date: 1998
Source/Museum: Courtesy of the artist and Elizabeth Harris Gallery, New York
Medium: Oil on linen
Size: 80 x 132 in.
Oil Abstraction
Title: Betty
Artist: Gerhard Richter
Date: 1988
Source/Museum: The St. Louis
Art Museum, St. Louis, Missouri
Medium: Oil on canvas
Size: 40 1/8 x 23 3/8 in.
Oil and Hyper Realism
Watercolor as Painting Media
• Most expressive painting mediums
• Water and Gum Arabic
• Xu Wie (shoo Way)
– Xie yi: sketching idea
• Aim to capture the essence of nature
• Deemed as a form of Drawing
Expressive Quality of Watercolor
• Ink in water with gelatin and alum
– Gelatin Collagen from animal skin and bones
• Gelling agent, binder
– Alum:
• Xu Wei: tormented
– Attempted suicide 7 times
– Murdered His wife and went to Jail
Title: Grapes
Artist: Xu Wei (shoo way)
Date: 1988
Title: A Wall, Nassau
Artist: Winslow Homer
Date: 1898
Source/Museum: Metropolitan Museum of Art, New York. Amelia B. Lazarus Fund, 1910
(10.228.90). Photo © 1995 Metropolitan Museum of Art.
Medium: Watercolor and pencil on paper
Size: 14 ¾ x 21 ½ in.
Qualities of Water Color
1. Transparent
1. Washes
2. White spots on coral
limestone are the
reserve
3. Focal point: poinsettia
plant
4. 1828 introduced to US
5. Intrusion and Privacy
1. Cultural division
between the tourist
and local population
2. Boat: freedom and
wealth
3. Shards of glass
Title: Ruby Dew (Pink Melon Joy)
Artist: Laurie Reid
Date: 1998c
Source/Museum: Courtesy Stephen Wirtz Gallery, San Francisco, and the artist
Medium: Watercolor on paper
Size: 192 x 240 in.
Watercolor Studies
1. Water color droplets
2. Pink Melon Joy
1. Gertrude Stein
writing
2. Reminiscent to
water droplets
dropping from the
mouth of and
individual eating
honeydew melon
3. Sensuality of the act
and of the medium itself
in this case water color
Title: Ruby Dew (Pink Melon Joy) detail
Artist: Laurie Reid
Date: 1998c
Gouche (gwawsh)
• Meaning to puddle (Italian guazzo)
• Watercolor mixed with Chinese white Chalk
• Opaque
• Difficult for blending
– Better used for large flat areas
Title: You can buy bootleg whiskey for twenty-five cents a quart
Artist: Jacob Lawrence
Date: 1942-1943
Source/Museum: From the Harlem Series, Portland Art Museum; Portland, Oregon. Helen Thurston Ayer
Fund. Artwork. © 2003 Gwendolyn Knight Lawrence, courtesy of the Jacob and Gwendolyn Lawrence
Foundation.
Medium: Gouache on paper
Size: 15 ½ x 22 ½ in.
1. Distortion of Scene
1. Tipping over
2. Unbalance
3. Drunken
4. Two-
dimensionality
Synthetic Media
• First artists to use it were Alfaro Siqueiros and Diego Rivera and Jose Clemente for Revolutionary Mural Art in Mexico
– Nationalism in Mexico Between the two world wars
– Emiliano Zapata and Pach Villa “land, liberty, and justice”
– Imagery based on Mexican political and social life
• Painting outside in the elements
– Oil took to long to dry and tempera dried to fast
Title: Man Controller of the Universe
Artist: Diego Rivera
Date: 1934
Source/Museum: Whitney Museum of American Art, New York. Purchased with funds from the Friends of the Whitney Museum
of American Art, 68.12.
Medium: Synthetic polymer on canvas
Size: 124 x 140 in.
1. Original destroyed by Nelson A. Rockefeller (41st Vice President under Gerald Ford) after Diego refused to
remove Lenin from the mural
2. Steer between evils of capitalism and the virtues of communism
3. WW I military
4. Lenin with workers of many cultures
5. Syphilis and sins of New York
Title: American Progress
Artist: Jose Maria Sert at 30 Rockefeller Plaza, New York /Photo by Jaime Ardiles-Arce
Date: 19
Title: Flood
Artist: Helen Frankenthaler
Date: 1967
Source/Museum: Whitney Museum of American Art, New York. Purchased with funds from the Friends of the
Whitney Museum of American Art, 68.12.
Medium: Synthetic polymer on canvas
Size: 124 x 140 in.
Acrylic Staining
1. Acrylic: synthetic platic
Title: The Great Wall of Los Angeles, detail, Division of the Barrios and
Chavez Ravine
Artist: Judith F. Baca
Date: 1976 – continuing
Source/Museum: Tujunga Wash, Los Angeles. Photo ©
SPARC, Venice, California.
Medium: Mural
Size: Height 13 ft. (whole mural more than 1 mile long)
Mixed Media: Collage
Title: The Table
Artist: Juan Gris
Date: 1914
Source/Museum: © Philadelphia Museum of Art. A. E. Gallatin Collection. Photo: Lynn Rosenthal, 1993. ©
Artists Rights Society (ARS), New York.
Medium: Colored papers, printed matter, charcoal on paper mounted in canvas
Size: 23 ½ x 17 ½ in.
1. Introducing the Real into the 2-d space
2. Verisimilitude of painting
3. Using found objects
4. Collage: Gluing together printed matter,
fabric, and anything flat onto a 2 dimensional
surface
5. What is real and what is false
Title: The Dove
Artist: Romare Bearden
Date: 1964
Source/Museum: Museum of Modern Art, New York. Blanchette Rockefeller Fund. ©
Romare Bearden Foundation/VAGA, New York.
Medium: Cut-and-pasted paper, gouache, pencil, and colored pencil on cardboard
Size: 13 3/8 x 18 ¾ in.
1. Kaleidoscopic view
2. Ebony, Look, and
Time magazines
3. The African-
American
experience in
Modern America
1. Fragmentation
2. Unification
3. Finding Identity
Title: Study for Collage “Cut with the Kitchen Knife Dada through the Last
Weimar Beer Belly Cultural Epoch of Germany”
Artist: Hannah Höch
Date: 1919
Source/Museum: Staatliche Museen zu Berlin, Preussischer
Kulturbesitz Nationalgalerie. Photo: Jorg P. Anders, Berlin.
Medium: Ballpoint pen sketch on white board
Size: 10 5/8 x 8 5/8 in.
Title: Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly
Cultural Epoch of Germany
Artist: Hannah Höch
Date: 1919
Source/Museum: Staatliche Museen zu Berlin, Preussischer
Kulturbesitz Nationalgalerie. Photo: Jorg P. Anders, Berlin.
Medium: Collage
Size: 44 ⅞ x 35 7/16 in.
Painting toward Sculpture
• Extending the space of art
Title: Springs Upstate
Artist: Marcia Gygli King
Date: 1990-93
Title: The Kitchen
Artist: Patricia Patterson
Date: 1985 Irish essence of the Hernon family Ktichen
Title: Monogram, 1st State
Artist: Robert Rauschenberg
Date: n/a
Source/Museum: © Robert Rauschenberg/Licensed by VAGA, New York. Photo: Harry Shunk.
Medium: n/a
Size: n/a
From Painting to Sculpture
• Liberating the goat from the prison that is wall paintings
Title: Monogram, 2nd State
Artist: Robert Rauschenberg
Date: n/a
Source/Museum: © Robert Rauschenberg/Licensed by VAGA,
New York. Photo: Rudolph Burckhardt.
Medium: n/a
Size: n/a
Title: Monogram
Artist: Robert Rauschenberg
Date: 1955 – 1959
Source/Museum: © 1996 Robert Rauschenberg/Licensed by VAGA, New York.
Medium: Freestanding combine: oil, fabric, wood, on canvas and wood, rubber heel, tennis ball, metal
plaque, hardware, stuffed Angora goat, rubber tire, mounted on four wheels
Size: 42 x 63 ¼ x 64 ½ in.
Combine-Painting: High Relief Collage
Title: Airborne Event
Artist: Fred Tomaselli
Date: 2003
Source/Museum: American Fund for the Tate Gallery and the collection of
John and Amy Phelan, fractional and promised gift.
Medium: Mixed media, acrylic, and resin wood
Size: 84 x 60 in.
