Cubism Still Life with Basket of Apples Paul

Cubism

“Still Life with Basket of Apples, ” Paul Cezanne; 1800 -1894.

“Something other than reality” – not a direct representation of nature but a “construction of nature”. “Hillside in Provence, ” Paul Cezanne; 1890. • Broken brushwork • Geometric Forms “Houses in L’Estaque, ” Georges Braque; 1908.

Cubism is like standing at a certain point on a mountain and looking around. If you go higher, things will look different; if you go lower, again they will look different. It is a point of view. Jacques Lipchitz Portrait of Ambroise Vollard by Pablo Picasso

The Guitar Player, Pablo Picasso Georges Braque Woman with a Guitar, 1913.

Principle of Pattern and Visual Movement Pattern : also known as repetition. This is where the element (line, colour, shape, etc. ) is repeated to make the image more interesting and exciting to look at. Pattern and Visual Movement work together. Visual Movement : this is used to help the viewers eyes move through your art. You can lead their eyes with the elements of design. For example, along lines, shapes and colours.

Pattern : also known as repetition. This is where the element (line, colour, shape, etc. ) is repeated to make the image more interesting and exciting to look at. Visual Movement : this is used to help the viewers eyes move through your art. You can lead their eyes with the elements of design. For example, along lines, shapes and colours. The Starry Night Vincent van Gogh

1. Grid your Picture (10 cm x 13 cm or 20 cm x 26 cm) 2. Grid your maisonette board (40 cm x 52 cm) 3. Go over your image and outline the shapes you see. These may be caused by the shadows as well. 4. Look at each gridded square and look to see were the lines meet the edge. Use this info to help you know where to transfer the image.

Value Practice This illustration gives you the major value changes that occur on a sphere. 1 = The highlight. This is the brightest spot on the object where the light strikes the surface with greatest intensity. 2 = The light. This area represents the surface of the object that is in the path of the light rays. 3 = The shadow. Here the surface begins to move away from the light source. 4 = The core of the shadow. This area of the surface’s shadow is furthest away from the light. 5 = Reflected light. Think of light rays as billiard balls. When they strike a surface, they bounce away at an angle. Here, light rays have hit the table and have bounced back onto this surface of the ball. 6 = The cast shadow. This is a very important part of the value pattern since it creates the illusion that the ball is a solid object that has gotten in the way of the light, casting a shadow on the table. This detail creates a convincing illusion that the drawn object is threedimensional.