ELEMENTS OF ART 1 Line 2 Texture 3

ELEMENTS OF ART 1. Line 2. Texture 3. Shape 4. Color 5. Form 6. Value 7. Space • https: //www. youtube. com/playlist? list=PLi Oil 1 q. Pc. MURN_8 ba. Or 3 QWfy. Sm. Ijq. KIj&app=deskto p • Elements of art are the parts. They structure and carry the work. • Principles of design are concepts. They affect content and meaning. ROBERT WILLIAM BUSS (1804 -1875) "Dickens' Dream" (1875) Watercolor

LINE IN ART • The visual element of Line is the foundation of all drawing. It is the first and most versatile of the visual elements. Line in an artwork can be used in many different ways. It can be used to suggest shape, pattern, form, structure, growth, depth, distance, rhythm, movement and a range of emotions. • We have a psychological response to different types of lines: • • Curved lines suggest comfort and ease Horizontal lines suggest distance and calm Vertical lines suggest height and strength Jagged lines suggest turmoil and anxiety • The way we draw a line can convey different expressive qualities: • Freehand lines can express the personal energy and mood of the artist • Mechanical lines can express a rigid control • Continuous lines can lead the eye in certain directions • Broken lines can express the ephemeral or the insubstantial • Thick lines can express strength • Thin lines can express delicacy LEONARDO DA VINCI (1452 -1519) A Study for an Equestrian Monument, 1488 (metalpoint on blue paper)

LINE AS TONE AND FORM HENRY MOORE (1898 -1986) Sheep, 1972 (intaglio print on paper)

LINE AS TEXTURE PETER DOIG (1959 -) The Architects Home In The Ravine, 1991 (oil on canvas, 200 x 275 cm. )

LINE AS STRUCTURE ROBERT DELAUNEY (1885 -1941) Eiffel Tower, 1910 (oil on canvas)

LINE AS MOVEMENT KATSUSHIKA HOKUSAI (c. 1760 -1849) The Great Wave off Kanagawa, 1823– 29 (woodblock print from '36 Views of Mount Fuji')

LINE AS EMOTION PABLO PICASSO (1881 -1973) Weeping Woman, 1937 (oil on canvas)

LINE AS ENERGY REMBRANDT VAN RIJN (1606 -1669) Two women teaching a child to walk, c. 1635 -37 (red chalk on paper)

LINE AS FORM ALEXANDER CALDER (1898 -1976) Edgar Varèse and Unknown Man, 1929 -30 (wire sculpture)

LINE AS ABSTRACTION PABLO PICASSO (1881 -1973) Bull - plate 11, January 17 1946 (lithograph) http: //www. artyfactory. com/art_appreciation/animals_in_art/ pablo_picasso. htm

TEXTURE IN ART • The visual element of Texture defines the surface quality of an artwork - the roughness or smoothness of the material from which it is made. • We experience texture in two ways: optically (through sight) and physically (through touch). • Optical (Implied) Texture: An artist may use his/her skilful painting technique to create the illusion of texture. For example, in the detail from a traditional Dutch still life above you can see remarkable verisimilitude (the appearance of being real) in the painted insects and drops of moisture on the silky surface of the flower petals. • Physical (Actual) Texture: An artist may paint with expressive brushstrokes whose texture conveys the physical and emotional energy of both the artist and his/her subject. They may also use the natural texture of their materials to suggest their own unique qualities such as the grain of wood, the grittiness of sand, the flaking of rust, the coarseness of cloth and the smear of paint. • Ephemeral Texture: This is a third category of textures whose fleeting forms are subject to change like clouds, smoke, flames, bubbles and liquids. JAN VAN HUYSUM (1682 -1747) Detail of Bouquet of Flowers in an Urn, 1724 (oil on canvas)

OPTICAL TEXTURE VS. PHYSICAL TEXTURE JAN VAN HUYSUM (1682 -1747) Bouquet of Flowers in an Urn, 1724 (oil on canvas) VINCENT VAN GOGH (1853 -1890) Irises, 1889 (oil on canvas)

PHYSICAL TEXTURE VINCENT VAN GOGH (1853 -1890) Self Portrait, 1889 (oil on canvas) KARL SCHMIDT-ROTTLUFF (18841976) Self Portrait, 1906 (oil on canvas)

PHYSICAL TEXTURE MAX ERNST(1891 -1976) The Entire City, 1935 -36 (oil on canvas) ANTONI TÀPIES (1923 -2012) Cruz y Tierra (Cross and Earth), 1975 (mixed media) JOAN EARDLEY (1921 -1963) Seeded Grasses and Daisies, September, 1960 (oil on board with grasses and seedheads)

EPHEMERAL TEXTURE DAVID HOCKNEY(b. 1937) A Bigger Splash, 1967 (acrylic on canvas)

SHAPE IN ART • The visual element of Shape can be natural or man-made, regular or irregular, flat (2 dimensional) or solid (3 -dimensional), representational or abstract, geometric or organic, transparent or opaque, positive or negative, decorative or symbolic, colored, patterned or textured. • The Perspective of Shapes: The angles and curves of shapes appear to change depending on our viewpoint. The technique we use to describe this change is called perspective drawing. • The Behavior of Shapes: Shapes can be used to control your feelings in the composition of an artwork: • Squares and Rectangles can portray strength and stability • Circles and Ellipses can represent continuous movement • Triangles can lead the eye in an upward FRANCIS CAMPBELL BOILEAU CADELL (1883 -1937) movement • Inverted Triangles can create a sense of imbalance The Blue Fan, 1922 (oil on canvas) and tension

TWO DIMENSIONAL SHAPES MAX ESCHER (1898 -1972) Reptiles, 1943 (lithograph)

THREE DIMENSIONAL SHAPES ANTHONY CARO (1924 -2013) Paul's Turn, 1971 (cor-ten steel)

REPRESENTATIONAL SHAPES HARMEN STEENWYCK (1612 -1656) 'Still Life: An Allegory of the Vanities of Human Life', 1640 (oil on oak panel)

ABSTRACT SHAPES PAUL CÉZANNE (1881 -1973) Still Life with a Peach and Two Green Pears, 1883 -87 (oil on canvas)

GEOMETRIC SHAPES AL HELD (1928 -2005) "S-E" 1979 (84"x 84", acrylic on canvas)

ORGANIC SHAPES GRAHAM SUTHERLAND (1903 -1980) Pastoral, 1930 (etching)

SYMBOLIC AND DECORATIVE SHAPES EADFRITH, BISHOP OF LINDISFARNE (died 721) 'Illuminated Ornamental Cross', 715 -721, Lindisfarne Gospels

POSITIVE AND NEGATIVE SHAPES • Positive Shape/Space: This is the actual physical form of any shape. • Negative Shape/Space: This the space between and around the physical form of any shape. STUART DAVIS (1892 -1964) Colonial Cubism, 1954 (oil on canvas)

TRANSPARENT, REFLECTIVE AND OPAQUE SHAPES • Transparent Shapes allow light to pass through so that you are able to see what lies beyond them. • Reflective Shapes reflect light to create a mirror image of what is reflected on their surface. • Opaque Shapes absorb light but also reflect some of it as color. As light is not able to pass through them, you are unable to see through them. RICHARD ESTES (b. 1932) Donohue's, 1967 (oil on masonite)

THE PERSPECTIVE OF SHAPES • Perspective Drawing is the technique that artists use to calculate the angles of a three dimensional shape when drawing it on a two dimensional surface. WAYNE THIEBAUD (1920 -) Around the Cake, 1962 (oil on canvas)

COLOR IN ART • The visual element of Color has the strongest effect on our emotions. It is the element we use to create the mood or atmosphere of an artwork. • There are many different approaches to the use of color in art: Color as light Color as tone Color as pattern Color as form Color as symbol Color as movement Color as harmony Color as contrast Color as mood WASSILY KANDINSKY (1866 -1944) Autumn Landscape with Boats, 1908 (oil on board)

COLOR AS LIGHT GIACOMO BALLA (1871 -1958) Street Light, 1909 (oil on canvas) RENÉ MAGRITTE (1898 -1967) Empire of Light, 1954 (oil on canvas)

COLOR AS TONE EMILE NOLDE (1867 -1956) Lake Lucerne, 1930 (watercolor on vellum)

COLOR AS PATTERN JUAN GRIS (1887 -1927) Violin and Checkerboard, 1913 (oil on canvas)

COLOR AS FORM ANDRÉ DERAIN (1880 -1954) Portrait of Matisse, 1905 (oil on canvas)

COLOR AS HARMONY EDGAR DEGAS (1834 -1917) Blue Dancers, 1899 (pastels)

COLOR AS CONTRAST JOSEPH MALLORD WILLIAM TURNER (1775 -1851) The Burning of the Houses of Lords and Commons, 1835 (oil on canvas)

COLOR AS MOVEMENT VICTOR VASARELY (1906 -1997) Vonal KSZ, 1968 (silkscreen print) Separation of Color Progressions in Vonal KSZ, 1968 (silkscreen print)

COLOR AS SYMBOL VINCENT VAN GOGH (1853 -1890) The Potato Eaters, 1885 (oil on canvas)

COLOR AS MOOD - JOY VINCENT VAN GOGH (1853 -1890) Sunflowers, 1888 (oil on canvas)

COLOR AS MOOD - SADNESS PABLO PICASSO (1881 -1973) The Old Guitarist, 1903 -04 (oil on panel)

COLOR AS MOOD - PEACE GUSTAV KLIMT (1862 -1918) Isle on Lake Attersee, 1902 (oil on canvas)

COLOR AS MOOD - ANXIETY EDVARD MUNCH (1863 -1944) The Scream, 1893 (oil, tempera and pastel on cardboard)

COLOR AS MOOD - NOISE GINO SEVERINI (1883 -1966) The Dance of the Pan-Pan at the Monico, 1909 -1911/1959 -1960 (240 cm x 400 cm, oil on canvas)

Color Terms • ADDITIVE COLOR involves the mixing of colored light. The colors on a television screen are a good example of this. Additive primary colors are red, green and blue. • SUBTRACTIVE COLOR involves the mixing of colored paints, pigments, inks and dyes. The traditional subtractive primary colors are red, yellow and blue.

Color Terms • A hue is one of the colors of the spectrum. Hues have a circular order as illustrated in the color wheel above. The color wheel is a useful device to help us explain the relationships between Primary, Secondary and Tertiary colors.

Color Terms • Red, Yellow and Blue are the primary colors. These are three basic colors that are used to mix all hues.

Color Terms • Orange, Green and Purple are the secondary colors. They are achieved by mixing two primary colors together.

Color Terms • Tertiary colors are more subtle hues which are achieved by mixing a primary and a secondary color that are adjacent on the color wheel.

Color Terms • Analogous colors sit next to one another on the color wheel. These colors are in harmony with one another.

Color Terms • Opposite colors are diagonally opposite one another on the color wheel. Opposite colors create the maximum contrast with one another. You can work out the opposite color to any primary color by taking the other two primaries and mixing them together. The result will be its opposite or ‘complementary’ color.

Color Terms • A tint describes a color that is mixed with white. • A shade describes a color that is mixed with black. • A tone describes a color that is mixed with both white and black. • Color intensity is the strength or value of a color. In our illustration, the three violet rectangles are identical colors but they appear to change when surrounded by different colors. Therefore, the intensity of a color changes in relation to the color that surrounds it. This effect is known as Simultaneous Contrast.

FORM IN ART • The visual element of Form relates to the physical volume of a shape and the space that it occupies. • Form can be representational or abstract. • Form generally refers to sculpture, 3 D design and architecture but may also relate to the illusion of 3 D on a 2 D surface. • Three-Dimensional Form can be modelled (added form), carved (subtracted form) and constructed (built form). It can be created from sculptural materials like clay, wax, plaster, wood, stone, concrete, cast and constructed metal, plastics, resins, glass and mixed media. It may also be kinetic, involving light and movement generated by natural, mechanical and electronic means. More recently the CAD process of 3 D printing has be been added to the list of sculptural processes. • Two-Dimensional Form constructs the illusion of 3 D in 2 D media by a skillful manipulation of the visual elements. Perspective drawing, trompe l'oeil, 3 D computer graphics programs and holograms are examples of 2 D form. IGOR MITORAJ (1944 -2014) Tindaro Screpolato (Tyndareus Cracked), 1998 (bronze)

FORM AS CARVING – STONE CARVING AGESANDER, POLYDORUS, and ATHENODORUS (1 st Century B. C. ) Laocoön and his Sons, circa 42 -20 B. C. (marble) MICHELANGELO BUONARROTI (1475 -1564) Pietà, 1498 -99 (marble) MICHELANGELO BUONARROTI (1475 -1564) The Atlas Slave, 1525 -30 (marble)

FORM AS CARVING – WOOD CARVING WORKSHOP OF TILMAN RIEMENSCHNEIDER (1460 -1531) Pietà in the Franciscan Church of Würzburg, 1510 (painted wood carving) HENRY MOORE (1898 -1986) Reclining Figure, 1936 (elm wood) SENUFO MASK (Carved Wood)

FORM AS MODELLING AND CASTING ALBERTO GIACOMETTI (1901 -1966) Grande Tête Mince (Head of the artist's brother, Diego Giacometti ), 1954 -55 (cast bronze) AUGUSTE RODIN (1840 -1917) Call to Arms, 1878 (Cast Bronze) CLAES OLDENBURG (b. 1929) Giant Gym Shoes, 1963 (plaster and enamel paint)

FORM AS CONSTRUCTION NAUM GABO (1890 -1977) Head No. 2, 1916 (Cor-ten sheet steel - copy of cardboard original) DAVID SMITH (1906 -1965) Cubi XII, 1963 (stainless steel)

FORM AS KINETIC ART ALEXANDER CALDER (1898 -1976) Six Dots over a Mountain, 1956 (painted steel)

FORM AS LIGHT AND SPACE JAMES TURRELL (b. 1943) Skyspace, 2004 (light installation)

FORM AS LAND ART ROBERT SMITHSON (1938 -1973) The Spiral Jetty, 1970 (6650 tons of mud, salt crystals and black basalt rocks)

TONE (OR VALUE) IN ART • The visual element of tone defines the lightness or darkness of a color. The tonal values of an artwork can be adjusted to alter its expressive character. • Tone can be used: • to create a contrast of light and dark. • to create the illusion of form. • to create a dramatic or tranquil atmosphere. • to create a sense of depth and distance. • to create a rhythm or pattern within a composition. JOHANNES VERMEER (1632 -1675) Girl with the Pearl Earring, 1665 (oil on canvas)

TONE AS THE CONTRAST OF LIGHT AND DARK JUAN SANCHEZ COTAN (1560 -1627) Quince, Cabbage, Melon and Cucumber, 1602 (oil on canvas) CARAVAGGIO (c. 15271610) Basket of Fruit, 159596 (oil on canvas) PIETER CLAESZ (c. 15971660) Still Life, 1633 (oil on oak panel)

TONE AS FORM GEORGES SEURAT (18591891) Seated Boy with a Straw Hat, 1883 (conté crayon on paper) ALBRECHT DÜRER (14711528) Old Man aged 93, 1521 (brush drawing on paper primed with color) STANLEY SPENCER (1891 -1959) Self Portrait, 1914 (oil on canvas)

TONE AS FORM HAROLD COHEN (b. 1928) Richard V, 1967 (silkscreen on paper) SALVADOR DALI (1904 -1989) Slave Market with Disappearing Bust of Voltaire, 1940 (oil on canvas)

TONE AS DRAMA PABLO PICASSO (1881 -1973) Guernica, 1937 (oil on canvas)

TONE AS TRANQUILITY JEAN FRANÇOIS MILLET (1814 -1875) The Angelus, 1857 -59 (oil on canvas)

TONE AS DEPTH AND DISTANCE CHARLES SHEELER (1883 -1965) Canyons, 1951 (oil on canvas)

TONE AS RHYTHM AND PATTERN KAZIMIR MALEVICH (1879 -1935) The Knife Grinder, 1912 (oil on canvas)

SPACE IN ART – PERSEPCTIVE • One-point perspective occurs when the receding lines appear to converge at a single point on the horizon and used when the flat front of an object is facing the viewer. Note: Perspective can be used to show the relative size and recession into space of any object, but is most effective with hard-edged threedimensional objects such as buildings. Chris Gildow, 'One point perspective: HL = horizon line. VP = vanishing point'

SPACE IN ART – PERSPECTIVE Leonardo da Vinci, 'The Last Supper, ' 1498. Fresco. Santa Maria della Grazie

SPACE IN ART – PERSPECTIVE • Two-point perspective occurs when the vertical edge of a cube is facing the viewer, exposing two sides that recede into the distance, one to each vanishing point. Chris Gildow, 'Two Point Perspective'

SPACE IN ART – PERSPECTIVE Paris Street- Rainy Weather 1877 Gustave Caillebotte

SPACE IN ART – PERSPECTIVE • Three-point perspective is used when an artist wants to project a “bird’s eye view”, that is, when the projection lines recede to two points on the horizon and a third either far above or below the horizon line. In this case the parallel lines that make up the sides of an object are not parallel to the edge of the ground the artist is working on (paper, canvas, etc). Shazz, 'Three Point Perspective (with vanishing points above and below the horizon line shown at the same time)'

SPACE IN ART – PERSPECTIVE 'Third Court of the Topkapi Palace', from the Hunername, 1548. Ottoman miniature painting. Topkapi Museum, Instanbul

PERSPECTIVE IN THE th 20 • After nearly five hundred years using linear perspective, western ideas about how space is depicted accurately in two dimensions went through a revolution at the beginning of the 20 th century. • Pablo Picasso largely reinvented pictorial space with the invention of Cubism, ushered in dramatically by his painting Les Demoiselles d'Avignon in 1907 • https: //www. youtube. com/watch? v =png. GDyc. LQu. E&feature=related C. (2 D)

PERSPECTIVE IN THE 20 th C. (2 D) George Braque ‘Castle at La Roche Guyon’ 1909 Oil on canvas. Stedelijk van Abbe Museum, Eindhoven, Netherlands Juan Gris, 'The Sunblind', 1914, Gouache, collage, chalk and charcoal on canvas. Tate Gallery, London

PERSPECTIVE IN THE th 20 • Three-dimensional space doesn’t undergo this fundamental transformation. It remains a visual tug between positive and negative spaces. • Sculptors influenced by cubism do, however, develop new forms to fill this space; abstract and non-objective works that challenge us to see them on their own terms. • Constantin Brancusi, a Romanian sculptor living in Paris, became a leading artist to champion the new forms of modern art. His sculpture ‘Bird in Space’ is an elegant example of how abstraction and formal arrangement combine to symbolize the new movement. C. (3 D)