INTRODUCTION Introduction Gateways to Art Understanding the Visual

INTRODUCTION Introduction Gateways to Art: Understanding the Visual Arts Second Edition Copyright © 2015 Thames & Hudson

INTRODUCTION What Is Art? § Art has many purposes § Art can be made from almost anything § Art communicates sensations, ideas and emotions by visual means; it is a form of language § Art can help us see the world in new and exciting ways Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: The Journey of the Sun God Re 0. 0. 1 The Journey of the Sun God Re, detail from the inner coffin of Nespawershefi, Third Intermediate Period, 990– 969 BCE. Plastered and painted wood. Fitzwilliam Museum, Cambridge, England

INTRODUCTION The Journey of the Sun God Re § Painted on the coffin of Egyptian Nespawershefi § Sun god Re in the underworld at night § Reflects importance of rivers in Egypt § Refers to Egyptian beliefs about the afterlife Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Frederic Edwin Church, Niagara 0. 0. 2 Frederic Edwin Church, Niagara, 1857. Oil on canvas, 3’ 6¼” × 7’ 6½”. Corcoran Gallery of Art, Washington, D. C.

INTRODUCTION Frederic Edwin Church, Niagara § Niagara symbolized America’s territorial expansion and ambitions § Viewer is positioned at the edge § Beauty and power of the landscape symbolized God in nature u For some, represents God’s support for the country Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Louise Nevelson, White Vertical Water 0. 0. 3 Louise Nevelson, White Vertical Water, 1972. Painted wood, 18 × 9’. Solomon R. Guggenheim Museum, New York

INTRODUCTION Louise Nevelson, White Vertical Water § Not an immediately recognizable portrayal of its subject § Viewer is invited to examine the work closely § Evokes sensations of water falling and fish swimming Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Fine Art and Graphic Art § Tradition of fine art: u Painting, drawing, sculpture, sometimes prints u Usually pleasing, beautiful to look at u Often made for a single patron Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Fine Art and Graphic Art (cont. ) § Graphic art: u Books, posters, advertising, television, social media, etc. u Communication is essential u Reproducible, intended for a large audience Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Eleonora of Toledo with Her Son Giovanni de’ Medici 0. 0. 4 Agnolo Bronzino, Eleonora of Toledo with Her Son Giovanni de’ Medici, c. 1544– 55. Oil on panel, 45¼ × 37¾”. Uffizi Gallery, Florence, Italy

INTRODUCTION Bronzino, Eleonora of Toledo with Her Son § Depicts the Duke of Florence’s wife and son § Demonstrates the artist’s great skill u Texture of the embroidery, flawless skin, composed features § Communicates wealth, power, and status Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Fed. Ex Express logo 0. 0. 5 Fed. Ex Express logo

INTRODUCTION Fed. Ex Express Logo § Identifies the company as a dynamic, global organization § White space between the E and X forms an arrow u Suggests speed and precision § Chosen from 200 design concepts Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION The Visual World § Art is part of a wider context of things we experience § Visual culture: includes all of the images we encounter § Art reflects the visual culture in which it was created, not just the creative achievement of its maker Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: El Anatsui, Old Man’s Cloth 0. 0. 6 El Anatsui, Old Man’s Cloth, 2002. Aluminum and copper wire, 15’ 9” × 17’¾”

INTRODUCTION El Anatsui, Old Man’s Cloth § Liquor-bottle tops refer to the alcohol Europeans traded for African goods § Comments on the colonial history of Africa, as well as modern-day consumer waste Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Where Is Art? § Art can be found in many places (e. g. a coffin, a book, contemporary media) § Public and private spaces § Museums u Collect, exhibit, preserve u Offer educational programs and cultural events Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Philadelphia Museum of Art, Pennsylvania 0. 0. 7 Philadelphia Museum of Art, Pennsylvania

INTRODUCTION Museums § Word derives from the Greek mouseion, meaning temple dedicated to the arts and sciences § In Europe, many art museums began as private collections § In America, businessmen collectors founded museums based on those of Europe Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Rodia, Watts Towers 0. 0. 8 Simon Rodia, Watts Towers, 1921– 54. Seventeen mortarcovered steel sculptures with mosaic, 99½’ high at tallest point. 1761– 1765 East 107 th Street, Los Angeles, California

INTRODUCTION Simon Rodia, Watts Towers § Public artwork made from found materials § Rodia was a construction worker § Originally titled Nuestro Pueblo (“our town”) Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Art and Creativity § Artists, trained and untrained, share a creative impulse § People naturally respond to images and seek to express themselves visually § Consider the role of creativity in your own life Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Who Makes Art? § A single individual or many people § Famous or anonymous § Can be affected by training (or lack of) u Master/student, guilds, academies u Naïve or “outsider” artists Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Jeff Koons, Rabbit 0. 0. 9 Jeff Koons, Rabbit, 1986. Stainless steel, 41 × 19 × 12”. Edition of 3 and artist’s proof

INTRODUCTION Jeff Koons, Rabbit § For centuries, very few artists have worked alone § Even Renaissance artists operated workshops and employed assistants § Today, some famous artists, such as Jeff Koons, employ other artists to realize their ideas Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Tea Bowl 0. 0. 10 Tea bowl, 16 th century. Stoneware with red glaze (Karatsu ware), 3⅞ × 5”. Indianapolis Museum of Art

INTRODUCTION Tea bowl § Western cultures make a distinction between “high art” and craft § In other cultures, importance of various forms of art differed § In Japan, ceramic tea bowls were highly esteemed for their beauty u Valued traditional methods Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: da Vinci, Mona Lisa 0. 0. 11 Leonardo da Vinci, Mona Lisa, c. 1503– 6. Oil on wood, 30⅜ × 20⅞”. Musée du Louvre, Paris, France

INTRODUCTION Leonardo da Vinci, Mona Lisa § Made in an era and in a culture that valued individual ingenuity § Leonardo’s visionary interests § Visual artist, engineer, scientist § Portrait not simply a likeness: a meditation on the human soul Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Titian, Isabella d’Este 0. 0. 12 Titian, Isabella d’Este, 1536. Oil on canvas, 40¼ × 25¼”. Kunsthistorisches Museum, Vienna, Austria

INTRODUCTION Titian, Isabella d’Este § Wife of the ruler of Mantua, Italy § Influential patron of the arts u Her money and taste determined what art was produced § Portrait portrays her wealth, refinement, and youthful beauty (commissioned in her sixties) Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION The Power and Value of Art § Value can mean sale price § Or ceremonial, spiritual, or political value § Art may be valued for its beauty or the great skill involved in its creation § Art has the power to tell us about the human condition Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Klimt, Adele Bloch. Bauer II 0. 0. 13 Gustav Klimt, Adele Bloch-Bauer II, 1912. Oil on canvas, 6’ 2⅞” × 3’ 11¼”. Private collection

INTRODUCTION Gustav Klimt, Adele Bloch-Bauer II § Klimt painted the wives and sisters of wealthy Austrian businessmen § In 2006, it sold for $87. 9 million § Value increased because of the painting’s controversial history u Looted by Nazis in 1938 u Subject of a lawsuit Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Rembrandt van Rijn, Self-portrait 0. 0. 14 Rembrandt van Rijn, Self-portrait, 1630. Oil on copper, 6⅛ × 4¾”. Nationalmuseum, Stockholm, Sweden

INTRODUCTION Perspectives on Art: What Is the Value of an Artwork? § Rembrandt’s very rare painting has a market value of $35 million § Stolen in 2000; thieves were caught in 2005 trying to sell it for $250, 000 § Stolen art has no real value: improper provenance, inability to be resold Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Marc Quinn, Self 0. 0. 15 Marc Quinn, Self, 1991. Blood (artist’s), stainless steel, Perspex, and refrigeration equipment, 81⅞ × 24¾”. Private collection

INTRODUCTION Marc Quinn, Self § Self-portrait made of 8– 10 pints of the artist’s own blood, cast and frozen § Invites us to contemplate our own mortality and our fear of it § Powerful, raw portrait: reflection on self-image and identity Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Vermeer, Girl with a Pearl Earring 0. 0. 16 Johannes Vermeer, Girl with a Pearl Earring, c. 1665. Oil on canvas, 17½ × 15⅜”. Mauritshuis, The Hague, Netherlands

INTRODUCTION Art Inspires a Novel and a Movie § Vermeer’s Girl with a Pearl Earring, inspired Chevalier’s novel (1999) and subsequent film (2003) § For Chevalier, the painting is powerful because it is unresolved § Is the girl happy or sad? Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: The Virgin of Guadalupe 0. 0. 17 The Virgin of Guadalupe, Basilica of Guadalupe, Mexico City, Mexico

INTRODUCTION The Virgin of Guadalupe § Catholic tradition: 1531, the Virgin appeared to Indian peasant Juan Diego u Imprinted her image on his cloak § Symbol of the Mexican Nation for all citizens; appears in countless paintings Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Censorship of Art § Art can be censored for many reasons: u Challenges those in power u Considered pornographic u Offends religious beliefs u Represents values others do not share Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Ai Weiwei, S. A. C. R. E. D. 0. 0. 18 a Ai Weiwei, S. A. C. R. E. D. , a six-part work composed of (i) S upper, (ii) A ccusers, (iii) C leansing, (iv) R itual, (v) E ntropy, (vi) D oubt, 2011– 13. Six dioramas in fiberglass and iron, 148½ × 77½ × 58½”. Installed in Church of Sant’ Antonin, Venice, Italy for the Venice Biennale 2013

INTRODUCTION Ai Weiwei, S. A. C. R. E. D § Artist exposes corruption of the Chinese government § In 2011 he was imprisoned for 81 days § 6 iron boxes, half-scale models of his cell, installed in a Venice church Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Ai Weiwei, S. A. C. R. E. D 0. 0. 18 b Ai Weiwei, Entropy (detail), from S. A. C. R. E. D. , 2011– 13

INTRODUCTION Ai Weiwei, detail of Entropy, S. A. C. R. E. D § Viewers can look on as if they are prison guards § Scenes show Weiwei asleep, eating, being interrogated, showering, etc. § His work cannot be shown in China; he is forbidden from leaving the country Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Studying Art § Art is a powerful form of language § There are many ways to interpret a work of art § By learning to see, we experience new sensations and ideas that expand our horizons beyond our daily lives Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Studying Art: Content § All communication has a message —in other words, content § Three types of content: u Subject matter u Underlying meaning (ideas, feelings, beliefs) u Work’s arrangement of the visual elements Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Studying Art: Subject Matter § Subject matter u May be visually apparent u Given by the title chosen by the artist u Told to us by critics and scholars § Sometimes the subject matter is not clear Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Studying Art: Subject Matter (contd. ) § Representational: depicts objects or people that we can recognize § Non-objective: depicts subject matter that is unrecognizable § Abstraction: artists emphasize, distort, simplify, or arrange the formal elements of an artwork Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Equestrian statue of Marcus Aurelius 0. 0. 19 Equestrian statue of Marcus Aurelius, c. 175 CE. Bronze, 11’ 6” high. Musei Capitolini, Rome, Italy

INTRODUCTION Equestrian statue of Marcus Aurelius § Representational u Recognizable as a man on a horse u Artist tries to create realistic movement and expressions Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: José de Rivera, Infinity 0. 0. 20 José de Rivera, Infinity, 1967. Stainless steel sculpture in front of National Museum of American History, Smithsonian Institution, Washington, D. C. , 13½ × 8 × 16’

INTRODUCTION José de Rivera, Infinity § Non-objective u Unrecognizable subject matter u Subjective: individual viewer creates his or her own interpretation Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Allan Houser, Reverie 0. 0. 21 Allan Houser, Reverie, 1981. Bronze, 25 × 23 × 13”, edition of 10. Allan Houser Archives

INTRODUCTION Allan Houser, Reverie § Representational u Can identify two faces u Size of faces and positioning of forms suggest mother and child § Also contains a considerable degree of abstraction Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Studying Art: Context § Researching an artwork’s context can help us understand it more fully § Context includes, for example: u Society that produced the artwork u Economics and religion u Details of the patron u Status of the artist Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Carved ivory maskshaped hip pendant 0. 0. 22 Carved ivory maskshaped hip pendant, mid 16 th century. Ivory inlaid with iron and bronze, 9⅝ × 5 × 2⅜”. British Museum, London, England

INTRODUCTION Carved ivory maskshaped hip pendant § Rare material, object of luxury § Shows wealth and power of a ruler § Now displayed in a museum case, but originally decoration on a king’s belt § Symbolism of Portuguese heads around the top of the headdress Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Watch this video to find out more about other artworks created by master craftsmen from these parts of Africa. Video The Master Sculptors of Benin and Ife Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Studying Art: Formal Analysis § Examining the arrangement of the visual elements of an artwork helps us to analyse its content § The form of a work of art: the totality of what we see when we look at it u Elements and principles of art Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Studying Art: Formal Analysis (contd. ) § Elements (the vocabulary of art): color, form, line, mass, shape, space, texture, time and motion, value, volume § Principles (the grammar of art): balance, contrast, emphasis, focal point, pattern, proportion, rhythm, scale, unity, variety Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: David Hockney, Portrait of an Artist 0. 0. 23 David Hockney, Portrait of an Artist (Pool with two figures), 1972. Acrylic on canvas, 7’ × 10’. Art Gallery of New South Wales, Sydney, Australia

INTRODUCTION David Hockney, Portrait of an Artist § Formal elements: importance of color, space, value, shape, implied line § Principles of art: use of contrast, scale, emphasis, focal point § Formal aspects work together to create a portrait of a lost love Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Mo. MA Videos To learn more about understanding the visual arts, watch these videos on artworks in the Mo. MA collection: Mo. MA Video Barbara Kruger, Untitled (You Invest in the Divinity of the Masterpiece) Mo. MA Video Claude Monet, Water Lilies Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Mo. MA Videos (contd. ) Mo. MA Video Donald Judd, Untitled (Stack) Mo. MA Video Jackson Pollock, One: Number 31 Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Mo. MA Videos (further contd. ) Mo. MA Video Joseph Beuys, Eurasia Siberian Symphony Mo. MA Video Marcel Duchamp, Bicycle Wheel Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Mo. MA Videos (contd. further) Mo. MA Video Robert Rauschenberg, Rebus Bed Mo. MA Video Vincent van Gogh, Starry Night Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields

INTRODUCTION Introductory Chapter Copyright Information This concludes the Power. Point slide set for the Introduction Gateways to Art: Understanding the Visual Arts Second Edition By Debra J. De. Witte, Ralph M. Larmann, and M. Kathryn Shields Copyright © 2015 Thames & Hudson Power. Points developed by Creative. Myndz Multimedia Studios

INTRODUCTION Picture Credits for Introduction 0. 0. 1 Fitzwilliam Museum, University of Cambridge/Bridgeman Art Library 0. 0. 2 White Images/Scala, Florence 0. 0. 3 Solomon R. Guggenheim Museum, New York, Gift, Mr. and Mrs. James J. Shapiro, 85. 3266. Photo David Heald © Solomon R. Guggenheim Foundation. © ARS, NY and DACS, London 2012 0. 0. 4 Uffizi Gallery, Florence 0. 0. 5 © 2015 Fed. Ex Corporation. All Rights Reserved 0. 0. 6 Image courtesy October Gallery, London 0. 0. 7 © Sam 74100/Dreamstime. com 0. 0. 8 © Nik Wheeler/Corbis 0. 0. 9 © Jeff Koons 0. 0. 10 Indianapolis Museum of Art, Gift of Charles L. Freer/Bridgeman Art Library 0. 0. 11 Musée du Louvre, Paris 0. 0. 12 Kunsthistorisches Museum, Vienna 0. 0. 13 Private Collection 0. 0. 14 Photo © Erik Cornelius/Nationalmuseum, Stockholm 0. 0. 15 Photo Marc Quinn Studio. Courtesy White Cube. © the artist 0. 0. 16 Mauritshuis, The Hague 0. 0. 17 Robert Harding Picture Library/agefotostock. com 0. 0. 18 a, 0. 0. 18 b Photos © David Levene/eyevine. Courtesy Ai Weiwei Studio 0. 0. 19 i. Stockphoto. com 0. 0. 20 © Andia/Alamy 0. 0. 21 Allan Houser archives © Chiinde LLC 0. 0. 22 André Held /akg-images 0. 0. 23 Photo Art Gallery of New South Wales/Jenni Carter. © David Hockney Power. Points developed by Creative. Myndz Multimedia Studios