1.Art Appreciation
Chapters 4 & 5

2. 3. 4. 5. 6. LINE
A path traced by a moving point or a mark with the point being the smallest of all visual elements.
Movement, direction and emphasis implied by lines convey different characteristics and psychological effects.
Types of lines:
actual, implied, incised, raised, contour, variation, cross-hatched, lines formed by edges
Linear forms are interpreted as lines
7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. SHAPE
a 2-dimensional form that occupies an area with identifiable boundaries.
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a 3-dimensional form that occupies a volume of space.
MASS
23. The Madonna of the Meadows, Raphael, 1505, oil on panel
24. The Raven and the First Men, Bill Reid, 1983, Laminated yellow cedar
25. SPACE
In 3-dimensions, an area in which anything with mass exists.
In 2-dimensions, it only has height and width, but no depth.
It is a limited or unlimited area appearing to advance, recede, or extend in all directions.
26. The Nose,Alberto Giacometti, 1947
27. 28. 29. 30. VALUE
The relative lightness or darkness of a color in relation to another, as well as the relationship of light to dark.
Hue the name used to distinguish one color from another. The word hue is used interchangeably with the term color.
Tint a color lighter than the hues normal value. Adding white usually produces a tint.
Shade a color darker than the hues normal value. Adding black usually produces a shade.
31. 32. 33. 34. 35. 36. COLOR
A function of light where the physiological activity of the human eye and the science of electromagnetic wavelengths are the process necessary for it function.
Color are the components of light revealed when refracted through a prism.
When arranged on a color wheel, colors are labeled: primary, secondary and tertiary
37. 38. 39. 40. 41. 42. 43. 44. LIGHT
A type of radiant energy that reveals the world of forms and spatial relationships.
Actual light Natural light. Light produced by electricity. In art, this type of light is used in architecture and some sculpture.
The illusion of light Light which is created in an artwork by the use of paint or another medium. The artist most often creates this illusion with value changes.
45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 1978-79
60. 61. 62. 63. 1986-87
64. 65. 66. 67. 68. 69. 70. 71. 72. 73. TEXTURE
A quality experienced through touch or through touch visualization.
74. 75. 76. PATTERN
A decorative repeating motif or design.
77. 78. 79. PERSPECTIVE
Any system for depicting the illusion of 3-dimensional space on a 2-dimensional surface.
LINEAR perspective (also called scientific)
one-point-- two-point
Isometric perspective
Aerial perspective
Ground perspective
80. One-point Linear Perspective
81. Two-point Linear Perspective
82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. TIME
A progression or sequence that creates an actual or implied sense of life/time passing.
Time is the element in which we live. It is sometimes referred to as the forth dimension.
96. 97. 98. 99. 100. 101. MOTION
An actual (kinetic) or implied sense of movement.
102. 103. 104. 105. 106. Calder, flamingo
107. Danube bicycle
http://www.youtube.com/watch?v=LeBiqVJrJ08&feature=PlayList&p=BA532D06AA211E8E&index=17
108. Arthur Ganson, Machine with concrete
http://www.boingboing.net/2009/09/15/motor-attached-to-se.html
109. 110. End of chapter 4
The Visual Elements
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Begin chapter 5
Principles of Design
111. UNITY
A sense of oneness, of things belonging together and making a coherent whole.
112. VARIETY
The difference between objects using any of the visual elements.
113. Black Face and Arm Unit, Ben Jones,1971, Painted Plaster
114. Black Face and Arm Unit, Ben Jones,1971, Painted Plaster
115. 116. Joseph Cornell, Habitat Group for a Shooting Gallery, 1943
117. Joseph Cornell, Untitled (The Hotel Eden), c. 1945
118. Joseph Cornell, Untitled (Paul and Virginia), c. 1946-48
119. Joseph Cornell, Untitled (Pharmacy), 1943
120. Jackson Pollock, Shimmering Substance, 1946
121. BALANCE
In either 2-D or 3-D, the visual heaviness or lightness of forms arranged in a composition.
Symmetrical Balance
Asymmetrical Balance
122. L. Brent Kington,
123. Georgia OKeeffe, Deers Skull with Pedernal, 1936
124. Frida Kahlo, The Two Fridas, 1939
125. 126. 127. 128. 129. 130. 131. Gustav Klimt, Death and Life, before 1911
132. Sakai Hoitsu, Summer Rain, late 18th century
133. 134. 135. EdouardManet, A Bar at the Folies-Bergere, 1881-82
136. Rose Window, Notre Dame, Paris
137. SUBORDINATION
Certain areas of a composition purposely made less visually interesting.
138. EMPHASIS
A certain part of the composition that has the viewers attention, especially small, clearly defined areas such as the focal point.
139. Henry Ossawa Tanner, The Banjo Lesson, 1893
140. Paul Cezanne, Still Life with Compotier, Pitcher, and Fruit, 1892-94
141. Executions of the Third of May, 1808, Francisco de Goya,1814-15
142. SCALE
Size in relation to a standard or normal size.
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The size relationships between parts of a whole or between two or more items perceived as a unit.
PROPORTION
143. Oldenburg and van Bruggen, Plantoir, 2001
144. Rene Magritte, Delusions of Grandeur II, 1948
145. Leonardo da Vinci, Vitruvian Man, 1485-90
146. RHYTHM
Can be based on repetition of any of the visual elements.
147. Piet Mondrian, Broadway Boogie-Woogie, 1942-43