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James Greene | Visiting Assistant Professor | 1110 CAC | [email protected]
ART 101: Introduction to Art
Visual Perception and
The Formal Properties of Art
Gestalt gə-ˈstält ("form" or "whole”)
A theory of mind and brain positingthat the operational principle of the brain is
holistic, parallel, and uses self-organizing tendencies,
OR:
The name applied to the notion thatthe whole is different from the sum of its parts.
“Seeing the forest for the trees.”
Gestalt
The use of Gestalt principles factors heavily in our perception of art and design. Artists and designers use
knowledge of our brains’ natural form-forming abilities to produce art and
design that communicates effectively.
Gestalt The key principles of Gestalt systems are:
EmergenceWe do not recognize something or someone by first
identifying its individual parts and then inferring what it is from those component parts.
Instead, we perceive it as a whole, all at once.
Gestalt
The key principles of Gestalt systems are:
ReificationThe constructive or generative aspect of perception, by which the thing perceived contains more explicit spatial
information than the sensory stimulus on which it is based.
Gestalt
The key principles of Gestalt systems are:
MultistabilityThe tendency of ambiguous perceptual experiences to
pop back and forth unstably between two or more alternative interpretations.
Ambiguous Depth Figures
NECKER CUBE RUBIN’S VASE
M.C. Escher, Circle Limit IV (Angels & Devils) 1960
Gestalt
The key principles of Gestalt systems are:
InvarianceThe property of perception whereby simple geometrical
objects are recognized independent of rotation, translation, and scale; as well as several other variations
such as elastic deformations, different lighting, and different component features.
James Greene | Visiting Assistant Professor | 1110 CAC | [email protected]
ART 101: Introduction to Art
The Formal Elements of Art
The Formal Elements of Art
Line
Arturo Hererra, Untitled, wall painting, 2007.
The Formal Elements of Art
Line
Alexander Calder, Figures from Cirque de Calder, Wire, wood, 1927
Alexander Calder, Caricature Face Mobiles, Wire, 1937.
The Formal Elements of Art
Line(implied line)
Raphael Crucifixion 1502-03Oil on panel
The Formal Elements of Art
Space
SHAPE
Flat, 2-Dimensional AreaMeasured in height and width
MASS
Solid, 3-Dimesional VolumeMeasured in height, width and depth
The Formal Elements of Art
Space
Figure/Ground Reversal
Demonstrates how our perceptiondepends on our recognition of thespatial relationships between an object and what lies beside and behind it.
The Formal Elements of Art Space:One-Point Perspective
Perugino, Christ Delivering the Keys of the Kingdom to Saint PeterFresco, Sistine Chapel (North Wall) 1480-82
The Formal Elements of Art Space:One-Point Perspective
Perugino, Christ Delivering the Keys of the Kingdom to Saint PeterFresco, Sistine Chapel (North Wall) 1480-82 (perspective analysis)
The Formal Elements of Art Space:Two-Point Perspective
Gerrit Berckheyde The Exterior Of The Church Of Saint Bavo Oil on panel 1666.
The Formal Elements of Art Space:Two+ Points Perspective
Gustave Caillebotte La Place de l’Europe, temps de pluie). Oil on canvas. 1877.
The Formal Elements of Art Space:Three-Point Perspective
MC EscherAscending and DescendingLithograph1960
The Formal Elements of Art Space:Three-Point Perspective
The Formal Elements of Art Space:Aerial Perspective
Andrea Mategna, Lamentation Over the Dead Christ,Tempera on panel, 1480.
The Formal Elements of Art Light: Value
The relative level of lightness or darkness of an area or an object.
The Formal Elements of Art
Chiarscuro
Technique used by artists to represent the gradual transition arounda curved surface from light to dark.
The Formal Elements of Art
Color
Ryan McGuinness, Untitled, Silkscreen print on vinyl, 2007.
The Formal Elements of Art
Title
Color
The Formal Elements of Art Color
Title
The Formal Elements of Art Color
The Formal Elements of Art Color
ANALAGOUS COLOR SCHEMEResulting from the use of several hues that lie next to each other on the hue wheel
The Formal Elements of Art Color
COMPLIMENTARY COLOR SCHEMEResulting from the use of hues that lie across from each other on the hue wheel
The Formal Elements of Art Color
COMPLIMENTARY COLOR SCHEMEResulting from the use of hues that lie across from each other on the hue wheel
The Formal Elements of Art Color
COMPLIMENTARY COLOR SCHEMEResulting from the use of hues that lie across from each other on the hue wheel
The Formal Elements of Art
Texture
Egyptian Bust of Khafre Old Kingdom, diorite.
The Formal Elements of Art
Texture
Max Ernst Surrealistic Landscape Oil on canvas 1927
James Greene | Visiting Assistant Professor | 1110 CAC | [email protected]
ART 101: Introduction to Art
The Principles of Design
Symmetrical or Formal Balance: When both sides of a composition mirror each other.
The Principles of Design Balance
Notre Dame de ParisGothic PeriodParis, FranceCompleted c.1345
Paul Gauguin, Les Femmes De Tahiti, oil on canvas, 1891
The Principles of Design Balance
Asymmetrical or Informal Balance: When visual weight is well-distributed, but the two sides
of the composition do not mirror each other.
The Principles of Design Emphasis
Henri Toulouse-Lautrec, At the Moulin Rogue, oil on canvas, 1895
The Principles of Design
Focal Point
Rose Window, South Transept, Chartres Cathedral, Chartres France c. 1215
The Principles of Design
Scale
Hokusai The Great Wave Off Kanagawa from 36 Views of Mt. Fujiwoodcut, 1826-33
The Principles of Design
Proportion
PolykleitosDoryphoros (The Spearbearer)Roman marble copy of Greek bronze original450-40 BC (original)
The Principles of DesignProportion
Parthenon Athenos, Acropolis, Athens, Greece, Classical Period, Completed 431 BC
The Principles of DesignProportion
The Principles of Design
Repetition
Title
The Principles of Design
Rhythm
Title
Bridget RileyDrift #2Silkscreen print1966
The Principles of Design Unity
Pieter Bruegel the Elder Netherlandish Provebs tempera on panel 1559
The Principles of Design
Variety
Las Vegas Strip, ca. 1970
