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1. William G. Wall’s print Fort Edward is a vehicle for expressing the artist’s thoughts about ______.
• a. the expansion and development of America
• b. the beauty of the American landscape
• c. the struggles between Native and European Americans
• d. all of the above• e. none of the above
• 2. Western artists since the Renaissance have usually considered ______ to be the highest forms of art.
• a. painting and ceramics• b. painting and calligraphy• c. sculpture and painting• d. sculpture and furniture• e. none of the above
• 3. Traditionally, artists in China learned their craft by ______.
• a. copying the work of a great master• b. attending a school or academy that taught artistic
technique• c. practicing painting in the open air without a teacher• d. producing still life drawings that were sold to local
people• e. traveling to Beijing and looking at art in museums
and galleries
• 4. African masks displayed in museums were originally made ______.
• a. to be worn during spiritual or magic ceremonies• b. to be worn during elaborate tea-drinking
ceremonies• c. to be exchanged as gifts with people from other
communities• d. to be displayed as beautiful, finely crafted museum
objects• e. for sale to European travelers
5. The Nazis’ Degenerate Art Exhibition contained work that ______.
• a. offended most of the German people
• b. attracted a large number of visitors
• c. was bought for Adolf Hitler’s personal collection
• d. depicted the beauty of the German landscape
• e. encouraged viewers to join the military
PART 1FUNDAMENTALS
PowerPoints developed by CreativeMyndz Multimedia Studios
Chapter 1.1 Art in Two Dimensions: Line, Shape, and the Principle of Contrast
6.The dark printed words on the page of a book are easily read because they are printed on a light ground. This is an example of the principle of ________.
a. harmony
b. variety
c. contrast
d. proportion
e. emphasis
7. These 1300-year-old South American drawings, which include an enormous image of a spider, were first discovered by overflying commercial aircraft because they are so huge.
a. Nazca Lines b. Pampas Incisions c. Amazon Sketches d. Rio Etchings e. Andean Carvings
Chapter 1.1 Art in Two Dimensions: Line, Shape, and the Principle of Contrast
PART 1FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
8. Line can be used as a tool to __________ . a. demarcate boundaries b. imply direction c. give a sense of surface d. indicate movement e. all of the above answers
9. In the work The Connectors, the artist James Allen uses this kind of line to draw the viewer’s attention to the great height that faced the builders of the Empire State
Building.
• a. Directional• b. Organic• c. Implied• d. Unfettered• e. Irregular
10. Using negative shape, the graphic designer Al Grivetti inserted this number into the Big Ten logo to express the league’s expansion.
• a. 12• b. 10• c. 11• d. 22• e. 42
1. William G. Wall’s print Fort Edward is a vehicle for expressing the artist’s thoughts about ______.
• a. the expansion and development of America
• b. the beauty of the American landscape
• c. the struggles between Native and European Americans
• d. all of the above• e. none of the above
1. William G. Wall’s print Fort Edward is a vehicle for expressing the artist’s thoughts about ______.
• a. the expansion and development of America
• b. the beauty of the American landscape
• c. the struggles between Native and European Americans
• d. all of the above• e. none of the above
• 2. Western artists since the Renaissance have usually considered ______ to be the highest forms of art.
• a. painting and ceramics• b. painting and calligraphy• c. sculpture and painting• d. sculpture and furniture• e. none of the above
• 2. Western artists since the Renaissance have usually considered ______ to be the highest forms of art.
• a. painting and ceramics• b. painting and calligraphy• c. sculpture and painting• d. sculpture and furniture• e. none of the above
• 3. Traditionally, artists in China learned their craft by ______.
• a. copying the work of a great master• b. attending a school or academy that taught artistic
technique• c. practicing painting in the open air without a teacher• d. producing still life drawings that were sold to local
people• e. traveling to Beijing and looking at art in museums
and galleries
• 3. Traditionally, artists in China learned their craft by ______.
• a. copying the work of a great master• b. attending a school or academy that taught artistic
technique• c. practicing painting in the open air without a teacher• d. producing still life drawings that were sold to local
people• e. traveling to Beijing and looking at art in museums
and galleries
• 4. African masks displayed in museums were originally made ______.
• a. to be worn during spiritual or magic ceremonies• b. to be worn during elaborate tea-drinking
ceremonies• c. to be exchanged as gifts with people from other
communities• d. to be displayed as beautiful, finely crafted museum
objects• e. for sale to European travelers
• 4. African masks displayed in museums were originally made ______.
• a. to be worn during spiritual or magic ceremonies• b. to be worn during elaborate tea-drinking
ceremonies• c. to be exchanged as gifts with people from other
communities• d. to be displayed as beautiful, finely crafted museum
objects• e. for sale to European travelers
5. The Nazis’ Degenerate Art Exhibition contained work that ______.
• a. offended most of the German people
• b. attracted a large number of visitors
• c. was bought for Adolf Hitler’s personal collection
• d. depicted the beauty of the German landscape
• e. encouraged viewers to join the military
5. The Nazis’ Degenerate Art Exhibition contained work that ______.
• a. offended most of the German people
• b. attracted a large number of visitors
• c. was bought for Adolf Hitler’s personal collection
• d. depicted the beauty of the German landscape
• e. encouraged viewers to join the military
PART 1FUNDAMENTALS
PowerPoints developed by CreativeMyndz Multimedia Studios
Chapter 1.1 Art in Two Dimensions: Line, Shape, and the Principle of Contrast
6.The dark printed words on the page of a book are easily read because they are printed on a light ground. This is an example of the principle of ________.
a. harmony
b. variety
c. contrast
d. proportion
e. emphasis
PART 1FUNDAMENTALS
PowerPoints developed by CreativeMyndz Multimedia Studios
Chapter 1.1 Art in Two Dimensions: Line, Shape, and the Principle of Contrast
6.The dark printed words on the page of a book are easily read because they are printed on a light ground. This is an example of the principle of ________.
a. harmony
b. variety
c. contrast
d. proportion
e. emphasis
REVIEW QUESTIONS
7. These 1300-year-old South American drawings, which include an enormous image of a spider, were first discovered by overflying commercial aircraft because they are so huge.
• a. Nazca Lines• b. Pampas Incisions• c. Amazon Sketches• d. Rio Etchings• e. Andean Carvings
7. These 1300-year-old South American drawings, which include an enormous image of a spider, were first discovered by overflying commercial aircraft because they are so huge.
• a. Nazca Lines• b. Pampas Incisions• c. Amazon Sketches• d. Rio Etchings• e. Andean Carvings
• 8. Line can be used as a tool to __________ .• a. demarcate boundaries• b. imply direction• c. give a sense of surface• d. indicate movement• e. all of the above answers
• 8. Line can be used as a tool to __________ .• a. demarcate boundaries• b. imply direction• c. give a sense of surface• d. indicate movement• e. all of the above answers
9. In the work The Connectors, the artist James Allen uses this kind of line to draw the viewer’s attention to the great height that faced the builders of the Empire State
Building.
• a. Directional• b. Organic• c. Implied• d. Unfettered• e. Irregular
9. In the work The Connectors, the artist James Allen uses this kind of line to draw the viewer’s attention to the great height that faced the builders of the Empire State
Building.
• a. Directional• b. Organic• c. Implied• d. Unfettered• e. Irregular
10. Using negative shape, the graphic designer Al Grivetti inserted this number into the Big Ten logo to express the league’s expansion.
• a. 12• b. 10• c. 11• d. 22• e. 42
10. Using negative shape, the graphic designer Al Grivetti inserted this number into the Big Ten logo to express the league’s expansion.
• a. 12• b. 10• c. 11• d. 22• e. 42
Chapter 1.2
Three Dimensional Art: Form, Volume, Mass, and Texture
PART 1FUNDAMENTALS
Copyright © 2011 Thames & Hudson
PART 1FUNDAMENTALS
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Three Dimensional Art
Three-dimensional works Have height, width, and depth
Pyramids are an example
Possess four of the visual elements: form, volume, mass, and texture
1.28 Three dimensions: height, width, and depth
PART 1FUNDAMENTALS
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Form
Shapes are flat; forms are three-dimensional
Scale refers to the size of an object
Forms have two fundamental attributes: volume and mass
Volume is the amount of space a form occupies
Mass is the expression of solidity
Texture is the sensation of touching Artists sometimes evoke our memory of touch
Materials can communicate ideas
Great Sphinx of Giza
• Largest carving in the world from a single stone– Artists sculpted the
living rock– Symbol of the power to
change our surroundings
• Name derived from Greek, not Egyptian, mythology
PART 1FUNDAMENTALS
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Geometric Form
Regular forms, readily expressible in words or numbers
Cubes, spheres, cylinders, cones, and pyramids are simple examples
PART 1FUNDAMENTALS
Gateway to Art:
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Great Pyramid of KhufuThe Importance of Geometric Form
Regulated and controlled geometric form
Stands as a monument to the engineering and construction skills of the ancient Egyptians
Base of Khufu’s pyramid is level to within less than an inch
Greatest difference in the length of the sides is 1¾” Originally encased in fine white limestone
Egyptian art and architecture exhibit carefully ordered and controlled characteristics
Work of these artists was governed by a canon, or set of rules
PART 1FUNDAMENTALS
Gateway to Art:
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
David Smith, Cubi XIX
• Uses cubes, cuboids, and a thick disk
• Combines geometric forms in angular relationships
• Diagonal angles imply movement– Smith learned welding in an
automobile factory and became expert while fabricating tanks of thick armor plate during World War II
PART 1FUNDAMENTALS
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Organic Form
Organic forms are derived from living things
Irregular and unpredictable
Can be used for expressive effect
1.32 Vesperbild (Pietà), Middle Rhine region, c. 1330. Wood, 34½” high. Rheinisches Landesmuseum, Bonn, Germany
Vesperbild (Pietà)
• The human body is an organic form
• Artists can use irregular awkward forms for expressive effect
• Artist distorted the bodies of Mary and Jesus to communicate pain and suffering
• Twisting and distorting Mary’s face expresses sorrow
Lino Tagliapietra, Batman
• Artist uses a form that is lively and organic
• The natural energy of light is captured in the glowing transparency of the glass
• The artist says of this work:– “I imaged pieces that allow
the viewer to see both the reality and fantasy of Batman’s world.”
PART 1FUNDAMENTALS
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Form in Relief and in the Round
A relief is a work in which forms project from a flat surface
It is designed to be viewed from one side only
A form in the round can be seen from all sides
1.34 Imperial Procession, from the Ara Pacis Augustae, 13 BCE. Marble altar. Museo dell’Ara Pacis, Rome, Italy
Imperial Procession, from theAra Pacis Augustae
• A relief can be mounted on a wall or other surface
• A sculptor can create the illusion of a three-dimensional space, with dramatic results
• The unknown artist uses the depth of the carvings to suggest that some areas of the composition are farther away from us than others– The figures in the foreground are
deeply carved (in high relief)– The figures behind those in the
foreground are also carved in relief, but not quite so deeply
– The artist suggests even greater depth by using a third group of figures who are carved in shallow relief
1.35 Stela with supernatural scene, Mexico or Guatemala, 761 CE. Limestone, 92 x 42 x 3”. Fine Arts Museums of San Francisco
Stela with supernatural scene
• Done in bas-relief (low relief)
• Stela: upright stone slab decorated with inscriptions or pictorial relief carvings
• All elements of the composition are of equal depth
PART 1FUNDAMENTALS
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Volume
Volume is the amount of space occupied by an object
Architectural forms usually enclose a volume of interior space to be used for living or working
1.36 Volume and mass
PART 1FUNDAMENTALS
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Open Volume
When artists enclose a space with materials that are not completely solid, they create an open volume
1.37a Ralph Helmick and Stuart Schechter, Ghostwriter, 1994. Cast metal/stainless cable, 36 x 8 x 10’. Evanston Public Library, Illinois
Ralph Helmick and Stuart Schechter, Ghostwriter
• An open volume that, when looked at as a whole, creates the image of a large human head
• Made of carefully suspended pieces of metal
• In the stairwell where the piece hangs, the empty space and the “head” are not distinct or separate, but the shape is nonetheless implied
Vladimir Tatlin, Monument to the Third International
• Intended to be a huge tower• To commemorate the triumph
of Russia’s Bolshevik Revolution
• Never built, but it would have been much higher than the Eiffel Tower in Paris
• Spiraling open volume of the interior
• Designed to be made from steel and glass
• Tatlin believed that art should support and reflect the new social and political order
1.39 Carol Mickett and Robert Stackhouse, In the Blue (Crest), 2008. Painted cypress, 24 x 108 x 11’.Installation at St. Petersburg Art Center, Florida
Carol Mickett and Robert Stackhouse, In the Blue (Crest)
• Open volume can make a work feel light
• Creating negative space (the openings between the wooden slats) makes the work seem to float
• Many subtle changes in direction
• The artists hope that viewers will experience a feeling of being surrounded by water as they walk through the passage
PART 1FUNDAMENTALS
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Mass
Mass suggests that something is solid and occupies space
Our perception of mass is derived from our imagination, our previous experience with smaller objects, and our understanding of the forces of nature
Mass can suggest weight in a three-dimensional object
Mass does not necessarily imply heaviness, only that a volume is solid and occupies space
PART 1FUNDAMENTALS
Gateway to Art:
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Colossal Olmec HeadsMass and Power
The monumental quality of some artworks is directly related to their mass
The sheer size of the work was almost certainly intended to impress and overwhelm
At La Venta, Mexico, three heads were positioned in a “processional arrangement”
The massive scale of this head makes an imposing statement
Size suggests the power of a mighty ruler or an important ancestor
Rachel Whiteread, House
• Suggests great weight and solidity
• Filled the interior space of a house with tons of concrete
• This building’s interior was transformed into a lasting memorial of the lives of the people who used to live in it
• Associations with life and death, memory, and change
Marisol (Escobar), Father Damien
• Father Damien was a Catholic missionary who supervised a leper colony on the Hawaiian island of Molokai during the nineteenth century
• Steadfast compassion is suggested by the foursquare mass of Marisol’s work
• The stout form communicates stability and determination
• Father Damien died of leprosy while serving its victims
PART 1FUNDAMENTALS
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Texture
Texture is the tactile sensation we experience when we physically encounter a three-dimensional form
When we think of texture, we mostly rely on the impressions we receive from our hands
When we look at a surface we can imagine how itstexture feels
1.43 Nam June Paik, TV Buddha, 1974. Closed-circuit video installation with bronze sculpture, monitor, and video camera, dimensions vary with installation. Stedelijk Museum, Amsterdam, Netherlands
Nam June Paik, TV Buddha
• Viewers experience actual texture when they see and touch the work
• The artist successfully draws on our past tactile experiences to give us a fuller experience of the artwork
• The low-tech sense of touch contrasts with the high-tech process of capturing a visual image
• A camera installed in the work shoots video of the actual texture and translates it into an image that can be experienced only from our tactile memory
Méret Oppenheim, Object
• A subversive texture contradicts our previous tactile experience
• Artists and designers use the contradictions and contrasts of subversive texture to invite viewers to reconsider their preconceptions about the world around them
• Méret Oppenheim (1913–85) used texture to contradict the conscious logical experiences of viewers
• The artist counts on our tactile memory to conflict with the actual experience
Guggenheim Museum, Bilbao
• Bilbao was once a center for ship-building, and the undulating surfaces of Gehry’s creation suggest shipsand ship construction
• Uses contrasts in geometric and organic form
• Gehry used computer programs originally invented for aerospace design
• Irregular, curving organic forms that rise and fall unpredictably
• Employs both sculptural relief and in-the-round forms
• Covered with titanium tiles
1.46 Louise Bourgeois, Maman, 1999 (cast 2001). Bronze, stainless steel, and marble, 29’4⅜” x 32’9⅛ x 38’1”. Guggenheim Museum, Bilbao, Spain
Louise Bourgeois, Maman• Means “Momma” in French
• The sculpture stands beside the Guggenheim Museum, Bilbao. The museum’s apparently solid mass is contrasted with the spindly form and open volume of Maman
• The subtle variations of angle in the legs imply movement
• Even though this spider is made of bronze, the effect is one of lightness
• Bourgeois wants to suggest both the tenderness and the fierce protectiveness of motherhood
PART 1FUNDAMENTALS
Chapter 1.2 Three Dimensional Art: Form, Volume, Mass, and Texture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Conclusion
Three-dimensional art is expressed in height, width,and depth
Forms can be geometric or organic
Volume is the amount of space occupied by the form
Mass is the impression that the volume is solid and occupies space
The surface of the form can be described in terms ofits texture
Artists can use the language of three-dimensional artto express many ideas and emotions
2. This famous object is the largest carving in the world created from a single stone.
a. The Sphinx b. Pyramid of Khufu c. Vesperbild d. Ara Pacis e. Colossal Head
2. This famous object is the largest carving in the world created from a single stone.
a. The Sphinx b. Pyramid of Khufu c. Vesperbild d. Ara Pacis e. Colossal Head
4. The human figure communicates the rich experience of humanity, and artists emulate this experience using this kind of
form:
a. geometric. b. subversive. c. regular. d. static. e. organic.
4. The human figure communicates the rich experience of humanity, and artists emulate this experience using this kind of
form:
a. geometric. b. subversive. c. regular. d. static. e. organic.
5. There are two kinds of relief sculpture, a pronounced surface treatment called high relief
and a shallow surface low relief called: a. facade relief. b. bas relief. c. intaglio relief. d. stela relief. e. planar relief.
5. There are two kinds of relief sculpture, a pronounced surface treatment called high relief
and a shallow surface low relief called: a. facade relief. b. bas relief. c. intaglio relief. d. stela relief. e. planar relief.
6. This element of art is used to describe the usable interior space of an architectural form.
a. Volume b. Mass c. Texture d. Shape e. Color
6. This element of art is used to describe the usable interior space of an architectural form.
a. Volume b. Mass c. Texture d. Shape e. Color
7. This element of art is used to describe the solidity of a form, such as that of the Colossal
Olmec Heads. a. Volume b. Texture c. Shape d. Mass e. Color
7. This element of art is used to describe the solidity of a form, such as that of the Colossal
Olmec Heads. a. Volume b. Texture c. Shape d. Mass e. Color
8. A slick cold surface of a finely finished metal object, the rough-hewn splintery character of a broken branch, and the
pebbly surface of a rocky beach are all examples of this element of art:
a. mass. b. texture. c. volume. d. shape. e. color.
8. A slick cold surface of a finely finished metal object, the rough-hewn splintery character of a broken branch, and the
pebbly surface of a rocky beach are all examples of this element of art:
a. mass. b. texture. c. volume. d. shape. e. color.
9. Artists use this kind of texture if they want to contradict a viewer’s normal expectations of a
textured surface. a. Organic b. Geometric c. Implied d. Actual e. Subversive
9. Artists use this kind of texture if they want to contradict a viewer’s normal expectations of a
textured surface. a. Organic b. Geometric c. Implied d. Actual e. Subversive
10. Frank Gehry’s design for the Guggenheim Museum, Bilbao, uses contrasts of:
a. subversive and implied texture.
b. soft and hard texture.
c. natural and manmade materials.
d. organic and geometric form.
e. large and small shapes.
10. Frank Gehry’s design for the Guggenheim Museum, Bilbao, uses contrasts of:
a. subversive and implied texture.
b. soft and hard texture.
c. natural and manmade materials.
d. organic and geometric form.
e. large and small shapes.
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Introduction
When artists create an image in two dimensions, they are creating an illusion
Techniques artists use to imply depth—value, space, and perspective
Value—the lightness or darkness of a surface
Space—the distance between identifiable points or planes
Perspective—the creation of the illusion of depth in atwo-dimensional image by using mathematical principles
1.47 René Magritte, The Treachery of Images (“This is not a pipe”), 1929. Oil on canvas, 23¾ x 32”. LACMA
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
René Magritte, The Treachery of Images(“This is not a pipe”)
Uses value and perspective to imply depth Painted in varying values The top of the pipe bowl is composed of two
concentric ellipses Magritte understands our habits of visual perception
Magritte wants us to recognize that what appears to be a pipe is not really a pipe
Nothing more than paint on a flat surface
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Value
An artist’s use of value can produce a sense of solidity and influence our mood
Film noir, French for “dark film”
The serious mood of these mysteries was enhanced by the filmmaker’s choice of dark values
Artists use dark and light values as tools for creating depth
Buckminster Fuller,Geodesic Dome (Art Dome)
• Demonstrates the effect of light on planes in varying locations– Many triangular flat planes
make up this surface– Each of these planes has a
different relative degree of lightness or darkness
– Value changes occur gradually– The relative dark values
increase as the planes get further away and face away from the light
– There is a value range of black, white, and eight valuesof gray
• Formerly used as a sculpture studio at Reed College in Portland, Oregon
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.49 Values and planes of a geodesic sphere, vector graphic
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chiaroscuro
Italian for “light dark”
A method of applying value to a two-dimensional piece of artwork to create the illusion of three dimensions
Renaissance artists identified five distinct areas of lightand shadow
Highlight, light, core shadow, reflected light, and cast shadow
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.50 Diagram of chiaroscuro
1.51 slide 1: Pierre Paul Prud’hon, Study for La Source, c. 1801. Black and white chalk on blue paper, 21¾ x 15¼”. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
1.51 slide 2: Chiaroscuro graphic with Pierre Paul Prud’hon, Study for La Source, c. 1801. Black and white chalk on blue paper, 21¾ x 15¼”. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
Pierre Paul Prud’hon, Study for La Source
• Uses chiaroscuro in the drawing of a female figure– There is an area of highlight on
the knee, leading intothe lighted thigh
– Under the knee and thigh there is a strong core shadow
– Reflected light can be seen on the calf and the underside of the thigh
– The reflected light is accented by the dark cast shadow behind the calf
• Use of black and white chalk on a gray paper allows the artist to accentuate the lightest and darkest areas
1.52 Caravaggio, The Calling of St. Matthew, c. 1599–1600. Oil on canvas, 11’1” x 11’5”. Contarelli Chapel, Church of San Luigi dei Francesci, Rome, Italy
Caravaggio, The Calling of St. Matthew
• Dramatic effects can be achieved through the use of chiaroscuro
• Uses strongly contrasting values to convert a quiet gathering into a pivotal and powerful event– The intense difference
between lights and darks places extra emphasis on Christ’s hand
– The light also frames Matthew
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Hatching and Cross-Hatching
Hatching consists of a series of lines, close to and parallel to each other
Cross-hatching (a variant of hatching in which the lines overlap) is used to suggest values that create a greater sense of form and depth
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.53 Creating value using hatching and cross-hatching
1.54 Michelangelo, Head of a Satyr, c. 1520–30. Pen and ink on paper, 10⅝ x 7⅞”. Musée du Louvre, Paris, France
Michelangelo, Head of a Satyr
• Cross-hatched pen-and-ink drawing
• By building up layers of brown ink, Michelangelo overcomes the restrictions created by the thin lineof the pen
• The bright white highlight uses no lines; the surrounding hatch lines define the transition from bright light to a darker value
• As the hatching lines cross over and over, the valueappears to get darker
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Space
The strategies whereby an artist creates a sense of depth and the illusion of space include:
Size
Overlapping
Position
Alternating value and texture
Changing brightness and color
Atmospheric perspective
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Size, Overlapping, and Position
The size of one shape compared to another often suggests that the larger object is closer to us
If one shape overlaps another, the shape in front seems to be closer
A shape lower in the picture plane appears to be closer
1.55 Katsushika Hokusai, “The Great Wave off Shore at Kanagawa,” from Thirty-Six Views of Mount Fuji, 1826–33 (printed later). Print, color woodcut. Library of Congress, Washington, D.C.
“The Great Wave off Shore at Kanagawa”The Artist’s Methods for Implying Depth
• The artist makes one boat shape smaller than the others
• The shape of the wave overlaps the two largest boat shapes
• By placing the wave shape at the lowest point on the page, the artist suggests that it is closest to the viewer
• The placing of Mt. Fuji lower than the top of the waves deliberately confuses the composition– Adds to our sense of the size
of the wave
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Alternating Value and Texture
Artists intersperse value and visual texture to create a sense of rhythm
1.56 Fan Kuan, Travelers among Mountains and Streams, Northern Sung Dynasty, 11th century. Hanging scroll, ink and colors on silk, 81¼ x 40⅜”. National Palace Museum, Taipei, Taiwan
Fan Kuan, Travelers among Mountains and Streams
• Each area of light and dark occupies different amounts of space, making the design more interesting
• Note the change in visual texture from bottom to top
• These visual layers create a sense of depth
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Brightness and Color
Lighter areas seem to be closer as dark areas appear to recede
Especially true of color
We are more likely to think that a green that is very pure and intense is closer to us than a darker green
1.57 Thomas Hart Benton, The Wreck of the Ole ’97, 1943. Egg tempera and oil on canvas, 28½ x 44½”. Hunter Museum of Art, Chattanooga, Tennessee
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Thomas Hart Benton, The Wreck of the Ole ’97
Used brightness and color to create a sense of distance in his painting
We see the bright, pure greens come forward as the darker, less intense greens fall away
We perceive color that is more intense as being closer
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Atmospheric Perspective
Distant objects lack contrast, detail, and sharpness of focus because the air that surrounds us is not completely transparent
The atmosphere progressively veils a scene as the distance increases
Contemporary filmmakers use this atmospheric effect to give the illusion of great depth
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.58 The effects of atmospheric perspective
1.59 Asher Brown Durand, Kindred Spirits, 1849. Oil on canvas, 44 x 36”. Crystal Bridges Museum of American Art, Bentonville, Arkansas
Asher Brown Durand, Kindred Spirits
• The trees in the foreground are detailed and bright green, but as the trees recede into the landscape behind the two figures they become a lighter gray and increasingly out of focus
• By using atmospheric perspective, Durand conveys an impression of the vastness of the American landscape
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Perspective
Artists, architects, and designers who wish to suggest the illusion of depth on a two-dimensional surface use perspective
Isometric perspective uses parallels to communicate depth
Linear perspective relies on a system where lines appear to converge at points in space
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Isometric Perspective
Arranges parallel lines diagonally in a work to give a sense of depth
Derives from the Greek meaning “equal measure” It was particularly suitable for painting on scrolls, which can
be examined only in sections
1.60 Xu Yang, The Qianlong Emperor’s Southern Inspection Tour, Scroll Six: Entering Suzhou and the Grand Canal , Qing Dynasty, 1770 (detail). Handscroll, ink, and color on silk, 2’3⅛” x 65’4½”. Metropolitan Museum of Art, New York
1.61 Graphic detailing isometric perspective: The Qianlong Emperor’s Southern Inspection Tour, Scroll Six: Entering Suzhou and the Grand Canal (detail)
Xu Yang, The Qianlong Emperor’s Southern Inspection Tour
• Parallel diagonal lines define the small L-shaped building in the center of the work
• This method of implying depth is not “realistic”
• The artist makes use of other spatial devices—for example, the diminishing size of the trees as they recede into the distance—to help us understand how the space is structured
The Sims
• Isometric perspective is common in contemporary computer graphics
• The designers have created the architecture of the game using parallel diagonal lines to make “tiles”
• Allows players to manipulate the architecture without distortion
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Linear Perspective
A mathematical system that uses lines to create the illusion of depth in a two-dimensional artwork
The linear perspective systems used by artists are based on observation of space in the world
The theory of linear perspective was developed in detail by the fifteenth-century artist Leon Battista Alberti
The Italian Filippo Brunelleschi was the first artist to apply the theories of Alberti and others to create works of art using linear perspective
1.63 slide 2: The effect of convergences: Edith Hayllar, A Summer Shower, 1883. Oil on panel, 21 x 17⅜”. Private collection
Edith Hayllar, A Summer Shower
• The artist, British painter Edith Hayllar, uses linear perspective to create an orderly composition that reflects the well-regulated life of Victorian aristocracy in England
• The converging lines represent planes that are parallel to each other in reality
• Parallel lines appear to converge on one single point in front of the male tennis player on the left
• Edith Hayllar exhibited many works at the Royal Academy in London—a rare honor for a woman artist at the time
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
One-Point Perspective
One-point perspective relies on a single vanishing point
Unless the viewer is situated in direct line of sight it is not as easy to see how the perspective creates the illusion of a recession of space
Uses a single vanishing point
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
1.64 Applying one-point perspective technique
1.65 Use of one-point perspective: Masaccio, Trinity, c. 1425–6. Fresco, 21’10½” x 10’4⅞”. Santa Maria Novella, Florence, Italy
Masaccio, Trinity
• Places the horizon line, an imaginary line that mimics the horizon, at the viewer’s eye level
• The horizon line represents our eye level
• The orthogonals (lines of convergence) create an illusion that the background is an architectural setting
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Two-Point Perspective
Uses two separate vanishing points
Relies on horizon line
1.66a Raphael, The School of Athens, 1510–11. Fresco, 16’8” x 25’. Stanza della Segnatura, Vatican City
Raphael, The School of AthensPerspective and the Illusion of Depth
• Raphael introduces two additional vanishing points into a one-point perspective composition– One vanishing point is
positioned to the left of the central vanishing point
– The right vanishing point is outside of the picture
• Since the block in the center of the picture is turned at an angle, Raphael had to integrate another level of perspective into the work
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Multi-Point Perspective
If we are looking at an object from a position other than ground level, then we need points away from the horizon line and other variations on perspective
Many objects are made up of multiple angles that need even more vanishing points
The most common multiple-point perspective system is three-point perspective
A vanishing point is placed above or below the horizon line to accommodate a high or low angle of observation
Worm’s-eye view: looking up
Bird’s-eye view: looking down
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Cone of vision
1.67 Cone of vision
1.68 slide 1: M. C. Escher, Ascending and Descending, March 1960. Woodcut, 14 x 11¼”. The M. C. Escher Company, Netherlands
1.68 slide 2: Three-point perspective, bird’s-eye view: M. C. Escher, Ascending and Descending, March 1960. Woodcut, 14 x 11¼”. The M. C. Escher Company, Netherlands
M. C. Escher, Ascending and Descending
• Three distinct vanishing points– Two of the vanishing
points are placed on the horizon line
– One point is well below horizon line
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Foreshortening
Results when the rules of perspective are applied to represent unusual points of view
Especially applies to figures
1.69 Albrecht Dürer, Draftsman Drawing a Recumbent Woman, 1525. Woodcut. Graphische Sammlung Albertina, Vienna, Austria
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Albrecht Dürer, Draftsman Drawing a Recumbent Woman
At this oblique angle the usual proportions of different parts of the body do not apply
The artist has a fixed lens or aperture in front of him to make sure he always views from the same point
He looks through the gridded window to view the figure
Then he aligns his drawing to a similar grid marked onthe piece of paper in front of him
1.70 Andrea Mantegna, The Lamentation over the Dead Christ, c. 1480. Tempera on canvas, 26¾ x 31⅞”.Pinacoteca di Brera, Milan, Italy
Andrea Mantegna, The Lamentation over the Dead Christ
• The figure of Christ is oriented so that the wounded feet are placed in the extreme foreground
• Rest of the body receding away from the viewer backinto space
• Mantegna only slightly enlarges the feet
• Depicts the body in shortened sections
PART 1FUNDAMENTALS
Chapter 1.3 Implied Depth: Value and Space
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Conclusion
Artists anticipate the effects of light on an object by subtle variations in value
We see depth when an artist overlaps different shapes, or contrasts their sizes in a particular way
From observation of the real world, the artist mimics variations in texture, brightness, color intensity, and atmospheric perspective to create an imaginary space
Different systems of perspective allow artists to create a new and convincing sense of depth
1. In The Treachery of Images, Magritte tell us that painting is a______.
• a. visual trick• b. matter of romance• c. a window to the soul• d. political tool• e. rectangle
1. In The Treachery of Images, Magritte tell us that painting is a______.
• a. visual trick• b. matter of romance• c. a window to the soul• d. political tool• e. rectangle
2. These two values are at the extreme ends of a value range.
• a. Dark gray and light gray
• b. White and dark gray• c. Black and gray• d. Light gray and white• e. Black and white
2. These two values are at the extreme ends of a value range.
• a. Dark gray and light gray
• b. White and dark gray• c. Black and gray• d. Light gray and white• e. Black and white
3. Artists sometimes use this method of applying value to give a feeling of three-dimensionality.
• a. Chiaroscuro• b. Tinting• c. Atmospheric
perspective• d. Smoothing• e. Contrast
3. Artists sometimes use this method of applying value to give a feeling of three-dimensionality.
• a. Chiaroscuro• b. Tinting• c. Atmospheric
perspective• d. Smoothing• e. Contrast
4. A series of closely arranged parallel lines that are overlapped by another set of parallel strokes to create a sense of value is
called ?
• a. chiaroscuro• b. cross-hatching• c. isometric perspective• d. pigment• e. scumbling
4. A series of closely arranged parallel lines that are overlapped by another set of parallel strokes to create a sense of value is
called ?
• a. chiaroscuro• b. cross-hatching• c. isometric perspective• d. pigment• e. scumbling
5. Artists intersperse value and texture to create a sense of ______.
• a. relief• b. disquiet• c. mystery• d. rhythm• e. chaos
5. Artists intersperse value and texture to create a sense of ______.
• a. relief• b. disquiet• c. mystery• d. rhythm• e. chaos
6. An artist can create an illusion of depth using only color by varying the ______ .
• a. relief• b. mass• c. complements• d. volume• e. intensity
6. An artist can create an illusion of depth using only color by varying the ______ .
• a. relief• b. mass• c. complements• d. volume• e. intensity
7. Contemporary filmmakers use this aerial effect to give the illusion of great depth, even when the scene is in a limited space.
• a. Mass• b. Texture• c. Atmospheric
perspective• d. Shape• e. Color
7. Contemporary filmmakers use this aerial effect to give the illusion of great depth, even when the scene is in a limited space.
• a. Mass• b. Texture• c. Atmospheric
perspective• d. Shape• e. Color
8. This type of perspective is used by game designers because it allows them to create depth using parallel diagonal lines.
• a. Isometric• b. Linear• c. Atmospheric• d. One-point• e. Multi-point
8. This type of perspective is used by game designers because it allows them to create depth using parallel diagonal lines.
• a. Isometric• b. Linear• c. Atmospheric• d. One-point• e. Multi-point
9. This Italian artist was the first to apply the tenets of linear perspective to the creation of artworks.
• a. Michelangelo• b. Leonardo da Vinci• c. Raphael• d. Warhol• e. Brunelleschi
9. This Italian artist was the first to apply the tenets of linear perspective to the creation of artworks.
• a. Michelangelo• b. Leonardo da Vinci• c. Raphael• d. Warhol• e. Brunelleschi
10. This kind of perspective is best used when the artist is confronted by a complex scene where some of the image is placed at a high or low angle.
• a. Isometric• b. Atmospheric• c. Multi-point• d. One-point• e. Two-point
10. This kind of perspective is best used when the artist is confronted by a complex scene where some of the image is placed at a high or low angle.
• a. Isometric• b. Atmospheric• c. Multi-point• d. One-point• e. Two-point
11. The method whereby rules of perspective are applied to represent unusual points of view is called ______.
• a. woodcutting• b. variable angling• c. coordinating• d. foreshortening• e. alternating two-
dimensionality
11. The method whereby rules of perspective are applied to represent unusual points of view is called ______.
• a. woodcutting• b. variable angling• c. coordinating• d. foreshortening• e. alternating two-
dimensionality