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An in-depth look at value, space, one-point, two-point, and three-point (+) perspective in a discussion of the principles and elements of art.
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Art Appreciation
Professor Paige PraterT, R, 9:30-10:50AM
10 ELEMENTS of Art:
1. Color 2. Form 3. Line4. Mass5. Shape6. Space7. Texture8. Time/Motion9. Value10. Volume
Value & SpaceIntro
• 2D = illusion• Techniques for creating illusion of depth:
– Value: lightness or darkness– Space: distance between points or planes– Perspective: uses mathematical principles
René Magritte, The Treachery of Images (“This is not a pipe”), 1929. Oil on canvas, 23¾ x 32”. LACMA
VALUE: lights & darks
Buckminster Fuller, Geodesic Dome (Art Dome), 1963–79, Reed College, Portland, Oregon
Buckminster Fuller’s Geodesic Dome (1963-79)
• Demonstrates the effect of light on planes • 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
• http://youtu.be/jN3FMx1TYt8
VALUE: lights & darks
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 light and shadow
Highlight, light, core shadow, reflected light, and cast shadow
VALUE: lights & darks
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
Caravaggio, The Conversion on the Way to Damascus (1601).
Hatching & Cross-Hatching
• Hatching consists of a series of lines, close to and parallel to each other
• Cross-hatching (lines overlap) is used to suggest values;greater sense of form and depth
Hatching
Cross-Hatching
Put ‘em together and what’ve you got?
Michelangelo, Head of a Satyr, c. 1520–30. Pen and ink on paper, 10⅝ x 7⅞”. Musée du Louvre, Paris, France
Space
– Size– Overlapping– Position– Alternating value and texture– Changing brightness and color– Atmospheric perspective
Space: Size/Overlapping/Position
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.
Funny!
Space: Alternating Value & Texture
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
• 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
Space: Changing Brightness & Color
• Lighter areas seem to be closer as dark areas appear to recede
• Intensity of color affects perception
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
Space: 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
• Asher Brown Durand, Kindred Spirits, 1849. Oil on canvas, 44 x 36”. Crystal Bridges Museum of American Art, Bentonville, Arkansas
Perspective
• ISOMETRIC : parallels communicate depth; usually diagonal parallel lines
• LINEAR: lines appear to converge at points in space
ISOMETRIC PERSPECTIVE
Graphic detailing isometric perspective: The Qianlong Emperor’s Southern Inspection Tour, Scroll Six: Entering Suzhou and the Grand Canal (detail)
LINEAR Perspective
• Uses MATH and lines to create the illusion of depth in a 2D artwork
• 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
Fillippo Brunelleschi, Perspective drawing for Church of Santo Spirito in Florence (1428).
1 POINT Perspective
• 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
1 POINT PERSPECTIVE
• Edith Hayllar, A Summer Shower, 1883. Oil on panel, 21 x 17⅜”. Private collection
Masaccio, Trinity, c. 1425–6. Fresco, 21’10½” x 10’4⅞”. Santa Maria Novella, Florence, Italy
2 POINT Perspective
• TWO vanishing points• Relies on horizon line
Raphael, The School of Athens, 1510–11. Fresco, 16’8” x 25’. Stanza della Segnatura, Vatican City
2 POINT Perspective
Perspective: 3 POINT +
• Needs points away from the horizon line and other variations on perspective
• multiple angles that need even more vanishing points
• 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
Human View: Cone of Vision
M. C. Escher, Ascending and Descending, March 1960. Woodcut, 14 x 11¼”. The M. C. Escher Company, Netherlands
Perspective: 3 POINT (Bird’s Eye)
FORESHORTENING
Albrecht Dürer, Draftsman Drawing a Recumbent Woman, 1525. Woodcut. Graphische Sammlung Albertina, Vienna, Austria
Andrea Mantegna, The Lamentation over the Dead Christ, c. 1480. Tempera on canvas, 26¾ x 31⅞”.Pinacoteca di Brera, Milan, Italy