TheElementsofArtTheBuildingBlocksofCompositioninArt
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ElementsofArt
•Line•Shape•Tone•Color•Pattern•Texture•Form
Thesearethebuildingblocksofcompositioninart.Whenweanalyzeanydrawing,painting,sculptureordesign,weexaminethesecomponentpartstoseehowtheycombinetocreatetheoveralleffectoftheartwork.Eachoftheelementsmayalsobeusedindividuallytostresstheirownparticularcharacterinanartwork.Differentelementscanexpressqualitiessuchasmovementandrhythm,spaceanddepth,growthandstructure,harmonyandcontrast,noiseandcalmandawiderangeofemotionsthatmakeupthesubjectsofgreatart.
Line•Lineisthefoundationofalldrawing.Itisthefirstandmostversatileofthevisualelementsofart.Lineinanartworkcanbeusedinmanydifferentways.Itcanbeusedtosuggestshape,pattern,form,structure,growth,depth,distance,rhythm,movementandarangeofemotions.
LEONARDODAVINCI(14521519)AStudyforanEquestrianMonument,1488(metalpointonbluepaper)
LineWehaveapsychologicalresponsetodifferenttypesoflines:•Curvedlinessuggestcomfortandease•Horizontallinessuggestdistanceandcalm•Verticallinessuggestheightandstrength•Jaggedlinessuggestturmoilandanxiety
Thewaywedrawalinecanconveydifferentexpressivequalities:•Freehandlinescanexpressthepersonalenergyandmoodoftheartist
•Mechanicallinescanexpressarigidcontrol•Continuouslinescanleadtheeyeincertaindirections•Brokenlinescanexpresstheephemeralortheinsubstantial•Thicklinescanexpressstrength•Thinlinescanexpressdelicacy
LineasTone&Form•Mooreusesscribblesandhatchedlines.
•Hisswirlingscribblescorrespondperfectlytothebouncytextureofafleece.
•Hegraduallybuildsupthedensityoflinetorenderthedarkerareasoftoneandreducesittosuggestthelighter.
•Inthebackgroundoftheworkheuseshatchedlinestodrawtherowoftreesandthegatebutanyinconsistencyintheirstyleisimmediatelyconcealedinahazeofscribbles.
•Inthisetchingasingularstyleoflinemultitaskstoexpressform,toneandtexturewithsuchempathyforthesubjectthatyoualmostfeelyoucouldpullontheendofalinetounraveltheentiredrawinglikeaballofwool.
HENRYMOORE(18981986)Sheep,1972(intaglioprintonpaper
LineasTexture
PETERDOIG(1959)TheArchitectsHomeInTheRavine,1991(oiloncanvas,200x275cm.)
•Postmodernlandscape•Thepaintingisasmuchaboutsurfaceasitisaboutdepth,recallingthewoodlandscenesofPaulCézanneandGustaveKlimpt;itisasmuchaboutabstractionasitisaboutrepresentation,evokingboththedensedribbleandspatterofaJacksonPollockandtheisolationandemptinessofanEdwardHopper;anditisasmuchabouttherelationshipbetweenmanandhisenvironment,withnaturereclaimingitsownhabitatasthearchitectureismenacinglyencircledbytheencroachingforest.
•Aweaveoffrostedbrancheshanglikeaveil;hislinespullyoureyetothesurfaceofthework.
•Hethenbeginstoexploretheexpanseofthatsurfacebypaintingbetweenthebranchestodeveloparichpatchworkofcolorandtexturethatfocusesontheabstractandexpressivequalitiesofthemedium.
LineasStructure
ROBERTDELAUNEY(18851941)EiffelTower,1910(oiloncanvas)
•Linecanbeusedtogeneratethefundamentalforcesinthecompositionofanartwork.
•Delaunayusesrhythmiclinesofitsstructuretosuggestitsstaggeringpowerasitascendsintotheskies.
•ThecontrastingcurvesofthecloudsdoubleupasbillowingdustasthiscolossalconstructionburststhroughthemunicipalbuildingstobecometheglobalsymbolofmodernityattheonsetoftheModernistage.
LineasMovement
KATSUSHIKAHOKUSAI(c.17601849)TheGreatWaveoffKanagawa,1823–29(woodblockprintfrom'36ViewsofMountFuji')
•AllthelinesinHokusai'swoodcutsweepwithtremendousforce,risingtoacrescendoonthecrestofthe'GreatWave'.
•Theswellofeachwaveisreinforcedbythecontourlinesthatdescribethedensityofitswall,whilethebreakingsurfclawstheairtomaintainitsseismicenergy.
•Thepowerofthismovementisfurtheramplifiedbythehelplessboats,castadriftonthemercilesssea.Toheightenthedrama,Hokusaifreezestheactionjustatthecriticalpointwherethe'GreatWave'breaks,threateningtoengulfthedistantpeakofMountFuji.
LineasEmotion
PABLOPICASSO(18811973)WeepingWoman,1937(oiloncanvas)
•Picassocombinesasyntheticcubiststylewithastainedglasslikestructure.
•Jaggedlines,fracturedshapesandacidcolorssetthedespairingtoneofthework.Thedesolatewoman'storturedemotionsareheightenedbytheartist'scarefulbalanceofboldlines,exaggeratedcolorandsimplifieddrawing.
•Picassousesstrongdarklinestopullthefragmentedimagetogetherandtosubduetheopticalshockofoppositecolors(red/green,yellow/purple,blue/orange).Despitethis,hisheavilyladenpigmentscanstillgenerateenoughchromaticintensitytoprovokeastateofalarm.Thewoman'seyesarelikeshatteredheadlights,piercedbythefracturedshardsofthehandkerchief;herchatteringteethgnawconvulsivelyonitscloth.Thesecombineinapaleaqueousblueadramaticcontrastofmonochromeagainstcolor.Hercoatisacloakofthornsandallissharpandangularinthisvisualdefinitionofdespair.
LineasFormALEXANDERCALDER(18981976)EdgarVarèseandUnknownMan,192930(wiresculpture
•Caldercreatedfigurativeworkswithwireandpliers.Hewouldbend,twistandcrimpwiretoformthreedimensionalportraitsthathadallthevitalityandspontaneityofalinedrawinginspace.
•Theseworkshadanelementofcaricatureaboutthembuttheystillretainedaremarkablelikenesstotheirsubjects.Calderwouldsuspendthese'portraits'fromtwinewhichallowedthemtorotateslowly,revealingasurprisingimpressionofvolumeforsuchlimitedmeansanddemonstratingthatuniquecontroloflinethatissooftenseeninthedrawingsofsculptors.
LineasAbstractionPABLOPICASSO(18811973)Bullplate11,January171946(lithograph)
•Thisdrawingisthelastinaseriesofelevenstudiesthatleadyouthroughaprocessofabstraction,refiningform,toneandtexturetoextracttheessenceofthe'Bull'inasingleline.
Shape
•Shapecanbenaturalormanmade,regularorirregular,flat(2dimensional)orsolid(3dimensional),representationalorabstract,geometricororganic,transparentoropaque,positiveornegative,decorativeorsymbolic,colored,patternedortextured.
•ThePerspectiveofShapes:Theanglesandcurvesofshapesappeartochangedependingonourviewpoint.Thetechniqueweusetodescribethischangeiscalledperspectivedrawing.
Shape•TheBehaviorofShapes:Shapescanbeusedtocontrolyourfeelingsinthecompositionofanartwork:
•SquaresandRectanglescanportraystrengthandstability
•CirclesandEllipsescanrepresentcontinuousmovement
•Trianglescanleadtheeyeinanupwardmovement
•InvertedTrianglescancreateasenseofimbalanceandtension
TwoDimensional•Mostoftheartweseeistwodimensional:a
drawing,apainting,aprintoraphotographwhichisusuallyviewedasaflatsurface.Mosttwodimensionalarttriestocreatetheillusionofthreedimensionsbycombiningthevisualelementstoagreaterorlesserdegree.
•InEscher'slithograph,theartistisplayingwiththeillusionoftwoandthreedimensionsinthesameimage.
•Fromaninterlockingpatterndrawnonapageofhissketchbook,theflatoutlinedshapesofthereptilesarebroughttolifebytheadditionoftone.
•Theystepoutoftheirtwodimensionalworldintoathreedimensionallandscapeofsolidlyrenderedobjectsthathavebeenselectedfortheirvarietyofshapesandtextures.
•Afterashortjourneyexploringthisnewenvironmenttheyreturntotheiroriginalformatbylosingtheirtoneandadoptingtheirformerpositionwithinthedesignareturntripbetweentwoandthreedimensions.
MAXESCHER(18981972)Reptiles,1943(lithograph)
ThreeDimensional•Youcanwalkaroundandbetweenthesethreedimensionalabstractformstointeractwiththechangingrelationshipsoftheirdelicatelybalancedstructures.
•Althoughthissculptureisconstructedfromheavygaugesteelandprobablyweighsaboutthesameasanaveragefamilycar,itseemstodefygravity.Theopenarrangementofitscompositionandthecarefulbalanceofitscomponentpartscollaboratetoliftthissculpturefromthedeadweightofitsmaterialstoitselevatedstatusasanartwork.
ANTHONYCARO(19242013)Paul'sTurn,1971(cortenstee
Representational•Representationalartistheblankettermweusetodescribeanyartworkwhoseshapesaredrawnwithsomedegreeofvisualaccuracy.Realism,however,isnotthesoleobjectiveofrepresentationalart.Itcanbestylizedwithvariouslevelsofdetail,fromasimplemonochromeoutlinetoafullyrenderedformwithcolor,tone,patternandtexture.
•Eachobjecthasauniquesymbolicmeaningandworkstogethertocreateamoralnarrativewithinthegroup.
•Usesaccuraterepresentationalshapeswhichplayamajorroleinthecompositionoftheworkbutthebalanceoftheothervisualelementsisalteredforcreativeeffect:toneandtexturearesuppressedtoallowtheexpressivequalitiesofshape,colorandpatterntoflourish.
HARMENSTEENWYCK(16121656)'StillLife:AnAllegoryoftheVanitiesofHumanLife',1640(oilonoakpanel)
Abstract•PaulCézannebegantodistorttheperspectiveofrepresentationalshapesinhispaintings.
•Cézannetiltstheperspectiveoftheplatetowardsthepictureplane.Thishastheeffectofflatteningthecompositionandemphasizingtheabstractoutlineofitsshapes.Theflatnessofthepaintingisfurtherenhancedbythediamondshapedmoldingandthecircularhandleofthecupboardinthebackground.
•Defineddepthandformwiththenaturalpropertiesofcolor,wherewarmcolorsappeartoadvancewhilecoolcolorsrecede.
•Adaptedhispaintingtechniquebyusingregulatedbrushstrokestoemphasizetheunityofsurfaceinhiswork.
PAULCÉZANNE(18811973)StillLifewithaPeachandTwoGreenPears,188387(oiloncanvas)
Abstract•MajorartistoftheDeStijlmovement
•Hereducedthevisualelementsofhispaintingstohorizontals,verticals,rectanglesandprimarycolorswithblack,whiteandgrey.PIETMONDRIAN(18721944)
BroadwayBoogieWoogie,194243(oiloncanvas)
Geometric•Geometricshapestendtobeusedtoconveytheideaofrigidity,structure,pattern,perspectiveand3dimensionalform.
•HeldquotedinTimeMagazineassaying,“We’renotgoingtogetridofchaosandcomplexity,butwecanfindawaytolivewiththem.”
•Multipleperspectives,differentscales,transparencyandopacity,consistencyandcontradiction,allreflectthechaoticnatureofourmindsandourworld.Thewayhecomposesthepaintingbycroppingtheactivityattheedgessuggeststhatthisisbutadetailofourinfinite'chaosandcomplexity'.
•Withinthemazeoftheirillusionisticgeometrythereisenoughevidenceofcontinuityoflineandshapetokeepusengagedinoursearchforareassuringvisualintegrity.
ALHELD(19282005)"SE"1979(84"x84",acryliconcanvas)
Organic
•OrganicShapesareusuallynatural,irregularandfreeformincharacter.Youcanseetheminthepatternsofgrowthanddecayinnature;intheshapesofseeds,plants,leaves,flowers,fruit,trees,branches;andintheephemeralformsofcloudsandwater.Theyarealsoassociatedwithanatomicalformssuchasheartandkidneyshapes.
•Organicshapescanconveyasenseofformationanddevelopment,andsuggestqualitiessuchassoftness,sensuality,flexibilityandfluidity.
•Twoancienttrees,oneahollowedouttrunk,theotherabentandtwistedbough,communeinthechoreographedlanguageofabstractforms.Theyoungermembersofthewoodlandsurroundthesetwoelderslikeanattentiveaudienceabsorbingtheirwisdomandexperience.Thecloudsaddasympatheticbackdropwhilethegardenwallactslikeageometriccounterpointtothisorganicdrama.
GRAHAMSUTHERLAND(19031980)Pastoral,1930(etching)
Perspective(Shapes)
•PerspectiveDrawingisthetechniquethatartistsusetocalculatetheanglesofathreedimensionalshapewhendrawingitonatwodimensionalsurface.
•Itillustratestwocakes:oneinthecenterofthepainting;theothercutintoeightequalslices,eachonitsownidenticalplateandarrangedinacircularorderlikethenumbersonaclock.Toevokeasenseoftimeandmotion,eachsliceofthecakehasbeenrotatedby45°astheyadvancearoundtheclock.
WAYNETHIEBAUD(1920)AroundtheCake,1962(oiloncanvas)
Tone•Definesthelightnessordarknessofacolor.•Thetonalvaluesofanartworkcanbeadjustedtoalteritsexpressivecharacter.
Tonecanbeused:•tocreateacontrastoflightanddark.•tocreatetheillusionofform.•tocreateadramaticortranquilatmosphere.•tocreateasenseofdepthanddistance.•tocreatearhythmorpatternwithinacomposition.
Contrast
CARAVAGGIO(c.15271610)BasketofFruit,159596(oiloncanvas)
•Appearsdarkagainstalightbackground.
•Caravaggiodemonstratesoutstandingskillinthewayhecapturesthedelicatevariationsinthecolorsandtexturesoftheproduce.
•Thefruitinthepaintingisoverripeshowingsignsofdecaywiththeleavesshrivelingastheybegintodryout.Therealsubjectofthework,however,isitsundertonesasthefruitenterstheinitialstagesofdecompositionwithitsdarksilhouetteeclipsedbythesymbolicluminosityofitsbackground.
ToneasForm
STANLEYSPENCER(18911959)SelfPortrait,1914(oiloncanvas
•Englishartistwhomastered'chiaroscuro‘.
•Combinesintensivepersonalscrutiny,theaccuracyandexpressivevitalityofhisbrushworkinthepaintingofhisfacialmusculature,andtheextremesoftonewhichholdtheformtogetherwithsuchdramatictension.
ToneasFormGEORGESSEURAT(18591891)SeatedBoywithaStrawHat,1883(contécrayononpaper)
•PostImpressionist,inventedPointillism&devisedadrawingtechniquethatfocusedexclusivelyontoneanditsabilitytorenderform.
•Thisstudywasdonebyusingtheflatedgeofcontécrayonstocreatebroadareasoftoneonaheavilytexturedpaper.Whenyoudrawinthismanner,the'tooth'ofthetexturedpaperholdsthepigmentwhilethe'valleys'remainwhitegivingyouadarktonethatisspeckledwithlight.Youcanthenadjustthedensityofthedarkbybuildingupthetoneinlayers.
•The'lines'inSeurat'sdrawingsarereallyedgeswhichareformedwhenadjacentdarkandlighttonesmeet.
ToneasDramaPABLOPICASSO(18811973)Guernica,1937(oiloncanvas)
•DepictionofPicasso'shorroratthebombingofthesmallBasquevillageduringtheSpanishcivilwar.
•Paintedintonesofblackandwhitewithoutanyhintofcolor.Picassodeliberatelyavoidsusingcolorduetoitsemotionalimportwhichwoulddetractfromthedarkdespairofthesubject.Heturnstotheblackandwhitetonalityofnewspaperstoreinforcetherealityofhisstylizeddramaandtopresentthebrutalityoftheatrocityasauthoritativefact.Toemphasizethisrelationshiphestipplesthehaironthebodyofthedyinghorsewithlinesreminiscentofnewsprint.TheabsenceofcolorintheworkalsolendsanoteofrespectfortheinnocentvictimsofGuernica.
ToneasRhythm/Pattern
KAZIMIRMALEVICH(18791935)TheKnifeGrinder,1912(oiloncanvas)
•'CuboFuturist‘•Createsacomplexcompositionofpatchworktones.
•HetakestheprismaticpatternoftheCubist'svisionandcombinesitwiththerhythmandspeedoftheFuturist'stocreateastopmotionabstractionoftheknifegrinderatwork.
Color•Colorhasthestrongesteffectonouremotions.Itistheelementweusetocreatethemoodoratmosphereofanartwork.
Therearemanydifferentapproachestotheuseofcolorinart:•Coloraslight•Colorastone•Coloraspattern•Colorasform•Colorassymbol•Colorasmovement•Colorasharmony•Colorascontrast•Colorasmood
ColorasLight
GIACOMOBALLA(18711958)StreetLight,1909(oiloncanvas)
•Futurist•Representsthephysicalpropertiesoflight.Itsradiantglowdissolvesinconcentricwaves,eachofwhichdiminishinintensityandchangecolortosuggestthedifferentwavelengthsofthespectrum.
ColorasLight
RENÉMAGRITTE(18981967)EmpireofLight,1954(oiloncanvas)
•Imageofsuburbansilencewithasurrealistictwist:thesceneissetatmidnightbuttheskyisfixedatmidday.
•Thissubversiveimageholdstogetheraconflictofoppositeswithinitsunifiedstructure:daymeetsnight,darkmeetslightandrealitymeetstheimagination.
•Theconvincingtechniquethatheusestopaintthepicturepersuadestheviewertoengagewiththeimpossiblesearchforarationalmeaning,therebydrawingthemintotheirrationalrealmofSurrealism.
ColorasToneEMILENOLDE(18671956)LakeLucerne,1930(watercoloronvellum)
•Expressionistpaintingwasmoreaboutusingcolorandthephysicalqualitiesofamediumtoexpressyourfeelingsaboutthesubject.
•Usesthenaturalfluidityofwatercolortomirrorthechangingmoodofthelandscape.
•Buildsuptheshapesofthemountainswithwashesindifferenttonesofblue,moreintenseintheforegroundbecomingpalerinthebackground.
•Createsanimpressionofaerialperspectiveasthetonesofthecolorsappeartofadeintothedistantlandscape.Hecontinuesusinga'wetonwet'techniquetoformtheephemerallayersofcloudsandthewateryreflectionsinthelake.Finally,heappliesaspotofyellowwhichbleedsoverthedampsurfacetocreatetheglowofthesettingsunwhichhethenrepeatsonthelaketocreateitsreflection.
ColorasPattern
JUANGRIS(18871927)ViolinandCheckerboard,1913(oiloncanvas)
•Cubist•Assigneddifferentcolorstoparticularshapeswhichcreateanasymmetricalpatternofformsarrangedaroundthewhiteclothatthecenterofthepainting.
•Thispatternofcolorsleadstheviewer'seyeinaclockwisemotionaroundthepicture.
•Colordistributedasirregularpatternisoftenusedasunifyingelementinthecompositionofartworks.
ColorasForm
ANDRÉDERAIN(18801954)PortraitofMatisse,1905(oiloncanvas)
•Fauvismvaluedintensecolorforitsemotionalimpactmorethanforitsabilitytorenderform.
•DerainsimplifieshisdrawingofMatisseintoangularplanes.
•Next,heselectscolorswhicharesensitivelybalanced,payingsomerespecttotheirtonalvaluesbutpitchedattheirmaximumintensity.
•Finallythecolorsareappliedinslabsofexpressivebrushworkwithoutanysubtleblending.Colorandformnowcoexistasequalsinhispainting.
ColorasHarmony
EDGARDEGAS(18341917)BlueDancers,1899(pastels)
•Harmonyisthecompatibility,balanceorprogressionofsimilarelements.
•Theshapeofthepaintingissquarewhiletherotationalmovementofthefiguresiscomposedwithinadiamondformingaharmonyofrectangularshapes
•Thedecorativefrillsaroundthebodicesofthedressesformasubtleharmonyofcurves.
•Thepointedprojectionsofarms,elbowsandwristscreatearhythmicharmonyofangles.
•Thewarmochresofthebackgroundshouldclashwiththecoolbluedressesintheforegroundastheyareoppositecolors.HoweverDegasreconcilestheiroppositionwithacleverharmonyoftheircolors.Hescumblestracesofblueoverthewarmochrebackgroundwhichiscounterbalancedbytheochreunderpaintingthatbeatsbeneaththebluedresses.Thishastheeffectofharmonizingtheforegroundwiththebackgroundbutstillretainingenoughcontrasttostimulateourinterest.
ColorasContrastJOSEPHMALLORDWILLIAMTURNER(17751851)TheBurningoftheHousesofLordsandCommons,1835(oiloncanvas)
•Thevisualelementsofthepaintingarefueledbyacollisionoftheclassicalelementsofearth,air,fireandwater.
•Onthelefttheblazingorangesandyellowsoftheburningbuildingsaresetinoppositiontothecoldbluesandlilacsofthesky.Thehotcolorsoftheflamesandtheirreflections(fireandwater)areintensifiedbythecoldcolorsoftheskyandbridge(earthandair).AsimilartensionisestablishedbythetonalcontrastofthedarkcrowdagainstthelightriverwhichiscounterbalancedbythelightsandstoneofWestminsterBridgeagainstthedarkeningsky.Thispaintingisacleverlyarrangedcontrastofoppositecolors,tonesandclassicalelementswhichTurnerhasdevisedtoheightentheimpactofeach.
ColorasMovement
VICTORVASARELY(19061997)VonalKSZ,1968(silkscreenprint)SeparationofColorProgressionsinVonalKSZ,1968(silkscreenprint)
•Whenyoulookatanabstractartworkyourbraininstinctivelysearchesforsignsofrhythmandordertotrytomakespatialsenseoftheimage.
•VictorVasarelymakesuseofthisimpulsetocreateanimpressionofmovementbycombininggraduatedsquaresandsequentialcolors.
•Theseleadtheeyeintoandthroughtheimagewithincreasinganddecreasingacceleration.
•Thesquares,whichgraduatefromlargetosmall,arealignedontheirhorizontalaxesbutarestaggeredontheirverticalaxestocreatetheillusionofatunnelwhosedizzyingperspectiveunfoldsastheytraveltowardsthevanishingpointatitscenter.
ColorasSymbolVINCENTVANGOGH(18531890)ThePotatoEaters,1885(oiloncanvas)
•ThisisVanGogh'smasterpiecefromthefirstperiodofhisworkbeforehemovedtoParisin1886.'ThePotatoEaters'areapoorDutchpeasantfamilysittingdowntosharetheirfrugaleveningmeal.TheyareagriculturallaborersandtheearthygreensandbrownsthatVanGoghusestopaintthemsymbolizetheirclosenesstoanddependenceonthelandfortheirsurvival.Thereisaunityofcolorandtexturebetweenthehandsandfacesofthepeasantsandthepotatoesandcoffeetheyaresharing.Thedarksombertonesoftheworksympatheticallyreflecttheirhumbleexistenceandtheartist'srespectforthequietdignityoftheirlabor.
ColorasMood
VINCENTVANGOGH(18531890)Sunflowers,1888(oiloncanvas)
•ForVanGogh,yellowwasthecolorofjoyandfriendship.
•Thecompositionoftheworkissimplicityitself:fifteensunflowerssitinavaseonatable;theyarearrangedsymmetricallyandfillthecanvas;thevase,flowers,tableandbackgroundarepredominatelyyellowandcastnoshadows.Itisthisabsenceofcomplicationinboththedrawingandarrangementoftheworkthatliberatesitscolortocommunicatewithagreaterintensitythanyouwouldexpect.'Sunflowers'radiatescolorratherthanusingitasadescriptiveelement.
ColorasMoodGINOSEVERINI(18831966)TheDanceofthePanPanattheMonico,19091911/19591960(240cmx400cm,oiloncanvas)
•TheFuturistsembracedthenoise,energyandintensityofmoderncitylife.Theraucousnightlifeofthecabaretwithitsvibrantfashionsandrisquédancingtoragtimerhythms,allilluminatedbymodernelectriclighting,wastheperfectsettingforavisionofFuturistfun.
•SeverinismashesthisimageintocountlessfragmentswhichhereassemblesinadynamiccompositionthatcapturesthecollectiveconsciousnessofFuturism.Contrastsofoppositecolorscollideinashatterproofstructurethatframesthefun,frolics,noiseandexcitementofmodernentertainment.
Pattern•Patternisconstructedbyrepeatingorechoingtheelementsofanartworktocommunicateasenseofbalance,harmony,contrast,rhythmormovement.
•NaturalPattern:Patterninartisoftenbasedontheinspirationwegetfromobservingthenaturalpatternsthatoccurinnature.Wecanseetheseintheshapeofaleafandthebranchesofatree,thestructureofacrystal,thespiralofashell,thesymmetryofasnowflakeandthecamouflageandsignalingpatternsonanimals,fishandinsects.
•ManMadePattern:Patterninartisusedforbothstructuralanddecorativepurposes.Forexample,anartistmayplanthebasicstructureofanartworkbycreatingacompositionalpatternoflinesandshapes.Withinthatcompositionhe/shemaydevelopitsvisualelementstocreateamoredecorativepatternofcolor,toneandtextureacrossthework.
NaturalPattern
RORYMCEWEN(19321982)KensingtonGardens1,1979(watercoloronvellum)
•Asyouaredrawnmoreintothedetailoftheimage,thispatterntakesonafractalnaturewhereyounoticethesamenaturalformationondifferentscales.
•Hisworktranscendsmereillustrationandraisesourperceptiveawarenesstoalevelwhereweexperiencetheintensityofhisuniquevision.Heslowsusdownandshowsustheexquisitebeautythatwemissbynotreallylookingatwhatwesee.
ManMadePatternWILLIAMMORRIS(18341896)PencilandWatercolorSketchforAcanthusWallpaperPattern,187475
•TheAncientGreekswerethefirsttousetheacanthusascarveddecorationinCorinthiancapitalsandithasbeenfrequentlyrevivedasadecorativeornamentinByzantine,Romanesque,GothicandRenaissancearts,craftsandarchitecture.
•Morrisusesthetwistingformsoftheacanthusleaftocreatearepeatpatternunitforawallpaperdesign.Hecleverlyarrangesitsorganicshapestohidethegeometricstructureofitspatterninordertoproduceanaturalwallofleafyforms.TheideawastointroduceNature,astheexpressionofGod'sdesign,intothehomeasanantidotetothegracelessproductionoftheIndustrialRevolution.
PatternasLandscape
PIETMONDRIAN(18721944)FarmNearDuivendrecht,1907(oiloncanvas)
•Mondrianadaptsthenaturalpatternsofthebranchesonthetreestoenhancetheiraestheticappealandusesthetreetrunksandtheirreflectionstoformastructuralbackboneforthecomposition.
•Thepatternofthebranches,whichwouldnaturallyhavearandomdistribution,isrestructuredtoformabalancedinterplaybetweentheirshapesandthespacesbetweenthem.
•Mondrian'simpulsetobalanceopposingelementslikehorizontalsandverticalsorpositiveandnegativeformsisakeytounderstandinghiswork.
•Hedoesitagainbybalancingtheimagewithitsreflection,aninterplaybetweenlandandwater,wheretheverticalsofthetreescrossthehorizontaldivideoftheriver.
•Inthisinteractionyoucanbegintoseetheemergenceofthe'grid'inMondrian'swork.
PatternasEnvironmentalism
ANDREWGOLDSWORTHY(b.1956)RowanLeavesLaidAroundHole,YorkshireSculpturePark,25October1987(photograph)
•Goldsworthyisanenvironmentalartistwhousestherawmaterialsofthelandscape(leafsandpetals,twigsandthorns,snowandice,mudandrocks)andsympatheticallymanipulatesthemtocreateanunexpectedsenseoforderwithintheunrestrictedgrowthofthenaturalenvironment.
•Usesthechangingpigmentationofautumnleavestocreateacircularpatternofcolors.
•Itradiatesenergyinasunburstofvibrantyellows,throughflamingredstoadeeppurplethatsubtlyblendsintothebrownsandblacksoftheearth.Atitscenterliestheinvisiblesourceofitspowerablackholebeyondtheblackofanypigmentation.
PatternasContrast
M.C.ESCHER(18981972)DayandNight,1938(woodcut)
•Escherusesaconventionalperspectiveforthegroundplanewhichstretchestothehigheyelevelonthedistanthorizon.Thishigheyelevelplacestheviewerinanelevatedpositionlookingdownonthelandscape.Hethensuperimposesthegraduatingpatternoftheflyinggeeseontothepictureplanewhichjoinsseamlesslywiththefieldatthebottomofthegroundplain.Itisthemisdirectionofthisseamlessjointhatconvincesuswearelookingatoneimageratherthantwo(apatternoverlappingalandscape).Escheralsointroducescontrastingpatternstodirectourattentionawayfromthestructuraldesignoftheimage.Thecontrastsofpositiveandnegative,blackandwhite,dayandnightincombinationwiththehigheyelevelpullourattentiontotheupperhalfoftheworkandinitiatealeftrightdialoguebetweenbothsidesofthismirrorimage.ItisinterestingtoanalyzeEscher'sillusionin'DayandNight'butitismorefuntobetrickedintobelievingit.
PatternasRepetition
ANDYWARHOL(19281987)Marilyn,1967(aportfoliooftensilkscreenprints)
•WarholusedanassemblylineofsilkscreenedimagesofMarilynMonroeasametaphorforthelossof'self'inthevicariousworldofcelebrity.
•Marilynnolongerhasheruniqueidentityasanindividual;shehasbeenrebrandedasanadaptablecommoditytomeetthevoraciousappetiteoftheconsumerculture.
PatternasDecoration
GUSTAVKLIMT(18621918)PortraitofAdeleBlochBauer1,1907(oilandgoldleafonpanel)
•Adeleisdressedinaflowinggownandseatedonachair.Hervisiblefleshispaintednaturalisticallywhilehergown,chairandbackgroundareoutlinedasseparateflatareas,eachdecoratedwithgoldleafinadazzlingarrayofexquisitepatterns.Thechairandrobesofthegowndisplayabejeweledarrayofgoldandcoloredovals,squares,trianglesandspiralsthatreferenceJapanese,JugendstilandMycenaeandesignswhereasthebackgroundisamottledpatinaofgoldleafwiththeoddfloatingsquaretoregisteritsdepth.ThedressinAdele'scostumereflectsastrongEgyptianinfluenceasitsbodilyformisflattenedandpatternedwitheyes.ManysourcesalsosuggestthatKlimt'suseofeyesasadecorativepatternonherbodyisevidenceofagreaterintimacyintherelationshipbetweentheartistandhismodel.
Texture•Texturedefinesthesurfacequalityofanartworktheroughnessorsmoothnessofthematerialfromwhichitismade.
•OpticalTexture:Anartistmayusehis/herskillfulpaintingtechniquetocreatetheillusionoftexture.
•PhysicalTexture:Anartistmaypaintwithexpressivebrushstrokeswhosetextureconveysthephysicalandemotionalenergyofboththeartistandhis/hersubject.Theymayalsousethenaturaltextureoftheirmaterialstosuggesttheirownuniquequalitiessuchasthegrainofwood,thegrittinessofsand,theflakingofrust,thecoarsenessofclothandthesmearofpaint.
•EphemeralTexture:Thisisathirdcategoryoftextureswhosefleetingformsaresubjecttochangelikeclouds,smoke,flames,bubblesandliquids.
OpticalTexture
JANVANHUYSUM(16821747)BouquetofFlowersinanUrn,1724(oiloncanvas)
•Dutchstilllife;Baroque/Rococo•Outstandingabilitytopainttherealistictexturesofpetals,stems,leaves,dropletsofmoisture,ahordeofinsectsandthedistinctivesurfacesofterracottavasesandmarblepedestalswasasecrettechnique.
OpticalTexture
LUCIANFREUD(19222011)JohnMinton,1952(oiloncanvas)
•Paintedinfinedetailwithsoftsablebrushestorenderthesubtlevariationsofthetoneandtextureoftheeyes,skinandhair.
•Freud'sunrelentingfocusoneachandeverysquarecentimeterofMinton'sheadplotsamapofmicroexpressionsthatrevealsastateofuneaseinthesitter.
•Variegatedtexturescombinetocommunicatethisunderlyingsenseofdisquiet:thetussledlayersofhishair,thewaterinessofhiseyes,theoilinessofhisskin,hisloosemouthandthemuscularityofhislips,andallinconcertwiththetiltandelongationofhishead.
•Thisisameticulouslyobservedportraitwhosesurfacetexturesworktogethertoreflectthepsychologicalstateoftheirsubject.
OpticalTexture DUANEHANSON(19251996)ManonaBench,1977(vinyl,polychromedinoil,withaccessories)
•Ultimatelevelofrealism;lifesizesculptureofa'ManonaBench'.
•Castthisdejectedfigurefromlife,heighteningitsaccuracywithsubtlypaintedveinsshiningthroughitstranslucentwrinkledskin.Theadditionoffastidiousdetailslikenaturalisticeyes,lashesandstubblyeyebrows,thinninggreyhair,sociallydefiningandageappropriateclothesliftstheworktoanuncannylevelofdeception.
OpticalTexture
DAVIDHOCKNEY(b.1937)ABiggerSplash,1967(acryliconcanvas)
•Representingtheephemeraltextureofwater
•The'splash'ispaintedfromaphotographicsourcefoundinamagazineaboutswimmingpoolswhiletherestoftheimageisbasedonhisdrawingsofCalifornianbuildings.Theephemeraltextureofthe'splash'onlybecomesvisibletothenakedeyewhenitisfrozeninaphotograph.
PhysicalTexture
VINCENTVANGOGH(18531890)SelfPortrait,1889(oiloncanvas)
•Usesthephysicaltextureofpaintnotonlytofashionhisownlikenessbutalsotorevealhispsychologicaldisposition.
•Theplanesofhisfaceandtextureofhishairareboldlyhatchedincontoursofexpressivebrushstrokeswhich,despitetheirfeverishenergy,holdtogetherasatightlydrawnportrait.
•Thepsychologicalintensityoftheimageunwindsfromhiseyeslikeawavedischargingitsenergythroughtheswirlingstrokesofhisjacketandintotheturbulentflowofthebackground.
•Todayweseethispaintingasoneofthemostpowerfulpsychologicalportraitsinthehistoryofart.
PhysicalTexture
KARLSCHMIDTROTTLUFF(18841976)SelfPortrait,1906(oiloncanvas)
•InfluencedbyVanGogh;Expressionist
•Developednewexpressivepossibilitiesforcolorandtexturewithhisenergeticimpastobrushwork.
PhysicalTexture
JOANEARDLEY(19211963)SeededGrassesandDaisies,September,1960(oilonboardwithgrassesandseedheads)
•Hertotalimmersioninthesubjectledhertoincorporatestalksofmeadowgrassandflowersinordertogroundtheabstracttextureoftheworkinreality.
•Here,theimageanditsmediumliterallybecomeoneandthesame.
Form•Formrelatestothephysicalvolumeofashapeandthespacethatitoccupies.
•Formcanberepresentationalorabstract.•Formgenerallyreferstosculpture,3Ddesignandarchitecturebutmayalsorelatetotheillusionof3Dona2Dsurface.
FormasCarving•Carvingisaprocessofsubtractingformfromasolidblockofmaterialbythetechniquesofcutting,chiselingorfiling.Stoneandwoodaretheprincipalmaterialsusedforcarving,eachofwhichhasitsownqualities,strengthsandweaknessesasamedium.
Stone
AGESANDER,POLYDORUS,andATHENODORUS(1stCenturyB.C.)LaocoönandhisSons,circa4220B.C.(marble)
•Marble;Neptune;HellenisticBaroque
•ItwasconsideredbyPlinytheElderinhis'HistoriaNaturalis',theearliestsurvivingbookonthehistoryofart.
•Duetoitscomplexform,thesculpturehasbeenbuiltfromseveninterlockingsectionsmakingitdifficulttoidentifytheindividualcontributionofeachartist.
Stone
MICHELANGELOBUONARROTI(14751564)Pietà,149899(marble)
•BytheageoftwentythreeMichelangelohadalreadydemonstratedhissublimeskillinthecarvingofthe'Pietà',asculpturethatcouldmatchthenaturalismandemotionalexpressionofthegreatHellenisticmasters.
•Carvedfromasingleblockofmarble.
Wood
SENUFOMASK(CarvedWood)Africa
•Maskimagerywasoftenmultilayered,combininghumanandanimalfeaturesinonedesigntosymbolizeanecologicalbalance.Maskswerealsoavigorousstatementaboutexperience,morethantheywerearesponsetowhattheartisthadobserved.Modernartistsrecognizedthecreativepotentialinthisconceptualapproachandwereeagertoexploreitintheirownwork.
•Tribalmasksweremostlyusedinceremonialdancesasachannelofcommunicationbetweenthenaturalandsupernaturalworlds.Wood,themostcommonmaterialusedformakingmasks,waschosennotonlyforitsabundanceintheforestbutalsoforitsqualityasaspiritualmedium.
WoodHENRYMOORE(18981986)RecliningFigure,1936(elmwood)
•Linksthe'classical'withthe'primitive'andthefigurewiththelandscapeinanambiguousrelationshipofformandspace.
•AsyouwalkaroundMoore's'RecliningFigure'youregisteranimpressionofthesensualcurvesofthefemaleform:theangleofashoulderasitbalancesabovethepropofanelbow,thelineofabackwhichglidesintotheswellofahipandthebulgeofathighwhichflexesatabulbousknee.Onthesamewalkaroundthework,theambiguityoftheseundulatingformsmayassumeageologicalmetaphorwherethefigureadoptsanNeolithicquality,likeastonethathasbeenwornsmoothandhollowedoutbycenturiesoferosion.Withanotherperceptualshiftyoumaydiscerntheconfigurationofalandscapewheretheformofthesculpturetakesonthenatureofhills,valleys,canyons,cliffsandcaves.ThissynthesisoffigureandlandscapeisoneofthemajorthemesofHenryMoore'swork.
BronzeALBERTOGIACOMETTI(19011966)GrandeTêteMince(Headoftheartist'sbrother,DiegoGiacometti),195455(castbronze
•Workingfrombothlifeandfrommemory,turnedtheexpressivenessofsculptureupanotchbytirelesslymodellingandremodelinghissubjectinanattempttoshapetheessenceofafigureinasingleform.
KineticMovementALEXANDERCALDER(18981976)SixDotsoveraMountain,1956(paintedsteel)
•CalderbroughtasenseofhumorandplayfulnesstoartinAmericawiththeintroductionofhisconstructivistinfluenced'mobiles'paintedmetalsculptureswithmovingpartsthatwereincorporatedaselementsoftheirconstructionandcomposition.
•AsthecomponentsofaCalder'mobile'easeintoaction,thechangingrelationshipsoftheircolors,shapesandformechothegracefulandfluctuatingdynamicsofnaturalmotion.HisinspirationfortheircolorsandshapesevolvedfromawittycombinationofMondrian'spureabstractionwiththebiomorphicformsofJoanMiró.
FormasLandArtROBERTSMITHSON(19381973)TheSpiralJetty,1970(6650tonsofmud,saltcrystalsandblackbasaltrocks)
•Probablythemostfamousandmostinfluentialearthworkinmodernart.
•Itis15feetwideandprojects1500feetintotheGreatSaltLakeinUtah.Smithsonbuiltthisstructureinthreeweeksusingabulldozeranddumptrucks.Hechosethesiteforitsmagicalambienceasthelakechangescolorfromapinktolilactoredduetothebuildupofbetacaroteneinthehighsalinityofitsshallowwater.