Language of Art

27
Language of Art ymbol: something that stands for, or repres something else. n the spoken language, symbols are words. n the written word, letters are the symbols. he basic symbols in the language of art are known as the elements of art.

description

Language of Art. Symbol: something that stands for, or represents something else. In the spoken language, symbols are words. In the written word, letters are the symbols. The basic symbols in the language of art are known as the elements of art. - PowerPoint PPT Presentation

Transcript of Language of Art

Page 1: Language of Art

Language of Art

Symbol: something that stands for, or represents something else.

In the spoken language, symbols are words. In the written word, letters are the symbols.

The basic symbols in the language of art are known as the elements of art.

Page 2: Language of Art

Elements of Art:The ‘building blocks’ or ‘tools’ the artist has to work with to express ideas:

LineShapeFormValueTexture SpaceColor

Principles of Art:The ‘rules’ or various ways the artist can use each of the elements.

BalanceEmphasisHarmony (Unity)VarietyMovementRhythmProportionPattern

The Visual Vocabulary

Page 3: Language of Art

Line & Movement

Vincent van Gogh, A Sidewalk Café at Night, Arles

Rembrandt Harmenszoon van Rijn, The Mill

Value & Harmony

Page 4: Language of Art

Henri Matisse, Purple Robe and Anemones

Shape & Pattern Form & Balance

Henry Moore, Reclining figure, arch leg

Page 5: Language of Art

Texture & EmphasisRobert Goings, Tux

Color & Rhythm Robert Cottingham, Roxy

Page 6: Language of Art

Space & Proportion Giovanni Antonio Canal (Canaletto), The Rialto Bridge

Page 7: Language of Art

Janet Fish. Raspberries and Goldfish. Oil on canvas. 72 x64”. The Metropolitan Museum of Art, New York, New York. Purchase. The Cape Branch Foundation and Lila Acheson Wallace Gifts, 1983.

Shape: round bowl

Color: yellow curtain

Texture: bumpy raspberriesshiny glass vase

Line: decoration around thevase

Form: (implied) 3-dimensionalbowls

Space: overlapping objects

Value: light yellow plate againstdark cloth

Page 8: Language of Art

Janet Fish. Raspberries and Goldfish. Oil on canvas. 72 x 64”. The Metropolitan Museum of Art, New York, New York. Purchase. The Cape Branch Foundation and Lila Acheson Wallace Gifts, 1983.

Balance: asymmetrical composition

Variety: different colors

Harmony: similar shapes

Movement: overlapping shapes diagonal placement

Rhythm: repetition of flowers (static) repetition and placement of shapes

Proportion: sizes of objects

Pattern: dots on fabric of curtain

Emphasis: contrasting textures and colors between raspberries and bowl.

Page 9: Language of Art

Art Criticism: Learning from a Work of Art:

Art critics describe their responses to various forms of art, and give their assessment of the merits of the works.

Criteria: standards of judgment.

Aesthetics: the philosophy or study of the nature and value of art

Art Criticism: an organized approach for studying a work of art.

Aesthetic experience: Your personal interaction with a work of art.

Page 10: Language of Art

Why study art criticism?

Four step process:

• Description

• Analysis

• Interpretation

• Judgment.

1. DESCRIPTION

Literal qualities: realistic presentation of subject matter, and the elements of art found in the work.

Henri Rousseau. The Sleeping Gypsy. 1877. 51 x 79”. The Museum of Modern Art, New York, new York

1. Sketch work and note credit line

2. List literal qualities (what you see in the work)

3. List the elements of art and how they were used

Page 11: Language of Art

Henri Rousseau. The Sleeping Gypsy. 1877. 51 x 79”. The Museum of Modern Art, New York, New York

2. AnalysisDesign qualities: How the principles of art are used to organize the elements of art.

A design chart will help with this step in art criticism.

Page 12: Language of Art

Henri Rousseau. The Sleeping Gypsy. 1877. 51 x 79”. The Museum of Modern Art, New York, New York

3. InterpretationExpressive qualities: the meaning, mood, or idea communicated to the viewer.

Refer to all you have learned from the work during the description and analysis steps.

Remember, interpretations will vary among viewers.

Page 13: Language of Art

Henri Rousseau. The Sleeping Gypsy. 1877. 51 x 79”. The Museum of Modern Art, New York, New York

4. Judgment: determines the degree of artistic merit

Use aesthetics to help decide:

A. Do you like the work? Why or why not? Back up your decision.

B. Is the work successful? Why or why not? Back up your decision.

Page 14: Language of Art

1. Imitationalsim: focuses on realistic representations, the literal qualities.

Hughie Lee-Smith. The Piper. 1953. 22 x 35 ¼”. Detroit Institute of Arts, Detroit, Michigan.

Three Theories of Art

Page 15: Language of Art

2. Formalism: places emphasis on

the formal qualities, the arrangements of the elements of art using the principles of art.

Georgia O’Keeffe. Cow’s Skull: Red, White, and Blue. 1931. Oil on canvas. 39 7/8 x 35 7/8”. The Metropolitan Museum of Art.

Page 16: Language of Art

3. Emotionalism:Requires that a work of art must arouse a response of feelings, moods, or emotions in the viewer.

Art works may use all three aesthetic qualities, but one is usually dominant.

When critiquing an art work you must note what theory is dominant in a work and why.

Kathe Kollwitz. The Survivors. 23 1/8 x 27 3/8”Lithograph. National Gallery of Art, Washington, D.C.

Page 17: Language of Art

Theories of Art

Imitationalism:

The literal or realistic qualities: focuses on the realistic of lifelike representation of subject matter

Emotionalism:

The expressive qualities: means that the drawing effectively communicates an idea, feeling or mood to the viewer

Formalism:

The design qualities: refers to the way the elements and principles of art have been used

Norman Rockwell, The Roadblock

Piet Mondrian, Broadway Boogie Woogie

Edward Munch, The Scream

Page 18: Language of Art

Chrysanthemum, 1908–09. Charcoal on paper, 10 x 11 1/4 inches. Solomon R. Guggenheim Museum.

Piet Mondrian. Broadway Boogie-Woogie. 1942-43. Oil on canvas, 50 x 50"(127x127 cm). The Museum of Modern Art, New York

Compare these two works: How do the titles describe the art work? These are created by the same artist. Why do you think his work changed so drastically over the years? Which work do you prefer and why?

Internet homework: Research three Mondrian works from three different styles throughout his life.

Page 19: Language of Art

Janet Fish. Two Jars Hot Pepper Pickles. Henri Matisse. Goldfish. 1911

Janet Fish is a Realist artist. She believes her art is more about perception than representation of objects and is very interested in depicting the properties of light through glass.

Henri Matisse became the spokesperson for the Fauvists (‘wild beasts). He wanted to express himself with simple color and shape rather than shading and perspective.

Compare the two works and describe the differenced in composition and use of space. Discuss differences in color and texture.

Internet: Find two different artists who specialize in the still life genre. Sketch their art and describe each piece. List the artists and all pertinent information of the works.

Page 20: Language of Art

Literacy: Antonio Canal, known as Canaletto (R) and M.C.Escher (L) are both known in the art world for their amazing use of linear perspective. Study the two works below. Why do you believe these are noteworthy works? What impresses you about the works? Use three art terms in describing the works and why these terms relate to the works. ( Must be turned in at the end of the period to receive credit.)

Technology: Research each artist. Write three paragraphs. One introducing the artist (a quick bio.), one paragraph explaining the use of the major medium used by the art and how the artist set up or used perspective and the final paragraph critiquing a work. The work and site must be listed. If you cannot print an example of the work mentioned then sketch the work (you need not do both.) Due Monday for to full credit. Five points will be deducted each day thereafter.

Page 21: Language of Art

Two examples of surrealist art.

What makes the first example a surrealist work?

How does Magritte’s work make you feel?

What other ways could you make a portrait surreal?

Internet: Research three Surrealist artists. Print or sketch an example of artist’s work and critique the work. Be sure to cite the internet sites and critic each work using at least three elements and three principles of art. Don’t just list the terms. Describe how each is used in the work and why you think these elements/principles are important to the work. Include your judgment of the work and defend yourself.

# 1: Unknown artist

#2 Rene Magritte

Page 22: Language of Art

To the left is a drawing of a fabric covered chair. Describe this work using the following terms: value, contrast, texture, line, movement, form, and space. Where and how are these terms used? Briefly (one or two sentences) tell how this drawing can fit into each Theory of Art (Imitationalism, Formalism and Emotionalism.)

Internet: Find one work of Michelangelo Merisi Caravaggio, Kathe Kollwitz, and Christo (and Jean Claude.) Cite each work including title of work, date, medium, size of piece, and place the work is located. Sketch or print each work and explain how the work you chose is similar to this work…. Using art terms!

Page 23: Language of Art

Kathe Kollwitz, Self Portrait,1934.

Kathe Kollwitz, Self Portrait, 1934. Lithographic crayon, pen and ink.

Describe this work using the following terms: value, contrast, texture and form. What parts of the composition focuses on these terms?

Of the Theories of Art (Imitationalism, Emotionalism, Formalism), in which one does this most strongly fit into? Why? Does it work in any other? Why?

Internet: Find another work by Kathe Kollwitz. Discuss characteristics that she often repeated and why. Cite the work including title of work, date, medium, size of piece, and place the work is located. Sketch or print the work and explain how the work you chose is similar to this work…. Using art terms!

Due Monday.

Page 24: Language of Art

Carol Boucher, Blue Ribbon, 39” x 49”, 2006.

Compare these three landscapes using the following terms: perspective, color, value, contrast, texture and movement. What parts of the composition focuses on these terms? Of the Theories of Art (Imitationalism, Emotionalism, Formalism), in which one does this most strongly fit into? Why? Does it work in any other? Why?

Internet: Find another work by one of the three artists. Discuss characteristics that the artist often repeated and why. Cite the work including title of work, date, medium, size of piece, and place the work is located. Sketch or print the work and explain how the work you chose is similar to the posted work…. Using art terms!

Bob Crane

Jane Aukshunas, Poplar with Shadows, 21” x 27’”,

Page 25: Language of Art

Robert Rivera

Columbian Artist

Here are two examples of masks designed to hang. Describe two pieces using the following terms: line, pattern, texture, movement, shape and color. How are these terms relevant to the description of these pieces. Which piece is your favorite? Why? How would you change one to improve its impact on the viewer? How does the functionality of masks effect the design?

Internet: Find two works of mask sculptures one emphasizing color and the other design. Sketch or print each work and explain how the work you chose is similar to these work and how they are different, using art terms!

Page 26: Language of Art

Willem de Kooning   American, 1904-1997Gotham News, 1955

oil on canvas, 69 x 79"Gift of Seymour H. Knox, 1955

Willem de Kooning was one of the major practitioners of a movement that developed in New York in the late-1940s and 1950sAbstract Expressionism. Abstract, in that it does not look like the real world, and expressionist, because emotional and subjective aspects are more important than objective and formal concerns. Abstract Expressionism developed partially as a response to the end of World War II. With the dropping of the atomic bomb in Japan, people came to realize that humankind could destroy the world if they were foolish enough to do so. After the war, the United States was introspective, and artists felt that this mood could not successfully be expressed through traditional painting techniques and subject matter. Instead, they looked inside themselves, using lines and colors to express feelings.

How does this work compare to … by…? Note the similarities and differences. Describe De Kooning’s work using art terms.

Internet: Research one artist who is know for his/her abstract expressionism style. Write all pertinent information (example left.) Critique the work and explain the art theory used in the work.

Page 27: Language of Art

Vincent Van Gogh, Old Man With His Head In His Hands, 1882.