Lascaux Illustrating movement has always been an important component of visual art.

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• lascaux ating movement has always been an important component of visual art

Transcript of Lascaux Illustrating movement has always been an important component of visual art.

• lascaux

Illustrating movement has always been an important component of visual art

• Sassetta meeting of St anthony and St paul

Repeating figures: Having the same figure more than once in a composition creates the illusion of movement, and also a suggestion of time lapse, as well.

Alex Katz

Repeating an element (like costume or specific color) will make it clear to the viewer that we are looking at one individual repeated.

Thomas Eakins, Boys Swimming

A kinesthetic response, or, Memory images: our knowledge of how the world works allows us to ‘see’ movement as it happens.

Bayeux Tapestry excerpt

Exaggerated poses help contribute to the effectiveness of a kinesthetic response

Picasso, Guernica

Robert Longo, From Men in Cities

Exaggerated gestures allow the viewer to ‘feel’ the movement as well as see it

Discus Thrower, MyronChris Van Allsburg

Timing: at what point will you depict a specific movement?

Right BEFORE or AFTER an event occurs can often be more powerful than depicting the event AS it occurs

Giacomo Balla, Dog on Leash

Visual Fragmentation: one object or person broken into several moving parts.

Thomas Eakins, Photograph

FUturisn Futurism: a 20th c Italian movement celebrating ideas associated w/ the future: speed, industry, youth, etc. What suggests this sculpture is moving?

Boccioni, Unique Forms of Continuity in Space

Peter Paul Reubens

Optical Movement: The movement of our eyes through a piece.

Jackson Pollock, Autumn Rhythm

• Reubens prometheus

• Raphael Madonna

Raphael, Madonna and Child vs. Rubens, Prometheus

How might composition be utilized to suggest movement? How does an illusion of movement vs/ a suggestion of stabilty change the ‘read’ of an image?

Duccio, Jesus opens the Eyes of a Man born Blind 1311

Overlapping

Vertical Placement

Limbourg Brothers, Les Tres Riche Heures (June), 1413-1416, Illuminated Manuscript

We tend to read items at the bottom of a composition as nearer to us, and objects at the top further in the distance. This effect is amplified by using larger objects in the foreground.

Assyrian archers pursuing enemies

from the Northwest Palace of Ashurnasirpal II, Kalhu (modern Nimrud)

ca. 875-860 B.C.E.gypsum2 ft. 10 3/8 in. high

This Near Eastern Assyrian relief carving uses overlapping and vertical placement as well.

Foreshortening: shortening the lines of an object to create depth. This is related to overlapping- note the feet overlapping his shins, chest overlapping his neck…

Andrea MantegnaThe Lamentation over the Dead Christc. 1490,Tempera on canvas, 68 x 81 cm

Size variation: objects get smaller as they recede into the distance—a principle of perspective.

Layered space: the foreground, middle ground and background of an image are clearly defined

Andrew Wyeth

The Chinese were one of the first civilizations to use Atmospheric (Aerial) Perspective.

Summer Mountains, Northern Song dynasty (960–1127)11th century, Attributed to Qu Ding (Chinese, active ca. 1023–ca. 1056)Handscroll; ink and pale color on silk17 7/8 x 45 3/8 in.

The principles of Aerial Perspective-

Objects in the foreground are:

1)More detailed2)Larger3)Darker or more intense in color4) Sharper/clearer

Linear Perspective – in the early 15th century Renaissance artist Filippo Brunelleschi developed this scientific method of creating perspective based on math and geometry.

The Last Supper by Leonardo Da Vinci illustrates One Point Linear Perspective.

Linear Perspective happens automatically when you take a photograph.

As in Aerial perspective, objects seem to get smaller as they move back in space.

One Point Linear Perspective

There are 3 types of linear perspective:

1)One-Point perspective2)Two-point perspective3)Three-point perspective 2-point perspective

1-point perspective

Examples of one point perspective in Stanley Kubrick films

http://vimeo.com/48425421

Right:Leonardo da VinciVirgin of the Rocks1495-1508Oil on panel, 189.5 x 120 cmNational Gallery, London

How is depth conveyed in each of these?

Left:Masaccio, Holy Trinity1428, Fresco, Santa Maria Novella, Florence

KARA WALKER

Silhouette Portraiture , not by Kara Walker

http://video.pbs.org/video/1237715781

Addition of color

Molly Bang