enny Holzer, installation in T

It is conceptually important that Sherman is all ofthese women –she is almost unrecognizable as the same person from one image to the next, and this speaksto the extremeswomen will go to to conform to cultural standards of beauty.

Postmodernists claim that therecan be no fixed meaning, and thus no fixed truths... Postmodern theory destroyed the credibility of the authoritarian hierarchies of styles, media, issues and themes, and it opened the door for everything and everyone...

minimalist works reference nothing outside themselves and are meant to be enjoyed first and foremost formally (that is, visually).

essentially took the artist’s hand or touch out of the equation.

comment on the consumerism and mass-production that had come to dominate U.S.capitalist society.In works like this one,Warhol’s message is that“Marilyns” “...are everywhere, having penetrated to the farthest reaches of the country, and that mass-production, uniformity and consumerism dominateAmerican society

Duchamp is the father of 20thcentury conceptual art, because theimportance of his piece is in theideas and questionsit raises.

Airplane Flying.

SuprematistComposition: Airplane Flying.

breaking down forms and reassembling them to present a shifting, in-flux vision of reality

Simultan-eoususe of different viewpoints.•Here, p

In Art: Increasingly personal and abstracted styles in service of expression andgiving form to the spiritual. Artists search for visual languages beyond naturalismand realism, to “free” art from representat

I want to paint men and women with that something of the eternal which the halo used to symbolize, and which we seek to convey by the actual radiance and vibration of our coloring.”-V

Gustav Eiffel. Eiffel Tower. 1887-89. Paris

•Impressionist brushwork reinforcesour sense of the 2D picture surfacerather than of the picture as a “window” on another reality.Also, the quick, impasto strok

EdouardManet, Luncheon on the Grass. 1863. Oil on canvas, 7’ x8’10”

academic values & hierarchies of genre.

Thomas Cole, The Oxbow. 1836, Oil on canvas, 51 ½ x76”

loose/sensuous paint handling

Sublime

Romanticism

J.L. David, The Oath of the Horatii. 1783-1784.

Enlightenment figures, includingBenjamin Franklin and GeorgeWashington.•Like Roman veristicsculpture,Houdon’s realism does not hide signs of age or individualIdiosyncrasies.

•Neoclassicism: imperceptible brushwork, planarity, linearity, clarity of shapes

The “doctrine of progress” takes center stage –idea that things can and should get better, via technology, science, and other human endeavors.•The Enlightenment: Voltaire and other philosophers. Logic, rationality,and science are valued, andbelieved capable of advancing civilization.•Enlightenment: logic assumes government that benefits the mostpeople, not just aristocracy.

color vs. drawing as the foundation of painting.

Still Life

moralizing

spontaneous

Las Meninas

04Comparison

Colonnade

he Calling of St. Matthew

4 humors: Cat –choleric; ox –phlegmatic; elk –melancholic;rabbit –sanguine

idealized,Italian-style nudes

The Last Judgment

Descent from the Cross

Michelangelo’s sculpturalsense informs his figure paintings

Stable triangulararrangement of figure

Comparison

linear perspective

detail

The Meeting at the Golden Gat

stylized

Lamentation

relics

Note the spare quality, absence of decoration

Stylized

abstraction

Emperor Justinian and His Attendants, Mosaic,

sarcophagus portrait.

His enlargedeyes are perhaps a reference to his conversionto Christianity.

Augustus of Primaporta

CONCRETE

east pediment,

Idea that beauty is based on harmonious proportions and balance

human dominance

Floor plan:requires worshipers to go around as many corners as possible to reach theinner sanctuary of the temple after ascending stairs, increasing sense of anticipation

Akhenatenand His Family

King Menkaureand Queen Khamerernebty

He appears stable, strong,and resolute

cubic posture

Ti Watching a Hippopotamus Hunt,

Egyptian art to show important, powerful figures: shoulders are frontal, legs and face in profile. Frozen, static –outside of regular time and space. Contrast to other figures.

Venus of Willendorf,

•Limestone, 4 3/8” tall

detail s

In the tea ceremony as represented by huts such as Taian, the visual artsIn both 2D and 3D combine witharchitecture and the “theatre” of ritual to produce a multi-media,“total” artwork.

It must be noted that the aesthetic of “poverty” which wabichaespoused belied thefinancial investment that it in fact entailed;

Tara Donovan

The purpose of the figurine is bothfunctional –to hold the relics –and symbolic: her gold and jeweled surfacespeaks to the religious value of the saint’s relics, which pilgrims would venerate andpray before.

embroidered in sequence from left to right.

6: Fiber ArtsLeft: Ella Mae Irby, 1923-2001. "Texas Star," 1973, cotton, corduroy, cotton blend, 88 x85 inches. Right:LucyT. Pettwayborn 1911 "Snowball" (Quiltmaker'sname). Circa 1950 Cotton, corduroy, cotton sacking material. 83x85 inches.

minimalist

the natural light is a key element in this piece

Indirect,

There can be no fear of losing what was once planned and there must be an urge to grow along with the discovery of the unknown. In the spirit of raku: make no demands, expect nothing, follow no absolute plan, be secure in change, learn to accept another solution and, finally, prefer to gamble on your own intuition. Rakuoffers us deep understanding of those qualities in pottery which are of a more spiritual nature, of pots by men willing to create objects that have meaning as well as function

ut artists began gradually signing their work and cultivating personal painting stylesas the commercial popularity of vasesIncreased. S

In "Ladder for Booker T. Washington," Puryearbuilt a spindly, meandering ladder out of jointed ash wood. More than thirty-five-feet tall, the ladder narrows toward the top, creating a distorted sense of perspective that evokes an unattainable or illusionary

see a video

decorated with animal designs

The height of the very straight chair backin this design by Wright is striking (almost five feet), emphasized by the repeatedvertical rungs. The chair’s uprightness andheight would emphasize the vertical spaceof the room it occupied, while also framingthe head of the person sitting in it.

its surface create an emotionally “cooler” tone than the marble. The reflections also act as lines that propel our eye more quickly over the form

the form of a humanhead to a graceful

Does the region where you live have any “indigenous” or locally unique features in its built environment like the Aranstone walls?

Egyptian burial urns. C. 2000-100 BCE. Limestone.

This piece is a fragment of what was originally a much larger sculptural relief on the Temple of Athena Nike at the Parthenon.Balustrade slab from the Temple of Athena Nike,The Parthenon, Athens.A Winged Victory stops to tie up or unfasten her sandal. Marble relief, 420-410 BC

“Crafts” in this hierarchy have traditionally been objects with some utilitarian purpose or value, such as ceramics, baskets, jewelry and so on. “High art” has included the mediums of drawing, painting, sculpture, printmaking, architecture, and, more recently, photography and digital art.

However, the hierarchy and its legacy persist, and have surprisingly deep roots.

The question arises as to whether utilitarian objects communicate meaning in theway great artworks do:does a wooden chair designed by the 20thcentury architect Frank Lloyd Wright carry meaningin the same way a painting by Rembrandt does? Theanswer is probably not, but this does notmean that Wright’s chair is devoid of meaning. Rather, its meaning is of a different kind. Rembrandt’s painting may speak tous of a mother’s love for her child, or the poignancy of the painter observing his face as he ages. Wright’s chair, in turn, speaks to us on its most basic level of a certainbody posture and way of sitting, its form and style suggesting perhaps a certain style of human interaction. If we dig into history, we may discover that Wright’s designs reflected the social climate of his moment in history, and his relation to the Arts and Crafts movement that responded against the perceived sterility of industrially-produced furniture and other goods.

Goldsworthy is making a “print” in which the “ink” is the snow, and both the matrix and the final print are the landscape itself

Julie Mehretu, Black City. 2001. Ink and acrylic on canvas

Notice for examplehow the bent arm of the figure at right echoes the shape of the lifeguard chair above her.

One of the pleasures of Degas’ drawings isthat he often leaves traces ofcorrections

Rembrandt, Self-portraitIn cap, with eyes wide open. 1630. Etching.41 x41 mm.

Antoniis exploring themes of femininity, power, and the body in Loving Care, by using herbody as a mark-making tool in the performance.

marked by the passage of time

Goldsworthy,Cracked earth removed St. Louis, Missouri9 October 1986

This image shows a completed version of the installation in the video clip youwatched. Goldsworthy has “drawn” a trio of 2-dimensional webs with sticks that grow more dense around central portals. Light reflecting off the water acts as light value, and the denser areas of sticks are used to create contrasting darkvalues. The sticks are like “marks” on the “page” of the water’s surface

2-dimensional

The essence of drawing is the line exploring space.

he line between drawing and painting is often a fluid one

Picasso, La Minotauromachie. 1935. Etching and engraving. Approx. 19 x27

See what other differences you can identify with the final mural.

Notice where Picasso varies his line weight to bring volumeto his(albeit-abstracted) figures. For example,

Whether trained in the finest art schools or self-taught, whether they work in oil paint, printmaking, sculpture, digital arts, or a combination of these, most artists have an element of drawing in their studio practice. For some it is a daily habit of sketching, for others it is drawing plans for works that will ultimat

media

And yet:Renoir is at the same time compressingthe space of his painting, pressing foreground and background together. If we look again at the figure group on the terrace, we find many places where Renoir is pullingthe background figures forward and pushing the foreground figures back visually. He accomplishes this flattening of space through a variety of means, perhaps most notably repeated colors and values that, as we said above, “knit” the foregroundand background of the painting together.

Detail: Texture of Renoir’s brushwork in “Luncheon of the Boating Party”

One is struck right away by the painting’s size –almost seven feet wide

“It should be remembered that a picture—before being a warhorse, a nude, or an anecdote of some sort—is essentially a flat surface covered with colours assembled in a certain order.”1A picture, modern art says, is not a windowbut a picture.

For painting, this meant that a painting should declare in its formits own nature as a flat surface with colors applied to it.

This was in part a reaction against academic values dominant since the Renaissance that held that a picture should be like a “window” onto another world.

Renoir has used the elements –line, tone, color, shape and texture –in such a way as to create spatial illusion in the painting but also to deliberately counter or reduce the illusion of three dimensions.

7•Color, Rhythm and Balance:Can you see colors creating rhythm and balance in the Renoir? Look at the yellow hats that repeat across the canvas. Also notice how many of the people have auburnor red-brown hair. These repeated colors all contribute to movement/rhythm and balance in the painting. The two women in bluedresses in the right and left foreground also balance each other and the repeated blue hue strengthens the implied triangle shapes we talked about already above.

10Moments of spatial compression include:•The repeated blacks in the hatband of the foreground man at right and the bowtie of the man leaning over him. Overlapping tells us the man leaning is behind, but because the hatband and tie are linked in a single black shape, this tends to press the foreground figure back and pull the background figure forward. Imagine if the man’s tie was a different color: it could have been red, or yellow, or blue, but Renoir made it black, thus linking it with the other man’s hatband.•The above blacks also form aninverted triangleor implied “V” shape with the black top hat of the man above and to the left of the foreground men, and with the black gloves and hat of the woman above and to the right of them. (see diagram below) Our eye links these repeated values across the two-dimensional surface of the painting, Rather than increasing the illusion of depth, these repeated blacks are compressing the space.

kind of texture is in this painting?In the detail image below, we can see the texture of Renoir’s brushworkmore clearly. The soft, feathery brushstrokes that Renoir uses in most areas of the painting create unity of surfacetexture.We can tell that the glass bottles are glass by the way he has painted the highlights, but they seem softer than real glass due to Renoir’s paint han

n the detail image below, we can see the texture of Renoir’s brushworkmore clearly. The soft, feathery brushstrokes that Renoir uses in most areas of the painting create unity of surfacetexture.We can tell that the glass bottles are glass by the way he has painted the highlights, but they seem softer than real glass due to Renoir’s paint handling.

These repeated colors all contribute to movement/rhythm and balance in the painting.

enoir is “knitting” his painting together like a tapestry, creating pathways of movement for our eyes to travel.Visual movement relates to the compositional principle of rhythm.The same way a song moves along with a rhythm, a painting unfolds over time as our eyes trace movement across the surface.

or example: the arm of the man in the right foreground is both a shape and a light-value color area, and it also functions as a line that directs our eye towards the center of the painting. This arm is what we would call a linear shape.

by a river on the outskirts of Paris. The bright, light color palette and light-hearted subjectmake the painting seem almost deceptively simple. At first glance, we may feel ourselves drawn to it through the of the appeal of its colorful palette,and the sensual appeal of the subject matter-the food spread invitingly on the table in the center, and the youthful, attractive men and women occupying the painting.

Renoir’s painting presents a summery scene of friends enjoying a picnic by a river on the outskirts of Paris. The bright, light color palette and light-hearted subjectmake the painting seem almost deceptively simple. At first glance, we may feel ourselves drawn to it through the of the appeal of its colorful palette,and the sensual appeal of the subject matter-the food spread invitingly on the table in the center, and the youthful, attractive men and women occupying the painting.

http://www.youtube.com/watch?v=pPDHq7qgXXU.

Special knowledge is important in some cases and may enrich our understanding, but the foundation in appreciating art is simply a willingness tospend time looking closely.

flattened space andabstractedhuman anatomy

Special knowledge is important in some cases and may enrich our understanding, but the foundation in appreciating art is simply a willingness tospend time looking closely.

There are of course cases where background knowledgeis helpful or even essential to understanding an artwork’s significance

The Madonna and Christ are significantly larger inscalethan the angels -our first cue that naturalism is not Giotto’s goal.

The Madonna and Christ are significantly larger inscalethan the angels -our first cue that naturalism is not Giotto’s goal.

The Madonna and Christ are significantly larger inscalethan the angels -our first cue that naturalism is not Giotto’s goal.

Your text gives the example of two great Matisse paintings, “Piano Lesson” and “Music Lesson,” which have virtually identicalsubject matterbut quite different content.

Sometimes artworks in museums are present for their historical value rather than for any artistic value

Maybe it seems ugly, or strange, or like something a child could do.