Download - Chapter 2
![Page 1: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/1.jpg)
CHAPTER 2:
VISUAL ELEMENTS OF ART
![Page 2: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/2.jpg)
Professor:Course/Section:
I found I could say things with color and shapes that I couldn’t say in any
other way – things I had no words for.
–Georgia O’Keeffe
![Page 3: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/3.jpg)
The Visual Elements of Art:
• Color• Shape• Line• Light• Value• Texture • Space• Time• Motion
![Page 4: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/4.jpg)
The Language of Art
• With the “Language of Art,” we are able to communicate thoughts and feelings about our visual and tactile experiences in our world
![Page 5: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/5.jpg)
Visual Elements of Art
• Also called the Plastic Elements of art. • Art selects a medium
– Drawing, painting, sculpture, architecture, photography, textiles, ceramics, etc..
• Then they use the visual elements to express themselves in the chosen medium.
![Page 6: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/6.jpg)
Principles of Design:
• Unify• Balance• Rhythm• Scale• Proportion• Etc..
![Page 7: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/7.jpg)
LINE…
• …is the simplest and also the most complex of the elements of art.
• …serves as the basic building block for all art
• …has the capacity to evoke thoughts and emotions
![Page 8: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/8.jpg)
Definition of Line
• In Geometry - “A line is made up of an infinite number of points and the the shortest distance between two points is a straight line.”
• In art - A line is a moving dot.
![Page 9: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/9.jpg)
Characteristics of a Line
• Measure - its length and width. • Expressive qualities
![Page 10: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/10.jpg)
Expressive Qualities of Line
• “Line may be perceived as delicate, tentative, elegant, assertive, forceful, or even brutal.”
![Page 11: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/11.jpg)
Fig 2-2 JACKSON POLLOCK. Number 14: Gray (1948). Enamel and gesso on paper. 223/4” x 31”.
![Page 12: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/12.jpg)
Lines can be…
• Straight • Curved• Vertical• Horizontal• Diagonal• Zigzagged…
![Page 13: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/13.jpg)
Types of Line
• Contour Lines - Created by the edge of things.
• Actual lines - Are connected and continuous.
• Implied lines - completed by the viewer. • Psychological lines - A line created by a
mental or perceptual connection. (Ex: When a character of figure points or looks at another.)
![Page 14: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/14.jpg)
Fig 2-4 A, B, and C Actual line (A) versus two kinds of implied lines, one formed by dots (B) and the other formed by psychologically connecting the edges of a series of straight lines (C).
![Page 15: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/15.jpg)
More about line…
• “Edges are perceived because the objects differ from the background in value, texture or color.”
• Shading creates or models roundness.
• “One of the hallmarks of Renaissance painting is the use of implied lines to create or echo the structures of the composition.”
![Page 16: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/16.jpg)
Figure 2.5, p.30: LEONARDO DA VINCI. Madonna of the Rocks (c. 1483). Oil on panel, transferred to canvas. 78 1⁄2” x 48”.Figure 2.6, p30: The pyramidal structure of the Madonna of the Rocks.
![Page 17: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/17.jpg)
Figure 2.7 p. 31. EMILY MARY OSBORNE. Nameless and Friendless (1834 - ?) Oil on Canvas. 34” x 44”.
![Page 18: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/18.jpg)
Functions of Line
1. To Outline and Shape2. As Form 3. To Create Depth and Texture4. To Suggest Direction and
Movement
![Page 19: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/19.jpg)
Figure 2.8, p.31: RIMMA GERLOVINA AND VALERIY GERLOVIN. Madonna and Child (1992). Chromogenic print.
To Give Outline and Shape
![Page 20: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/20.jpg)
Figure 2.9, p.31: ELIZABETH CATLETT. Sharecropper (1968). Color linocut. 26” x 22”.
To Create Depth and Texture
![Page 21: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/21.jpg)
Ways to create Texture
1. Modeling - the creation of the illusion of roundness or 3d through the use of light and shadow.
2. Stippling - the use of a pattern of dots that thickens and thins.
3. Hatching - using a series of closely spaces parallel lines to achieve shading.
4. Cross-Hatching - a series of lines that run in a different direction and cross each other.
![Page 22: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/22.jpg)
Fig. 2-12 Illusion of three-dimensionality.
![Page 23: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/23.jpg)
Figure 2.11, p.32: SANDRO BOTTICELLI. The Birth of Venus (c. 1482). Oil on canvas. 5’8 7⁄8” x 9’1 7⁄8”.
To Suggest Direction and Movement
![Page 24: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/24.jpg)
What lines imply
• Horizontal lines - suggest stability• Vertical lines - defy gravity and
suggest assertiveness.• Diagonal lines - imply movement
and directionality.
![Page 25: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/25.jpg)
SHAPE, VOLUME AND MASS
SHAPE
![Page 26: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/26.jpg)
SHAPE
• Has many definitions• In art - “shapes are defined as the
areas within a composition that have boundaries separating them from what surrounds them; shapes make those areas distinct.”
• Shape can also be communicated through patches of color and texture.
![Page 27: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/27.jpg)
Fig. 12 JACOB LAWRENCE. Harriet Tubman Series, No. 4 (1939 - 1940) Casein tempera on gessoed hardboard. 12” x 17 7/8”.
![Page 28: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/28.jpg)
Figure 2.14, p.34: HELENE BRANDT. Mondrian Variations, Construction No. 3B with Four Red Squares and Two Planes (1996). Welded steel, wood, paint. 22” x 19” x 17”.
The word FORM - is often used to speak about shapes in sculpture and
architecture - 3D works of art.
![Page 29: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/29.jpg)
Volume refers to the mass or bulk of a 3D work. It is the amount of space
it contains.
Fig. 2-15. GERRIT RIETVELDT. Schroeder House, Utrecht. (1924).
![Page 30: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/30.jpg)
Mass - In 3D art, the mass of an object refers to its bulk.
Fig. 2-16 RACHEL WHITEREAD. Holocaust Memorial, Vienna (2000).
![Page 31: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/31.jpg)
Actual Mass versus Implied Mass
• Actual mass occupies three-dimensional space and has measurable volume and weight
• Implied mass creates the illusion of possessing volume, having weight and occupying three-dimensional space
![Page 32: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/32.jpg)
Fig. 2-17 MARK TANSEY. Landscape (1994). Oil on Canvas. 181.6cm x 365.8 cm.
![Page 33: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/33.jpg)
Types of Shapes
• 1. Geometric shapes - Are regular and precise. Ex: rectangles and circles.– Straight (rectilinear) – Curved (curvilinear)
• 2. Organic shapes -have a natural appearance.– Biomorphic shapes– Amorphous shapes
![Page 34: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/34.jpg)
Fig. 18 DAVID SMITH. Cubi XVIII (1964). Polished stainless steel. 9’7 3/4” x 5” x 1’ 9 3/4”.
Geometric Shapes
![Page 35: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/35.jpg)
Figure 2.21, p.39: FRANK GEHRY. Guggenheim Museum, Bilbao, Spain (1997).
Organic Shapes
Figure 2.19, p.37: FRANK GEHRY. Guggenheim Museum, Bilbao, Spain (1997).
![Page 36: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/36.jpg)
Compare and Contrast
Picasso and Colescott
Rectilinear forms versus curvilinear forms presented
by two artists
![Page 37: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/37.jpg)
Figure 2.20, p.38: PABLO PICASSO. Les Demoiselles d’Avignon (1907). Oil on canvas. 8’ x 7’8”.
![Page 38: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/38.jpg)
Figure 2.21: ROBERT COLESCOTT. Les Demoiselles d’Alabama: Vestidas (1985). Acrylic on canvas. 96” x 92”.
![Page 39: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/39.jpg)
Biomorphic Shapes
• Are said to have a form like a biological entity.
• (From the Greek word morphe.)
![Page 40: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/40.jpg)
Figure 2.22, p.39: ELIZABETH MURRAY. Tangled (1985–1990). Oil on shaped canvas with wood. 83 1/2 x 66 x 19 in.
![Page 41: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/41.jpg)
Positive and Negative Shapes
• Positive shapes - the objects or figure that the viewer focuses on.
• Negative shapes - the empty space (or the space filled with other imagery) left over in the piece.
![Page 42: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/42.jpg)
Figure-Ground Terminology
• Figure - ground relationship - the relationship between the positive and negative shapes in a piece.
• Figure - ground reversals - when the positive and negative shapes in a piece can be reversed or are ambiguous.
• “We tend to perceive things in context.”
![Page 43: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/43.jpg)
Fig. 26 A Rubin Vase.
![Page 44: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/44.jpg)
Shape as Icon
• Some shapes carry with them immediate associations.
• Ex:• Christian Cross• Jewish Star of David• Chinese yin yang.• “Shape s a powerful visual element, and
the representation of shape is a powerful design tool.”
![Page 45: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/45.jpg)
Figure 2.28, p.42: EDWARD STEICHEN. Rodin with His Sculptures “Victor Hugo” and “The Thinker” (1902). Carbon print, toned.
![Page 46: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/46.jpg)
LIGHT AND VALUE
• Visible light is the part of the spectrum of electromagnetic energy that we can see.
• “Without light there is no art.”
![Page 47: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/47.jpg)
Value
• The value of a color of a surface is its lightness or darkness.
• Value contrast - the degrees f difference between shades of gray.
• Drawing objects or figures with a high value contrast makes them easy to see.
• Value pattern describes the variation in light and dark within a composition.
![Page 48: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/48.jpg)
Fig. 2-33 Value contrast.
![Page 49: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/49.jpg)
Chiaroscuro
• The gradual shifting from light to dark through a successive gradation of tones across a curved surface.
![Page 50: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/50.jpg)
Figure 2.35, PIERRE-PAUL PRUD’HON. La Source (c. 1801). Black and white chalk on gray paper. 21 3/16 x 15 5/18 in.
![Page 51: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/51.jpg)
Descriptive and Expressive Properties
of Value• Values - blacks, grays and whites• May be used to describe objects• Or may be used to evoke
emotional response in the viewer.
![Page 52: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/52.jpg)
Fig. 2-37 p.46 LORRAINE O’GRADY Mlle Bourgeoise Noire Goes to the New Museum (1981).
![Page 53: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/53.jpg)
COLOR
• Language connects emotion with color.
• Color can trigger emotional response in the observer.
![Page 54: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/54.jpg)
Psychological Dimensions of Color: Hue,
Value, and Saturation• Hue - a term for the family of color. • Cool - colors on the green-blue side
of the color wheel. • Warm - colors on the yellow-orange-
red side of the color wheel. • Saturation - the pureness of the color• Shades - adding black to a hue. • Tints - adding white to a hue.
![Page 55: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/55.jpg)
Additive and Subtractive Colors
• Additive color - mixing light. • Subtractive color - mixing pigments. • Primary colors - Color that can not be derived
from the mixing of other colors.– Red– Yellow– Blue
• Secondary colors - created from the overlap or mixing of 2 primary colors. – Orange– Green– Violet.
![Page 56: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/56.jpg)
Complementary versus Analogous Colors
• In pigments, the primary colors are red, yellow and blue.
• They can not be produced from mixing other colors.
• Tertiary colors - created by mixing pigments or primary and secondary colors.
• Analogous colors- Hues that lie next to each other on the color wheel.
• Complementary colors - colors that lie across from one another on the color wheel.
![Page 57: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/57.jpg)
Local versus Optical Color
• Local Color - the hue of an object as created by the colors its surface reflects under normal lighting condition.
• Optical color - our perceptions of color, which can vary with lighting conditions.
![Page 58: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/58.jpg)
Figure 2.46, p.51: CLAUDE MONET. Haystack at Sunset near Giverny (1891). Oil on canvas. 28 7⁄8” x 36 1⁄2”.
![Page 59: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/59.jpg)
Figure 2.49, p.51: VINCENT VAN GOGH. The Night Café (1888). Oil on canvas. 27 1⁄2” x 35”.
![Page 60: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/60.jpg)
Color as Symbol
• We link mood with color.• Feelings and behavior can be
symbolized with colors• The symbols and meanings of
colors are culture specific.
![Page 61: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/61.jpg)
Texture
• Texture – Derived from the Latin word for “weaving”– Used to describe the surface character of
things through the sense of touch. – An artist can emphasize of distort texture of
an object to evoke emotional response in the viewer.
• Impasto - a think buildup of paint on the surface of the canvas.
![Page 62: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/62.jpg)
Figure 2.49, p.53: LEON KOSSOFF. Portrait of Father, No. 2 (1972). Oil on board. 60” x 36”.
![Page 63: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/63.jpg)
Types of Texture
• Actual Texture - is tactile, texture you can touch. – Example: impasto (The most common type
of texture used in painting.)
• Visual Texture - simulated texture. It looks like a texture but can’t really be felt. – Example: Trompe l’oeil a French word (and
style of painting) that means to trick the eye.
• Subversive Texture - Texture chosen or created by the artist to subvert or undermine our ideas about the objects they depict.
![Page 64: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/64.jpg)
Fig. 2-52 P. 54 RACHEL RUYSCH. Flower Still Life (after 1700) Oil on Canvas. 29 3/4” x 23 7/8”.
![Page 65: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/65.jpg)
Figure 2.53, p.55: DAVID GILHOOLY. Bowl of Chocolate Moose (1989). Ceramic. 10” x 6” x 7” (25.4 cm x 15.2 cm x 17.8 cm).
![Page 66: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/66.jpg)
Figure 2.55 p.56 MERET OPPENHEIM. Object (1936). Fur covered cup, sauser, and spoon. Overall height: 2 7/8 in.
![Page 67: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/67.jpg)
SPACE
• Objects exist in Three-dimensional space.
• Some art is truly 3D like sculpture and architecture.
• And some art just tries to depict space on a 2D surface.
![Page 68: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/68.jpg)
Fig. 2-56 Overlapping circles and arcs.
Overlapping
• You can create the illusion of depth by overlapping objects.
![Page 69: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/69.jpg)
Figure 2.58, p.58: NI ZAN. Rongxi Studio (Late Yuan/Early Ming dynasty, 1372 CE). Hanging scroll; ink on paper. H: 29 1⁄4”
Relative Size and Linear Perspective
• The furthers objects are from us the smaller the look.
• Things that are closer to us look larger and things that are further away look smaller.
• Artist use different techniques like relative size and linear perspective to create the illusion of depth in a piece of art.
![Page 70: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/70.jpg)
The Illusion of Depth
• Vanishing point - The point at which parallel lines cone together, or converge.
• Horizon - the line where the line of sight stops and on which the artist often places the vanishing point.
• Vantage point - where (or the height) the viewer is looking from.
• One-point perspective - when parallel lines in a picture come together at one point, the vanishing point, on the horizon line.
• Two-point perspective - when parallel lines in a picture come together at 2 different points on the horizon line.
![Page 71: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/71.jpg)
Fig. 2-64 RAFFAELLO SANZIO (CALLED RAPHAEL). PHILOSOPHY, OR SCHOOL OF ATHENS (1509-1511).
Fig. 2-65 Perspective in School of Athens.
![Page 72: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/72.jpg)
Fig. 2-66 GUSTAVE CAILLEBOTTE. Paris Street: Rainy Day *1877). Oil on Canvas. 83 1/2” 108 1/4”.
Fig. 2-67. Perspective in Caillebottoes’s Paris Street: Rainy Day.
![Page 73: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/73.jpg)
Atmospheric Perspective
• (Also called aerial perspective.)
• Texture gradient - closer objects are perceived as having rougher or more detailed surfaces.
• Brightness gradient - distant objects are less intense.
![Page 74: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/74.jpg)
Figure 2.69, p.61: SYLVIA PLIMACK MANGOLD. Schunnemunk Mountain (1979). Oil on canvas. 60” x 80 1⁄8”.
![Page 75: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/75.jpg)
Time and Motion
• Actual Motion:– Kinetic Art - art that moves.
Example: Mobiles– Photography
![Page 76: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/76.jpg)
Fig. 2-70 p. 62 ALEXANDER CALDER. Untitled (1972). East Building mobile.
![Page 77: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/77.jpg)
Implied Motion
• Stopped Time - a style of art that “stops time” in order to imply motion.
• Time implied & Motion Implied - Some works try to imply that motion or time has occurred.
![Page 78: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/78.jpg)
Figure 2.71, p.63: GIANLORENZO BERNINI. Apollo and Daphne (1622–1624). Marble. 7’6”.
![Page 79: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/79.jpg)
The Illusion of Motion
• There is a difference between implied motion and the illusion of motion.
• One implies that the motion has already occurred and the other implies that the motion is happening right now.
• Examples:• Early photographic experiments of multiple
exposures of motion.• The blurring of shapes and the repetition of
linear patterns blurring the contours of a figure. • Blurring outlines to create the illusion of motion.• Op Art !
![Page 80: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/80.jpg)
Figure 2.74, p.64: THOMAS EAKINS. Man Pole Vaulting (c. 1884). Photograph.
![Page 81: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/81.jpg)
UMBERTO BOCCIONI. Dynamism of a Soccer Player (1913). Oil on canvas. 6’4 1⁄8” x 6’7 1⁄8”.
![Page 82: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/82.jpg)
BERNHARD JOHANNES AND ANNA BLUME. Kitchen Tantrums (1986–1987). Photo-piece. 51 1⁄8” x 35 7/8”.
![Page 83: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/83.jpg)
Op Art
• Op Art - Optical Art, is based on creating optical sensations of movement through the repetition and manipulation of color, shape, and line.
• Afterimage - when we look at a color for a long period of time and then look away you may briefly see the opposite color due to fatigue of the cornea in the eyes.
![Page 84: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/84.jpg)
Other Ways of Creating the Illusion of Motion
• Cinematography and video• Stroboscopic motion• (Real movement involves illusion)
![Page 85: Chapter 2](https://reader033.vdocuments.us/reader033/viewer/2022061300/54c805eb4a79593e098b45ba/html5/thumbnails/85.jpg)
Fig. 2-76. P.65 BRIDGET RILEY. Gala. (1974). Acrylic on canvas. 5’ 2 3/4” square.