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Form & Idea

Key terms from text:

Aesthetics: branch of philosophy that deals with the nature, beauty and meaning of art, and our response to it

Megalith: a large, massive stone

Genre: art that depicts casual moments of everyday life and its surroundings

Vanitas: (vanity) fleeting nature of earthly life

Living
with
Art:
Abstrac1on

Constantin Brancusi. Bird in Space, 1928-30. Gelatin Silver Print.

Living
with
Art:
Abstrac1on 
 Constantin Brancusi. Bird in Space, 1928-30. Gelatin Silver Print. •   It allows for

It allows for universal ideas.

It gives the essence or pure form of a concept like: birth, kiss, flight, dream.

Living
with
Art:
Abstrac1on


Brancusi’s studio, as reconstructed 1977-90

Living
with
Art:
Abstrac1on
 Brancusi’s studio, as reconstructed 1977-90 3

The
Impulse
for
Art


Frank Lloyd Wright, Fallingwater, 1936 Bear Run, PA.

The
Impulse
for
Art
 Frank Lloyd Wright , Fallingwater, 1936 Bear Run, PA. 4

The
Impulse
for
Art

Stemmed Vessel, Chinese, Neolithic period c. 2000 B.C.E. Black pottery.

The
Impulse
for
Art 
 Stemmed Vessel, Chinese, Neolithic period c. 2000 B.C.E. Black pottery. . 5

.

The
Impulse
for
Art


Chauvet cave, Lion panel, c. 25,000-17,000 B.C.E.

The
Impulse
for
Art
 Chauvet cave, Lion panel, c. 25,000-17,000 B.C.E. 6

Chauvet Cave Drawn by the Discovers

Chauvet Cave Drawn by the Discovers 7

Chauvet. Aurochs and Rhinoceroses: To the left of Panel of the Horses. ca. 30,000 B.C.E.

Chauvet. Aurochs and Rhinoceroses: To the left of Panel of the Horses. ca. 30,000 B.C.E. 8
9

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Chauvet Cave, France. Horse and Two Superimposed Mammoths. ca. 30,000 B.C.E. Material: engraving

Chauvet Cave, France. Horse and Two Superimposed Mammoths. ca. 30,000 B.C.E. Material: engraving 10

Lascaux, Dordogne, France. Chinese Horse, detail of mural from Lascaux. ca. 15,000-13,000 B.C.E. paint on limestone

Lascaux, Dordogne, France. Chinese Horse, detail of mural from Lascaux. ca. 15,000-13,000 B.C.E. paint on limestone
“Flying Horse,” 2 nd Cent. C.E., Chinese, Han Dynasty bronze sculpture. 12
“Flying Horse,” 2 nd Cent. C.E., Chinese,
Han Dynasty bronze sculpture.
12

Spotted horses and negative hand prints; mural painting on limestone formation from the cave at Pech-Merle, FR ca. 16,000-13,000 B.C.E.

Spotted horses and negative hand prints; mural painting on limestone formation from the cave at Pech-Merle,

The
Impulse
for
Art


Megalith: Massive stones

Stonehenge, ca. 2,800-1,550 B.C.E., Salisbury Plain, England; concentric circles of megaliths

The
Impulse
for
Art
 Megalith : Massive stones Stonehenge, ca. 2,800-1,550 B.C.E., Salisbury Plain, England; 
 concentric circles of
15
Stonehenge Salisbury Plain, England. Pointer stone. Photo: Catherine Weed Barnes Ward, ca. 1892. Negative, Gelatin on

Stonehenge Salisbury Plain, England. Pointer stone. Photo: Catherine Weed Barnes Ward, ca. 1892. Negative, Gelatin on glass.

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2800-1550 B.C.E. Photo courtesy Susan Pierce.
2800-1550 B.C.E.
Photo courtesy Susan Pierce.

Stonehenge, Salisbury Plain, England. Neolithic style period:

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Stonehenge, Salisbury Plain, England. Image courtesy Magnum Photos, 2004.
Stonehenge, Salisbury Plain, England.
Image courtesy Magnum Photos, 2004.

18

Stonehenge, Salisbury Plain, England. Image courtesy Magnum Photos, 2004.
Stonehenge, Salisbury Plain, England.
Image courtesy Magnum Photos, 2004.

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What
Do
Ar1sts
Do?


The Need for Art:

To create places for human purpose •To create extra-ordinary versions of ordinary objects •To record and commemorate •To give tangible form to the unknown •To give tangible form to feelings and ideas •To refresh our vision and see the world in a new way

What
Do
Ar1sts
Do?


Maya Lin, Vietnam Veterans Memorial, 1982. Washington, D.C.

What
Do
Ar1sts
Do?
 Maya Lin, Vietnam Veterans Memorial , 1982. Washington, D.C. 21
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25
26
27

Asante. Kente cloth. Ghana, mid-20th century.

Asante. Kente cloth . Ghana, mid-20th century. © 28

©

Manohar, Jahangir Receives a Cup from Khusrau, 1605-06.

Opaque watercolor on paper.

Manohar, Jahangir Receives a Cup from Khusrau, 1605-06. Opaque watercolor on paper. 29

Shiva Nataraja. Made by an anonymous artist. India, 10th century C.E. Bronze Statuette.

Shiva Nataraja. Made by an anonymous artist. India, 10th century C.E. Bronze Statuette . . 30

.

Vincent van Gogh. Starry Night, 1889. Oil on canvas.

Vincent van Gogh. Starry Night, 1889. Oil on canvas. 31

Ernst Haas, Peeling Paint on Iron Bench, Kyoto. 1981.

rtists Do?

Ernst Haas, Peeling Paint on Iron Bench , Kyoto. 1981. rtists Do? 32

Traits which lend themselves to artistic

Crea1ng
&
Crea1vity


production:

1.Sensitivity: heightened awareness 2.Flexibility: adapt to new possibilities 3.Originality: problem solve creatively 4.Playfulness: humor & experimentation 5.Productivity: ability to generate ideas 6.Fluency: free flow of ideas

7.Analytical skill: exploring problems and finding how things work

8.Organizational skill: putting things together in a coherent order

Tim Hawkinson, Emoter, 2002. Mixed media.

Tim Hawkinson, Emoter, 2002. Mixed media. 34
Tim Hawkinson, Emoter, 2002. Mixed media. 34

Juan de Valdés Leal, Vanitas, 1660. Oil on canvas.

Juan de Valdés Leal, Vanitas, 1660. Oil on canvas. Audrey Flack, Wheel of Fortune (Vanitas ),

Audrey Flack, Wheel of

Fortune (Vanitas), 1977-78.

Oil over acrylic on canvas.

Juan de Valdés Leal, Vanitas, 1660. Oil on canvas. Audrey Flack, Wheel of Fortune (Vanitas ),

Chapter
One


Living
with
Art

Key terms from the text:

Aesthetics: branch of philosophy that deals with the nature, beauty and meaning of art, and our response to it

Megalith: a large, massive stone

Genre: art that depicts casual moments of everyday life and its surroundings

Vanitas: (vanity) fleeting nature of earthly life

Key Terms

Outsider/Folk Art: Artwork by nonprofessionals Representational (Naturalistic, trompe l’oeil) Abstracted (Stylized) Nonrepresentational/Nonobjective or ABSTRACT Form: Media, Style, Composition Content: Subject matter, Message, Iconography Context: Knowledge of artist, time & culture Aesthetics: Philosophy of meaning & nature of art Installation: Work created for a specific space

Andy Warhol. Thirty Are Better than One, 1936.

silkscreen ink, acrylic paint on canvas.

Andy Warhol . Thirty Are Better than One, 1936. silkscreen ink, acrylic paint on canvas. Leonardo

Leonardo da Vinci. Mona Lisa, c. 1503-05. oil on canvas. Louvre Museum.

Andy Warhol . Thirty Are Better than One, 1936. silkscreen ink, acrylic paint on canvas. Leonardo

Andrea del Verrocchio. David, 1465. Bronze with gold details.

Dasavanta, Shravana, and Madhava Khurd

(attr.), Badi’uzzaman Fights Iraj to a

Draw, 1567-72. opaque watercolor on cotton.

Andrea del Verrocchio. David, 1465. Bronze with gold details. Dasavanta, Shravana, and Madhava Khurd (attr. ),
Andrea del Verrocchio. David, 1465. Bronze with gold details. Dasavanta, Shravana, and Madhava Khurd (attr. ),

© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.

39

Hampton, Throne of the Third Heaven of the Nations’ Millenium General

Assembly, 1950-64. gold and silver aluminum foil, colored kraft paper and plastic sheets over wood, paperboard, and glass.

Claude Monet. Fisherman’s Cottage on the Cliffs at

Varengeville, 1882. oil on canvas.

Hampton , Throne of the Third Heaven of the Nations’ Millenium General Assembly, 1950-64 . gold
Hampton , Throne of the Third Heaven of the Nations’ Millenium General Assembly, 1950-64 . gold

Aesthetics: A philosophy of the nature and meaning of beauty, as it pertains to art

Edward Weston, Cabbage Leaf, 1931. Gelatin silver print.

Aesthetics: A philosophy of the nature and meaning of beauty, as it pertains to art Edward

Art and Beauty

Aesthetics: A philosophy of the nature and meaning of beauty, as it pertains to art

Figure 2.10 Bellini, Pieta, c. 1500-05.

Art and Beauty Aesthetics: A philosophy of the nature and meaning of beauty, as it pertains

Figure 2.11 Goya, Chronos Devouring One of His Children, 1820-22.

Art and Beauty Aesthetics: A philosophy of the nature and meaning of beauty, as it pertains

Art and Appearances

Representational and Abstracted

Representational (Realism, naturalistic): Resembles forms in the natural world; “window on the world”

Pablo Picasso, First Communion, 1895-96. oil on canvas.

Art and Appearances Representational and Abstracted Representational (Realism, naturalistic): Resembles forms in the natural world; “window

Pablo Picasso, Les Demoiselles d’Avignon, 1907. oil on canvas.

Art and Appearances Representational and Abstracted Representational (Realism, naturalistic): Resembles forms in the natural world; “window

Art and Appearances

Representational and Abstract

Abstract: Distorts, exaggerates, or simplifies the natural world to provide essence or universality

Louise Bourgeois, Woman with Packages, 1949. wood, paint, nails (mixed media)

Duane Hanson, Housepainter III, 1984/1988. mixed media (latex)

Art and Appearances Representational and Abstract Abstract: Distorts, exaggerates, or simplifies the natural world to provide
Art and Appearances Representational and Abstract Abstract: Distorts, exaggerates, or simplifies the natural world to provide

© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.

44

Art and Appearances

Representational and Abstract

Head of a King, from Ife, Yoruba, c. 13th century. Bronze casting.

Art and Appearances Representational and Abstract Head of a King, from Ife, Yoruba, c. 13th century.

Seated Couple, Dogon. Wood carving.

Art and Appearances Representational and Abstract Head of a King, from Ife, Yoruba, c. 13th century.

© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.

45

Art and Appearances

Stylized

Detail, tomb of Sety I, c. 1300 B.C.E. painted relief carving.

Art and Appearances Stylized Detail, tomb of Sety I, c. 1300 B.C.E. painted relief carving. ©

© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.

46

Art and Appearances

Nonrepresentational or Abstract

Nonrepresentational (Nonobjective): Contains no reference to the natural world as we see it

Kandinsky, Swinging, 1925.

Art and Appearances Nonrepresentational or Abstract Nonrepresentational (Nonobjective): Contains no reference to the natural world as

Figure 2.21 Utamaro, Hairdressing, 1798-99.

Style

Figure 2.22 Degas, Nude Woman

Figure 2.23 Susan Rothenberg,

Having her Hair Combed, c. 1886-88. Maggie’s Ponytail, 1993-4.

Figure 2.21 Utamaro, Hairdressing, 1798-99. Style Figure 2.22 Degas, Nude Woman Figure 2.23 Susan Rothenberg, Having
Figure 2.21 Utamaro, Hairdressing, 1798-99. Style Figure 2.22 Degas, Nude Woman Figure 2.23 Susan Rothenberg, Having
Figure 2.21 Utamaro, Hairdressing, 1798-99. Style Figure 2.22 Degas, Nude Woman Figure 2.23 Susan Rothenberg, Having

Form and Content

Matisse, Music Lesson, 1917. oil on canvas.

Form and Content Matisse, Music Lesson, 1917. oil on canvas. Form: The way a work looks,

Form: The way a work looks, including:

Media: materials used Style: constant, recurring or coherent traits Composition: the organization of design elements & principles

Form and Content

Matisse, Music Lesson, 1917. oil on canvas.

Form and Content Matisse, Music Lesson, 1917. oil on canvas. Content: What the work says, including:

Content: What the work says, including:

Subject matter (general) Message (more specific) Iconography (on next slide…)

Form and Content

Jan van Eyck, Betrothal of the Arnolfini, 1434. oil on canvas.

Form and Content Jan van Eyck, Betrothal of the Arnolfini, 1434. oil on canvas. Iconography (the

Iconography (the story including symbols or references, people, events, etc.) requires knowledge of a specific time, beliefs or culture.

Art and Objects

Aesthetics: nature and meaning of beauty & art

Context: knowledge of the artist and his/her audience

Navajo man creating a sand painting. 1939.

Art and Objects Aesthetics: nature and meaning of beauty & art Context : knowledge of the

Olmec, Standing figure holding supernatural effigy, 800-500 B.C.E. Jade.

Art and Objects Aesthetics: nature and meaning of beauty & art Context : knowledge of the

52

Art and Objects

Installa1on:
a space presented as a work of art to be entered, explored, experienced, and reflected upon

Ann Hamilton, Mantle, 1998. Installation at Miami Art Museum.

Art and Objects Installa1on:
 a space presented as a work of art to be entered, explored,

Review


Outsider/Folk Art: Artwork by nonprofessionals Representational (Naturalistic, trompe l’oeil) Abstracted (Stylized) Nonrepresentational/Nonobjective (abstract) Form: Media, Style, Composition Content: Subject matter, Message, Iconography Context: Knowledge of artist, time & culture Aesthetics: Philosophy of meaning & nature of art Installation: Work created for a specific space