Howframe,location,pedestalinfluencehowIseethework? Noticepointofview:above,below,headon?Outsidelookingin?DoessomethinginviteyouINTOthework? Isitcropped?Howdoesyourgazemovearoundthework? Alwayspayattentiontoshapeofvoids. Noticehowthebalanceisachieved. Noticetheproportion,scale(hierarchical?). Doestheworksuggestmotionorpassageoftime:arethererepeateddepictionsofthesamecharacter?Are thereprocessions?Arethereunstableposes?Doesthewaypaintisappliedsuggeststronggestures? Arakinglightislightfromanobliqueangle.Takeaflashlightanduseitcloselyonapaintingtoseethe texture. Howdoestheartistcreateasenseofsoftnessonclothing?Whereislightcomingfrom?Howareshadows used?Areshadowsgreyandblackoronlydarkercolours? Whatkindoflinecontour,crosshatching?Whichmedium?Whatwasthepurpose,preliminarily? Noticesculpturessubject,light,size.Isitindoors?Aboveyou?Inrelief?Texture,medium?Additiveor subtractive?

tractive? Noticetypeofpaint,surface,brushstrokes. Noticesubject:portrait?Historicalevent?Religiousscene?Landscape,stilllife? Noticeseason,timeofday,relationships. Portrait::notice::Famousperson?Formal/informal?Profile,,frontal?Gaze?Mypointofview?Isit realistic,idealised,distorted?Whatcanyoulearnaboutthepersonbythepainting? [READmichelangelospoetry.] Noticeobjectsandtheirsignificance,theroleoftheartistatthetimeoftheselfportrait,therelationofthe selfportraittootherworksbytheartist. Noticeinterplayofvertical,horizontalanddiagonallineslight,weatherfigures. Basicelements:colour,line,shape/mass,composition,time/motion,light/texture,space,shading/shadow, pointofview/focalpoint,gaze,iconography,symbols. Wheredoyoureyesgotoatfirst?Doesitwonder?Wheredoesitrest? [Great:distorted,deformedhandsasreflectionofemotionalandspiritualperturbance.]

Einfhlungtotalemotionalresponsetospace. i. Howframe,location,pedestalinfluencehowIseethework? ii. Focalpoint:mainfocusofwork,whereeyesaredrawn. Pointofview:Howandfromwhereyouarelookingatsomething.Somepaintingsareintimatebecause youfeelyouarethere,insideit.Others,likeRaphaelsSistineMadonna,withacurtainandasenseof staging,arenotsointimate.Acroppedperspectivemakesitintimateyoudontseeeverything,maybeonly theheadofacharacter,thetorsoofanotheretc.Inintimatepaintingthepaintermakesusacharacterwe areashepherd,oroneoftheworshippers. Whenwecanonlyseethebackofacharacter,wearebeinginvitedtotakehisplace. Reliefsculpture:canonlybeseenfromonepointofviewhasmasspartsstickoutusessametypeof composition/focalpointaspainting. Intheroundsculpture:3D,multiplefocalpoints. Somepaintingswithoutfocalpoint[e.g.Rothko]wantyoutobeimmersedbythepainting. Sonoticepointofview:above,below,headon?Outsidelookingin?Doessomethinginviteyou INTOthework?Isitcropped?Howdoesyourgazemovearoundthework? iii. Colourschemes:analogouscoloursareadjacenttooneanotherinthewheel. complementarycoloursaretheoppositeofoneanother.RedGreen,BlueOrange. ::value:highlight,lowdark::saturation/intensity:strongestsaturationisthepurecolour,lesssaturatedwill bebothlighteranddarker::artistsusecomplementarycolourstointensifyoneanother. Intime,artistsstoppedusingcoloursonlydescriptivelyandstartedusingitstronglysymbolically. iv. Lineoutline/contourcrosshatchingsexpressionallines[nondescriptive,e.g.vanGogh]directionalline V=happymood,___=neutralmood,[notexactlyline.weseeagenerallefttoright,e.g.]organic[curved, biomorphic]vs.geometric[straight,geometrical]lines. v. Shapeorganicvs.geometric(stable).Shadecontributestosenseofshape.Shadows,shadeandshape formthesense/notionofspace.Alwayspayattentiontoshapeofvoids. vi. Composition2D:combinationofcolour,line,shape. 3D:mass,space,colour/light. Asymmetricalpaintingscanbebalanced,butnotautomatically.Theirfocalpointcanbeanywhere.Theyare dynamic.Noticehowthebalanceisachieved. SymmetricalfiguresgiveanotionofICONIC. Closedcomposition::arrangedwithintheframeofthecanvas.Ittakesoureyestoaspecificareaofthe painting.Monkbytheseaisquitetheoppositeitmakesoureyeswander.TheSublime.Insculpture,cc happenswhenthereareinternalvoids,butnotexternal. Noticetheproportion,scale(hierarchical?).Sometimesahierarchicalisused,wheremoreimportant charactersarebigger.Sidenote::headshouldbe1/7thofthewholebody. vii. Foreshorteningdistortiontomakeitlookreal[bendingknee,e.g.]. Atmosphericperspectivethingsfaronthebackgroundarenotsonitid. Trompeloielfooltheeye. viii.

Doestheworksuggestmotionorpassageoftime:arethererepeateddepictionsofthesame character?Arethereprocessions?Arethereunstableposes?Doesthewaypaintisappliedsuggest stronggestures? ix. Textureandlightarecloselyconnected.Arakinglightislightfromanobliqueangle.Takeaflashlight anduseitcloselyonapaintingtoseethetexture. Rodinhadaspecialuseoftexture,notsmoothingthesculpture. Luminism::Americanmovementthatusedpaintingastoolformeditation,transcendence.Glasslikesurface texture. Impasto::thickpaint,thicktexture[likeMonet]. MonetsaidNaturehasnotrueblack,soImpressionistswouldntusechiaroscuro. Tenebrism::strongcontrastbetweenlight/dark.Whataintunderlight,isincompleteshadow. Howdoestheartistcreateasenseofsoftnessonclothing?Whereislightcomingfrom?Howare shadowsused?Areshadowsgreyandblackoronlydarkercolours? x. Sketchesaregoodtohelpunderstandtheartistsstyle,personality,thinking. croquis::quick,30seconddrawingscapturingactionorposeverysketchy. contour::outlinefigures. preliminary::firstplanforworksforanothermedium. cartoon::drawingsthatwouldbeusedkindalikestencilsforwalls. Onthe19thcentury,drawingsstartedbeingseenasworksontothemselves. Drymediametalpoint,chalk/pastel,charcoal,pencil. Liquidmediaink,wash. Whatkindoflinecontour,crosshatching?Whichmedium?Whatwasthepurpose,preliminarily? xi. Printworkonpaperthatcanbereproducedinmultiples.Artformassesmadepossible.Diglinesinto metalplate,rollinkintoindentations,wipeoffexcess. ReliefprintWOODCUT::itsdifficultcarvingagainstthegrain,speciallycurves.Inrelief,theinkdoesnt gointheindentation,butonthesurface.Thenegativeareasofthedrawingarecutaway.|WOOD ENGRAVING::unlikewoodcut,thewoodwasatrunkcuthorizontally,sothereisnoonedirectionofthe grain.Betterfordetails. Intagliocutinvariouswaysintoahardplatetomakeanimage.Onecutsthelinein.|ENGRAVING::the metalinkpressone.|ETCHING::theindentationismadebyacid,notbyhand,andalotofdetailis possible.Finelines.|DRYPOINT::metaltometal.Dontcarve,butpull.(?)|MEZZOTINT::variousshades ofblack. Lithographytheartistdrawsdirectlyonplate/stone.Theyusegreasyink.Looksmostlikeadrawing. Silkscreen(serigraph)useoflighttopreparethestencil.Itsquick,easy.Itsnotpressed. Monotypemadeoneatatype.Asecondonewillbedifferent. xiii. Sculpture::patina:thinlayerdevelopedovertimebytheweather,e.g.coppergreen. Collage::2Dobjectsgottentogether. |Assemblage::collageof3Dobjects. Noticesculpturessubject,light,size.Isitindoors?Aboveyou?Inrelief?Texture,medium?Additive orsubtractive? xiv. Painting::tempera::wetpainttodryground.AtMiddleAges,woodpaintingswerewood+gesso+gold leaf+eggtempera.Eggtemperawaseggbasedpaint,verythin. frescopainting::wetpainttowetplasterwalls.Wall+plasterarricco+plasterintonacothin+paint. Noticetypeofpaint,surface,brushstrokes.

encaustic::colourfulwaxpaint. |acrylic::muchmoreliquidandshiny,easytoapply. xvi. Iconography::subjectmatterofart. genre::scenesofeverydaylife. Noticesubject:portrait?Historicalevent?Religiousscene?Landscape,stilllife? xvii. Signs=signifiersofsomethingelse. Representationalsigns::i.Symbol::signifierdoesnotlookanythinglikethesignifiedithastobelearned [flagnation,ringmarriage,donkeyrejectionofJesus]. ii.Icon::signifierresemblesthesignified,i.e.aportrait/cartoon. iii.Index::signifierisntarbitraryratherithasadirectconnectiontosignified[bulletholebullet,smokefire]. Noticeseason,timeofday,relationships. xviii. Femalegazeinpaintingstendtobetotheside,nonconfrontational.Malegazestaresrightatyou.But whenwomenarethepainters,femalegazeisalsoaimedstraightatyou. Portrait::notice::Famousperson?Formal/informal?Profile,,frontal?Gaze?Mypointofview?Isit realistic,idealised,distorted?Whatcanyoulearnaboutthepersonbythepainting? xx. [READmichelangelospoetry.] Sometimesartistswillpaint/sculptthemselvesasfigurants.Wedetectthemastheonegazingoutofthe picture. Walleyeeffect::inselfportraitsmadebymirror,theeyesarenotpaintedthesameway. Noticeobjectsandtheirsignificance,theroleoftheartistatthetimeoftheselfportrait,therelation oftheselfportraittootherworksbytheartist. xx. Landscapethecompositioninfluencesourfeelingtowardsthepainting.Alotofsky:dramatic,humanwith nocontrol.Smallsky,bigforeground:wefeeleasytonavigate,cozy. Renaissancehadveryfewstandalonelandscapepaintings.Andthedivisionoflandscapewouldusuallybe equalbetweenforeground,middlegroundandbackground. Luministlandscapesaresmaller,delicate,nonsublime.Youcantakeitallatonce. HudsonRiverSchoolpaintingsarelargescale,sublime. Noticeinterplayofvertical,horizontalanddiagonallineslight,weatherfigures. xxi. Basicelements:colour,line,shape/mass,composition,time/motion,light/texture,space, shading/shadow,pointofview/focalpoint,gaze,iconography,symbols. Coloursareimportantforthebalanceofthepicture. Wheredoyoureyesgotoatfirst?Doesitwonder?Wheredoesitrest? xxii. EarlyRenaissanceClassicism+Humanismintroduced.Studyofhumanbodyandnaturebeliefinartas imitationofNature. Earlyandsoinconsistentapplicationofatmosphericandlinearperspective.Notalwaystoscale. Subjectsevenholyonesexistinspace. Stillreligious,butwithemphasisonhumanidentityofChristandMaryhumanchildoflifeinterestin landscape. xxiii. NorthernEarlyRenaissancestillmysticism.JanvanEyck,Flemish.[lilies=purity.]

Religiousandcivicsubjectmatterthataddresseseverydaylifeandobjectsordinaryobjectsused symbolically.InterestedinRealism,notClassicism.Useofhierarchicalscaleremarkabledetailwithpaint useofNortherncoldlighthighlightingsharpfolds. xxiv. HighRenaissance,Rome14901520.LEONARDO::masterofdetailofobservation. MICHELANGELO::masteroffigure. RAPHAEL::combinedboth:masterofcomposition. Sfumato::saturatedhaze.Kindofatmosphericperspective. MonaLisaarrangedastrianglesfumatogesture,engaginggaze. Davidhisposeiscontraposto,standingwithweightononeleg.Itsmorenatural,noniconic. xxv. Mannerism1520late1500.MichelangelosLastJudgement.RejectionofNeoplatonism. [SaintBartholomewsflayedskinsfaceisMichelangelos.] Reformation:senseofantiClassicismandalmostantiHumanism. Oddangles,unlikelyposes,lackoforderlyspaces,figuraserpentinata.Thereisstrenghtonthepainting. Distortion,crampedcomposition[cocrampeditsartificial,unlikenaturalbasisofRenaissance]tertiaryoff colours. BAROQUEdoesntbreaktherules,butbendsthemandexpandsthem.InHighRenaissanceyoualways hadaplacetostand,butnothere.Moredramaticuseofdiagonals,perhapsnoforegroundnorbackground. TheBaroqueDavidstatueisportrayedatthetimeofbattle.Saturatedprimaryandsecondarycolours buildupofpaint(impasto,scrumbling)tenebrismlittleorinfinitebackgroundactiveanddynamic compositionsexuberance,intensitybigsubjectsspatialmanipulation. xxvi. BAROQUESouth::(Spain,Italy,Flanders)Catholicextradramaandextremes.Strongvisualeffectsto exciteandteach[visions,dramaticstories],diagonalandspatialexpansion. Northern::(France)Academic/classicBaroqueundercontrolofLouisXIVlavishbutorderlydramatic compositionsorderneedforAbsolutismClassicalinfluenceforegroundpushedforwarddramaticpointof viewextradetailsinexuberance. Dutch::intense/dramaticuseoflightextremedepthanddynamicgenrepainting,portraits,stilllives impastofordramathesubjectisnotReformationprivatebuyers,notChurch.Vermeerslandscapeis Baroqueforitsproportion:theskyisnot,but. xxvii. 18thcenturyextremes.Thegreatmonarchiesdevolvedintopettyandsuperficialaristocracies. Rococo::forintimatepleasures.Pastels,delicatecurves,closedcomposition,moredelicateandsmaller details,artificiallifestyle.Pointofviewlookingslightlydownhighlightsandcolourssprinkledthroughout, nothingthatwouldoverwhelmyoueasytotakeinsubjectisthepleasureofupperclasses[thereis usuallyadovesomewhere]. Tactile,sensual,variedapplicationofpaintsubtleuseofglazesandimpasto. Rococomusichasnice,even,lightpacetoitlightflutes,nobigdrumstrills(gentletwirlaroundthenote ratherthanlandingheavilyonit). xxviii. 19thcenturyNeoclassicismreturntoEnlightenmentprinciplesemphasisonStoicism/morality [argumentagainstRococo:frivolityandsensuousness].JeanDavid,Canova. Horizontalsandverticalscloseandorderedcompositionsrestrictedspace,shallowforeground,most actioninmiddlegroundandoftennobackgroundthin,sharp,clearlinescolourisusuallyprimaryhuesof highsaturationoralmostmonochromaticbrownsnoble,quiet,calm,stable,simple. RomanticismanescapeintoNature,pasttimesorSublime.AntiNeoclassical,seeingitas mechanical/unfeeling.DerivedfromBaroque[swirlingcomposition]multiplefiguresinasingleimage.Death

isdramaticandexciting[seeDelacroixsAssurbanipal],unlikeinNeoclassicism[seeDeathofMarat,all stoic].OurresponsetoRomanticartisofimmediacyweseeapaintingaboutwar,weinstantlyfeellike fightingforourcountry,whiletoNeoclassicalitsrationalisedwethink,geez,thisseemsliketherightthing todo,soIshould,yknow,doit. Asymmetry,dramaticproportionscolourcontrastslandscapeasvehicleforexpressionofemotion. xxix. Realism18501880.Headonpointofviewsincere,notricksofillusion[so,youknow,preRaphaelites]. (Courbet)[remember:horizontaldirectionalpaintingsusuallyrefertodeath.] YouseeaRealistpaintingandthink,Icouldbethere,feelingthat.Itsoftendidactic,itseasyto understandflatapplicationofpaint. ImpressionismaRealismofcolour.Itssubjectmattersarecities/suburbs,socialleisurelifeofmiddle classexperimentswithlightnatureinnaturallightnolinescroppedcomposition[sliceoflife]. xxx. PostImpressionismrichwithinnovatio.Veryvariedartreferenceto3Dformsin2Dpaintings.Theyused somecharacteristicsofImpressionism,likepaintdabbing,butwithstrongeroutlinesemphasisonformand content.Czanne,forexample,triedgivingvariouspointsofviewinasameimage. Ithasnoperiodstylesuseofcoloursforpsychologicaleffects. Symbolismispartofthismovement[workofhigherreality].Theyleadusawayfromatraditionalreading. xxxi. Expressionismpersonalexpressionthroughdeliberatestylisticdistortion.Distortion,oftenconfrontational composition,heavyapplicationofpaint. Theelementsofstylesaredeterminedbywhattheartistwantstoexpressratherthanbywhatisobserved inNature.Theywantempathy:strongemotionalreaction. [Great:distorted,deformedhandsasreflectionofemotionalandspiritualperturbance.] TheBlueRiderswasaGermangroup. Einfhlungtotalemotionalresponsetospace.[alittlelater,agoraphobiawasdiscoveredandkindof confirmedEinfhlungwasarealthing.] xxxii. Cubismearly(19081910)::simplificationandgeometrisationofform. analytic(19111913)::breakingdownofform. synthetic(19131922)::rearrangingpieces. Multiplepointsofviewinonework. xxxiii. Abstract/ModernismNonrepresentationalworks[notitleabstraction].Itbeginswithsomethinginnature, thensimplifiesitandabstractsit. Topaint,youshouldfirsthaveaninnernecessitytodoit. Pollocksaidhehadcontroltherewasspontaneity,butalsocontrol. Nonrepresentationalforms=universalshapesthathavenosourcefromwhichtheyhavebeensimplified. MalevichsTheBlackSquare::SUPREMATISMsuchbasicelementsthatitcouldbecomeadesertof feelingtherewouldbeanemptinesstotheworktoencourageustoenterintothepainting,gointothe blackness,andhaveamoreemotionalexperience. Surrealismsubconscious!Buttodepictadream,youalsoneedtomasterarealisticstyle.Dalistudied Renaissancemasterstolearnhowtogetdetailsright.Butthesceneisntreal.Concernedwithinternal reality. Automatismlikedoodlesthedrawingequivalenttostreamofconsciousness.Dada:foundobjects,taken outoffunctionalpurposecritiqueofcivilisationplayfulnihilist. xxxv. Postmodernismopart=usednonrepresentationalformtocreateretinaleffects.

minimalism=initiallyasculpturemovementthatwasdeliberatelynonrepresentationalandwhichreturnedto verysimplegeneticformsarrangedinspace.Thereistheleastinterventionoftheartist. modernism=theartist,artist,artist.postmodernism=theviewer,theviewernottheintentionofthe artist,butourinterpretation.