200x lecture 2
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The document explores various principles of design through notable artworks and artists, including Henri Matisse, Jackson Pollock, and Georgia O'Keeffe. It emphasizes concepts such as unity, variety, balance, scale, rhythm, and proportion, providing specific examples from art history to illustrate these principles. The text serves as a guide to understanding how design elements contribute to the overall impact of visual art.
200x lecture 2
- 1. Principles of Design: Unity and Variety Balance Emphasis and Subordination Scale and Proportion Rhythm
- 2. Henri Matisse Memory of Oceania 1953 Gouache on paper, cut and paster, and charcoal on white paper, 9'4” by 9'4” The Museum of Modern Art, New York Shapes consist of three families: rectangles simple curves waves Unity and Variety Unity – sense of things working as a whole Variety – difference, provides interest Colors are limited to six plus black and white and many of them repeat (yellow, purple) Memory of Oceania comes from Matisse's voyage to Tahiti, from his native France, to gain different inspiration for his painting. Matisse, Henri. Memory of Oceania. 1953. The Museum of Modern Art, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 3. Jackson Pollock Shimmering Substance (Sounds in the Grass series) 1946 Oil on canvas 30 by 24” The Museum of Modern Art, New York Takes unity and variety to the extremes so that they merge Small patches of color everywhere that speak to variety But the whole piece comes together into a unity, where the eye flows freely across the surface All of the similar brush strokes create unity Pollock, Jackson. Shimmering Substance (Sounds in the Grass series). 1946. The Museum of Modern Art, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw- Hill, 2013. Print.
- 4. Annette Messager Mes Voeux (French for “My Wishes”) 1989 Framed photographs and handwritten texts, suspended with twine 59 by 15” Marian Goodman Gallery, Paris Conceptual Unity – the unity of ideas Photographs that portray different body parts – knee, throat, mouth, ear, Parts that are handwritten and placed in parts where we conceive of the body as being ... Consolation at the head Tenderness at the arms Shame at the genitals Luck at the legs Repeating shapes and restricted Messager, Annette. Mes Voeux (French for “My Wishes”). 1989. Marian color palette give a visual unity Goodman Gallery, Paris. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 5. Joseph Cornell The Hotel Eden 1945 Assemblage with music box 15 by 15 by 4” National Gallery of Canada, Ottawa Places disparate-seeming objects into boxlike structures Collects odd objects and puts things together based on his dreams, nostalgia and fantasies Gets the viewer to imagine how they all might work together Cornell, Joseph. The Hotel Eden. 1945. National Gallery of Canada, Ottawa. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 6. Isamu Noguchi Noguchi, Isamu. Red Cube. 1968. The Isamu Noguchi Foundation, Inc. Living with Art, Tenth Red Cube Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. 1968 Steel painted red The Isamu Noguchi Foundation, Inc. Balance Its weight is distributed evenly around a central axis. Visual balance occurs because the red pops against a dark background The writing and the letters in the background all help to direct our eye around the image so it is not stuck in one place Visual weight – sense of lightness or heaviness of the forms – here it is seems well balanced
- 7. Haruka Kojin reflectwo 2006 Artificial flowers and acrylic, dimensions variable Kojin, Haruka. Reflectwo. 2006. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Symmetrical Balance Central axis – an imaginary straight line that divides the composition in half reflectwo has a Horizontal axis Inspired by a late night walk where the artist saw a reflection in the water and she felt lost in space, like a dream Petals are hung in depth so that their relationships shift as you walk around it
- 8. Georgia O'Keefe Deer's Skull with Pedernal 1936 Oil on canvas 30 by 36” Museum of Fine Arts, Boston The skull itself is symmetrical Set on vertical access Subtle shift in balance, top and bottom of the tree branches to the right Twig and cloud are slightly on the left the branches mimic the horns of the deer skull O'Keefe, Georgia. Deer's Skull with Pedernal. 1936. Museum of Fine Arts, Boston. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 9. Newar artists at Densatil Monastery, Central Tibet Thirteen-Deity Jnanadakini Mandala 1417-47 Opaque watercolor on cotton cloth 33 by 28” The Metropolitan Museum of Art, New York Uses symmetrical balance A mandala from Tibetan Buddhism Depicts cosmic realm emanating from the female buddha Jananadakini Mandala means “circle” in Sanskrit Uses geometry and symmetry to communicate that there is a logic and order to the universe, even if Newar artists at Densatil Monastery. Central Tibet we don't see it Thirteen-Deity Jnanadakini Mandala. 1417-47. The Metropolitan Museum of Art, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 10. Asymmetrical Balance – has two sides that do not match. A large form is visually heavier than a smaller form A dark-value form is visually heavier than a light-value form A textured form is visually heavier than a smooth form A complex form is visually heavier than a simple form Two or more small forms can balance a larger one A smaller dark form can balance a larger light one Larger mass of humans who push past the center of the image and symbolize life, and death is a skinnier figure on the left. The gaze between the woman on the left and death help to pull our eyes and create a relationship between life and death. Gustav Klimt Death and Life before 1911, finished 1915 Oil on canvas 5'10” by 6'6” Museum Leopold, Vienna Klimt, Gustav. Death and Life. before 1911, finished 1915. Museum Leopold, Vienna. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 11. Tawaraya (Nonomura) Sotatsu. The Zen Priest Choka. Edo period, late 16th-early 17th century. Hanging scroll, ink on paper 37 by 14” The Cleveland Museum of Art Forms almost off the page they are so far to the left An implied line exists because we naturally look up to the buddha because he is the only figure on the page. He looks at nothing, which symbolizes his meditation on emptiness Tawaraya (Nonomura) Sotatsu. The Zen Priest Choka. Edo period, late 16th-early 17th century. The Cleveland Museum of Art. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 12. Turner was an eye witness to this event from a boat on the Thames river in London The flames are large and bright and colorful on the left side, but our attention is balanced with the bridge to the right, which our eye follows, leading us ultimately to the crowd standing in the foreground. The street light is the lightest part of the piece, which draws our eyes to the left, and then they circle back to the fire. The cycle continues. Joseph Mallord William Turner The Burning Houses of Parliament 1835 Oil on canvas 36 by 48” Philadelphia Museum of Art Turner, Joseph Mallord William. The Burning Houses of Parliament. 1835. Philadelphia Museum of Art. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 13. Eduoard Manet A Bar at the Folies- Bergère 1881-82 Oil on canvas 37 by 51” The Samuel Courtlauld Trust, Courtarld Institute of Art Gallery, London Implied depth – the reflection of the mirror creates an interior that stretches far back, but really the barmaid is wedged in a small place. Large dark reflection of the barmaid, The oranges, champagne bottles, chandeliers, all play a role in balancing the composition Manet, Eduoard. A Bar at the Folies-Bergère. The Samuel Courtlauld Trust, Courtarld Institute of Art Gallery, London. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 14. Henry Ossawa Tanner The Banjo Lesson 1983 Oil on canvas 49 by 35” Hampton University Museum, Hampton, Virginia Emphasis – a part of the composition made to stand out Subordination – a part of the composition that hangs in the background Uses size and placement The figures are in the foreground and their visual weights form a single mass Dark skin against pale background creates visual contrast Directional lines of sight down the neck of the banjo to emphasize the circular body of the banjo and the boy's hand on it The background is subordinated: the detail is blurred to draw less attention to itself Tanner, Henry Ossawa. The Banjo Lesson. 1983. Hampton University Museum, Hampton, Virginia. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 15. Paul Cézanne Still Life with Compotier, Pitcher, and Fruit 1892-94 Oil on canvas 28 by 36” The Barnes Foundation, Philadelphia The white napkin creates a central focal area, and subordinates the rest of the image that is formed of earth tones Each piece of fruit, as bright colored objects popping out against the white, is a focal point to draw your eye Cézanne, Paul. Still Life with Compotier, Pitcher, and Fruit. 1892-94. The Barnes Foundation, Philadelphia. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 16. Francisco de Goya Executions of the Third of May, 1808 1814-15 Oil on canvas, 8'9” by 13'4” Museo Del Prado, Madrid White yellow and red demand our attention as a focal point Lantern sets light on the figures being slaughtered too Faces are natural focal points ... the victims have faces, and the soldiers do not The guns create directional lines as well as the movement of the soldiers toward them Goya, Francisco de. Executions of the Third of May, 1808. 1814-15. Museo Del Prado, Madrid. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 17. Claes Oldenburg and Coosje van Bruggen Plantoir 2001 Stainless steel, aluminum, fiber-reinforced plastic, painted with polyurathane enamel height 23'11” Collection Fundação de Serralves, Porto. Scale – size in relation to a standard size Coosje van Bruggen surprises us by playing with scale and making the gardening tool so huge, like a monument Reminds us of fairy tales with fairies and giants Oldenburg, Claes and Coosje van Bruggen. Plantoir. 2001. Collection Fundação de Serralves, Porto.Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 18. René Magritte Delusions of Grandeur II 1948 Oil on canvas 39 by 32” Hirshhorm Museum and Sculpture Garden Smithsonian Institution, Washington, D.C. Shifts in scale, with the woman being broken up into several different sizes Magritte liked to transform objects into like objects, as here with the sky becoming blue blocks Proportion is the size relationships between the parts and the whole The proportion of each section of the body is naturalistic Magritte, René. Delusions of Grandeur II. 1948. Hirshhorm Museum and Sculpture Garden Smithsonian Institution, Washington, D.C. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 19. Stela of the sculptor Userwer, detail. Egypt, Dynasty 12. 1991-1783 B.C.E. The British Museum, London. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Stela of the sculptor Userwer, detail Egypt, Dynasty 12, 1991-1783 B.C.E. The British Museum, London Different cultures developed fixed sets of proportions for depicting a “correct” human form. Ancient Egyptians had a squared grid created with the palm of the hand, and had specific measurements for how to map out bodies within that grid
- 20. A royal altar to the hand (ikegobo) Benin, 18th century Brass height 18” The British Museum, London Benin is in West Africa Dedicated to King's hand, a symbol of physical prowess Hands around the base Composition expresses a social hierarchy The king at the center and is the largest, showing he is the most important. Hierarchical scale The king's head takes up one third of his height – head symbolizes wisdom and judgment, A royal altar to the hand (ikegobo). Benin, with which he rules his subjects 18th century. The British Museum, London. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 21. The Golden Section – divides a length into two unequal segments so that the larger segment has the same ratio to the larger segment that the larger segment has to the whole. In counting, it goes like this 1, 1, 2, 3, 5, 8, 13 etc. The ratio of the two segments is approximately 1 to 1.618 The Greeks used these measurements in architecture and thought of it as a mathematical ordering of the universe
- 22. Leonardo da Vinci Study of Human Proportions according to Vitruvius 1485 – 90 Pen and ink 13” by 9” Gallerie dell'Accademia, Venice Da Vinci saw the ideal male form as being measurable within a square and a rectangle (where the belly button is the center) Da Vinci, Leonardo. Study of Human Proportions according to Vitruvius. 1485 – 90. Gallerie dell'Accademia, Venice. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 23. Le Corbusier The Modulor 1945 Courtesy Fondation Le Corbusier Le Corbusier was a French architect who put human proportions into a tool he called “The Modular” It is based on two overlapping golden sections first – feet to the navel second – the navel to the top of the head third – top of the head to the tip of the raised hand Le Corbusier. The Modulor. 1945. Courtesy Fondation Le Corbusier. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 24. He used The Modular in: Le Corbusier Notre-Dame-du-Haut Ronchamp, France Exterior view from southeast 1950-55 Le Corbusier. The Modulor. 1945. Courtesy Fondation Le Corbusier. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Le Corbusier said that there are no absolutes, only relationships, and we experience the world in proportion to ourselves.
- 25. Rhythm Maya Lin Storm King Wave Field 2007-08 Earthwork at Storm King Art Center, Mountainville, New York Modelled on a naturally occurring water-wave formation called the Stokes wave Lin learned about it when studying fluid dynamics Grass covered earthern wave reaches heights of 12 to 18 feet Seven rows over eleven acres of land Through repetition this work creates a visual rhythm Lin, Maya. Storm King Wave Field. 2007-08. Earthwork at Storm King Art Center, Mountainville, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 26. Kaiho Yusho Fish Nets Drying in the Sunday17th century One of a pair of six-panel screens, color and gold on paper 5'3” by 11'6” The Museum of the Imperial Collections, Sannomaru Shozokan Two contrasting rhythms: Long, swooping lines of the drying nets at the left And the short straight lines of the leaves on the trees to the right (Try imagining them as representing music!) Yusho, Kaiho. Fish Nets Drying in the Sunday. 17th century. The Museum of the Imperial Collections, Sannomaru Shozokan. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 27. Paul Klee Landscape with Yellow Birds 1923 Watercolor and gouache on paper 13 by 17” Private Collection Organized around several rhythms: Bulging silvery forms Yellow birds forming an implied oval that directs our eyes through the landscape Red circles, including silver moon, create an implied arc Klee, Paul. Landscape with Yellow Birds. 1923. Private Collection. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 28. Leon Battista Alberti Facade of Sant'Andrea, Mantua Designed 1490 Repeating vertical rhythm of pilasters (flat ornamental columns) Evenly spaced, there would be five if the arch entryway weren't there The arch of the large entryway repeats in the smaller arches on either side Door entryway repeats in smaller doors on either side too Alberti, Leon Battista. Facade of Sant'Andrea, Mantua. Designed 1490. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 29. Hans Baldung Grien The Three Ages of Woman, and Death, 1510 Oil on limewood, 18 1/2 by 12 3/4” Kunsthistorisches Museum, Vienna Vanitas: In the tradition of western art A work of art that reminds us that life passes and that death is inevitable Many Vanitas have used the image of a beautiful woman looking at herself in the mirror, so to say that she will age and her beauty will not last Grien, Hans Baldung. The Three Ages of Woman, and Death. 1510. Kunsthistorisches Museum, Vienna. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw- Hill, 2013. Print.
- 30. Titian Venus with a Mirror c. 1555 Oil on canvas, 49 by 41 1/2” National Gallery of Art, Washington, D.C. Sometimes in this tradition: Artists choosing to depict beautiful Women admiring themselves In the mirror simply as an excuse to Paint this subject Here Venus admires her Eternal beauty Titian. Venus with a Mirror. c. 1555. National Gallery of Art, Washington, D.C. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 31. Pablo Picasso Girl Before a Mirror 1932 Oil on canvas 5'4 by 4'3” The Museum of Modern Art, New York The largeness of the piece when seen in person gives it a strong impression Symmetrical balance with the left post of the mirror on the vertical access The two sides are set in opposition and we notice their difference, warm colors are reflected as cool colors (ex. Yellow and purple in the face) The red striped shape on the girl's chest, and her outstretched arm link the two sections of the piece together The curves and circles of the girl and the oval of the mirror help to unify the piece with similar round shapes Picasso, Pablo. Girl Before a Mirror. 1932. The Museum of Modern Art, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Picasso made many adjustments to a Suggestion of the womb in her body piece as he worked
- 32. Fin