g10.visualart-elementsandprinciples.pptx
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The document covers elements and principles of art, including line, color, texture, space, shape, form, and principles of design like balance, contrast, emphasis, proportion, rhythm, movement, and unity. It also discusses neo-impressionism, its characteristics like divisionism and pointillism, and key figures such as Georges Seurat and Paul Signac. Additionally, it contrasts neo-impressionism with post-impressionism, highlighting the evolution in artists' techniques and emotional expressions in their artworks.
g10.visualart-elementsandprinciples.pptx
- 1. ELEMENTS AND PRINCIPLES OF ART
- 2. What would be covered in this section? Formal elements of art Principles of design Materials and techniques
- 3. Elements of art Line: it is a continuous mark that creates a shape. Colour: colour contains three different kinds of properties: hue, value and intensity. Texture: this element identifies a surface and how rough or smooth it is. Space: Space is either negative which is 2-D or positive which is 3-D. Shape/Form: Shape is a 2-D object like a geometric shape. Form is a 3-D object that takes up space.
- 4. Line Line can be 2-D or 3-D Line can be created with any forms of medium used. Lines can create mood and express emotions like the following image: There are 5 main kinds of line: • Horizontal line • Vertical line • Diagonal line • Curved line • Zigzag line
- 5. Colour Colour is split into three sections: • Primary colours – cannot be made. E.g. Blue, yellow and red. • Secondary colours – made by mixing two primary colours. E.g. orange, purple. • Tertiary colours - made by mixing a primary colour and secondary colour together. E.g. Red-orange, Yellow-orange, Blue-green. Colour value has two categories when looking at colour. Tint: adding white to a colour. Shade: adding black to a colour.
- 6. Texture Texture refers to the way something feels or looks like if you had to touch it. Texture is seen as 3-D (physical) and 2-D (illusion). 3-D texture is felt where 2-D texture is created. 2-D texture is known as visual texture which is either simulated or invented: • Simulated texture: real-life texture is portrayed. • Invented texture: texture created through lines and shapes and consists of 2-D patterns.
- 7. Space Space is described as the areas around and within a object. Space is classified as negative which is the space around the object. Space can also be classified as positive which is the actual form in the artwork. Linear perspective is used to create depth and an illusion of space.
- 8. Shape and form The easiest way to find a difference between shape and form is: • Shape is 2-D and form is 3-D. Shapes are usually geometric like a square or circle. Shapes can also be organic i.e. they are not man-made and have a freeform. Forms have a length, width and height. Forms can be geometric like a cone or cube. Forms can also be organic like a monkeys face.
- 9. Principles of design Balance: Everything in the artwork must have the exact same weight on both sides. Contrast: This is the difference between the very light and very dark shades on the artwork. Emphasis: When an element in the artwork has a special importance and it is obvious in the artwork. Proportion: how one object in the artwork is represented as either further or closer to the eye compared to other objects.
- 10. Principles of design continued. Rhythm/Repetition: When there is a repeating of a certain object or shape or colour in an artwork. Movement: This is when motion is created in a artwork. Often an artwork leads your eye around the work which creates the “motion” in the artwork. Unity: This is when the artwork creates a wholeness in the artwork.
- 11. Balance Balance is creating a sense of stability . Everything balances out to create an equal weight on both sides of the work. Balance is split into three sections: • Symmetric : both sides look exactly the same. • Asymmetric: both sides do not look the same but they balance out in the end. • Radial: everything starts from a centre point leads the eye out in a circular way. Radial balance leads the eye to the centre.
- 12. Contrast A difference that is created when two different elements are placed together in a work of art. When looking at contrast the focus is on the light vs the dark areas. Also focus is on texture and the contrast between rough and smooth. Contrast is created through large and small shapes as well.
- 13. Emphasis Drawing attention to a certain element in the work. The emphasis creates the focal point in the work. Emphasis of an object shows how important that object is. It catches the viewers eye because of how it stands out. Emphasis is create through contrast.
- 14. Proportion Proportion is explained as the ratio of one part of the work to another. Proportion is referred to the scale and size of objects in a design. Objects further out in the work is smaller than the objects closer to the viewer. Easy way to know everything is in proportion is by using one object and counting how many times that one object fits into the focal point for example.
- 15. Rhythm/Repetition Repetition is the repeating of the same shapes and colour in a design. Rhythm is a combination of elements that are repeated but with variation.
- 16. Movement Movement is created when the viewer can see and feel the action in the work. Movement is also created by how the viewers eye moves through the work. Movement in the design comes from the different lines and shapes (2- D and 3-D) in the design. Diagonal lines in a design often create movement.
- 17. Unity Unity is known as using a main unit in design and focusing on it. Unity is also the relationship among all the elements in the design that function together as one. Unity helps to organise the design in order to create understanding and interpretation.
- 18. Materials and techniques There are various techniques and materials that can be used in the art world. This is a basic introduction to the types of materials and techniques used.
- 19. Sculpture
- 20. Painting Oil Painting Acrylic Painting Water colours Painting The canvas on the left is used for many paintings and on the right are the paints used and paintbrushes.
- 21. Drawing
- 22. Printmaking
- 23. Neo Impressionism T h e E ra o f D i v i s i o n i s m & Po i n t i l l i s m
- 25. What is Neo - Impressionism? Neo-Impressionism is an movement in French painting of the late 19th century that reacted against the empirical realism of Impressionism by relying on systematic calculation and scientific theory to achieve predetermined visual effects. Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat.
- 26. What is Neo - Impressionism? Most of the Neo-Impressionists held anarchist beliefs. Their depictions of the working class and peasants called attention to the social struggles taking place as the rise of industrial capitalism gained speed, and their search for harmony in art paralleled their vision of a utopian society. The freedom they sought in scientific study furthered their abilities to overthrow bourgeois norms and conventions that hampered their individual autonomy.
- 27. What is Neo - Impressionism? In order to more fully capture the luminosity seen in nature, the Neo-Impressionists turned to science in finding their painting technique of juxtaposing various colors and tones to create a shimmering, illuminated surface. By systematically placing contrasting colors, as well as black, white, and grey, next to each other on the canvas, the painters hoped to heighten the visual sensation of the image.
- 28. Characteristics What are the characteristics of Neo - Impressionism?
- 29. Characteristics Divisionism Pointillism In Neo – Impressionism, there are two characteristics that defines this art movement and the style that is being used within this movement.
- 30. Divisionism • also called Chromo-luminarism, is a color theory that advocates placing small patches of pure pigment separately on the canvas in order that the viewer's eye will optically blend the colors. • Divisionism became widely applied to any artist dividing or separating color while using small brushstrokes.
- 31. Pointillism Pointillism relied on the same theory of optical blending but specifically applied tiny separate "points," or dots, of pigment.
- 32. Other Characteristics The style also features luminescent surfaces, a stylized deliberateness that emphasizes a decorative design and an artificial lifelessness in the figures and landscapes. Neo- Impressionists painted in the studio, instead of outdoors as the Impressionists had. The style focuses on contemporary life and landscapes and is carefully ordered rather than spontaneous in technique and intention
- 33. Proponents The main proponents of Neo – Impressionism and example of their works
- 34. Georges Seurat He was a French post-Impressionist artist. He is best known for devising the painting techniques known as chromo-luminarism and pointillism. While less famous than his paintings, his conté crayon drawings have also garnered a great deal of critical appreciation. Seurat's artistic personality was compounded of qualities which are usually supposed to be opposed and incompatible: on the one hand, his extreme and delicate sensibility; on the other, a passion for logical abstraction and an almost mathematical precision of mind.
- 35. A Sunday Afternoon on La Grande Jatte (1884-1886)
- 36. Paul Signac Born in Paris on 11 November 1863. He followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter after attending an exhibit of Monet's work. In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colors and became Seurat's faithful supporter, friend and heir with his description of Neo- Impressionism and Divisionism method. Under Seurat's influence he abandoned the short brushstrokes of Impressionism to experiment with scientifically juxtaposed small dots of pure color, intended to combine and blend not on the canvas but in the viewer's eye, the defining feature of Pointillism.
- 37. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of Félix Fénéon (1890)
- 38. Camille Pissarro was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.
- 39. La Récolte des Foins, Éragny (1887)
- 40. Albert Dubois-Pillet Louis-Auguste-Albert Dubois was born on 28 October 1846 in Paris. Shortly thereafter, his family moved to Toulouse, where he was raised. In 1867, he graduated from l'Ecole Impériale Militaire in Saint-Cyr and began his career as a military officer. He remained in the army for the rest of his life Although self-taught, with no formal art education, he proved to be a talented artist. Around 1885, probably influenced by his friendships with Seurat and others, he began experimenting with Divisionist techniques, and he embraced Pointillism – one of the first artists to do so. By the next year, his works were fully Neo-impressionist. With Signac, he used pen and ink to create pointillist drawings. Dubois-Pillet's studio- apartment served as the unofficial Neo-impressionist headquarters during the movement's early years. Some of his pointillist work is composed with "photographic precision".
- 41. La Dame à la Robe Blanche (Woman in White) (1886- 1887)
- 42. “ Activity 1) Draw a sketch using Divisionism or Pointillism or both. 2) It can be anything under the weather. (shape, object, scene, anything) 3) Be creative!!!!!
- 46. ABOUT POST IMPRESSIONISM The Post Impressionist period came when several former Impressionist painters became dissatisfied with the movements insistence on light and color. The post-Impressionists aspired to find more depth in the roles of color, form and solidity in painting. The term post-impressionism is used to denote the effort at self-expression, emotion, mood and rather than representation of object. ABOUT HISTORY ARTISTS
- 47. The style of the work, developing a new method of paint application or viewing the piece from multiple angles, was more important than subject matter. Characteristics: -see brushstrokes -personally expressive -style over fidelity -no fleeting light or moment (multiple moments or angles) -bright palette -moved away from journalistic detail of earlier periods -art is for the artist’s sake ABOUT HISTORY ARTISTS
- 48. HISTORY The Post-Impressionists were several artists of the late 19th century, who saw the work of the French Impressionist painters and were influenced by them. Their art styles grew out of the style called "Impressionism". The word "Post" means after, so "Post- Impressionist" art came after "Impressionist" art. ABOUT HISTORY ARTISTS
- 49. history Related to Pointillism, a technique of painting in which small, distinct dots of pure color is applied in patterns to form an image. Georges Seurat developed the technique in 1886, branching from Impressionism John Rewald, one of the first professional art historians to focus on the birth of early modern art, limited the scope to the years between 1886 and 1892 in his pioneering publication on Post-Impressionism ABOUT HISTORY ARTISTS
- 50. The sculptor Auguste Rodin is sometimes called an Impressionist for the way he used roughly modeled surfaces to suggest transient light effects. Pictorialists photographers whose work is characterized by soft focus and atmospheric effects have also been called Impressionists. French Impressionist Cinema is a term applied to a loosely defined group of films and filmmakers in France from 1919-1929, although these years are debatable. SCULPTURE PHOTOGRAPHY AND FILM ABOUT HISTORY ARTISTS
- 51. POST IMPRESSIONISTS Henri de Toulouse-Lautrec Disabled poster artist known as one of the first Graphic Designers Paul Cezanne Large block-like brushstrokes; Still life's, Landscapes Vincent Van Gogh Disturbed painter of loose brushstrokes and bright, vivid colors Paul Gauguin Rejected Urban Life and choose secondary-colored Tahitian women Auguste Rodin Bronze sculptor; Very loose and not detailed. “The Thinker” ABOUT HISTORY ARTISTS
- 52. PAUL CEZZANE (1839 – 1906) Often called the Father of Modern art. Influenced by the Impressionist Camille Pissarro, Cezanne was a master of still life, portraiture, genre-painting and landscape. Paul Cezanne painted more than 200 still-life compositions in his lifetime His works had a huge influence on the prototype Cubism of Picasso and Braque. ABOUT HISTORY ARTISTS
- 53. Auto-portrait Technique: Oil on painting ABOUT HISTORY ARTISTS
- 54. Apples and Oranges 1895-1900 Canvas Jeu de Paume, Paris ABOUT HISTORY ARTISTS
- 55. Vincent Van Gogh (1853 - 1890) An important contributor to the foundations of Modern art. Van Gogh suffered from temporal lobe epilepsy as well as other mental and physical conditions. He produced more than 2,000 artworks, consisting of around 900 paintings and 1,100 drawings. Vincent shot himself in France, but did not die until 2 days later at the age of 37. Today many of his pieces—including his numerous self portraits, landscapes, portraits and sunflowers—are among the world's most recognizable and expensive works of art and sketches. ABOUT HISTORY ARTISTS
- 56. Self-Portrait Technique: Oil on canvas ABOUT HISTORY ARTISTS
- 58. Paul Gauguin (1848 – 1903) Eugène Henri Paul was a leading Post- Impressionist. An artist, painter, sculptor, printmaker, ceramist and writer. He was influenced by Camille Pissaro and Georgia O’ Keeffe and was a friend of Vincent Van Gogh Gauguin introduced exotic and primitive elements into the art of the time and his colour and symbolism gave his paintings great intensity. ABOUT HISTORY ARTISTS
- 60. Auguste Rodin (1840 – 1917) Generally considered the progenitor of modern sculptor. Departing with centuries of tradition, he turned away from the idealism of the Greeks, and the decorative beauty of the Baroque and neo-Baroque movements. His sculpture emphasized the individual and the concreteness of flesh, and suggested emotion through detailed, textured surfaces, and the interplay of light and shadow. ABOUT HISTORY ARTISTS
- 63. Henri de Toulouse-Lautrec Was a French painter, printmaker, draughtsman, and illustrator. He painted social taboos and sordid truths of Parisian life in a straightforward unsentimental manner. Throughout his career, which spanned less than 20 years, Toulouse-Lautrec created 737 canvases, 275 watercolours, 363 prints and posters, 5,084 drawings, some ceramic and stained glass work, and an unknown number of lost works In a 2005 auction at Christie’s auction house a new record was set when "La blanchisseuse", an early painting of a young laundress, sold for $22.4 million U.S. ABOUT HISTORY ARTISTS
- 64. At the Moulin Rouge, The Dance ABOUT HISTORY ARTISTS
- 66. CONCLUSION The transformed contrasting short brushstrokes of Impressionism into curving, vibrant lines of color, exaggerated even beyond Impressionist brilliance, that convey emotionally charged and ecstatic responses to the natural landscape. In general, Post- Impressionism led away from a naturalistic approach and toward the two major movements of early 20th-century art that superseded Cubism and Fauvism, which sought to evoke emotion through color and line. ABOUT HISTORY ARTISTS
- 67. ACTIVITY Creating Your Own Impressionist Artwork: Impasto One of the most distinctive painting techniques used by impressionist artists was impasto. Impasto is the very heavy application of paint to the canvas—often with a spatula or knife instead of a paintbrush, and sometimes even directly squeezed from the tube. Materials: ¼ illustration board or chipboard Tubes of acrylic paints (can be shared among the class members) Paintbrushes Wooden popsicle sticks Pencil Rags for clean up
Editor's Notes
- #35: This most famous and influential Neo-Impressionist work depicts a cross section of Paris society enjoying a Sunday afternoon in the park on an island in the Seine River just at the gates of Paris. Sunday was the time that middle-class Parisians escaped the city to enjoy the outdoors. The people primarily gather in small groups of two or three or sit alone in proximity to others. It is the relationship between these people that creates a sense of modernity, with its distance and disconnection, and nervous tension that lends the work an air of mystery.
- #37: Signac depicts the art critic Félix Fénéon in profile in front of a swirling, mesmerizing backdrop. With his distinctive goatee, top hat, and cane, and holding a flower in one hand, Fénéon is the very image of a flaneur, an erudite wanderer of city streets who both observed and critically participated in urban life. The background is remarkably innovative with its abstract swirls of complementary colors that resemble a color wheel, and its stars and planet-like circles suggest a kind of rainbow view of the cosmos, arranged harmoniously around its central human figure. Signac depicts the critic as a kind of trail blazer initiating a new world of art.
- #39: This painting depicts a hay harvesting scene in the countryside near Éragny, where the artist lived with his family from 1884 until his death in 1903. In the center of the canvas, a woman uses a hayfork while behind her others do similar work in a brightly lit field punctuated by hay stacks
- #41: This portrait of an unidentified woman was the first Neo-Impressionist portrait. As many of the group concentrated on depicting color in its greatest luminosity, their subject matter tended toward landscapes and cityscapes, but a few artists went beyond such subjects. The MAMC in Saint-Étienne, France has dubbed her "Madame P," but, at the time of the work's inception, Félix Fénéon called her Mademoiselle B. Seated in an upholstered chair, placed before a background wallpapered with floral arabesques, the woman dressed in white, a blue flower on her breast, looks with an indifferent gaze past the viewer.