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Art Chapter 6 notes

by: Ashley Albers

Art Chapter 6 notes ART_GNRL 1020

Ashley Albers
GPA 3.3

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both lectures form Light and Color of chapter 6
Appreciation of Art
Bonnie Kerridge
Class Notes
art appreciation mizzou
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This 7 page Class Notes was uploaded by Ashley Albers on Thursday February 18, 2016. The Class Notes belongs to ART_GNRL 1020 at University of Missouri - Columbia taught by Bonnie Kerridge in Fall 2015. Since its upload, it has received 26 views. For similar materials see Appreciation of Art in Art at University of Missouri - Columbia.


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Date Created: 02/18/16
Chapter 6: Light & Color Light  The Dan Flavin Art Institute, NY o Light creates shadow and thus defines figures and mass o Light influences space and spatial relationships o Flavin 1977  The minimalist florescent tubing with certain colors  Taken light and illuminated just the corner  Fluorescent sculpture together with architectural interiors/exteriors  Linear Perspective o One point linear perspective (one vanishing point)  The Last Supper – da Vinci o Two point linear perspective (two vanishing points)  Frontal recession/ diagonal recession  Place de I’Europe on a Rainy Day – Caillebotte  Notre Dame du Haut at Ronchamp – Le Corbusier o Minimalist but strong and spiritual  Dramatic lighting with window like projection fields o Bizarre lighting with shafts of light cothng out o Important religious architecture of 20 century o Interior lighting: dramatic, religious, awe inspiring o Concrete, stone construction  Atmospheric Perspective  Another manner of depicting the illusion of depth o Light an color as a way of creating spatial relationships o Quality the atmosphere (haze an humidity)  Darker / bluer color  Less distinct – less contrast o Da Vinci – Madonna of the Rocks  In the front part of the painting its very precise and you can see specific features as you get further back in the picture it becomes less distinct, less contrast, cooler in color o Atmospheric or aerial perspective was used extensively by th painters in the 19 century  Thomas Cole – View From Mount Holyoke after thunderstorm (Oil on canvas)  Vegetation very clear in the foreground and becomes less and less precise in the background  Thomas Cole always trying to say many things in his paintings  Idea of a creative vision of how weather changes  Joseph Turner  Ruskin said of Turner: “he who most stirringly and truthfully measured the moods of nature “  Often described as the greatest English painter  Rain, Steam, and Speed – The Great Western Railway o Everything about the painting has to do with great movement of atmosphere o Harbors both types of perspective  Linear with the railroad  Atmospheric with the blurring as it gets further away  Rembrandt - The Mill  With all the indigo colors and colors that recede into the past with the illusion of depth  Colors get darker and darker and you see less contrast as you go further back  Turner said “a veil of matchless color, that lucid interval of morning dawn and dewy light on which the eye dwells” o With linear perspective one describes physical reality but with atmospheric perspective (light) one reveals a greater spiritual reality  Chiaroscuro (Chiaro - “light”, Scuro – “dark”) o The balance of light and shade o Modeling –  Use of chiaroscuro to represent light falling across surface  Use of chiaroscuro technique manner in which artists depict the gradual transition form light to dark across a rounded surface o Paul Colin – figure of a Woman 1930  The artist shows where the light hits her face (forehead, cheekbone, wedge of nose, etc.) o Paul Prud’hon – Study for La Source  Using shading to show the outline of body parts and the different things that are being hit with light (light coming from up above) o Methods of modeling:  Hatching – closely spaced parallel lines  Crosshatching – multiple series of hatching lines, gives a greater sense of volume and form  Cassatt – The Coiffure o Figure of a woman looking in the mirror as she adjusts her hair o Graphite drawing  Michelangelo – Head of a Satyr o The deeper cavities like the eye are more condensed hatching versus the less condensed hatching areas o Used to indicate that you’re looking at something of volume  Shading –  Highlight – direct reflection of light source  Penumbra, umbra, cast shadow  Sphere (light mostly in center)  Value – gradual shift from light to dark  Relative degree of lightness and darkness  Pat Steir o Increasingly up close, increasingly abstract, increasingly value contrast o Night Chrysanthemums 1984  Darker colors blacks and reds, slowly gets closer in as each panel goes along o Pink chrysanthemum  Slowly zooms in a little more in each panel  The gray scale - gradual transition from black to white  Range of gradations from black to white  Racing Sideways – Buglaj o White runner in black clothing all the way to black runner in white clothing o Race with running as well as skin  Mary Cassatt – Vocab: Hue – color  In the Loge Palete – color o Oil on canvas, portrait of woman in the selection theatre Tint – color with o Very known for pastel work addition of white o Everything very dark except face hands Shade – color with and theatre background addition of Black o Work divided diagonally between dark and light as well as woman divided by diagonal line (face and hand illuminated)  Domestic scene with female and child and use of color with light and dark and hatching  Ben Jones o Hands and faces  Artemisia Gentileschi – Judith and the Maid Servant o The women are shown in the light with darkness behind them, showing the cautiousness o Very dramatic and feminist piece for the 1600s o Larger than life size, heroic, illuminated by one little candle o Born into a family with a painter as a father so she was able to learn how to paint  Chuck Close – Self Portrait o Just use of pencil (54 ½ x 67)  Head of a King o A sculptural form, the lines are just as the lines you would use in drawing, giving emphasis to roundness Color  Transient Rainbow – Cai Qiang o In commemoration of the museum of modern art o A celebration of change o Performance art, pyrotechnics, artificial fireworks o Present almost a circle with the reflection of the east river o Drawing of transient rainbow  Drawn with gun powder looks almost like bees  Gunpowder has to do with fleeting, transitory, momentary, qualities of life o Designed to heal after 9/11, goddess Nu-Wa sealed/healed the sky, stones of color thrown across the heavens, circular symbol PI – Universe  This part of the chapter related to the color wheel o Primary and secondary colors  Primary – red yellow blue  Secondary – orange green violet o Each primary or secondary color is a hue  Adding white to hue results in a tint  Adding black creates shade  ???  Mixing hues  Subtractive process, Absorption of white, Resulting colors are duller  Combining all hues – black or the total absorption of all colors  Refracted light  Mixing lights  Additive process, resulting colors are brighter- bolder combining all hues o Colors separated by a prism o Color – a direct function of light o Spectrum – o When color is saturated it has intense color, value has to do with relative brightness or darkness (pale blue, dark green)  Artwork Examples o The Creation of Adam – Michelangelo  People assumed he was a Songbird of indigo and browns but just the build up of grease and stuff  Colors were dulled by centuries of dust, smoke, and grease  The restoration of the frescos of the Sistine Chapel  Restored to original pallete (artists selected range of colors) the colors were found to be more saturated (bright and intense) and thus more like a color palette we associate with cartoons and illustrations  Color is key element of art o Analogous areas of color  Analogous color schemes – color groups closely placed on the color wheel of similar color temperature (cool and warm)  Gifford – 1880 – October in the Catskills  Turner-ish painter creates depth using atmospheric perspective  Creates a sense of spiritual optimism using warm colors  Jane Hammond – Fallen  Leaves as they’ve fallen (makes leaves out of clothes and paper and sews them on to this one massive sculpture  Analogous colors o Complementary or contrasting areas of color  Opposites on the color wheel  3 basic sets – orange/blue red/green  Leon Golub –  Worked to create “a sense of tactile tension with events”  Mercenaries III o The soldiers o See the violence in the guns and in the color (representing blood)  A lot of paintings looking like sketches, featuring military as well as politicians  Pictures of social reality  Other explorations of use of color o George Seurat  Pointillism – little points of color  The human eye mixes the colors optically, complementary or contrasting colors used for intensity  A Sunday on LA Grand Jatte  Little dots that make up an entire image  The Bathers  Important painting because not many people were painting the workers o Chuck Close  Pointillism  Stanley  Use of dots but in a different fashion  Use of size and exaggeration  Uses almost a grid system o Filas for sale – Searles  Many patterns of color o Richter 256 Color  Grid of different colors  Local Color o Many greens but can still see what its supposed to be o Stuart Davis – Summer Landscape  Kind of cartoon  Everything is what we expect  Arbitrary selection of color o The Terrace at Vernon – Bonnard  Violet tree so its more what ever the artist wanted  More imagination o Monet – Haystack  Painted them at different times of day to record how the light develops different colors  En plein air – painting in the open air outdoors  Treatment of light on the field  Example of perceptual or arbitrary color o The Night Café – Van Gogh  Bright colors with interior not being very uplifting  Tried to express terrible aspects with red and green o Black Lines – Kandinsky  Effervescent positive use of color  Uplifting bright colors Contemporary artist – Cai Guo Qiang o You are always involved with history when you are Chinese o Home informed work


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