2/11/2012 1:35:00 PM Chapter 1: A World of Art Objectives: Chapter 1 is an introduction to A World of Art.

This first chapter illustrates that all cultures produce art, and describes the similar roles that all artists have historically shared. After reading the chapter you should: 1. know the four "roles" of the artist. 2. understand how the process of seeing is both a physical and a psychological process, tempered by our fears, prejudices, customs and beliefs. 3. understand how the terms reception- extraction-inference play a role in the process of seeing. 4. see how art featuring representations of the American Flag have very different meanings. (Source: Prentice-Hall) I. The World as Artists See It The traditional 4 Roles of the Artist: Artists help us to see the world in a new or innovative way. To record the world.( A visual record of people, places, and events) To give visible or tangible form to ideas, philosophies, or feelings. To reveal hidden or universal truths. Other examples to describe these four roles are: Winslow Homer Breezing Up, 1876 National Gallery of Art, Washington D.C. To record the world: Winslow Homer, a 19th century American artist, portrays several boys sailing in a small boat. The painting expresses, in realistic terms, an everyday scene from 19th century New England. Edvard Munch The Scream, 1893 National Gallery, Oslo To give visible or tangible form to ideas, philosophies, or feelings: An artist will frequently try to convey feelings or emotions that are difficult to express but yet easily understood by the viewer. In this example we see a

distorted figure whose mouth is open as if he is screaming. The sky in the background is filled with swirling color. The scene is not intended to be realistic. Instead, the artist has made the choice to use nightmarish imagery that expresses intense feelings of loneliness and fear. Frederic Bartholdi Statue of Liberty, 1884-86 source: GreatBuildings.com To reveal hidden or universal truths: The idea of "Lady Liberty" is not unique to the United States, but this image of the Statue of Liberty has become synonymous with the idea of freedom and equality in a democratic society. Georgia O'Keeffe Oriental Poppies, 1928 University of Minnesota Art Museum, Minneapolis To help us see the world in a new or innovative way: This example depicts an extreme close-up view of two poppies. The perspective urges the viewer to look at the flowers in an entirely new way. It is no longer just a painting of two poppies; we are compelled to examine every detail of the flowers. The result makes a natural object become abstract. The text opens with The Gates, by Christo to show how different cultures might respond to an artwork. After reading about The Gates, visit the weblinks on the homepage on The Gates. A Few More Examples: At times the role of the artist will be very straightforward, open to interpretation, or at times very unclear. Here are a few other examples to consider. Edward Hopper New York Movie, 1939 Museum of Modern Art, NY The paintings of American painter Edward Hopper compel the viewer to consider the story being told. This example depicts a young female usher

standing under a small lamp in the aisle of a New York movie theater. Many of Hopper's paintings depict equally quiet moments but what role is the artist fulfilling? Melesio Casas Humanscape 63 (Show of Hands), 1970 Source:http://www.weisman.umn.edu The Chicano art movement was developed primarily in Los Angeles, the San Francisco Bay area, and other cities in south Texas. Melesio Casas is just one of an emerging group of Chicano and Chicana artists who until recently often worked outside the traditional arts community. The above painting depicts a variety of hand gestures, but what does the painting mean and what role is the artist fulfilling? Mark Rothko Untitled, 1968 Museum of Modern Art, NY The abstract expressionist paintings by Mark Rothko depict simple fields or bands of color that appear to float before the viewer. But what is the artist trying to communicate to the viewer? The title of this painting, Untitled, does not provide the viewer with any clues regarding its purpose or meaning. Many examples of modern and contemporary art will seem to defy easy definition in terms of determining the 'role of the artist' but with more practice looking at art, this task will become much easier. Jeff Koons Puppy, Guggenheim Museum, Bilbao, Spain Source: http://www.bluffton.edu When we see a work of art it may not be immediately clear just what the artist is trying to communicate. "Puppy" by Jeff Koons is a 45 ft. tall West Highland terrier that was made of flowering plants. It is certainly adorable but what does it mean? What is Koons' 'role as an artist'? This flowering sculpture has been very popular and has been constructed on three different occasions in separate locations. This particular example is located in front of the Guggenheim Museum in Bilbao, Spain.

Maurizio Cattelan Not Afraid of Love, 2000 Source: http://www.artnet.com At times a work of art will completely baffle, if not infuriate, the viewer. This scuplture of an elephant draped in a white sheet with cut outs for its eyes (Polyester styrene, resin, paint, fabric; h: 81 x w: 123 x d: 54 in) was auctioned at Christie's New York on November 10, 2004. Did it sell, you might ask? Yes, the winning bid was $2,751,500.00 But what does it mean? Is the artist serious? What is the 'role of the artist' in this example? These are just a couple of questions you may begin to ask yourself. But are there are so many more questions to ask! II. The World as We Perceive It Many of us assume that we can trust in the reality of what we see. Though visual information dominates the world around us, we don't always understand what we see. And sometimes, no two people, looking at the same work of art, will have the same understanding of its meaning or significance. Childe Hassam Allies Day, May 1917, 1917 National Gallery of Art, Washington, D.C. This painting, by American painter Childe Hassam, depicts many flags placed on the buildings along Fifth Avenue in New York City. It was painted to commemorate the U.S. entry into World War I and is an understandable patriotic image. Jasper Johns Three Flags, 1958 Whitney Museum of American Art, NY When we look at Jasper Johns representation of three layered American Flags, we become a little more uncertain about exactly what the image means. The textbook describes the story behind this image clarifies the meaning as being connected to the anti-Communist hearings of the 1950's.

Without this information, however, the viewer is left to his/her own conclusions. III. The Physical Process of Seeing The process of seeing can be divided into three steps: reception---extraction---inference IV. The Psychological Process of Seeing In order to understand what you see it's important to know that seeing is both a physical and a psychological process. The psychological process of seeing is a creative process that is influenced by our personal fears, prejudices, emotions, and beliefs. For example, imagine that a proud, handicapped World War II veteran looked at these two paintings. Most likely, he would easily perceive the patriotism evident in Hassam's painting but not understand the criticism against the U.S. government in Johns' painting. Instead, he might just think, due to his love of country, that this was an equally patriotic image. In other words, when the veteran physically looks at each painting he sees in each the American flag. And due to his experiences during the war, he psychologically processes the image of the American flag into his deep pride he has for the country he feels honored to have served. In contrast, imagine a disillusioned Vietnam War veteran who was drafted into the war and believes that thousands of men fought and needlessly died in a war that could never be won. And while he also physically sees the image of the American flag, his experiences would influence how he understands and interprets what he sees. The other examples in your text illustrate that it is important to always remember that often the artists' intentions are different, as will be individual viewer's reaction. A. 9/11 and beyond Flag holder at memorial, 2001 Source: time.com As we all know, life in the United States has changed dramatically since the terrorist attacks on September 11, 2001. In the first few months following the attacks, it seemed that American flags were everywhere. In fact, there was a shortage of flags: some who never owned a flag before were eager to

display a flag in front of their homes and businesses. It was not unusual to see cars with American flag decals, people wearing flag shirts, hats, ties, etc. Since that time however, the United States finds itself in an increasingly unpopular war and people seem to have lost the initial fervent patriotism that was so prevalent in the days following September 11, 2001. Residents wait on a rooftop to be rescued, New Orleans September 1, 2005 AP Photo/David J. Phillip This photograph of people trapped on the rooftop of their home waiting to be rescued days after Hurricane Katrina ravaged the city of New Orleans captured the world's attention. But because these people are waving American flags, it underscored the question that followed this disaster: How could something like this happen in the United States? Once again, we see how the incorporation of the American flag can evoke strong feelings; for patriotic or protest reasons, the flag never fails to arouse an intense psychological response. 1. know the following definitions Abstract An abstract work of art renders images and objects in a stylized or simplified way. Abstract artists do not try to duplicate the world but to reduce the world to its essential elements. content convention ethnocentric form iconography Iconography is defined by the images and symbols conventionally associated with a given subject. Each culture has images and symbols that are easily understood by the persons associated with that given culture. If presented with an image, persons outside a particular culture may be confused or not understand the meaning of what they see. illusionistic naturalistic nonobjective (or nonrepresentational)

A nonobjective work of art makes no reference to the natural world. Often, as in this painting, nonobjective artists' work is more concerned with shapes and colors. objective representational A representational work of art resembles the world of natural appearances. subjective subject matter

2. know the degrees of distance between "real" things and the words and images we use when referring to them. If Ren Magritte's painting of a pipe is just a representation of a pipe, why do we look at it as if it is a pipe? 3. know that not all cultures regard representation with the same reverence that we do in the West. Calligraphy is the chief form of art in Muslim culture. 4. understand that while there is a universal recognition of most images, we still must have a language to verbalize or contextualize those images. 5. be familiar with the differences and similarities between representational, abstract and nonobjective art. 6. recognize the relationship between form and content in a given work of art, and observe how in successful works of art they are inseparable.

2/11/2012 1:35:00 PM Chapter 2: Developing Visual Literacy Chapter 2, Developing Visual Literacy, will introduce you to some of the basic terms of "the language of art." The mass-appeal and effect of media in western culture, from magazines and television to the Internet, has made us visually dependent, but not necessarily visually literate. Learning these terms, concepts, and expressions will assist you as you further develop your "visual literacy." After reading the chapter you should: 1. know the following definitions Abstract - The less a work resembles real things in the real world, the more it is said to be an example of abstraction. content convention ethnocentric form iconography - a system of visual images the meaning of which is widely understood by a given culture or cultural group. These visual images are symbolsthat is, they represent something more than their literal meaning. illusionistic naturalistic - a brand of representation in which the artist retains apparently realistic elements nonobjective (or nonrepresentational) - When a work does not refer to the natural or objective world at all objective representational portrays natural objects in recognizable form.

Subjective - presents the visual world from a distinctly personal or subjective point of view. subject matter 2. know the degrees of distance between "real" things and the words and images we use when referring to them. If Ren Magritte's painting of a pipe is just a representation of a pipe, why do we look at it as if it is a pipe? Magritte reproduced an image of a pipe similar to that found in tobacco store signs and ads of his time. The caption under the pipe translates into English as This is not a pipe, which at first seems contradictory. We tend to look at the image of a pipe as if it were really a pipe, but of course it isnt. It is the representation of a pipe. Both images and words can refer to things that we see, but they are not the things themselves. Magrittes painting invites us to think critically about the representations that bombard us in daily life.

3. know that not all cultures regard representation with the same reverence that we do in the West. Calligraphy is the chief form of art in Muslim culture. 4. understand that while there is a universal recognition of most images, we still must have a language to verbalize or contextualize those images. 5. be familiar with the differences and similarities between representational, abstract and nonobjective art. 6. recognize the relationship between form and content in a given work of art, and observe how in successful works of art they are inseparable. (Source: Prentice-Hall) I. Describing the World Recall that one of the first roles of the artist is to record the way the world looks, but not all artists have strictly adhered to this rule. The categories that describe how an artist may represent reality are: Representational Abstract Nonobjective

Richard Estes Central Savings, 1975 Nelson Atkins, Kansas City, MO Representational A representational work of art resembles the world of natural appearances. This painting by Richard Estes depicts the interior of a caf. We can clearly see stools and a counter or bar. But we also see the reflection of the caf's window of the buildings across the street. It may look like a photograph but it is a painting that was done in a highly realistic style.

Marisol Escobar Women and Dog, 1962 Whitney Museum of American Art, NY Abstract An abstract work of art renders images and objects in a stylized or simplified way. Abstract artists do not try to duplicate the world but to reduce the world to its essential elements. In this example, the figures are still recognizable as human, but the artist, Marisol Escobar, simplifies the shapes to geometric blocks.

Hans Hoffman Pompeii, 1959 Tate Gallery, London Nonobjective A nonobjective work of art makes no reference to the natural world. Often, as in this painting, nonobjective artists' work is more concerned with shapes and colors. II. Iconography Iconography is defined by the images and symbols conventionally associated with a given subject. Each culture has images and symbols that are easily understood by the persons associated with that given culture. If presented with an image, persons outside a particular culture may be confused or not understand the meaning of what they see.

Diego Velzquez Christ on the Cross, 1632 Museo del Prado, Madrid In Christian cultures, this image of Christ would be easily identifiable as the moment of Christ's crucifixion. The image of Christ's death is one of the most significant moments of Christianity, with profound meaning to all Christians. But to someone with no contact with a Christian "visual culture" the meaning and its significance might be unclear or completely unknown.

The Wizard of Oz source: AllPosters.com This photograph depicts the characters from the movie The Wizard of Oz: The Scarecrow, Cowardly Lion, Tin Man, Dorothy--each has become a highly recognizable part of 20th century American "visual culture." Whether seen as a group or individually, we easily understand who the characters are and context of the story. But suppose all traces of The Wizard of Oz were lost forever: no videos/DVDs, pictures, posters, books, cards, etc. Then, 500 years later this photograph was discovered, how do you think it would be understood or interpreted?

Apple.com logo In our current "visual culture" we are inundated with advertising logos (such as this familiar 'Apple' logo) that advertise products that may be very popular at the moment but

then disappear in 10, 20, or even 50 years. Sometimes these artifacts resurface as a "collectible" in an antique store. But would that image still have meaning to someone who discovers it 500 years later?

Jan van Eyck The Arnolfini Marriage, 1434 National Gallery of Art, London Recall from your reading that many works of art, like The Arnolfini Marriage, contain elements such as the shoes, lit candle, and the dog. These elements would have been easily understood by a 15th century viewer but over the course of time become less meaningful to a viewer centuries later. Therefore, when looking at a work of art it is important to always consider it within the context of its appropriate era and "visual culture."

LT: Peace logo (source: http://pegasus.ouvaton.org) RT: Mercedes Benz logo (source: http://www.blackarmor.com) Most people living in an industrialized society would easily recognize these two logos. On the left is the universal logo for 'peace.' On the right is the logo used for the luxury car manufacturer--Mercedes Benz. Even though they appear very similar, the meaning between the two is quite different. Suppose you were an archeologist or an art historian who uncovered these long lost symbols centuries from now. How would you perceive the difference in meaning between the two? Would you even notice the difference between the two logos? This simple example represents the challenges of attempting to understand the iconographical meaning of a specific visual culture. Even within a culture, the meaning of an image may change or be lost over time. When Jan van Eyck painted his portrait of Giovanni Arnolfini and His Wife Giovanna Cenami in 1434 (Fig. 39), its repertoire of visual images was well-understood, but today, much of its

meaning is lost to the average viewer. For example, the brides green dress, a traditional color for weddings, was meant to suggest her natural fertility. She is not pregnanther swelling stomach was a convention of female beauty at the time, and her dress is structured in a way to accentuate it. The grooms removal of his shoes is a reference to Gods commandment to Moses to take off his shoes when standing on holy ground. A single candle burns in the chandelier above the couple, symbolizing the presence of Christ at the scene. And the dog, as most of us recognize even today, is associated with faithfulness and, in this context, particularly, with marital fidelity.

and the distinctions among form and content in art, conventions in art, and iconography.

2/11/2012 1:35:00 PM Chapter 3: The Themes of Art (version 5) & Seeing the Value in Art (version 6) Note: The textbooks change at this point-version 5 has this information as two chapters, version 6 and the one I am following, begins Line at chapter 4. From now on the chapters will not match the title so if you are using version 5 of the text, look at the chapter names (Printmaking, Painting, etc. to be sure you taking the correct quiz. The content is the same, it has just been reorganized a bit in the new version. Chapter 3 (and 4 if using vs.5 of the text) will introduce you to some of the basic terms of "the language of art." The mass-appeal and effect of media in western culture, from magazines and television to the Internet, has made us visually dependent, but not necessarily visually literate. Learning these terms, concepts, and expressions will assist you as you further develop your "visual literacy." After reading this chapter you should: 1. know the definitions of key terms including: aesthetic genre painting objective photorealism subjective superrealism Surrealism Vanitas 2. know that artists represent the world to preserve that which is transient, or to isolate and/or amplify that which we find beautiful. 3. recognize that we all engage in the practice of "aesthetics," from decorating our living spaces, to organizing our closets. We "arrange" to improve appearance. 4. recognize that we find pleasure in the representation of everything-from the mundane scenes of everyday life, to images that attempt to capture the spiritual and the sublime. 5. be familiar with the differences and correlations between representational, abstract and nonobjective art, while understanding it will sometimes be difficult to make exacting distinctions between them. 6. know the difference between objective and subjective representation.

recognize the relationship between form and content in a given work of art, and observe how in successful works of art they are inseparable. 7. see how a nonobjective work of art can have similarities to a representational work of art. 8. see that making a work of art can involve a great deal of decision making. Many great works don't just happen! 9. know that although most of us respond more readily to "beautiful" or aesthetic images, artists can make us see the beauty in an "ugly" image via its underlying message or their skillful means of representation. (Source: Prentice-Hall) I. The Representation of the World

Albrecht Drer The Large Turf, 1503 Graphische Sammlung Albertina, Vienna The desire to represent and imitate the world around us is a quality that is familiar in the Western world. From the time of the Reanaissance (15th century) until the late 19th century, artists have been consumed with the idea of representing the world in as clear and accurate terms as possible. In this example, the painter Albrecht Drer has created an intensely realistic, almost scientific, depiction of a patch of grass.

But there is far more to art than just the realistic representation of the world. Artists frequently strive to push themselves creatively to explore two different aspects of our world: The imagination The beautiful II. The Power of the Imagination

Salvador Dali The Persistence of Memory, 1931 Museum of Modern Art, NY The belief in the power of the imagination dominates the history of modern art. Surrealist artists, such as Salvador Dali, explore entirely new realms that exist only because of the artist's imagination. This is one of Dali's most famous paintings that portrays a mysterious landscape with melting clocks and a puzzling animal/object in the foreground. The scene is clearly painted but we are unsure what the meaning is. Dali was just one of a group of artists called Surrealists who sought to explore the subconscious mind and create paintings that appear to be the visual manifestation of a dream.

Frank Gehry, preliminary sketch Source: arcspace.com Often the process of creativity can begin as a random scribble as in this sketch seen above.

Frank Gehry

Walt Disney Concert Hall, Los Angeles, 2003 Source: arcspace.com With imagination, what begins as a rough sketch is transformed into an architectural masterpiece. III. The Idea of the Beautiful

Pierre Auguste Renoir Luncheon of the Boating Party, 1880-1881 The Phillips Collection This French painting depicts a casual gathering of friends at a restaurant on the Seine River. This style of painting is called agenre painting. This term means the subject of the painting is a depiction of everyday life. With attention to skill and detail, Renoir transformed these charming ordinary people are into something extraordinary and beautiful. Question: Can a work of art that is considered "ugly" by viewer become beautiful?

Matthias Grnewald The Crucifixion (detail) from the Isenheim Altarpiece, 1512-1515 Muse d'Unterlinden, Colmar, France A work of art that is initially difficult for us to look at might be transformed when we begin to understand the meaning behind the image. This 16th century painting by German artist Matthias Grnewald depicts perhaps one of the most gruesome images if Christ's crucifixion in art. Christ's body is stiff and contorted, with wounds all over his beaten body. How is it possible that such a horrific image could ever be considered as beautiful?

Matthias Grnewald Head of Christ, detail from the Isenheim Altarpiece, 1512-1515 Muse d'Unterlinden, Colmar, France Deeper meaning and understanding can be found when the viewer learns that this altarpiece was originally placed in a hospital where, during the 16th century, people were not admitted to be cured, but instead came to die. But as every Christian knows, after death comes the promise of resurrection and eternal life. Grnewald creates a tension between the horror of the depiction and the beauty of its implications. The ability of works of art to cause such an emotional and meaningful response is what triggers a deeper understanding for the viewer.

The Passion of the Christ, 2004 source:msnbc.msn In 2004 director Mel Gibson successfully adapted a similar kind of tension in the viewers of his film, "The Passion of the Christ." Many criticized the film's excessive violence, yet many more, much like their 16th century predecessors, embraced this film as possessing the ability to transcend the horror of Christ's death into a profoundly personal spiritual experience.

LT: Titian, The Venus of Urbino, 1538 Galleria degli Uffizi, Florence RT: Lucian Freud, Naked Girl Asleep II, 1968 (Source: http://www.sieaa.com) The image of the female nude has a long tradition in art. From ancient to contemporary, many artists have explored the idea of the female body. On the left, you can see a beautiful portrait of a nude woman painted by the famous Renaissance artist, Titian. Widely regarded as an idealized portrait of feminine beauty; the surface of this woman's skin appears soft and the pose is nothing less than sensual voluptuousness. On the right, is another nude painting by one of the foremost painters today: Lucian Freud (yes, he is related to Sigmund Freud). In this example however, the idea of feminine perfection has been altered. Rather than depict a woman in idealistic terms, Freud chose to portray this girl in a much more realistic manner. Question: Can both of these paintings be considered beautiful?

Phillipe de Champaigne Still Life or Vanitas Muse des Tess, Le Mans, France During the 17th century, Northern Europeans particularly enjoyed viewing vanitas paintings. Vanitas is a Latin term for "vanity." Vanitas paintings such as the above example by Philippe de Champaigne remind the viewer, in very simple terms, of the frivolous nature of human existence. In this particular example, the flower on the left, a symbol of the beauty of life, is seen in contrast to the hourglass on the left, a symbol of the passage of time. In this context, beauty (the flower) will fade and eventually die over time (hourglass). And if we need a further reminder of death, a skull is place between these objects as yet another reminder of the temporal nature of life.

Audrey Flack Marilyn (Vanitas), 1977 Source: http://www.audreyflack.com Artist Audrey Flack explored the idea of vanitas themes in a series of contemporary paintings. Above, you can see a painting titled Marilyn, which features a prominent photo of a young Marilyn Monroe, taken before she became one of the world's most famous stars during the 1950's. Surrounding the photograph of the young Marilyn you can also see some traditional vanitas symbols: the lit candle, fruit, flowers, and jewels. Each of these objects has meaning to remind the viewer of the temporal nature of life. But Flack has also included a few modern objects that would not have much meaning to the 17th century viewer of de Champaigne's Still Life. Can you determine what these modern interpretations of vanitas are? Seeing the Value in Art Now we'll consider the ways in which art is "valued." Today, many works of art that we consider "masterpieces" have met with public disapproval when they were first exhibited. Gradually these works came to be accepted and admired over time. We have come to recognize that there is both a historic and a social value of art, in conjunction with consideration of art's aesthetic value. In reading about Robert Mapplethorpe's photography, note the key

questions raised about the value of art, and how ultimately, "value" is a relative term. After reading this chapter you should: 1. know how works by the following artists came under attack by a skeptical or disapproving public: Michelangelo Edouard Manet Marcel Duchamp Maya Lin 2. see that the artist's relationship to the public is often dependent upon what the public can understand. Marcel Duchamp's painting, Nude Descending a Staircase, met with great ridicule when first exhibited. "Duchamp's vision had already been confirmed, but the public had not yet learned to see it." 3. know the significance of the " Armory Show." 4. know about the National Endowment for the Arts-who established it and when, the Arts in Public Places program and how it worked, and what role artists were to play. Why was Alexander Calder's La Grande Vetesse the perfect first choice to be erected under the new program? 5. know that to value art for art's sake is to value it as an aesthetic object, rather than its functional practicality or impact on social life. Carl Andre's Stone Field Sculpture, Michelangelo's David, and Richard Serra's Tilted Arc have all tested the public's ability to value art for art's sake. 6. see how some artists intend for their works to become active agents of change on our lives. These artists produce "activist artwork." Included among them are Krzysztof Wodiczko, Guillermo Gmez-Pea, Suzanne Lacy and Leslie Labowitz, and the collaborative team, Group Material. (Source: Prentice-Hall) I. Art and Its Reception artist as experiencer---artist as reporter---artist as analyst---artist as activist Source: " Suzanne Lacy, Spectrum of Artists' Role, from Mapping the Terrain: New Genre Public Art, 1995.

Note how Lacy's "artists' roles" correspond to those "traditional 4 roles of the artist" outlined in Chapter 1: Artists as reporters represent their world Artists as experiencers give tangible form to their feelings about their world Artists as analysts look beyond the immediate to reveal hidden or universal truths Artists as activists help us see the world in a new ways How an artist experiences the world is a very private moment. But when the public views a work of art, the artist's meaning may be misunderstood. And very often the public's reaction to a work of art they don't understand leads to controversy. Keep in mind that each generation has its "sensitive buttons" and what may look acceptable to us now was often misunderstood and considered obscene or not "true art."

Edouard Manet Luncheon on the Grass, 1863 Musee d'Orsay, Paris Manet's painting of two men and two women was rejected by the French Academy for exhibition at the annual Salon. It was rejected for being too "modern."

The primary objections were: 1. visible brush strokes 2. nude women shown with fully dressed men What is important to remember is that Manet's rejection of traditional painting techniques was deliberate; he was trained as a painter, but he made a decision to reject a traditional painting style. His technique may have been "modern" but the grouping of figures is very reminiscent of an earlier engraving based on painting by Raphael.

Jean-Auguste Dominique Ingres Comtesse d'Haussonville, 1845 Frick Collection, NY This portrait of an aristocratic young French woman by Ingres represents what the French Academy thought art should be: 1. smooth brushstrokes 2. fully clothed woman (nudity was acceptable for classical or mythological subject matter)

Marcel Duchamp Nude Descending a Staircase, No. 2, 1912 Philadelphia Museum of Art In 1913, this abstract painting by Marcel Duchamp created another controversy when it was seen in New York at the Armory Show. This exhibition is famous because it was most Americans' first introduction to modern art. Not surprisingly, without a context, most people did not understand what they saw. The painting is called Nude Descending a Staircase, No. 2, but despite its title, most American viewers were denied the representational art they had become accustomed to. Critics ridiculed the painting as "an explosion in a shingle factory." But Duchamp had been exploring the flow of movement; how the act of moving-down a staircase, for example-could be analyzed into separate bits of data. So what at first looks unfamiliar becomes more meaningful when the viewer understands the artist's point of view.

Chris Ofili The Holy Virgin Mary, 1996 The Saatchi Gallery In 1999, Sensation, an art exhibition that featured young British artists, opened at the Brooklyn Museum of Art. While there were many artists that the public found shocking, no artist received more attention than Chris Ofili. In his mixed media painting titled The Holy Virgin Mary, Ofili incorporated elephant dung. New York Mayor Rudolph Giuliani called Ofili's art "sick stuff" and Cardinal John O'Connor described the show as an attack on religion itself. But Ofilfi's intention as an artist is to generate discomfort in the viewer through the juxtaposition of the beauty of the paint with the ugliness of the dung. Interestingly, this is not the only work of art that Ofili used dung; many of his paintings include elephant dung.

II. Arts, Politics, and Public Space

Michelangelo David, 1501-1504 Galleria dell'Accademia, Florence It seems hard to believe, but Michelangelo's David, one of the world's most famous statues, had its own share of controversy when it was first seen in Florence in 1504. Although it was an acknowledged sculptural masterpiece, it also offended many people. The image of David is associated with the story of David killing the giant Goliath. This was understood as a metaphor as a triumph over tyrants--including the Medici--the most powerful family in Florence.

Richard Serra Tilted Arc, 1981 Source: www.pbs.org Your text describes the controversy that surrounded Serra's Tilted Arc (this image is a ground level view). Despite the fact that Serra was commissioned and received approval for this site-specific sculpture, there was a public outcry against it. A (slight) majority of individuals signed a petition in favor of having it removed. But rather than move it to another location, Serra opted to destroy it instead. Recent Art Controversies A. 'Tumbling Woman'

Eric Fischl Tumbling Woman, 2002 http://www.ericfischl.com/sculpture.htm In September 2002, just one year after the terrorist attacks in New York City, artist Eric Fischl exhibited a sculpture at Rockefeller Center that was intended to commemorate those people who jumped to their deaths from the World Trade Center. Almost as soon as it was unveiled, the sculpture was draped in a cloth and surrounded by a curtain. On September 18, 2002 the sculpture was completely removed from the site with apologies from the Center management to anyone who was "upset or offended" by the statue. Two different points of view: 1. One passerby's reaction to the sculpture: "I don't think it dignifies their deaths. It's not art. ... It is very disrupting when you see it." 2. Nick Monteleone in the New York Daily News: "There has always been a duality to the purpose of art; it serves both to express emotion and to evoke it. If Fischl's sculpture charged viewers with horror, then it fulfilled its purpose. Fischl's frank portrayal is a primal reminder of the carnage experienced that morning and, by invoking those events, memorializes that horrible day.

If we are to remain true to the repeated assertions that we must never forget, why silence a work like Fischl's? Displaying the sculpture was no more exploitative than airing those videos of the attacks we've all become so familiar with. But perhaps the real, solid presence of "Tumbling Woman" spoke with an urgency that could not be dismissed as easily as a TV news feed. Artists have, throughout time, shocked and disturbed us into recognizing the world's horrors. Fischl has simply served the traditional function of the artist as social commentator and historical interpreter, but we have asked that his voice be turned down." What do you think? Perhaps a one-year anniversary of such a horrific event is just too soon for this extremely provocative sculpture. On the other hand, in 50 years we could look back on this event and think that the public overreacted. We'll just have to wait and see. B. The Turner Prize The Turner Prize is an annual award given by the Tate Museum to a contemporary British artist under the age of 50. Despite the fact that this award has only been given since 1984, it has become quite a yearly event in the British art world. Many of the past winners of the Turner Prize were included in the infamous 'Sensation' exhibit described above. Much of the art is conceptual in nature (the idea behind the work of art is often more important that the art itself) and is guaranteed to provoke a firestorm of controversy from art critics, media, and the public alike. The most frequently asked question: Is it art?

Martin Creed Work No. 227: The lights going on and off, 2000 (installation at Tate Britain) Source: http://www.tate.org.uk One of my 'favorite' Turner Prize winner's is installation artist, Martin Creed. In his Work No. 227: The lights going on and off, the lights in an empty gallery do just that: they go on and they go off. One of the Tate's curators described this work as "emblematic of mortality. What Creed has done is make minimal art minimal by dematerializing itremoving it from the hectic, commercialized world of capitalist culture." Creed himself has stated that his art is concerned with "nothing in particular" and when asked how he felt about winning the Turner Prize, he replied: "It's just a stupid prize."

CHAPTER 4

Chapter 4: Line
In Chapter 4, Line, you will learn how line is perhaps the most fundamental element of art, existing in every aspect of our visual environment. Line indicates the edge of two- and three-dimensional forms-the seemingly infinite number of shapes that make up our world. After reading this chapter you should: 1. know some of the different types of lines including outline, contour line, hatched lines

and cross-hatched lines, and recognize how these lines appear in our everyday environments. 2. understand how line can affect either the dynamic or static nature of a composition. 3. know the difference between actual lines and implied lines, and how each can play an important role in a work of art. 4. see how line can possess certain intellectual, emotional, and/or expressive qualities. The artist Pat Steir has created a series of pieces solely dedicated to the way in which some of her favorite artists have employed line. Her abstracted studies of Rembrandt's and van Gogh's lines demonstrate how line can add psychological depth to works of art. 5. know that line can also have analytical or "classical" qualities. By contrast to van Gogh, Sol LeWitt employs a line that is analytical-precise and controlled. (Source: Prentice-Hall) Introduction to Part II: The Formal Elements and the Principles of Design: In Chapters 4-8 we will begin to learn about the Formal Elements and the Principles of Design. These are the building blocks that artists use when they create a work of art. This section is comprised of the terminology that is used to describe works of art. Learning these terms might seem boring at first but it is an essential requirement to begin understanding what you see. I. Varieties of Line

Artist unknown source: http://www.goodwoodps.sa.edu.au/

A line is one of the most fundamental elements of art; lines delineate form and shape. Each of us can make a line. As seen in this children's drawing above, our earliest drawings were made of simple lines. Lines can be straight (horizontal or vertical) or they can be curved (circular, oval, or freeform); there are many types of lines.

A. Outline

Pablo Picasso

Woman with Yellow Hair, 1931

Guggenheim Collection, NYC

An outline (or "actual" line) is apparent when an edge is indicated. This painting by Picasso clearly shows a black line that indicates an edge. Notice how the line curves to indicate the shape of the woman's face and arm. B. Implied Line

Raphael

Sistine Madonna, 1513-1514

Dresden Gallery, Dresden, Germany

Our line of sight often determines "layers" or divisions in paintings. The Italian Renaissance artist, Raphael, divided this painting into three levels. This device was used often during the Renaissance to help guide the viewer. When we look at this painting, we can see three levels: the Madonna holding the Child at the top, the two saints on either side, and the two small angels, or putti, at the bottom. II. Qualities of Line Lines may delineate shapes but they can also possess emotional and expressive qualities. A. Expressive Line

Vincent van Gogh

Cypresses, 1889
The Metropolitan Museum of Art, NY

An expressive line is loose and free. Vincent van Gogh is often considered to be the most expressive painter in the history of art. His paintings are filled with swirling and undulating lines.
In this example, van Gogh painted a landscape with cypress trees. Note, especially in the detail on the right, how he uses swirling white lines to indicate clouds in the blue sky. Also note how the dense leaves and branches undulate and curve.

LT: Vincent van Gogh, Self-Portrait with Dark Felt Hat, 1886. van Gogh Museum, Amsterdam RT: Vincent van Gogh, Self-Portrait,1889. Muse d'Orsay, Paris

Perhaps the best way to observe van Gogh's expressive use of line is by comparing two selfportraits. On the left, you can see van Gogh's first self-portrait. This is a very dark painting that depicts the artist in a very traditional style of painting. The brush strokes are loose but hardly as expressive as he will explore in his later years. On the right is van Gogh's last selfportrait. It should be very apparent at how expressive his use of line is in this example. Both paintings share Vincent's intense gaze but how does the use of expressive line alter the later self-portrait (seen on the right)? Click here to see an enlarged version of Self-Portrait with Dark Felt Hat (LT) Click here to see an enlarged version of Self-Portrait (RT) B. Analytic Line

Sol LeWitt

Wall Drawing No. 681 C, 1993

National Gallery of Art, Washington, D.C.

A painting composed of analytic line is precise, and rationally organized. In this example by artist Sol LeWitt, the composition of the painting appears to be divided into 4 equally sized segments. Each segment seems to be composed of bands of color (note the black "actual" lines that delineate each segment) that are probably of equal size. So precise is this example, that it appears as if the artist might have measured the space and size of each line! C. Classical Line

Jacques Louis David

The Death of Socrates, 1787

The Metropolitan Museum of Art, NY

Analytic line is closely related to classical line. The idea of "classical" is usually associated with ancient Greek art of the fifth century B.C.E., but in terms of line it means line s that are made in a deliberate manner. This example by French painter Jacques Louis David depicts the death of Socrates, the ancient Greek philosopher. Although the story is clearly based on a historical classical moment, the composition of the lines in the painting is extremely precise. See in your text, the study David made for this painting. David used a grid to place the figure of Socrates. If you look closely at the finished painting, you can see how some of these "grid" lines are preserved in the stone wall behind Socrates. Line and Hung Liu

Hung Liu

Chinese Profile II, 1998

San Jose Museum of Art

In your textbook, you have read about the artist Hung Liu and her fascinating approach to use of line in her painting, The Three Fujins. Now take a look at another painting by Liu, Chinese Profile II. Is Liu's use of line in this example intellectual/rational or is it expressive/emotional?

Chapter 5: Space
Chapter 5, Space, explores the many ways in which artists have addressed space in their work. When an artist draws a simple shape on paper-a square, a circle, any shape-they have really created two things: the shape, and the space that surrounds it. When the artist

begins to draw larger shapes on the same paper, these new shapes appear closer. If shapes overlap one another, then the artist is working with "illusory space." This chapter describes many techniques artists employ in order to suggest the illusion of three-dimensional space on a flat surface. Chapter 6 also introduces some of the terms necessary for understanding "actual space"--the volumetric space that we all live in, and the same space that artists who work three-dimensionally must address. After reading this chapter you should: 1. know the definitions of key terms including: axonometric projection binocular figure-ground reversal foreshortening linear perspective mass monocular picture plane positive and negative space reserve shape verisimilitude volume 2. understand how artists and designers work with positive and negative space, and how sculptors work with "actual" space. 3. recognize the various techniques that artists employ to suggest illusory space including overlapping, object size, or rendering. 4. know the difference between the different types of perspective, including scientific and axonometric projection, and how these visual systems function in specific applications. 5. recognize how artists, since the time of the Renaissance, have employed perspective systems for organizing their paintings. 6. learn how artists deliberately distort space using foreshortening, or by deliberately avoiding the traditional rules of perspective. (Source: Prentice-Hall) Introduction Space exists around us all the time. Each day we encounter people and objects and are able to gauge the distance between very easily. One of the challenges of the artist is to represent space on a two-dimensional surface. This idea of creating a convincing sense of

space will preoccupy painters until the modern era, when new theories of time and space will represent challenges for artists. I. Shape and Mass

Arshile Gorky Organization, 1933-36 National Gallery of Art, Washington, D.C.

In paintings, a shape is a flat two-dimensional area. Shapes can also be described as

being geometric or organic. This example by Arshile Gorky combines both geometric elements (such squares, rectangles, and circles) but also includes some rather abstract organic shapes (such as the black shape in the center of the painting) that are not recognizable in nature but yet can not be considered as geometric.

Fountain, Getty Center, Los Angeles Photo: Doug Lang

A mass is a solid that occupies a three-dimensional volume. A work of sculpture, such as this rock formation fountain at the Getty Center in Los Angeles is a good example of mass. II. Three-Dimensional Space

Interior, Museum of Modern Art, NY Photo: Doug Lang

Three-dimensional space is the world we live in: our homes, cities, and streets all have
three-dimensional space. This photograph shows the interior of Museum of Modern Art in New York. This view, taken from the third floor, looks down upon the second floor (on the left) to the ground floor (on the lower right). III. Two-Dimensional Space

Caspar David Friedrich

The Wanderer Above the Mists, 1817-18

Kunsthalle, Hamburg

While architects can create a three-dimensional space, painters must create a convincing illusion of space and depth on a blank two-dimensional canvas. In this painting, the artist Caspar David Friedrich uses scale and overlapping to create the illusion of space. Because the man is shown closer to us, he appears almost as large as the mountain that rises up in the distance. The artist also uses an overlapping of the mountains, also making the man seem closer to the viewer. IV. Linear Perspective Perspective was a system of representing three-dimensional objects on a two-dimensional surface, such as a canvas. This system was known to the ancient Greeks and Romans but not formally studied and codified until the Renaissance. A. One-point linear perspective

Diagram of one point linear

perspective
Source: http://www.sanfordartedventures.coml Meindert Hobbema

The Alley at Middelharnis, 1689

National Gallery, London

When using one point linear perspective, lines are drawn in such a way to represent parallel lines that recede to a single point on the viewer's horizon; this is called the vanishing point. This effect can be seen in the painting on the right. Distance is conveyed by the narrowing of the road that seems to converge in the farthest point. This same effect is seen when you look at how railroad tracks appear to narrow and converge to a single point in the distance.

B. Two-point linear perspective

Gustave Caillebotte

Place de l'Europe on a Rainy Day, 1876-77

The Art Institute of Chicago

Artists will also begin to experiment with more than a single vanishing point. The result creates a more lively composition. Summary of linear persepctive and aerial perspective (Chapter 7): Click on this link from The Artist's Toolkit to see an animated demonstration of linear and aerial persepctive *Recommended* V. Foreshortening

Caravaggio

Supper at Emmaus, 1601-02

National Gallery, London

Foreshortening is a technique used by artists in which the dimensions of objects close to the viewer are adjusted to compensate for the distortion created by your point of view. In this painting, the artist depicts a scene of Christ at the Supper at Emmaus. The artist has very skillfully employed not one, but four examples of foreshortening. Can you find the four examples? Answer: 1. the man's elbow on the left side juts out as he appears to rise up from the chair 2. Christ's right hand extends forward 3. the plate of fruit leans precariously out off the edge of the table 4. the man on the right side thrusts out his arms, thus emphasizing the drama of the scene. Use this link if you would like to see a larger version of Supper at Emmaus. Directions: click on the image and it will expand: VI. Modern Experiments

Henri Matisse

The Dance, 1910

The Hermitage, St. Petersburg, Russia

By the 20th century, artists were beginning to abandon the rules of perspective that had been followed since the 15th century by Italian Renaissance artists who were committed to creating images that would declare their ability to depict the world in a naturalistic and realistic manner. It is important to note that although modern artists had received formal academic training, and they knew how to create a convincing sense of space, they intentionally chose not to depict the world using techniques created over 500 years before.

In one-point linear perspective (Fig. 97), lines are drawn on the picture plane in such a way as to represent parallel lines receding to a single point on the viewers horizon, called the vanishing point. As the two examples in Figure 97 make clear, when the vanishing point is directly across from the viewers vantage point where the viewer is positioned, the recession is said to be frontal. If the vanishing point is to one side or the other, the recession is said to be diagonal.

Chapter 6: Light and Color

Chapter 6, illustrates how artists and designers use Light and Color to further illustrate spatial relationships. The first studies by Isaac Newton laid the groundwork for the later theories of Johann von Goethe, Johannes Itten, and Josef Albers, as well as all the artists and scientists who have contributed theories on the physics and psychology of color. Ultimately, our world is revealed to us through light...and our ability to differentiate color makes the world more intelligible and provides variety. Science has shown us many objective properties of color, but it remains the most subjective of the visual elements-color is perceived differently by everyone. Understanding color relationships, cultural preferences, and even the process of mixing colors, will help you to further appreciate how artists use color, and how you respond to certain colors. After reading this chapter you should: 1. know the definitions of key terms associated with light and color including: additive and subtractive color mixing

atmospheric or aerial perspective chiaroscuro cross-hatching and hatching divisionism hue, key, and intensity or saturation local, perceptual, optically mixed, and arbitrary color palette penumbra, umbra and cast shadow pointillism primary, secondary and intermediate colors spectrum temperature 2. understand how many color relationships are based on the manner in which we perceive color, and how certain colors seem to react with or against one another. As an example, how does the phenomena of simultaneous contrast impact our ability to respond to complementary color schemes? 3. know how light and an object's surface contribute to our perception of its color. 4. understand how color and light contribute to our understanding of mass, volume, and space, and how architects manipulate these elements when they design buildings. 5. know the difference between atmospheric perspective and scientific perspective. 6. see how artists use chiaroscuro, hatching and cross-hatching, as well as other light modeling techniques, to create the sensation of the three-dimensional form. 7. recognize that there are cultural and religious associations with light and color. This sometimes contributes to our misinterpretation of works from cultures other than our own. 8. know why mixing pigments is called subtractive mixing, and mixing refracted light is called additive mixing. Introduction Light and color are two more formal elements that will be extremely important to artists to represent the world and also redefine their personal views of the world. I. Light

A. Atmospheric Perspective

Asher B. Durand

The Beeches, 1845

Metropolitan Museum of Art, NY

detail, The Beeches

Atmospheric perspective (also called aerial perspective) is a technique used in landscape painting to enhance the visual experience of distance. Leonardo da Vinci was extremely interested in this technique as is seen in the Madonna of the Rocks, discussed in your text. In order to indicate mountains that are closer to the viewer, the artist will make them more distinct by making them darker. Conversely, mountains that are intended to be further away from the viewer will become increasingly bluish, as if to make them more indistinct. In the above example, 19th century American artist, Asher B. Durand, has created a landscape that utilizes these same techniques. On the left, you can see how the expanse of the land and mountains in the distance opens up before the figure in the foreground. But look at the detail on the right; note how Durand has used this technique to create the effect of mountains seen at different distances. The mountains that are closer to the viewer are darker and the furthest mountain range takes on a lighter bluish effect. B. Chiaroscuro

Raphael

Madonna della Sedia, 1512-1514

Palazzo Pitti, Florence, Italy

Chiaroscuro (pronounced kee-ar-oh-skoor-oh) is derived from the two Italian words, chiaro = light and oscuro = dark. It refers to the balancing of light and shade in a picture. This is an important technique because, when used effectively, it can represent the effect of light falling across a surface, thus enhancing the three dimensionality of an object, animal, or person. In this example, Raphael depicts a Madonna and Child. Note how his careful use of chiaroscuro indicates a sense of volume around the thigh of Christ's leg as well as the shade under the Madonna's neck. C. Tenebrism

Rembrandt

Self-Portrait, 1658
Frick Collection, NY

Tenebrism is derived from the Italian word, tenebroso, which means "murky." It is a dramatic shift from deep shadows to high points of light. 17th century Baroque artists, such as Rembrandt, often included tenebrism in their paintings. This painting is just one of many self-portraits made by the famous painter over his lifetime. Rembrandt is seen in deep shadow, with only the right side of his face and right hand in bright light. Rembrandt was very skilled in using this technique and used it quite often throughout his career. Next time you visit a museum that has a Rembrandt in its collection, I guarantee that it will be one of the paintings that you remember from your visit. D. Key (Value)

Thomas Cole

The Oxbow, 1836

Metropolitan Museum of Art, NY

detail, The Oxbow

This 19th century landscape by American artist Thomas Cole depicts the Catskills in New York State. In the left box, you can see the entire painting that shows a large mass of dark storm clouds on the left side of the canvas with bright sunlight on the green fields on the right side of the canvas. But if you look closer at the detail of this painting (right box) you can see how light, in this case sunlight, can affect the key or value of a color. In terms of this painting, the dark clouds obscure the light and make certain patches of green look dark (or lower in value). On the other hand, those areas that are exposed to bright sunlight appear to be lighter (or higher in value). II. Color A. Color Schemes 1. Analagous Colors

Vincent van Gogh

Sunflowers, 1888
Museum of Modern Art, NY

Analogous colors are pairs of colors that are adjacent to each other, as seen in the moving color wheel in the right box. Because these colors are closely related to each other they have a pleasing and harmonious effect. Post Impressionist artist Vincent van Gogh painted several examples of Sunflowers, and although the subject matter was the same he sometimes experimented with different colored backgrounds and shades of flowers. In this particular example, van Gogh used a palette that utilizes deep yellow, gold, and brown; all are adjacent to each other. The only variation from these warm colors is the touch of green used for the stems and leaves. 2. Complementary Colors

Ernst Ludwig Kirchner

Self-Portrait with Model, 1910-26

Hamburger Kunsthalle, Germany

Complementary colors are pairs of colors that are directly across from each other on the color wheel. Complementary colors create more tension and visual energy for the viewer. German Expressionist artist, Ernst Kirchner was very interested in the expressive qualities of color. This self-portrait of the artist in his studio with a model conveys a sense of tension, if not palpable uneasiness through its complementary use of orange and blue seen in his dressing gown. Kirchner understood the use of color and this effect was a deliberate manipulation of color to create discomfort in the viewer. B. Color in Representational Art 1. Perceptual color

Claude Monet

Regatta at Argenteuil, 1873

Muse d'Orsay, Paris

Perceptual color was used extensively by Impressionist artist Claude Monet to represent the world, not in an idealized sense, but as the world actually appears to the human eye. The invention of photography was still quite new but its growing popularity urged artists to represent the world in new ways, far different than their Renaissance predecessors. A painting such as this example was able to be made out of doors or plein-air, a French term used to describe painting in the open air. Monet accurately depicts how the eye sees the trees, sky, clouds, and water in this painting. But note how he effortlessly and skillfully he captures the reflection of the trees, clouds and sunlight on the surface of the water with just the simplest touches of color. Monet was quoted as saying: "When you go out to paint, try to forget what objects you have before you-a tree, a house, a field, or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow and paint it as it looks to you, the exact color and shape, until it gives you your own nave impression of the scene before you." 2. Optical Color

Georges Seurat

The Circus, 1890-1891

Muse d'Orsay, Paris

detail, The Circus

Optical color is colors, usually complementary, that are mixed by the viewer's eye. George Seurat, a 19th century French painter, worked extensively with this technique, meticulously laying down thousands of tiny dots of color, side by side. This technique has been calledpointillism. When viewed from a distance, the dots of color blend together to form other colors and delineate shapes. 3. Arbitary Color

Andr Derain

Charing Cross Bridge, London, 1906

National Gallery of Art, Washington, D.C.

Arbitrary color has no realistic relationship to the object that is depicted. Sometimes artists, such as in this example, (and also in the Kirchner example discussed above in complementary color) paint objects or people not as they would be seen in the natural world. In this depiction of an actual bridge in London, Derain has deliberately made the choice to represent this cityscape. Note specifically the way he represents the water flowing under the bridge: the colors of blue, yellow, and green predominate. And the small boats on the left rest on a ground of red; is this intended to indicate the river's edge or are they floating? Also note the bright green buildings that rise up in the background juxtaposed against a pale pink (twilight?) sky. This is decidedly not the realm of the Impressionist painter, but rather an artist whose interest in the effects of color and not in representing the world in realistic terms or in exploring how the human eye perceives color. A Summary of Light and Color

Jan Vermeer

Girl with a Pearl Earring, 1665

Mauritshuis, The Hague

This painting, Girl with a Pearl Earring, by 17th century Dutch artist Jan Vermeer is one of the most famous works of art in the world. It is a simple portrait of a young girl, and yet her expression and turned pose instantly capture the viewer's attention. In this single example, we can see just how skillfully light and color can be used in a painting. Vermeer was a master at portraying light and color. The sitter is bathed in a bright light that reflects the fabric of her turban and cloak.

As we move in closer to inspect the detail (in the right box), we notice how Vermeer uses white pigment to reflect light from the girl's eyes as well as to indicate the moistness of her lips, especially at the corners of her mouth.

But the most famous focal point of this painting has to be the large pearl earring (detail seen in right box). Notice how with a simple patch of white pigment Vermeer depicts a bright spot of light. But also note how he has used chiaroscuro to add curves to the pearl.

It might be of interest to you to know that Vermeer was not a very prolific artist; there are only 35 (maybe 36) paintings attributed to him. But each one is a magnificent example of painting. Don't pass up the chance to see one, you'll never forget it!

analagous analagous