PSYCHOLOGY OF COLOR Symbolic meanings of colors have psychological connotations. Nevertheless, colors effect us psychologically regardless of any symbolism. And the psychological effect of one color can be very different from its symbolical significance. Black may signify mourning, but a black gown or suit, such as a tuxedo, is distinguished and elegant as well, depending upon circumstances. An orange or red gown is loud and flashy, out-of-place, when worn by a woman attending a funeral; but it may be proper and attractive when the same woman wears it at a gala reception or dance.
There is no absolute definition of psychological effects. A few years ago, I was wearing a charcoal-gray suit, a pair of gray gloves, a white shirt, and a subdued necktie. Standing in a subway car, I overheard two women whispering to each other: "He must be an undertaker." They shied away from me. They probably imagined I smelled of death. At the same time, I thought I was smartly dressed. After the experience, however, I always wore my charcoal suit with a bright-hued shirt and a very colorful necktie...and without gray gloves.
There can be hardly any question but that people prefer bright, sunny days to dark, rainy ones; a bouquet of fresh flowers is more attractive than a shabby trash can full of waste; darkness will always suggest danger and mystery; fire and flames will never cease to be fascinating as well as frightening.
As we have become more conscious of the pleasant or unpleasant reactions to colors, we employ our knowledge in a practical manner. We now paint the walls of hospitals and schools a pale Nile-green, rather than the previously universal dull gray or buff or glaring white; we find the soft green hue more relaxing to eye and soul. We've discovered that a small room looks bigger if painted in light tones, and even larger if one of its walls is done in a different hue; the lighter color gives a feeling of space, while the different color appears to open on another vista.
The Louvre in Paris, and other major museums in Europe, have long since painted the walls of various galleries in different hues: dusty-green, blue-gray, light-maroon, and so forth, in order to make them more intimate and diversified. New York's Metropolitan Museum of Art tried the same idea a number of years ago, but people objected to the colors; they were accustomed to the drab uniformity of each gallery. Recently, though, The Metropolitan has redecorated some of its galleries in color and nobody seems to complain, since people have become adjusted to the idea of color. Paintings on colored walls are closer to us, or so it seems. The dry, severe atmosphere of a museum is softened.
Many an artist faces a client who doesn't dare purchase a certain painting, because the client believes it won't go with the color of the wall. This is a completely erroneous concept. The color of the wall has nothing to do with the painting, unless the wall color is absurd - orange, perhaps, with cobalt blue woodwork! One doesn't encounter such bizarre color combinations in the average household. On a normal wall, any painting you like will remain attractive, provided that it's in a frame which visually separates it from the surroundings.
UTILIZING PSYCHOLOGICAL EFFECTS IN PAINTING As I have stated before, art is not a haphazard activity. Even if you paint spontaneously, such a painting is based on your knowledge and skill, rather than merely your natural talent. Knowledge and skill are what you learn from teachers, from books, from the internet, from experience, from practice. If you understand the psychological effects of colors, you can employ them at your will, deliberately. you have a better chance of figuring out the ultimate effect. You can be sure, for example, that a painting executed mainly in shades of gray, and much of it in black, with hardly any relief from the dark tones, will have a lugubrious, depressing effect on the average onlooker. If that is what you want, go ahead.
Art is not necessarily a joyful activity; a painting is not great because it is full of happiness; nor is it bad because it happens to convey a feeling of tragedy. This is the same as with theatrical productions: we have tragedies as well as comedies. But if you write a tragedy, you don't want the audience to laugh at it; and if you planned to write a comedy, you are shocked if it makes people cry. You're free to pain a tragic picture, employing all the colors that convey an emotion of sadness or despair.
Understanding all the features of your art is bound to help you in attaining your positive goal. I've seen outdoor paintings the artist wanted to be cheerful. I saw him do the work. But what happened? He painted the light, sparkling blue sky much too dark. He painted the foliage of trees in the background just as those in the foreground, a grayish-green. The grass was blue-green; the earth, visible here and there, was almost black, with gray highlights. The tree trunks were all of the same rusty-brown color, in the distance, in the foreground, in the middleground. The entire painting looked dreary, dull, without any depth. It resembled an old, shabby, discolored theatrical backdrop. He missed his mark by miles!
I saw another artist, a very serious one, paint a funeral, showing people standing all around the grave, with their umbrellas open. He thought that funerals must be held on rainy days, the way they are usually shown in grade C films. He painted all the figures, all the umbrellas in black, the sky gray, but the grass was bright green, as if hit by the sun. There was something theatrical about the black silhouette-like figures. The onlooker felt that it was all a fake, a play-acting.
There are artists who know exactly what colors to employ. For example, the artist who paints cityscapes right after the rain. One can see the clouds disappearing; there are some puddles of rainwater, here and there, but the sun is out, and everything looks freshened-up, cheerful. This kind of painting demands absolute knowledge of colors and their effects.
HOW TO JUDGE YOUR COLOR SELECTION There are two major criteria by which you might judge your selection of colors in any field: in dress, home, or painting. Neither of these criteria is easy, and neither of them is foolproof, but both of them are well worth trying, especially because there seems to be no alternative.
One way you can judge colors is not to look at your work, dress, or home for a few days, until your eyes are fresh enough to be able to see clearly. You can put a dress or suit in your closet. You can turn a painting face against the wall. You can shut your eyes when you are home, or try to look at a small corner only. The best idea is to go away for a while.
A few days later, turn your painting face out; take your apparel out of the closet; turn all lights on in your house, and look, just look. A great deal of self-criticism is possible in this fashion. In paintings, you can also turn the work upside down. You'll find this simple trick is a help. For reasons we have discussed before in these lessons, you'll notice mistakes more quickly in an upside-down picture than in a rightside-up painting.
The other way of judging results is by watching the reaction of other people to your colors. Those people may be friends or strangers, but, preferably, they are people whose judgment you consider satisfactory. Don't tell them anything, just watch them.
Even though tastes are different, most people in your own circle are likely to agree on what is attractive and what isn't. If such general agreement didn't exist, the world would be absolutely unbearable.
Watch peoples reaction to your taste and allow them to make suggestions. Listen to them carefully and consider their criticism and advice. But, for heaven's sake, don't permit every Tom, Dick, and Harry to destroy your ego by making devastating, unwarranted comments on your taste and artistry. CHARACTERISTIC COLOR COMBINATIONS By a natural association of ideas, we think of spring as full of vivid color. Summer, in our memory, lives as a season of heat, without any delicacy of color. Everything is ripe, fully grown. Autumn, in a large part of the world, is a symphony of colors, ranging from still green leaves, through yellow, orange, violet, purple tones, to the dying brown foliage under a clear blue sky. Winter is either depressing with its barren earth, skeletonized trees, and shrubs; or invigorating with its bright blue sky and violet shadows thrown on the pure snow. Winter sports are characterized by multi-colored apparel.
Dusk, dawn, rain, thunderstorm, snowfall, the sun coming out from behind clouds after a shower, the last orange rays of the setting sun illuminating the sky - all carry certain moods with them. These moods are reflected in the coloring.
Artists have been intrigued by seasons, and weather for centuries. The seasons have often been depicted in combination with the ages of man: childhood and spring; youth and summer; maturity and autumn; old age and winter. There is a challenge in painting the seasons. You must go outdoors and paint from direct observation during the greater part of the year. Few artists paint in the open in the cold season, but one can observe snowy scenery from a house or a shack. One noted New England artist that I happen to know, has been painting nothing but snowscapes, and always from life. He drives around in a glass-enclosed studio, complete with heater, and all equipment built on the good, old chassis of a car. He stops wherever he finds inspiration. He doesn't seem to be interested in any other subject. When there is no snow, he takes a vacation.
One serious warning: don't paint outdoor scenes without a thorough observation of reality. Here again, the name of a color is very different from its actual appearance. You cannot paint a meadow glowing with red poppies merely by painting the lower half of your canvas green, and interspersing it with many bright-red spots. The result will look like a red-polka-dotted green textile. There are the usual differences of shades, values, and even colors, because a meadow is hardly ever the same vegetation all over.
We speak of a beautiful sky, but just how blue is it? Which blue is to mixed with how much white in order to give us the blue we so admire? And the blue sky itself is not the same blue from top to bottom. What is the color of a dirt road? What is the color of an interesting rock formation? There is no dirt road color, there is no rock color. Everything has many hues, and many shades of each hue. In general, painting from memory alone is near impossible, and should not be practiced without vast knowledge. COLOR IN PHOTOGRAPHY VERSUS COLOR IN PAINTING One need not tell me of the advancements in color photography in recent years. A colossal invention. In the art magazine that I publish, this month's issue includes a group of color photographers whose work is the most talked about of the month. The pictures are clear and remarkably beautiful. But beware of the color in such photographs! They are either too blue, or too red, too brown, or too green. Shadows in photographs are usually much too strong and lack the variety of shades found in nature. such pictures may be helpful in reminding you of certain basic colors of houses, hills, trees, flowers, but don't ever copy the colors as they are in the photograph.
I prefer black-and-white photographs. And I know that it is even hard to find film, but they are clearer. Details in them are not obscured by wild colors. I make pencil sketches and take notes referring to colors. If I have enough time, I also prepare a color sketch in watercolor or casein. Color photographs remind you of such hues, even though in a highly exaggerated manner.
The finest color reproductions of masterpieces give only a vague idea of the original coloring. Place such reproductions next to the originals and you'll have a shock. The most distressing and damaging difference is between paintings and color slides made from them.
I have a few friends who are now jurying shows for publication on the internet by looking at paintings from e-mail! I don't suspect that I need tell you of the problems inherent in this context. As wonderful as this medium is, and with the great potential, it is not nearly good enough a medium from which to judge a painting. COLORS IN PAINTING VERSUS COLORS IN A ROOM A painting must be a complete entity, so composed in color and design that it should stand by itself. A "colorful" painting is not a picture executed in all imaginable colors, but one which looks vivid, cheerful, without disturbing our eyes. It isn't necessary to have a painting match your drapery and furnishings in its colors. Whether you are an artist producing a picture, or a layman purchasing one, consider only one question: is the painting you're doing, or the painting you're buying, proper in subject matter for the particular place where it is to hang?
The frame separates - excludes - the surroundings from the picture. The color scheme of the painting, and the color scheme of the room can thus live side-by-side, in peace and harmony. It's nothing less than barbarous to insist that an artist change certain colors in their painting in order to "match" the colors of the room. I've heard of such cases. Don't let it happen to you, if you're an artist. And don't do it to an artist, if you're a layman.
Wednesday, March 12, 2008
Notes on Expressionism
Fauvism Expressionism notes * Robin Urton*
• Expressionism: figurative art artists purposefully disforms color, form, light, texture for desired intensification of emotional reaction
• Symbolist: colors are expressive in and of itself
• flattened or tilted plane
• patterns
• jarring textures, color
• crowded space
Edvard Munch
(Norwegian, 1863-1944)
Munch (pronounced Muenk) was a Norwegian painter and printmaker whose intensely psychological and emotional themes was a major influence on the development of German Expressionism in the early 20th century. His painting The Scream is regarded as an icon of the existential anguish of the post-industrial modern age. It may have been partly inspired by the raw quality of African tribal art (the early 20th century was the first time the public saw such works in art museums). Munch tended to focus on intense emotions, such as those expressed in Puberty, which presents the fearful period of a girl's life as she faces the uncomfortable transition of becoming a woman.
The troubling nature of many of Munch's works can be partly explained by events of his early childhood, as well as the overly religious (and repressive) society in which he lived. Raised in Norway (which is dark and cold throughout much of the year), his mother died of tuberculosis when he was only five. Later, after developing a close attachment to his sister, she suffered the same fate. Art was, for Munch, a way to express his emotions of grief. Throughout his life he was also known to be obsessed with women, though he was never to marry. The Dance of Life focuses on the changing nature of woman as she matures from innocence into full sexuality, and then to old age - where she is again regarded as non-sexual.
Munch's clarity of expression was to have a great influence on many artists who would come to be known as "Expressionists". Though there were many developments in different countries, the most famous and influential would be German Expressionism and Fauvism (primarily a French movement).
German Expressionism
There were two groups of German Expressionist movements. One was called Die Brucke (meaning "the bridge"), led by Kirchner. The other was called Der Blau Rieter ("the Blue Rider"), led by Kandinsky.
Ernst Ludwig Kirchner
(1880 - 1938)
The beginning of Expressionism took place in Germany, around the time of the first World War. In 1912, Kirchner became the leader of a group of artists who called themselves "Die Brucke". He and the other artists sought to build a " bridge" between Germany's past and future. They felt that the art of the current establishment was too academic and refined to retain any degree of expression, so they instead found inspiration in medieval German art and primitive African sculpture. Additionally, they would find inspiration in the emotionally expressive works of Vincent Van Gogh and Edvard Munch. Since their primary concern was the expression of deeply felt emotions, they would also transform their negative feelings about the war onto canvas.
Kirchner achieved some fame during his lifetime, and was fortunate to maintain a number of collectors for his paintings. With the beginnings of WWII, however, his work was denounced (as well as his compratriots) as "degenerate art", and confiscated from museums. He became increasingly depressed by the war and took his own life.
Emil Nolde
(1867-1956)
Wassily Kandinsky
(Russian, 1866-1944)
Though Kandinsky was born in Russia, he spent most of his creative years in Germany, and would head up the second German Expressionist group, known as "Der Blau Reiter". Kandinsky and his followers were more spiritually inclined than the Die Brucke group (and had close ties with a new sect of religious philosophy, known as theosophy). Kandinsky believed that colors, shapes and forms had an equivalence with sounds and music, and sought to create color harmonies which would be purifying to the soul. It is easy to see the impressionistic influence in his very earliest works. As his work progresses, it becomes increasingly abstract, until there is no longer an image defined by the various shapes and colors. By this time, Kandinsky had decided that the idea of creating paintings which were pictures of the representational world was no longer necessary. He felt that society was paving the way for a new, more spiritual age. Instead of focusing on the material aspects of life, he felt his paintings could help prepare people to see the spiritual, non-material world. Kandinsky is one of the first (if not the first) artist to create completely non-representational paintings.
Franz Marc
Franz Marc is best known for his paintings of animals (particularly horses and deer) in which he attempted to express his mystical veneration of nature. In works such as Blue Horses, he used stylized lines and curves and brilliant unrealistic color to create and heighten the sense of nature idealized. After 1913, in response to cubism and futurism, he turned to abstraction, creating moods of clashing, discordant uncertainty. He was killed in action during World War I.
Austrian Expression
Gustav Klimt was the leader of a group called the Viennese Seccession, which sought to separate itself from the naturalist movement which was popular in early 20th century Austria. His work is difficult to categorize, but is often associated with the Symbolists and Art Nouveau, but it also has some ties to Expressionism. Though he was supported by many members of the Viennese aristocracy (and painted many of thier portraits), his work was also widely criticized for its eroticism.
French Fauvism
Fauvism (pronounced Foev-ism) was the most optomistic movement linked to expressionism. This can be explained by its birthplace, in Paris. When viewing these works, it is easy to imagine the bohemian lifestyle of the artists. Parisians enjoyed getting together in the cafes, listening to music and drinking wine. They also enjoyed outdoor activities in the sun. Their art expresses more of pleasure than it does of the complex (often negative) emotions expressed in the north.
Fauvism was a brief but important art movement that followed the Post-Impressionism movement in France. Matisse is regarded as the leader of the movement, but Andre Derain was also significant (Braque also briefly painted in the style, before his cubist experiments). Each part of their paintings had loud colors, primitive elements, and wild ideas. Although the movement only lasted four years, it would have a profound effect on future artists, especially in terms of their use of color. Though initially inspired by Impressionism and Post Impressionist works, the colors used were even more saturated and high keyed. The effect was very bold, almost loud. Fauvism is recognized for its influence on cubism and modern expressionism in its flattened space, disregard for natural forms and its love of unbridled color.
Henri Matisse
After 1905, Matisse continued to use bright colors and bold compositions, yet these works are no longer considered to be of the Fauvist period. The most evident change in his work is his increased interest in patterns and the continued flattening of pictorial space. Matisse is, along with Picasso, regarded as one of the most influential artists of the 20th century. His work is more decorative than Picasso's, but also less troubling. A famous quote by Matisse is that he felt that art should be like a good armchair to come home to after a hard day's work. Though he lived through two world wars, he decided not to focus on what was wrong with the world. Instead, he felt that art should provide a place for the soul to rest.
Matisses's latest artworks, are often regarded as his most innovative. They were created after a he was handicapped from severe arthritis which limited him to a wheelchair. Unable to stand to paint, he began cutting out shapes from colored pieces of paper. These he had glued (with help from assistants) to huge pieces of paper. The effect is extremely bold and light-hearted. The colors and shapes have a liberating sense about them. One feels that, despite his problems, Matisse has succeded in returning to a carefree childhood.
• Expressionism: figurative art artists purposefully disforms color, form, light, texture for desired intensification of emotional reaction
• Symbolist: colors are expressive in and of itself
• flattened or tilted plane
• patterns
• jarring textures, color
• crowded space
Edvard Munch
(Norwegian, 1863-1944)
Munch (pronounced Muenk) was a Norwegian painter and printmaker whose intensely psychological and emotional themes was a major influence on the development of German Expressionism in the early 20th century. His painting The Scream is regarded as an icon of the existential anguish of the post-industrial modern age. It may have been partly inspired by the raw quality of African tribal art (the early 20th century was the first time the public saw such works in art museums). Munch tended to focus on intense emotions, such as those expressed in Puberty, which presents the fearful period of a girl's life as she faces the uncomfortable transition of becoming a woman.
The troubling nature of many of Munch's works can be partly explained by events of his early childhood, as well as the overly religious (and repressive) society in which he lived. Raised in Norway (which is dark and cold throughout much of the year), his mother died of tuberculosis when he was only five. Later, after developing a close attachment to his sister, she suffered the same fate. Art was, for Munch, a way to express his emotions of grief. Throughout his life he was also known to be obsessed with women, though he was never to marry. The Dance of Life focuses on the changing nature of woman as she matures from innocence into full sexuality, and then to old age - where she is again regarded as non-sexual.
Munch's clarity of expression was to have a great influence on many artists who would come to be known as "Expressionists". Though there were many developments in different countries, the most famous and influential would be German Expressionism and Fauvism (primarily a French movement).
German Expressionism
There were two groups of German Expressionist movements. One was called Die Brucke (meaning "the bridge"), led by Kirchner. The other was called Der Blau Rieter ("the Blue Rider"), led by Kandinsky.
Ernst Ludwig Kirchner
(1880 - 1938)
The beginning of Expressionism took place in Germany, around the time of the first World War. In 1912, Kirchner became the leader of a group of artists who called themselves "Die Brucke". He and the other artists sought to build a " bridge" between Germany's past and future. They felt that the art of the current establishment was too academic and refined to retain any degree of expression, so they instead found inspiration in medieval German art and primitive African sculpture. Additionally, they would find inspiration in the emotionally expressive works of Vincent Van Gogh and Edvard Munch. Since their primary concern was the expression of deeply felt emotions, they would also transform their negative feelings about the war onto canvas.
Kirchner achieved some fame during his lifetime, and was fortunate to maintain a number of collectors for his paintings. With the beginnings of WWII, however, his work was denounced (as well as his compratriots) as "degenerate art", and confiscated from museums. He became increasingly depressed by the war and took his own life.
Emil Nolde
(1867-1956)
Wassily Kandinsky
(Russian, 1866-1944)
Though Kandinsky was born in Russia, he spent most of his creative years in Germany, and would head up the second German Expressionist group, known as "Der Blau Reiter". Kandinsky and his followers were more spiritually inclined than the Die Brucke group (and had close ties with a new sect of religious philosophy, known as theosophy). Kandinsky believed that colors, shapes and forms had an equivalence with sounds and music, and sought to create color harmonies which would be purifying to the soul. It is easy to see the impressionistic influence in his very earliest works. As his work progresses, it becomes increasingly abstract, until there is no longer an image defined by the various shapes and colors. By this time, Kandinsky had decided that the idea of creating paintings which were pictures of the representational world was no longer necessary. He felt that society was paving the way for a new, more spiritual age. Instead of focusing on the material aspects of life, he felt his paintings could help prepare people to see the spiritual, non-material world. Kandinsky is one of the first (if not the first) artist to create completely non-representational paintings.
Franz Marc
Franz Marc is best known for his paintings of animals (particularly horses and deer) in which he attempted to express his mystical veneration of nature. In works such as Blue Horses, he used stylized lines and curves and brilliant unrealistic color to create and heighten the sense of nature idealized. After 1913, in response to cubism and futurism, he turned to abstraction, creating moods of clashing, discordant uncertainty. He was killed in action during World War I.
Austrian Expression
Gustav Klimt was the leader of a group called the Viennese Seccession, which sought to separate itself from the naturalist movement which was popular in early 20th century Austria. His work is difficult to categorize, but is often associated with the Symbolists and Art Nouveau, but it also has some ties to Expressionism. Though he was supported by many members of the Viennese aristocracy (and painted many of thier portraits), his work was also widely criticized for its eroticism.
French Fauvism
Fauvism (pronounced Foev-ism) was the most optomistic movement linked to expressionism. This can be explained by its birthplace, in Paris. When viewing these works, it is easy to imagine the bohemian lifestyle of the artists. Parisians enjoyed getting together in the cafes, listening to music and drinking wine. They also enjoyed outdoor activities in the sun. Their art expresses more of pleasure than it does of the complex (often negative) emotions expressed in the north.
Fauvism was a brief but important art movement that followed the Post-Impressionism movement in France. Matisse is regarded as the leader of the movement, but Andre Derain was also significant (Braque also briefly painted in the style, before his cubist experiments). Each part of their paintings had loud colors, primitive elements, and wild ideas. Although the movement only lasted four years, it would have a profound effect on future artists, especially in terms of their use of color. Though initially inspired by Impressionism and Post Impressionist works, the colors used were even more saturated and high keyed. The effect was very bold, almost loud. Fauvism is recognized for its influence on cubism and modern expressionism in its flattened space, disregard for natural forms and its love of unbridled color.
Henri Matisse
After 1905, Matisse continued to use bright colors and bold compositions, yet these works are no longer considered to be of the Fauvist period. The most evident change in his work is his increased interest in patterns and the continued flattening of pictorial space. Matisse is, along with Picasso, regarded as one of the most influential artists of the 20th century. His work is more decorative than Picasso's, but also less troubling. A famous quote by Matisse is that he felt that art should be like a good armchair to come home to after a hard day's work. Though he lived through two world wars, he decided not to focus on what was wrong with the world. Instead, he felt that art should provide a place for the soul to rest.
Matisses's latest artworks, are often regarded as his most innovative. They were created after a he was handicapped from severe arthritis which limited him to a wheelchair. Unable to stand to paint, he began cutting out shapes from colored pieces of paper. These he had glued (with help from assistants) to huge pieces of paper. The effect is extremely bold and light-hearted. The colors and shapes have a liberating sense about them. One feels that, despite his problems, Matisse has succeded in returning to a carefree childhood.
Assignment 10 Final
Color Theory Francisco Letelier Assignment 10 final
Create a psychological self portrait employing color to convey meaning,
Format 9" x 12" up to 11 x 17 2d
full color, acrylic or gouache with other media, including collage.
Illustration board or canvas board
Explore the meaning of self-portrait.
The expressionists used color to convey emotion in both realistic and abstract compositions. Your task with this assignment is to combine your knowledge of color to create an image which represents you. It may be a realistic self-portrait but more importantly you will create a portrait that speaks about your interior landscape.
Your composition should pay attention to figure ground relationships as well as employ some of the various aspects of color we have gone over in class. These include:
basic color theory, transparency, symbolic color, grids, rhythm, unity, pattern, warm and cool colors, cropping and enlarging, the use of color to imply distance, atmospheric perspective, expressionist use of color, pointillism and the use of color employed by the 'modernist artist' you have studied.
Challenge yourself, have fun, be original.
Please cover your work protective paper.
Create a psychological self portrait employing color to convey meaning,
Format 9" x 12" up to 11 x 17 2d
full color, acrylic or gouache with other media, including collage.
Illustration board or canvas board
Explore the meaning of self-portrait.
The expressionists used color to convey emotion in both realistic and abstract compositions. Your task with this assignment is to combine your knowledge of color to create an image which represents you. It may be a realistic self-portrait but more importantly you will create a portrait that speaks about your interior landscape.
Your composition should pay attention to figure ground relationships as well as employ some of the various aspects of color we have gone over in class. These include:
basic color theory, transparency, symbolic color, grids, rhythm, unity, pattern, warm and cool colors, cropping and enlarging, the use of color to imply distance, atmospheric perspective, expressionist use of color, pointillism and the use of color employed by the 'modernist artist' you have studied.
Challenge yourself, have fun, be original.
Please cover your work protective paper.
Wednesday, March 5, 2008
Notes on Pointillism
Pointillism is a style of painting that was popular among the French Neo-Impressionists of the late 19th century. It involves the practice of applying small strokes or dots of contrasting pigment to a surface so that from a distance the dots blend together into solid forms.
In a sense, this is what a computer does every time it draws an image using colored pixels. But because pixels are so small, computer monitors don't give us that gentle Neo-Impressionist feel.
Georges Seurat invented the technique known as Pointilism, which uses tiny dots instead of broad strokes to put the paint on the canvas. The individual dots of red, yellow and blue are sucked in through your eyes and mixed up in your head to create a variety of shimmering shades.
Pointillism was part of the impressionist art movement in the late 19th century. This movement did not aim to paint in a realistic way but rather as we perceive the world. The sub-group of impressionists called Pointillists (most notably Seurat and Pissarro) based their paintings on small colored dots (or even small oriented patches). The observer then constructs the image by merging dots. Perceived reality is, thus, a concept constructed by the observer.
Pointillism is an original form of art created by George Seurat. Pointillism is a bunch of tiny dots formed together to make a picture. Why we use pointillism instead of using a paintbrush and just painting is because pointillism is brighter and the other kinds of paintings can be dull. When two colors are next to each other, your eye mixes them and that is called optical mixing. Using optical mixing instead of physically mixing can make a brighter picture.
Pointillism takes a long time. For example, Seurat’s “A Sunday in the Park” took him two years to complete, covers a wall (81 inches by 120 inches) and has about 3,456,000 dots! If you are ever in Chicago, go to the Art Institute and check out this painting. It’s awesome!
The idea of pointillism is not to physically mix colors.
In a sense, this is what a computer does every time it draws an image using colored pixels. But because pixels are so small, computer monitors don't give us that gentle Neo-Impressionist feel.
Georges Seurat invented the technique known as Pointilism, which uses tiny dots instead of broad strokes to put the paint on the canvas. The individual dots of red, yellow and blue are sucked in through your eyes and mixed up in your head to create a variety of shimmering shades.
Pointillism was part of the impressionist art movement in the late 19th century. This movement did not aim to paint in a realistic way but rather as we perceive the world. The sub-group of impressionists called Pointillists (most notably Seurat and Pissarro) based their paintings on small colored dots (or even small oriented patches). The observer then constructs the image by merging dots. Perceived reality is, thus, a concept constructed by the observer.
Pointillism is an original form of art created by George Seurat. Pointillism is a bunch of tiny dots formed together to make a picture. Why we use pointillism instead of using a paintbrush and just painting is because pointillism is brighter and the other kinds of paintings can be dull. When two colors are next to each other, your eye mixes them and that is called optical mixing. Using optical mixing instead of physically mixing can make a brighter picture.
Pointillism takes a long time. For example, Seurat’s “A Sunday in the Park” took him two years to complete, covers a wall (81 inches by 120 inches) and has about 3,456,000 dots! If you are ever in Chicago, go to the Art Institute and check out this painting. It’s awesome!
The idea of pointillism is not to physically mix colors.
Assignment # 9 Pointillism
Color Theory Francisco Letelier Assignment 9
Using the 5 color pointillist palette you created in class, create a composition using pointillist technique.
This will involve the practice of applying small strokes or dots of contrasting pigment to the surface so that from a distance the dots blend together into solid forms.
The idea of pointillism is not to physically mix colors.
Size "8x11" executed on 9x12 illustration board.
Medium: Acrylic paint or gouache
Please strive to create a clean presentation.
Use one of your landscape photos, set up a still life or work from a photograph.
Emphasize composition on the page. Choose your subject carefully, making sure it is not too complex for the format we are working in, while checking that it provide enough visual interest to create a strong composition
Make sure you have a small enough brush so that the dots are not too big, make sure you use a large enough brush that dots are not too small. As you work, back away from the surface and observe how your dots are working in specific fields of color.
Using the 5 color pointillist palette you created in class, create a composition using pointillist technique.
This will involve the practice of applying small strokes or dots of contrasting pigment to the surface so that from a distance the dots blend together into solid forms.
The idea of pointillism is not to physically mix colors.
Size "8x11" executed on 9x12 illustration board.
Medium: Acrylic paint or gouache
Please strive to create a clean presentation.
Use one of your landscape photos, set up a still life or work from a photograph.
Emphasize composition on the page. Choose your subject carefully, making sure it is not too complex for the format we are working in, while checking that it provide enough visual interest to create a strong composition
Make sure you have a small enough brush so that the dots are not too big, make sure you use a large enough brush that dots are not too small. As you work, back away from the surface and observe how your dots are working in specific fields of color.
Wednesday, February 27, 2008
Notes on Modernism
Color theory notes Letelier
Modern art is a general term used for most of the artistic work from the late 19th century until approximately the 1970s. (Recent art production is more often called Contemporary art or Postmodern art). Modern art refers to the new approach to art which placed emphasis on representing emotions, themes, and various abstractions. Artists experimented with new ways of seeing, with fresh ideas about the nature of materials and functions of art, often moving further toward abstraction
Roots in the 19th century
By the late 19th century, several movements which were to be influential in modern art had begun to emerge: Impressionism and post-Impressionism, as well as Symbolism.
Influences upon these movements were varied: from exposure to Eastern decorative arts, particularly Japanese printmaking, to the colouristic innovations of Turner and Delacroix, to a search for more depiction of common life, as found in the work of painters such as Jean-François Millet. At the time, the generally held belief was that art should be accurate in its depiction of objects, but that it should be aimed at expressing the ideal, or the domestic.
.In the visual arts the roots of Modernism are often traced back to painter Édouard Manet, who beginning in the 1860s broke away from inherited notions of perspective, modeling, and subject matter. The avant-garde movements that followed—including Impressionism, Post-Impressionism, Cubism, Futurism, Expressionism, Constructivism, De Stijl, and Abstract Expressionism—are generally defined as Modernist. Over the span of these movements, artists increasingly focused on the intrinsic qualities of their media—e.g., line, form, and colour—and moved away from inherited notions of art. By the beginning of the 20th century, architects also had increasingly abandoned past styles and conventions in favour of a form of architecture based on essential functional concerns. In the period after World War I these tendencies became codified as the International style, which utilized simple, geometric shapes and unadorned facades and which abandoned any use of historical reference; the buildings of Ludwig Mies van der Rohe and Le Corbusier embodied this style. After World War II the style manifested itself in clean-lined, unadorned glass skyscrapers and mass housing projects.
More:
Most of the color theorists since Chevreul have been abstract painters rather than representational ones. I like to thumb through Itten, Albers and Kandinsky color books once in a while but I have to admit that although they provide a backbone of sorts for what is called color theory they are not entirely useful sometimes.
They are a lot of fun, though. Here just for the heck of it, are a couple of Kandinsky color theories. Maybe they'll spur you on to make theories of your own.
According to Kandinsky certain colors (above) have an affinity for certain forms. A dull shape like a circle deserves a dull color like blue. A shape with intermediate interest like a square deserves an intermediate color like red. A dynamic, interesting shape like a triangle deserves an enegetic, luminous, psychotic color like yellow.
A hexagon is midway in interest between a square and a triangle so it gets the midway color it deserves, orange. Toilet cover seats get green.
Lines also have an affinity for certain colors. Bold, dynamic lines like diagonals get a bold color like yellow. Less drastic diagonals get a less drastic color, red. Dead lines that are nearly horizontal get a dead color like black. Slightly active lines like verticals get a dull color like blue.
Kandinsky even has a theory about coloring lines according to their centrality in the composition. Lines in the middle get yellow. Sad, unloved lines that hug the edge of the frame should get dull colors.
The same goes for angles. Drastic accute angles get drastic colors, more sedate obtuse angles get bland colors like blue.
Ditto curves. Of course a line usually has both drastic and sedate curves and angles and the color of the line changes accordingly.
Color Field painting is an abstract style that emerged in the 1950s after Abstract Expressionism and is largely characterized by abstract canvases painted primarily with large areas of solid color. An alternate but less frequently encountered term for this style is chromatic abstraction.
Color Field painting initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell and Adolph Gottlieb. Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting. During the early to mid-1960s Color Field painting was the term used to describe artists like Jules Olitski, Kenneth Noland, and Helen Frankenthaler, whose works were related to second generation abstract expressionism, and to younger artists like Larry Zox, and Frank Stella, - all moving in a new direction. In 1964 Clement Greenberg curated an influential exhibition that traveled the country called Post-painterly abstraction. The exhibition expanded the definition of color field painting. In the late 1960s Richard Diebenkorn began his Ocean Park series; created during the final 25 years of his career and that are important examples of color field painting. Color Field painting clearly pointed toward a new direction in American painting, away from abstract expressionism. Color Field painting is related to Post-painterly abstraction, Suprematism, Abstract Expressionism, Hard-edge painting and Lyrical Abstraction.
Color Field painting sought to rid art of superfluous rhetoric. Artists like Clyfford Still, Mark Rothko, Hans Hofmann, Morris Louis, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Larry Zox, and others often used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery. Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of modern art, artists wanted to present each painting as one unified, cohesive, monolithic image.
In distinction to the emotional energy and gestural surface marks of Abstract Expressionists such as Jackson Pollock and Willem de Kooning, Color Field painting initially appeared to be cool and austere, effacing the individual mark in favor of large, flat areas of color, which these artists considered to be the essential nature of visual abstraction, along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges. However Color Field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural Abstract expressionism....
Early 20th Century
Among the movements which flowered in the first decade of the 20th century were Fauvism, Cubism, Expressionism and Futurism.
World War I brought an end to this phase, but indicated the beginning of a number of anti-art movements, such as Dada and the work of Marcel Duchamp, and of Surrealism. Also, artist groups like de Stijl and Bauhaus were seminal in the development of new ideas about the interrelation of the arts, architecture, design and art education.
Modern art was introduced to the United States with the Armory Show in 1913, and through European artists who moved to the U.S. during World War I.
After World War II
It was only after World War II, though, that the U.S. became the focal point of new artistic movements. The 1950s and 1960s saw the emergence of Abstract Expressionism, Color field painting, Pop art, Op art, Hard-edge painting, Minimal art, Lyrical Abstraction, Postminimalism and various other movements; in the late 1960s and the 1970s, Land art, Performance art, Conceptual art and Photorealism among other movements emerged.
Around that period, a number of artists and architects started rejecting the idea of "the modern" and created typically Postmodern works.
Starting from the post-World War II period, fewer artists used painting as their primary medium; instead, larger installations and performances became widespread. Since the 1970s, new media art has become a category in itself, with a growing number of artists experimenting with technological means such as video art.
Art movements and artist groups
(Roughly chronological with representative artists listed.)
Modern art
End of 19th century
▪ Romanticism the Romantic movement - Francisco de Goya, J. M. W. Turner, Eugène Delacroix
▪ Realism - Gustave Courbet, Camille Corot, Jean-François Millet
▪ Impressionism - Edgar Degas, Édouard Manet, Claude Monet, Camille Pissarro, Alfred Sisley
▪ Post-impressionism - Georges Seurat, Paul Cézanne, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, Henri Rousseau
▪ Symbolism - Gustave Moreau, Odilon Redon, James Ensor
▪ Les Nabis - Pierre Bonnard, Edouard Vuillard, Félix Vallotton
▪ pre-Modernist Sculptors - Aristide Maillol, Auguste Rodin
Early 20th century (before WWI)
▪ Art Nouveau & variants - Jugendstil, Modern Style, Modernisme - Aubrey Beardsley, Alphonse Mucha, Gustav Klimt,
▪ Art Nouveau Architecture & Design - Antoni Gaudí, Otto Wagner, Wiener Werkstätte, Josef Hoffmann, Adolf Loos, Koloman Moser
▪ Fauvism - André Derain, Henri Matisse, Maurice de Vlaminck
▪ Expressionism - Oskar Kokoschka, Edvard Munch, Emil Nolde
▪ Die Brücke - Ernst Ludwig Kirchner
▪ Der Blaue Reiter - Wassily Kandinsky, Franz Marc
▪ Cubism - Georges Braque, Pablo Picasso
▪ Orphism - Robert Delaunay, Jacques Villon
▪ Synchromism - Stanton MacDonald-Wright, Morgan Russell
▪ Pre-Surrealism - Giorgio de Chirico, Marc Chagall
▪ Futurism - Giacomo Balla, Umberto Boccioni, Carlo Carrà
▪ Vorticism - Wyndham Lewis
▪ Russian avant-garde - Kasimir Malevich, Natalia Goncharova, Mikhail Larionov
▪ Sculpture - Pablo Picasso, Henri Matisse, Constantin Brancusi
▪ Photography - Pictorialism, Straight photography
WWI to WWII
▪ Dada - Jean Arp, Marcel Duchamp, Max Ernst, Francis Picabia, Kurt Schwitters
▪ Synthetic Cubism - Georges Braque, Juan Gris, Fernand Léger, Pablo Picasso
▪ Pittura Metafisica - Giorgio de Chirico, Carlo Carrà
▪ De Stijl - Theo van Doesburg, Piet Mondrian
▪ Expressionism - Egon Schiele, Amedeo Modigliani, and Chaim Soutine
▪ New Objectivity - Max Beckmann, Otto Dix, George Grosz
▪ Figurative painting - Henri Matisse, Pierre Bonnard
▪ Constructivism - Naum Gabo, László Moholy-Nagy, El Lissitzky, Kasimir Malevich, Alexander Rodchenko, Vladimir Tatlin
▪ Surrealism - Jean Arp, Salvador Dalí, Max Ernst, René Magritte, André Masson, Joan Miró, Marc Chagall
▪ Bauhaus - Wassily Kandinsky, Paul Klee
▪ Sculpture - Alexander Calder, Alberto Giacometti, Gaston Lachaise, Henry Moore, Pablo Picasso, Julio Gonzalez
▪ Scottish Colourists - Francis Cadell, Samuel Peploe, Leslie Hunter, John Duncan Fergusson
Modern art is a general term used for most of the artistic work from the late 19th century until approximately the 1970s. (Recent art production is more often called Contemporary art or Postmodern art). Modern art refers to the new approach to art which placed emphasis on representing emotions, themes, and various abstractions. Artists experimented with new ways of seeing, with fresh ideas about the nature of materials and functions of art, often moving further toward abstraction
Roots in the 19th century
By the late 19th century, several movements which were to be influential in modern art had begun to emerge: Impressionism and post-Impressionism, as well as Symbolism.
Influences upon these movements were varied: from exposure to Eastern decorative arts, particularly Japanese printmaking, to the colouristic innovations of Turner and Delacroix, to a search for more depiction of common life, as found in the work of painters such as Jean-François Millet. At the time, the generally held belief was that art should be accurate in its depiction of objects, but that it should be aimed at expressing the ideal, or the domestic.
.In the visual arts the roots of Modernism are often traced back to painter Édouard Manet, who beginning in the 1860s broke away from inherited notions of perspective, modeling, and subject matter. The avant-garde movements that followed—including Impressionism, Post-Impressionism, Cubism, Futurism, Expressionism, Constructivism, De Stijl, and Abstract Expressionism—are generally defined as Modernist. Over the span of these movements, artists increasingly focused on the intrinsic qualities of their media—e.g., line, form, and colour—and moved away from inherited notions of art. By the beginning of the 20th century, architects also had increasingly abandoned past styles and conventions in favour of a form of architecture based on essential functional concerns. In the period after World War I these tendencies became codified as the International style, which utilized simple, geometric shapes and unadorned facades and which abandoned any use of historical reference; the buildings of Ludwig Mies van der Rohe and Le Corbusier embodied this style. After World War II the style manifested itself in clean-lined, unadorned glass skyscrapers and mass housing projects.
More:
Most of the color theorists since Chevreul have been abstract painters rather than representational ones. I like to thumb through Itten, Albers and Kandinsky color books once in a while but I have to admit that although they provide a backbone of sorts for what is called color theory they are not entirely useful sometimes.
They are a lot of fun, though. Here just for the heck of it, are a couple of Kandinsky color theories. Maybe they'll spur you on to make theories of your own.
According to Kandinsky certain colors (above) have an affinity for certain forms. A dull shape like a circle deserves a dull color like blue. A shape with intermediate interest like a square deserves an intermediate color like red. A dynamic, interesting shape like a triangle deserves an enegetic, luminous, psychotic color like yellow.
A hexagon is midway in interest between a square and a triangle so it gets the midway color it deserves, orange. Toilet cover seats get green.
Lines also have an affinity for certain colors. Bold, dynamic lines like diagonals get a bold color like yellow. Less drastic diagonals get a less drastic color, red. Dead lines that are nearly horizontal get a dead color like black. Slightly active lines like verticals get a dull color like blue.
Kandinsky even has a theory about coloring lines according to their centrality in the composition. Lines in the middle get yellow. Sad, unloved lines that hug the edge of the frame should get dull colors.
The same goes for angles. Drastic accute angles get drastic colors, more sedate obtuse angles get bland colors like blue.
Ditto curves. Of course a line usually has both drastic and sedate curves and angles and the color of the line changes accordingly.
Color Field painting is an abstract style that emerged in the 1950s after Abstract Expressionism and is largely characterized by abstract canvases painted primarily with large areas of solid color. An alternate but less frequently encountered term for this style is chromatic abstraction.
Color Field painting initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell and Adolph Gottlieb. Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting. During the early to mid-1960s Color Field painting was the term used to describe artists like Jules Olitski, Kenneth Noland, and Helen Frankenthaler, whose works were related to second generation abstract expressionism, and to younger artists like Larry Zox, and Frank Stella, - all moving in a new direction. In 1964 Clement Greenberg curated an influential exhibition that traveled the country called Post-painterly abstraction. The exhibition expanded the definition of color field painting. In the late 1960s Richard Diebenkorn began his Ocean Park series; created during the final 25 years of his career and that are important examples of color field painting. Color Field painting clearly pointed toward a new direction in American painting, away from abstract expressionism. Color Field painting is related to Post-painterly abstraction, Suprematism, Abstract Expressionism, Hard-edge painting and Lyrical Abstraction.
Color Field painting sought to rid art of superfluous rhetoric. Artists like Clyfford Still, Mark Rothko, Hans Hofmann, Morris Louis, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Larry Zox, and others often used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery. Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of modern art, artists wanted to present each painting as one unified, cohesive, monolithic image.
In distinction to the emotional energy and gestural surface marks of Abstract Expressionists such as Jackson Pollock and Willem de Kooning, Color Field painting initially appeared to be cool and austere, effacing the individual mark in favor of large, flat areas of color, which these artists considered to be the essential nature of visual abstraction, along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges. However Color Field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural Abstract expressionism....
Early 20th Century
Among the movements which flowered in the first decade of the 20th century were Fauvism, Cubism, Expressionism and Futurism.
World War I brought an end to this phase, but indicated the beginning of a number of anti-art movements, such as Dada and the work of Marcel Duchamp, and of Surrealism. Also, artist groups like de Stijl and Bauhaus were seminal in the development of new ideas about the interrelation of the arts, architecture, design and art education.
Modern art was introduced to the United States with the Armory Show in 1913, and through European artists who moved to the U.S. during World War I.
After World War II
It was only after World War II, though, that the U.S. became the focal point of new artistic movements. The 1950s and 1960s saw the emergence of Abstract Expressionism, Color field painting, Pop art, Op art, Hard-edge painting, Minimal art, Lyrical Abstraction, Postminimalism and various other movements; in the late 1960s and the 1970s, Land art, Performance art, Conceptual art and Photorealism among other movements emerged.
Around that period, a number of artists and architects started rejecting the idea of "the modern" and created typically Postmodern works.
Starting from the post-World War II period, fewer artists used painting as their primary medium; instead, larger installations and performances became widespread. Since the 1970s, new media art has become a category in itself, with a growing number of artists experimenting with technological means such as video art.
Art movements and artist groups
(Roughly chronological with representative artists listed.)
Modern art
End of 19th century
▪ Romanticism the Romantic movement - Francisco de Goya, J. M. W. Turner, Eugène Delacroix
▪ Realism - Gustave Courbet, Camille Corot, Jean-François Millet
▪ Impressionism - Edgar Degas, Édouard Manet, Claude Monet, Camille Pissarro, Alfred Sisley
▪ Post-impressionism - Georges Seurat, Paul Cézanne, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, Henri Rousseau
▪ Symbolism - Gustave Moreau, Odilon Redon, James Ensor
▪ Les Nabis - Pierre Bonnard, Edouard Vuillard, Félix Vallotton
▪ pre-Modernist Sculptors - Aristide Maillol, Auguste Rodin
Early 20th century (before WWI)
▪ Art Nouveau & variants - Jugendstil, Modern Style, Modernisme - Aubrey Beardsley, Alphonse Mucha, Gustav Klimt,
▪ Art Nouveau Architecture & Design - Antoni Gaudí, Otto Wagner, Wiener Werkstätte, Josef Hoffmann, Adolf Loos, Koloman Moser
▪ Fauvism - André Derain, Henri Matisse, Maurice de Vlaminck
▪ Expressionism - Oskar Kokoschka, Edvard Munch, Emil Nolde
▪ Die Brücke - Ernst Ludwig Kirchner
▪ Der Blaue Reiter - Wassily Kandinsky, Franz Marc
▪ Cubism - Georges Braque, Pablo Picasso
▪ Orphism - Robert Delaunay, Jacques Villon
▪ Synchromism - Stanton MacDonald-Wright, Morgan Russell
▪ Pre-Surrealism - Giorgio de Chirico, Marc Chagall
▪ Futurism - Giacomo Balla, Umberto Boccioni, Carlo Carrà
▪ Vorticism - Wyndham Lewis
▪ Russian avant-garde - Kasimir Malevich, Natalia Goncharova, Mikhail Larionov
▪ Sculpture - Pablo Picasso, Henri Matisse, Constantin Brancusi
▪ Photography - Pictorialism, Straight photography
WWI to WWII
▪ Dada - Jean Arp, Marcel Duchamp, Max Ernst, Francis Picabia, Kurt Schwitters
▪ Synthetic Cubism - Georges Braque, Juan Gris, Fernand Léger, Pablo Picasso
▪ Pittura Metafisica - Giorgio de Chirico, Carlo Carrà
▪ De Stijl - Theo van Doesburg, Piet Mondrian
▪ Expressionism - Egon Schiele, Amedeo Modigliani, and Chaim Soutine
▪ New Objectivity - Max Beckmann, Otto Dix, George Grosz
▪ Figurative painting - Henri Matisse, Pierre Bonnard
▪ Constructivism - Naum Gabo, László Moholy-Nagy, El Lissitzky, Kasimir Malevich, Alexander Rodchenko, Vladimir Tatlin
▪ Surrealism - Jean Arp, Salvador Dalí, Max Ernst, René Magritte, André Masson, Joan Miró, Marc Chagall
▪ Bauhaus - Wassily Kandinsky, Paul Klee
▪ Sculpture - Alexander Calder, Alberto Giacometti, Gaston Lachaise, Henry Moore, Pablo Picasso, Julio Gonzalez
▪ Scottish Colourists - Francis Cadell, Samuel Peploe, Leslie Hunter, John Duncan Fergusson
Assignment # 8 modernism
Color Theory Assignment 8 Francisco Letelier
Create a work that employs the style of a modernist painter/artist.
Be sure you understand the manner in which your chosen artist uses color as a defining element in their work, This is a research assignment, so please place your artist within the context of art movements and art history.
Work must be at least 9" x 12' and can measure up to 12" x 18"
Full color acrylic or gouache on illustration board, Bristol or canvas board.
Consider preparing your surface with gesso before you paint..
*Research your artist and submit a printed color image of their work.
Modern art is a general term used for most of the artistic work from the late 19th century until approximately the 1970s. (Recent art production is more often called Contemporary art or Postmodern art). Modern art refers to the new approach to art which placed emphasis on representing emotions, themes, and various abstractions. Artists experimented with new ways of seeing, with fresh ideas about the nature of materials and functions of art, often moving further toward abstraction
Create a work that employs the style of a modernist painter/artist.
Be sure you understand the manner in which your chosen artist uses color as a defining element in their work, This is a research assignment, so please place your artist within the context of art movements and art history.
Work must be at least 9" x 12' and can measure up to 12" x 18"
Full color acrylic or gouache on illustration board, Bristol or canvas board.
Consider preparing your surface with gesso before you paint..
*Research your artist and submit a printed color image of their work.
Modern art is a general term used for most of the artistic work from the late 19th century until approximately the 1970s. (Recent art production is more often called Contemporary art or Postmodern art). Modern art refers to the new approach to art which placed emphasis on representing emotions, themes, and various abstractions. Artists experimented with new ways of seeing, with fresh ideas about the nature of materials and functions of art, often moving further toward abstraction
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