Understanding Art; Interactive Student Edition

About the Authors Gene Mittler Gene Mittler is one of the authors of Glencoe’s middle school art series, Introducing Art, Exploring Art, and Understanding Art. He is also author of Art in Focus, a chronological approach to art for Glencoe’s senior high program, and Creating and Understanding Drawings. He has taught at both the elementary and secondary levels and at Indiana University. He received an M.F.A. in sculpture from Bowling Green State University, and a Ph.D. in art education from the Ohio State University. Dr. Mittler is currently Professor Emeritus at Texas Tech University.

Rosalind Ragans Rosalind Ragans is one of the authors of Glencoe’s middle school art series, Introducing Art, Exploring Art, and Understanding Art. She serves as senior author on the elementary program of Art Connections for the SRA division of McGraw-Hill, and wrote the multilevel, comprehensive ArtTalk text for Glencoe’s senior high program. She received a B.F.A. at Hunter College, CUNY, New York, and earned an M.Ed. in Elementary Education at Georgia Southern College, and a Ph.D. in Art Education at the University of Georgia. Dr. Ragans was named National Art Educator of the Year for 1992.

About Artsource ® The materials provided in the Performing Arts Handbook are excerpted from Artsource®: The Center’s Study Guide to the Performing Arts, a project of the Music Center Education Division. Based in Los Angeles, the Music Center is one of the three largest performing arts centers in the United States. It established the Education Division in 1979 as part of its commitment to engaging new and diverse audiences in the arts—in the Center’s theatres, in schools, and throughout the community. The Music Center Education Division is dedicated to providing opportunities for lifelong learning in the arts and advancing quality arts education as integral to the core curriculum in Southern California schools. For additional information, visit www.musiccenter.org/artsource.

Copyright © 2005 by Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies. All rights reserved. Except as permitted under the United States Copyright Act, no part of this publication may be reproduced in any form or by any means, or stored in a database or retrieval system, without prior written permission of the publisher, Glencoe/McGraw-Hill. Send all inquiries to: Glencoe/McGraw-Hill 21600 Oxnard Street, Suite 500 Woodland Hills, CA 91367 ISBN 0-07-846529-X (Student Text) ISBN 0-07-846534-6 (Teacher Wraparound Edition) Printed in the United States of America. 2 3 4 5 6 7 8 9

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Editorial Consultants Jean Morman Unsworth Art Consultant to Chicago Archdiocese Schools Chicago, Illinois

Faye Scannell, M.A. Specialist, Technology Bellvue Public Schools Bellvue, Washington

Contributors/Reviewers Donna Banning Art Teacher Orange Unified School District Orange, California

Annette Loy Art Teacher Jefferson County High School Dandridge, Tennessee

Jeff Bender Art Teacher Plaza Park Middle School Evansville, Indiana

Gloria McCoy Art Supervisor Spring Branch Independent School District Houston, Texas

Gordon Grant Assistant Principal Asheville Middle School Asheville, North Carolina

Bruce Sifrit Art Teacher Ed Irons Junior High Lubbock, Texas

Cris Guenter, Ed.D. Professor, Arts Education/ Curriculum & Instruction California State University, Chico Chico, California

Lisa Vihos Curator of Education John Michael Kohler Arts Center Sheboygan, Wisconsin

Performing Arts Handbook Contributors Mark Slavkin Vice President for Education, The Music Center of Los Angeles County Michael Solomon Managing Director, Music Center Education Division Melinda Williams Concept Originator and Project Director

Arts Discipline Writers: Dance—Susan Cambigue-Tracey, Diana Cummins, Madeleine Dahm, Carole Valleskey Music—Rosemarie Cook-Glover, Ed Barguiarena, Barbara Leonard, Diana Zaslove, John Zeretzke Theatre—Barbara Leonard, Susan Cambigue-Tracey

Susan Cambigue-Tracey Project Coordinator iii

Studio Lesson Consultants Linda Atkinson Norland Middle School Miami, FL

Dr. Donald Gruber Clinton Jr. High School Clinton, IL

Barbara Perez St. Athanasius School Evanston, IL

Lydia Bee Redding School of the Arts Redding, CA

Audrey Komroy-Devine Akron High School Akron, NY

Mary S. Rokitka Medina High School Medina, NY

Jill Cornell Akron Central School Akron, NY

Tegwin Matenaer Redding School of the Arts Redding, CA

Rosanne Stutts Davidson Fine Arts School Augusta, GA

Jackie Ellet Duncan Creek Elementary Hoschton, GA

Gerald Obregon Norland Middle School Miami, FL

Student Contributors Fig. 2–8, Alysha Battaglia, Hebron Christian Academy, Dacula, GA; Fig. 2–14, Rebeka Rich, Clinton Jr. High School, Clinton, IL; Fig. 3–12, Daniel Klonowski, Akron Central School, Akron, NY; Fig. 4–6, Hannah Koch, St. Athanasius School, Evanston, IL; Fig. 4–9, Ash Sechler, Davidson Fine Art School, Augusta, GA; Fig. 5–7, Kaitlin Bishop, Auburn, GA; Fig. 5–14, Ryan Stanley, Akron Central School, Akron, NY; Fig. 6–6, Rebecca Ryan, St. Athanasius School, Evanston, IL; Fig. 6–14, Jessica Cahill, Redding School of the Arts, Redding, CA; Fig. 7–10, Amelia Ankerich, Duncan Creek Elemenarty, Hoschton, GA; Fig. 7–20, Marina Karver, St. Athanasius School, Evanston, IL; Fig. 8–20, Winter Fox Frank, Redding School of the Arts, Redding, CA; Fig. 9–9, Elizabeth Napoli, St. Athanasius School, Evanston, IL; Fig. 9–18, Erin Murphy, Redding School of the Arts, Redding, CA; Fig. 10–8, Mahalia Rose LeClerc, Redding School of the Arts, Redding, CA; Fig. 10–16, Brittney Sperandeo, Akron Central School, Akron, NY; Fig. 11–8, Jack Dillon, St. Athanasius School, Evanston, IL; Fig. 11–13, Dezi Sumpter, Redding School of the Arts, Redding, CA; Fig. 11–15, Amber Hall, Redding School of the Arts, Redding, CA; Fig. 12–10, Kelsie Wamboldt, Redding School of the Arts, Redding, CA; Fig. 12–18, Meahgan Wallace, St. Athanasius School, Evanston, IL; Fig. 13–9, Kristal King, Clinton Jr. High School, Clinton, IL; Fig. 13–13, Erik Rude, Redding School of the Arts, Redding, CA; Fig. 13–15, Mindy Schack, Redding School of the Arts, Redding, CA; Fig. 14–9, Adam Dembrow, Akron High School, Akron, NY; Fig. 14–17, Becky DeYoung, Akron Central School, Akron, NY; Fig. 15–6, Sam Miller, Medina High School, Medina, NY; Fig. 15–12, Orissa Jenkins, Norland Middle School, Miami, FL; Fig. 15–17, Megan Oliver, Redding School of the Arts, Redding, CA; Fig. 16–17, Zach Price, St. Athanasius School, Evanston, IL; Fig. 16–25, Miah Jones, Norland Middle School, Miami, FL; Fig. 17–8, Erin Murphy, Redding School of the Arts, Redding, CA.

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Contents Chapter 1

Art Across the World . . . . . . . . . 2 LESSON 1

The World of Art . . . . . . . . . . . . 4 Meet the Artist: Dorothea Lange

LESSON 2

Exploring Art Careers and Opportunities . . . . . . . . . . . . . . 8

TIME Art Scene Mexican Master Frida Kahlo . . . 10 Chapter 1 Review. . . . . . . . . . . . . . . . . . . . 11 Credit line, page 4

Chapter 2

The Language of Ar t . . . . . . . . . . 12 LESSON 1

The Elements of Art . . . . . . . 14

LESSON 2

Using the Elements of Art . . . . . . . . . . . . . . . . . . . . . 18 Portfolio Ideas

Chapter 3

The Media of Art . . . . . . . . . . . . . . . 28

LESSON 3

The Principles of Art . . . . . . . 20

LESSON 4

Using the Principles of Art . . . . . . . . . . . . . . . . . . . . . 24 Reflective Thinking

LESSON 1

Drawing, Painting, and Printmaking . . . . . . . . . . . 30

LESSON 2

Digital Art. . . . . . . . . . . . . . . . . 34

TIME Art Scene Visual Poet Martin Puryear . . . 26

LESSON 3

Digital Landscape Painting . . . . . . . . . . . . . . . . . . . 36 Studio Option

LESSON 4

Sculpture, Architecture, and Crafts . . . . . . . . . . . . . . . . . . . . . 38

LESSON 5

Mixed-Media Nonobjective Composition. . . 42 Portfolio Ideas

Chapter 2 Review . . . . . . . . . . . . . . . . . . . 27

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TIME Art Scene The Art of Recycling . . . . . . . . . . 44 Chapter 3 Review . . . . . . . . . . . . . . . . . . . 45

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Chapter 4

LESSON 1

Art Criticism and Aesthetics . . . . . . . . . . . . . . . . . 48

LESSON 2

Creating an Expressive Portrait . . . . . . . . . . . . . . . . . . . 52 Computer Option

LESSON 3

Art History . . . . . . . . . . . . . . . . 54

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Art Criticism, Aesthetics, and Art History . . . . . . . . . . . . . . . . . 46

Painting in the Cubist Style . . . . . . . . . . . . . . . . . . . . . . 56 Studio Option TIME Art Scene . . . . . . . . . . . . . . . . . . The Main Man: Pablo Picasso . . . 58

LESSON 4

Chapter 5

Art of Earliest Times . . . . . . . . . . . 60

Chapter 4 Review . . . . . . . . . . . . . . . . . . . 59

LESSON 1

Prehistoric Art . . . . . . . . . . . . . 62 Activity: Making a Clay Pot

LESSON 2

Earth Pigment Painting . . . . . . . . . . . . . . . . . . . 66 Portfolio Ideas

LESSON 3

Art of Ancient Egypt. . . . . . . . 68 Activity: Creating a Writing System

LESSON 4

Picture Story in the Style of Ancient Egypt . . . . . . 72 Computer Option

LESSON 5

Ancient China, India, and Mesopotamia . . . . . . . . . . . . . . 74

Art & social studies Exploring Pyramids Around the World . . . . . . . . . . . . . . . . . . . 78 TIME Art Scene Treasure Hunt . . . . . . . . . . . . . . . 80 Credit line, page 60

Chapter 5 Review . . . . . . . . . . . . . . . . . . . 81

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Chapter 7

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Pre-Columbian Art of Latin America . . . . . . . . . . . . . . . . . 98

Chapter 6

Art of East Asia. . . . . . . . . . . . . . . . . 82 LESSON 1

The Art of China . . . . . . . . . . 84 Activity: Learning to Perceive

LESSON 2

Making a Scroll Based on Perception . . . . . . . . . . . . . . . . 86 Studio Options

LESSON 3

The Art of Japan. . . . . . . . . . . 88 Activity: Using Cropping to Improve a Drawing

LESSON 4

Making a Print in the Ukiyo-e Style . . . . . . . . . . . . . 92 Reflective Thinking

LESSON 1

Art of Mesoamerica . . . . . . . 100

LESSON 2

Making a Decorative Clay Vessel. . . . . . . . . . . . . . . 104 Portfolio Ideas

LESSON 3

Art of the Andes . . . . . . . . . . 106

LESSON 4

Making a Stylized Positive and Negative Design . . . . . . 110 Computer Option

Art & math Pre-Columbian Calendars. . . 112 TIME Art Scene The Olmec Mystery . . . . . . . . . 114 Chapter 7 Review . . . . . . . . . . . . . . . . . . 115

Art & social studies

Chapter 6 Review . . . . . . . . . . . . . . . . . . . 97

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TIME Art Scene Three-Dimensional Landscape Art . . . . . . . . . . . . . . 96

107

The Art of Silk . . . . . . . . . . . . . 94

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Chapter 9

Detail. Credit line, page 127

Art of Greece and Rome . . . . . . 134

Chapter 8

Native Art of North America . . . . . . . . . . . . . . . . . . . . . . . . 116 LESSON 1

Origins of Native American Art . . . . . . . . . . . . . 118

LESSON 2

Making a Weaving. . . . . 122 Studio Options

LESSON 3

Native American Art Traditions . . . . . . . . . . . . . . . . 124 Meet the Artist: Allan Houser

LESSON 4

Painting in an Abstract Inuit Style . . . . . . . . . . . . . . . . 128 Studio Option

LESSON 1

Art of Ancient Greece. . . . . . 136 Activity: Creating a Vase-Shape Cutout

LESSON 2

Making a Painting for a Greek-Style Vase . . . . . . . . . . 140 Reflective Thinking

LESSON 3

Art of Ancient Rome. . . . . . . 142 Activity: Designing a Victory Arch

LESSON 4

Making a Roman-Styled Relief . . . . . . . . . . . . . . . . . . . . 146 Studio Option

Art & reading The Art of Greek Myths . . . . 148 TIME Art Scene Making Their Mark . . . . . . . . . 150 Chapter 9 Review . . . . . . . . . . . . . . . . . . 151

Art & social studies Native American Historical Figures . . . . . . . . . . 130 TIME Art Scene Visions from the Arctic . . . . . . . 132 Cre dit lin e, pa ge 14 0

Chapter 8 Review . . . . . . . . . . . . . . . . . . 133

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Chapter 10

LESSON 1

Art of India . . . . . . . . . . . . . . . 154 Activity: Capturing Action in a Figure Painting

LESSON 2

Making a Banner Design . . . . . . . . . . . . . . . . . . . 158 Portfolio Ideas

LESSON 3

Art of Islam. . . . . . . . . . . . . . . 160 Moment in Art History: A Message from the Alhambra Activity: Making Persian Knots

LESSON 4

Making a Collage in the Islamic Style. . . . . . . . . . . . . . 164 Computer Option

Art & reading

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Art of India and Islam . . . . . . . . 152

Chapter 11

Art of Africa and Oceania . . . . 170 LESSON 1

The Figure Sculptures of Africa . . . . . . . . . . . . . . . . . . . . 172 Moment in Art History: Evolution of an Art Form Activity: Designing a “Who I Am” Necktie

LESSON 2

Abstract Figure Relief in the Kota Style . . . . . . . . . . . 176 Studio Option

LESSON 3

The Masks of Africa . . . . . . . 178 Activity: Making an Expressive Mask Design

LESSON 4

Making a Papier-Mâché Puppet Head. . . . . . . . . . . . . . 182 Studio Option

LESSON 5

Oceanic Art. . . . . . . . . . . . . . . 184 Moment in Art History: “Discovering” Australia Activity: Constructing a Miniature Animated Mask

Epic Storytelling in India . . . 166 TIME Art Scene Splendid Geometry . . . . . . . . . . 168 Chapter 10 Review . . . . . . . . . . . . . . . . . 169

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Art & math Geometry in African Art . . . . 188 TIME Art Scene African Visions. . . . . . . . . . . . . 190 Chapter 11 Review . . . . . . . . . . . . . . . . . 191 ix

Chapter 13

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Art of the Renaissance . . . . . 210 LESSON 1

Art of the Italian Renaissance . . . . . . . . . . . . . . 212 Moment in Art History: A Revolutionary Painting Activity: Illustrating Perspective

LESSON 2

Using Aerial Perspective . . . . . . . . . . . . . . . 216 Studio Option

LESSON 3

Art of the Northern Renaissance . . . . . . . . . . . . . . 218 Activity: Sketching Details

LESSON 4

Creating a Simulated Texture Relief. . . . . . . . . . . . . 222 Reflective Thinking

Art & social studies Chapter 12

Art of the Middle Ages . . . . . . . 192 LESSON 1

Art of the Romanesque Period . . . . . . . . . . . . . . . . . . . 194 Activity: Designing a Decorative Letter

LESSON 2

Romanesque-Style Manuscript Page . . . . . . . . . . 198 Studio Option

LESSON 3

Art of the Gothic Period. . . . 200 Meet the Artist: Giotto di Bondone

LESSON 4

Making a Gargoyle Sculpture. . . . . . . . . . . . . . . . . 204 Portfolio Ideas

The Renaissance in England . . . . . . . . . . . . . . . . . . . 224 TIME Art Scene Breathtaking Renaissance Portraits . . . . . . . . . . . . . . . . . . 226 Chapter 13 Review . . . . . . . . . . . . . . . . . 227

Art & social studies

TIME Art Scene Giotto Leaves the Middle Ages Behind. . . . . . . . . . . . . . . . . . . . 208 Chapter 12 Review . . . . . . . . . . . . . . . . . 209 x

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Castle Life in the Middle Ages . . . . . . . . . . . . . . . 206

Chapter 14

LESSON 1

Art of the 17th Century . . . . 230

LESSON 2

Painting a Still Life in the Baroque Style . . . . . . . 234 Portfolio Ideas

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Art of the 17th and 18th Centuries . . . . . . . . . . . . . . . . . . . . . . . 228

Chapter 15

LESSON 3

Art of the 18th Century . . . . 236 Activity: Make it Extraordinary

Art of the 19th Century . . . . . . 246

LESSON 4

Creating a Rococo Shoe . . . . . . . . . . . . . . . . . . . . . 240 Studio Options

LESSON 1

Neoclassic and Romantic Art . . . . . . . . . . . . . 248 Moment in Art History: The Late Arrival Activity: Capturing Action with a Monoprint

LESSON 2

Designing a Neoclassic Stage Set . . . . . . . . . . . . . . . . . 252 Studio Option

LESSON 3

Impressionism . . . . . . . . . . . . 254 Meet the Artist: Auguste Rodin

LESSON 4

Painting a Landscape in the Impressionist Style . . . . . . . . 258 Computer Option

LESSON 5

Post-Impressionism . . . . . . . 260 Activity: Painting a ThreeDimensional Form

LESSON 6

Crayon Resist in a PostImpressionist Style . . . . . . . . 264 Computer Option

LESSON 7

American Painting in the 19th Century . . . . . . . . . . 266 Activity: Capturing a Mood in a Chalk Painting

Art & writing The Baroque Style in the Arts . . . . . . . . . . . . 242 TIME Art Scene Master of Light and Shadow. . . 244 Chapter 14 Review . . . . . . . . . . . . . . . . . 245

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Art & social studies Nineteenth-Century Arts and Entertainment. . . . . . . . . . . . . . 270 TIME Art Scene Making the Right Impression. . . 272 Chapter 15 Review . . . . . . . . . . . . . . . . . 273 xi

Chapter 16

Art of the 20th Century . . . . . . 274 Early 20th Century Art in Europe . . . . . . . . . . . . . . . . . . 276

LESSON 2

Creating a Cubist Still Life with Oil Pastels . . . . . . . 280 Reflective Thinking

LESSON 3

Early 20th Century Art in America . . . . . . . . . . . . . . . . . . 282 Meet the Artist: Diego Rivera

LESSON 4

Making a Print of a Figure in Action. . . . . . . . . . . 286 Computer Option

Chapter 17

European Art Throughout the 20th Century . . . . . . . . . . 288 Activity: Creating a Nonobjective Sculpture

LESSON 1

New Trends in Traditional Art Forms . . . . . . . . . . . . . . . . 304

LESSON 2

New Frontiers in Art. . . . . . . 306

LESSON 3

Creating a Photo Retrospective . . . . . . . 308 Studio Options

LESSON 5

LESSON 6

LESSON 7

Creating an Artwork in the Surrealist Style . . . . . . . . . . . 292 Computer Option American Art Throughout the 20th Century . . . . . . . . . . 294

Art & writing Literary and Artistic Innovations . . . . . . . . . . . . . . . . 298

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LESSON 1

Art of Today . . . . . . . . . . . . . . . . . . . 302

TIME Art Scene Cutting-Edge Computer Animation . . . . . . . . . . . . . . . . 310 Chapter 17 Review . . . . . . . . . . . . . . . . . 311

TIME Art Scene Modern Art Takes Over . . . . . . 300

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Chapter 16 Review . . . . . . . . . . . . . . . . . 301

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Handbook Table of Contents . . . . . . . . . . . . . . . . 312

Artsource®: Performing Arts Handbook . . . . . . . . . 338

Technique Tips . . . . . . . . . . . . . . . . . . 314

Artists and Their Works . . . . . . . . . 354

Digital Media Guide . . . . . . . . . . . . . 325

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Career Spotlights . . . . . . . . . . . . . . . . 332

Glosario . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

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Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

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Studio Lessons by Media Clay Making a Decorative Clay Vessel. . . . . 104 Making a Gargoyle Sculpture. . . . . . . . 204

Computers* Digital Landscape Painting . . . . . . . . . . 36

Fibers Making a Weaving . . . . . . . . . . . . . . . . . 122

Mixed Media Using the Principles of Art . . . . . . . . . . . 24 Mixed-Media Nonobjective Composition . . . . . . . . . . . . . . . . . . . . . 42 Earth Pigment Painting . . . . . . . . . . . . . . 66 Making a Collage in the Islamic Style . . . . . . . . . . . . . . . . . . . . 164 Abstract Figure Relief in the Kota Style. . . . . . . . . . . . . . . . . . . . . . . 176 Making a Papier-Mâché Puppet Head . . . . . . . . . . . . . . . . . . . . 182 Creating a Simulated Texture Relief. . . 222 Creating a Rococo Shoe . . . . . . . . . . . . . 240 Designing a Neoclassic Stage Set. . . . . 252 Crayon Resist in a Post-Impressionist Style . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Oil Pastels/Chalk Creating an Expressive Portrait . . . . . . . 52 Creating a Cubist Still Life with Oil Pastels . . . . . . . . . . . . . . . . . . . . . . 280

Paper

Pencil, Pen, Crayons, and Markers Using the Elements of Art. . . . . . . . . . . . 18 Making a Scroll Based on Perception . . . . . . . . . . . . . . . . . . . . . . . 86

Photography Creating a Photo Retrospective . . . . . . 308

Plaster Making a Roman-Styled Relief . . . . . . 146

Printmaking Making a Print in the Ukiyo-e Style . . . 92 Making a Print of a Figure in Action. . . 286

Tempera Painting in the Cubist Style . . . . . . . . . . 56 Painting in an Abstract Inuit Style. . . . 128 Making a Painting for a Greek-Style Vase . . . . . . . . . . . . . . . . . 140 Making a Banner Design. . . . . . . . . . . . 158 Romanesque-Style Manuscript Page. . . . . . . . . . . . . . . . . 198 Using Aerial Perspective. . . . . . . . . . . . 216 Painting a Still Life in the Baroque Style . . . . . . . . . . . . . . . . . . . 234 Painting a Landscape in the Impressionist Style . . . . . . . . . . . . . . . 258

Watercolor Picture Story in the Style of Ancient Egypt . . . . . . . . . . . . . . . . . . . . 72

Making a Stylized Positive and Negative Design . . . . . . . . . . . . . . . . . 110

* Note: Many studio lessons provide Computer Options. See the Table of Contents.

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How to Use Your Textbook

Y

ou are about to enter the exciting world of art. This textbook will guide you through this journey. Understanding Art will lay the foundation for art appreciation and help you develop your technical skills as an artist. This textbook presents you with the tools and skills to learn about the elements and principles of art, apply techniques using various art media, appreciate art history, and develop art criticism skills. The major components of the book include: Chapter Opener A brief introduction helps you preview and focus on the chapter. Chapter objectives are listed as well as Key Terms that will be defined in the chapter.

This feature provides interesting stories about the artists and artworks presented in the text. It provides a context that will help you better appreciate the artists and artworks.

Quick Write This feature will help you start thinking about the art and content of the chapter. It also presents the opportunity to practice your reading and writing skills. Narrative Lessons Art concepts are presented in clear and engaging language. You will also learn about the cultural and historical backgrounds of many artworks. Check Your Understanding provides you with a short review for each lesson. Studio Lessons These lessons provide the opportunity to use various media and techniques. You will create original artwork integrating themes found through direct observation, personal experiences, and imagination.

This feature profiles artists whose works appear in the text. It presents you with biographical information and a brief history of the artist’s work.

This feature includes hands-on activities where you explore various art media and techniques. It will help you quickly grasp ideas presented in lessons.

Art& .

. . This cross-curricular feature connects the ideas of the chapter with disciplines such as social studies, reading, writing, and math. You will practice a variety of skills as well as increase your understanding and appreciation of art. TIME Art Scene This colorful new feature closes every chapter with an update from the real world of art. Chapter Review Test how well you know the material you just studied by completing the Chapter Review. You can also apply what you’ve learned in the Web Museum Activity. This feature transports you to museum Web sites where you can play interactive games and explore amazing artworks. xv

xvi

1

Understanding Art Gene Mittler, Ph.D. Professor Emeritus Texas Tech University

Rosalind Ragans, Ph.D. Associate Professor Emerita Georgia Southern University

Focus On
Figure 1–1 Through art, we can journey to different times and places. This artwork is one in a series of four scenes that Sonia Delaunay painted for the Paris Exposition of 1937. It draws from the years when she lived in Portugal. Sonia Terk Delaunay. Detail from Study for Portugal. c. 1937. Gouache on paper. 36.2
94 cm (141⁄4
37). The National Museum of Women in the Arts, Washington, D.C. Gift of Wallace and Wilhelmina Holladay.

2

Art Across the World “

“

Art is the Queen of all sciences communicating knowledge to all the generations of the world.

— Leonardo da Vinci (1452–1519)

H

ave you ever noticed how many popular expressions borrow from art? A job well done is described as a “masterpiece” or “work of art.” Healthy people are described as “the picture” of health. Even moods are associated with colors of the artist’s palette. What is it about art that makes it so much a part of our daily lives? In the pages that follow, you will find answers. You will discover that art is a universal language. You will meet different “speakers” of this language, beginning with the artist who created the work in Figure 1–1. You will also become a “speaker” of this language yourself. After completing this chapter, you will be able to: ● ● ● ●

Discuss why people of all cultures create art. Describe reasons for studying art. Compare and contrast fine art and applied art. Survey and identify career and avocational opportunities or choices in art.

Quick Write Interpreting the Quote Reread the quote by Leonardo da Vinci. Do you agree with his definition of art? Why or why not? Do you think the artwork in Figure 1–1 communicates “knowledge to all generations of the world?” Explain.

Key Terms art fine art applied art sketchbook portfolio avocational

3

LESSON 1

The World of Art Imagine a land so vast that it has no boundaries. Imagine a place so varied that every step you take brings a new adventure. There is no need to imagine. You are about to enter this wondrous place. It is the world of art.


Figure 1–2 This artwork draws viewers in, making us feel as if we could hear and feel the rain. What other qualities make this a visually pleasing artwork? Ando¯ Hiroshige. Great Bridge: Sudden Rain at Atake. 1857. Color woodcut. 36.2
21.9 cm (141⁄4
8 5⁄8). Carnegie Museum of Art, Pittsburgh, Pennsylvania. Bequest of Dr. James B. Austin, 89.28.324.

4

Chapter 1 Art Across the World

Art is visual work that communicates an idea, expresses a feeling, or presents an interesting design. In the world of art, the only limits are those of the imagination. The only boundaries are those of creativity and skill.

A FIRST LOOK

AT

ART

For as long as there have been people, there has been art. The oldest known artworks are paintings found on the walls of caves. They were painted between 12,000 and 17,000 years ago by early human cave dwellers. Since that time, art has been produced in every culture and throughout every age. Why do people of all cultures create art? The most basic reason is that art is a powerful form of communication and creative selfexpression. To find other answers to this question, we can examine the art itself. Look at Figure 1–2, a Japanese print created in – the nineteenth century. The artist, Ando Hiroshige, has portrayed a summer storm. Rain rushes downward in great diagonal sheets. Several people are hurrying across the bridge in the downpour. Overhead are black,

swirling clouds. This dramatic picture gives us a glimpse of a distant time and place. It reflects a country’s art tradition, teaching us about culture and history. The style of the print is distinct, but the subject of a winddriven rainstorm is an experience most people can relate to. Why Artists Create This last observation brings us back to the question of why artists create. One motivation for making art, clearly, is to share uniquely human experiences. Art teaches us about ourselves and our environment. It also teaches us to see the beauty around us. Look again at Figure 1–2. It depicts the relationship between humankind and nature. It also shows the power and beauty of a rainstorm. Another reason for making art is specific to cultures. In many world cultures, art serves a ceremonial or religious function. Consider the mask shown in Figure 1–3. This object was created by an artist belonging to the Kingdom of Bamum in Africa. The mask shows us that the Bamum people made artworks out of natural materials found in their environment. The valuable materials used in this mask show that it is an object of prestige. In addition, the mask teaches us about the customs and rituals of the people who created it. Can you think of art objects that might teach others about the customs of your community? As you continue to think about this topic, you’ll realize that there are many reasons for creating art. Sometimes, an artist’s goal is simply to create a visually pleasing work.


Figure 1–3 This mask was intricately decorated with beads and shells. The design in the headdress symbolized wisdom. Analyze this mask to determine its cultural context. What does the artwork tell us about the culture that created it? Africa, Cameroon, Bamum. Helmet mask. Nineteenth century. Wood, copper, glass beads, fiber, cowrie shells. Height: 66 cm (26). The Metropolitan Museum of Art, New York, New York. The Michael C. Rockefeller Memorial Collection, Purchase, Nelson A. Rockefeller Gift, 1967. (1978.412.560). Photograph © 1997 The Metropolitan Museum of Art.

Lesson 1 The World of Art

5

Other times, artists are motivated by a desire to document or comment on the events of their times. Examine Figure 1–4. This photograph captures a grim moment in United States history—the Great Depression. Millions of people were unemployed in the early 1930s. Dorothea Lange’s photograph records economic and social issues of this period. It is a carefully composed image that communicates the feelings of people during the Depression. Why Study Art? As many reasons as artists have for making art, there are equally many for studying art. Art, as you have seen, communicates ideas and feelings. Art teaches us that people everywhere share common goals and dreams. Art is not created in isolation. Rather, it is a never-ending process of discovery and


Figure 1–4 Notice how Lange framed this photograph to capture the mood of the Depression. Identify cultural ideas expressed in this artwork relating to social and political themes. Dorothea Lange. “Thirteen Million Unemployed Fill the Cities in the Early Thirties,” San Francisco. 1934. Photograph. Oakland Museum of California, Oakland, California. © Dorothea Lange Collection, Oakland Museum of California. Gift of Paul S. Taylor.

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Chapter 1 Art Across the World

Dorothea Lange (1895–1965) Dorothea Lange was born in Hoboken, New Jersey in 1895. During childhood, she suffered a case of polio that resulted in a lifelong limp. Lange felt that this difficulty increased her sensitivity to the suffering of others. Lange received her first camera in 1914 and began pursuing the field of photography. After moving to California, Lange worked as a freelance photographer and ran her own portrait studio. In 1932, she began photographing people in their social environment. Later, she worked for several government agencies. During this time, she photographed migrant farm workers, people affected by the Depression (see Figure 1–4), and immigrants forced to relocate during World War II. In 1941, she was awarded a Guggenheim Fellowship. Lange died in 1965, leaving a legacy of moving, beautiful photographs that capture the social and political climate of her time.

rediscovery. Each generation of artists learns from and builds on the work of those who came before. Learning to appreciate art enriches our lives. It opens our minds and inspires our imagination. Art also teaches us about other cultures and time periods. It provides us with records of human achievement. By studying art from different places and times, we learn about diverse societies and histories. We expand our knowledge of our own cultural and historical heritage as well as that of others. This can help us understand, appreciate, and respect the global community. Yet another reason to study art is that it teaches us about human creativity. Human beings are clever and inventive. Art demonstrates the infinite possibilities the creative mind can achieve. Studying art by others will provide ideas and inspiration for your own artworks. In this program, you will explore

the depths of your imagination and creativity. Studio Activities and Studio Lessons will provide step-by-step instruction and handson experience. Through these, you will create art in many forms.

TYPES

OF

ART

Artists create using many different tools, materials, and methods. Therefore, art can take many different forms and reflect diverse techniques and styles. The world of art is so vast that it may be a bit overwhelming. It can be helpful to categorize art in a way that increases our understanding of it. One of the

most common ways to categorize art is to divide it into two groups—fine art and applied art. Fine Art Fine art is art that is valued solely for its visual appeal or success in communicating ideas or feelings. Think of the last time you visited an art museum. The paintings and sculptures you saw are examples of fine art. The print in Figure 1–2 and the photograph in Figure 1–4 can also be considered fine art. Like all fine artists, Hiroshige and Lange both set out to create works of visual interest. Applied Art In contrast, applied art is art that is made to be functional as well as visually pleasing. Look at the globe in Figure 1–5. It is a functional object because it shows the countries of the world and indicates date and time. However, it is also beautifully crafted. It is engraved with constellations and has a support shaped like a winged horse. Many of the objects used in daily life can be classified as applied art. These range from clothing to jewelry to cooking vessels. In addition to decorative objects, applied art also includes architecture, furniture, and graphic design.

Check Your Understanding


Figure 1–5 A clockmaker and a goldsmith combined their efforts to create this work. Why is this work considered applied art?

1. List three reasons why artists create art. 2. Describe two benefits of studying art. 3. What is fine art? Identify two examples of fine art. 4. What is applied art? List five examples of applied art.

Gerhard Emmoser. Celestial globe with clockwork. 1579. Silver, partly gilded, and brass. 27.3
20.3
19.1 cm (10 3⁄4
8
7 1⁄2). The Metropolitan Museum of Art, New York, New York. Gift of J. Pierpont Morgan, 1917. (17.190.636). Photograph © 1977 The Metropolitan Museum of Art.

Lesson 1 The World of Art

7

LESSON 2

Exploring Art Careers and Opportunities What images come to mind when you hear the term professional artist? Do you picture an individual painting a large canvas in a studio? Perhaps you envision someone working with materials from the environment to create a sculpture. Careers in art are diverse and numerous. In this lesson, you will learn about some of these art careers. You will also explore ways to pursue art for personal enjoyment and recreation.

THINKING ABOUT

AN

Below is a list of some art careers that you might consider: ●

●

ART CAREER

Artists work in many different fields. Some of these include publishing, technology, entertainment, and advertising. The work that artists create can range from illustrations to jewelry to buildings. For some artists, creating artworks is a personal, individual experience. For others, like the design team in Figure 1–6, the process of creation is a collaborative effort.

●

●

●

Fine artist. A professional fine artist creates works such as paintings and sculptures. Sometimes, fine artists earn commissions to create works for individuals, businesses, the government, or other organizations. Graphic designer. Books, magazines, and advertisements are just a few of the projects that require graphic designers. Some graphic designers specialize in computer graphics. They may work in computer animation or design Web sites. Architect. These artists design buildings. They may design any structure from homes to skyscrapers to museums. Industrial designer. These artists design products for specific industries. Some examples include toys, furniture, appliances, and cars. Art teacher. Becoming an art teacher provides the opportunity to share your knowledge of and appreciation for art with others. Art teachers may work in schools, museums, or community centers.

These are just a few of the many art careers that exist today. To learn more about these and other careers in art, explore Career Spotlights, Handbook pages 332 to 337. You can also visit art.glencoe.com for a more extensive list of career opportunities.


Figure 1–6 Professional designers often work in teams to find the best creative solution for an assignment.

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Chapter 1 Art Across the World

Planning an Art Career If you are interested in pursuing a career in art, you can start preparing for it now. In addition to learning more about different art careers, you can take the following steps: ●

Practice your skills. The best way to develop art skills is through practice. Keep a sketchbook. This is a pad of drawing paper on which artists sketch, write notes, and refine ideas for their work. ● Build a portfolio. A portfolio is a carefully selected collection of an artist’s own works. It can include finished works as well as ideas and works in progress. By keeping a portfolio, you can evaluate your progress over time. Many art schools and employers require applicants to submit a portfolio. ● Consult available resources. Start by talking to your art teacher and guidance counselor. Research art schools. Find out more about the programs they offer and the preparation needed.

ART

AS

setting, you also sharpen your interpersonal skills. These are skills in working and communicating with others. Group projects can teach you teamwork and cooperation. Group critiques can improve your ability to analyze works and communicate your thoughts clearly. This book will help guide your journey through the world of art. It will provide you with useful information as well as methods for creating original artworks. Take advantage of the knowledge and opportunities offered in this book. Your exciting adventure in the world of art is about to begin!

RECREATION

Even if you do not pursue an art career, you can still make art a part of your life. There are many avocational opportunities in art. Avocational means not related to a job or career. Studying or creating art as a hobby can provide many rewards. Learning about art in school or at museums enriches your life. You gain knowledge and appreciation that you can share with others. Making art projects, such as paintings or pottery, can be fun and relaxing. (See Figure 1–7.) You will also feel pride and satisfaction in creating artworks and developing art skills. Pursuing art for personal enjoyment can teach you life skills as well. For example, it can strengthen your problem-solving skills. When you create art projects, you experiment with different tools, materials, and techniques. Then, you make an informed decision about what is the best design solution for the project. This kind of problem-solving skill will help you in other areas of your life. When you learn art in a classroom or community


Figure 1–7 Creating art for personal enjoyment can enrich our lives and teach us life skills.

Check Your Understanding 1. Survey career opportunities in art. Identify and describe three art career choices. 2. What can you do now to prepare yourself for an art career? 3. Why is it important to build a portfolio? 4. What are the benefits of creating art for recreation?

Lesson 2 Exploring Art Careers and Opportunities

9

rida Kahlo’s art was inspired by two worlds. One world was Mexico and its rich history. She was especially fascinated by native pre-Columbian folk traditions and the legacy of colonial Spain. Kahlo, for example, would paint while wearing native Mexican jewelry and traditional Spanish-style dresses. Kahlo’s work also shows the influence of another world—that of her mind. Her inner life accounts for the dreamlike, mysterious quality in her art. Kahlo was severely injured in a trolley accident at 15, leaving her in permanent ill health. The injury strongly affected her work. Frida Kahlo’s husband was the famous Mexican muralist and painter Diego Rivera. Their relationship was stormy. Rivera’s career also overshadowed Kahlo’s during her brief lifetime, which ended in 1954 when she was only in her mid-40s. Kahlo’s art gained popularity in the 1970s, especially among people who were attracted to the painter’s fierce, moving works. Since then, her popularity has grown enormously—not just in the United States and Mexico, but around the world.

TOP: ALBRIGHT-KNOX ART GALLERY/CORBIS; BOTTOM: SCHALKWIJK/ART RESOURCE

Painting two worlds at once

Frida Kahlo. Self-Portrait with Monkey. 1938.

TIME TO CONNECT Frida Kahlo often incorporated aspects of two cultures into her paintings—visual influences from pre-Columbian folk traditions and those of colonial Spain.

• Research more about the artwork of each culture in art books and your school’s media resource center.

• Learn more about Frida Kahlo and her work. • Based on your findings, write a well-developed essay, with facts and supporting details that explore why Frida Kahlo might have found it important to create art that bridged two cultures. 10

Chapter 1

Art Across the World

Frida Kahlo. Still Life with Fruit. 1938. Kahlo’s paintings represented her inner and outer lives. Which aspects of Kahlo do you think each of these two paintings represent?

BUILDING VOCABULARY Number a sheet of paper from 1 to 6. After each number, write the term from the list that best matches each description below. applied art art avocational

fine art portfolio sketchbook

1. Not related to a job or career. 2. A carefully selected collection of an artist’s own works. 3. Art that is valued solely for its visual appeal or success in communicating ideas or feelings. 4. A pad of drawing paper on which artists sketch, write notes, and refine ideas for their work. 5. Art made to be functional as well as visually pleasing. 6. Visual work that communicates an idea, expresses a feeling, or presents an interesting design.

REVIEWING ART FACTS Number a sheet of paper from 7 to 14. Answer each question in complete sentences. 7. What is the basic reason that people of all cultures create art? 8. What motivates artists to create art? List four specific reasons. 9. How can art teach us about the customs and traditions of other cultures? 10. Why is it beneficial to learn about cultural and historical heritage? 11. Compare and contrast fine art and applied art. 12. Name four fields that artists might work in. 13. What are the benefits of studying art as a hobby? 14. What are the benefits of creating art for recreation?

CROSS-CURRICULUM CONNECTIONS 15. Social studies. Choose a culture that interests you. You might choose an African, Native American, Asian, or European group. Research the types of art that have been created by that culture. How does examining art teach you about that culture? 16. Language arts. Survey and identify avocational art opportunities or choices in your community. Then, create a flyer advertising ways that teens in your community can pursue art as recreation. Make sure you use language that is appealing to teens.

Joslyn Art Museum, Omaha, Nebraska Start exploring all the art opportunities available to you now! Take a virtual tour of the Joslyn Art Museum, the largest museum in Nebraska. Follow the link at art.glencoe.com to visit the museum’s Web site. There, you can play interactive games and get ideas for making art projects at home.You can also click on the museum’s logo to see some of the wonderful artworks in their online collection. Write a journal entry describing your virtual museum tour.

Chapter 1 Review

11

Focus On
Figure 2–1 In addition to the buildings, signs, lamppost, and other objects, what do you see in this painting? Notice the types of lines, shapes, and colors. Do you think the artist effectively communicates his impression of a Paris street scene in an original, visually pleasing way? Stuart Davis. Place Pasdeloup. 1928. Oil on canvas. 92.1
73 cm (36 1⁄4
28 3⁄4). Whitney Museum of American Art, New York, New York. Gift of Gertrude Vanderbilt Whitney. © Estate of Stuart Davis/ Licensed by VAGA, New York, NY.

12

The Language of Art “

“

Painting is silent poetry, and poetry is painting that speaks. — Plutarch, Greek essayist (A.D. 46–120)

W

hen you were learning to read and write, you became aware of the power of language. You discovered that words could be put together in countless ways to communicate different messages, thoughts, and feelings. In this chapter, you will learn a new language— the visual language of art. Like English, the language of art can express emotions, describe events, communicate ideas, and tell stories. What does the painting in Figure 2–1 “say” to you? After completing this chapter, you will be able to: ● ●

●

●

●

Identify and define the elements of art. Create a nonobjective composition in which you experiment with the elements of art. Define the principles of art and recognize how they are used to organize the elements of art. Compare and contrast the use of art elements and principles, using vocabulary accurately. Create a design using each of the principles of art.

Quick Write Interpreting the Quote Reread the quote by Plutarch. Explain how painting or other art might be thought of as “silent poetry.” Then, write a poem that captures the mood or feeling of the painting in Figure 2–1.

Key Terms line color shape form space texture balance variety harmony emphasis proportion pattern movement rhythm unity

13

LESSON 1

The Elements of Art Like most languages, the language of art has its own special vocabulary. Unlike a spoken language, this vocabulary contains no words. Rather, this visual vocabulary is made up of art elements. The elements of art include: line, color, shape, form, space, and texture. In this lesson, you will define a variety of concepts directly related to the art elements, using vocabulary accurately.

LINE Line is everywhere you look. Lines define the frame of a door or window. When you walk along the street, you follow a line. You used lines when you wrote out the answers to yesterday’s homework. What examples of lines do you see in the room you are in?


Figure 2–2 How many different kinds of line can you identify in this painting? Do you think the combination of different lines expresses a feeling of peace and calm or energy and excitement? Charles Burchfield. Noontide in Late May. 1917. Watercolor and gouache on paper. 55.9
45.6 cm (22
17 15⁄16”). Whitney Museum of American Art, New York, New York. Purchase.

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Lines are also essential in the world of art. In fact, the very first effort at making art may have involved lines. Some cave dweller living 10,000 years ago may have scratched a crude line on the wall of a cave, making the first “picture.” In art, line is defined as the element of art that is a continuous mark made on some surface by a moving point. There are five main types of line. Each has the power to suggest different ideas and feelings: ●

Horizontal lines. These run parallel to the ground and suggest peacefulness or calm. ● Vertical lines. These run up and down and suggest strength and dignity. ● Diagonal or slanting lines. These suggest tension.

●

●

Curved lines. These suggest flowing movement. ● Zigzag lines. These suggest confusion and action. Notice the many different types of line used in the artwork in Figure 2–2. Point to and name the different types of line you can find in this painting.

Color Schemes Colors can be combined in different ways to create many interesting and visually appealing effects. The following are some of the color schemes that artists use.

COLOR Have you ever noticed that it is harder to see color when the light is dim? This is because color depends on light. In fact, color is an element of art that is derived from reflected light. Color has three distinct properties, or traits. These are:

●

●

Hue. Hue refers to the name of color. Red is a hue. So are yellow and blue. The relationship of one hue to another can be seen when they are arranged on a color wheel (see Figure 2–3). ● Value. Value refers to the lightness or darkness of a hue. The value of a hue can be changed by adding white to make it lighter or black to make it darker.

Yell o

een w-Gr

Gree

AN AL OG OU S

n

Intensity. Intensity refers to the brightness or dullness of a hue. When a hue is strong and bright, it is said to be high in intensity. When that same hue is faint and dull, it is said to be low in intensity.

Monochromatic (mahn-uh-kroh-mat-ik) color scheme. This scheme uses different values of a single hue. For example, a blue monochromatic scheme would make use of dark, medium, and light blue. ● Analogous (uh-nal-uh-gus) color scheme. This scheme uses colors that are placed side by side on the color wheel and share a hue. Look again at Figure 2–1 on page 12. Which colors share the hue blue? ● Warm or cool scheme. Warm color schemes—with red, yellow, and orange hues—remind us of the sun and warmth. Cool color schemes—with blue, green, and violet hues—bring to mind things that are cool such as grass or water.

B e-

llo w

lu CO ND AR

ME DIA TE

ed R

PRIMA RY

INTER

TE MEDIA

Vi

e ng ra O

ol et

ER

SE

ge

INT

Y

INTER

Y NDAR

MEDIA TE

SECO

Or an

Blue -Viol et

IM PR MEDIA TE

ry menta e l p m Co

INTER

Yello w

Blue

INT ER ME DIA TE RY PRIMA

-Ora nge

AR Y

SECON DARY

n

TE MEDIA

e re

Ye

G

INTER

Red

Red-


Figure 2–3 Color Wheel. Notice that the primary hues—red, yellow, and blue—are equally spaced apart. Mixing equal amounts of two primary hues produces a secondary hue. What do you get when you blend a primary with a secondary hue?

t Viole

Lesson 1 The Elements of Art

15

●

SHAPE What happens when you join the two ends of a line together? You enclose an area known as a shape. Shape is an art element that refers to an area clearly set off by one or more of the other elements. Shapes are limited to two dimensions—height and width. All shapes belong to one of two classes: ●

Geometric (jee-uh-meh-trik) shapes. These shapes look as though they were made with a ruler or a drawing tool. The square, the circle, the triangle, the rectangle, and the oval are the five basic geometric shapes.


Figure 2–4 Point to and name geometric shapes in this painting. What organic shapes are used in this work? Do you think using both geometric and organic shapes in a single work adds interest to a work? Why or why not? Georges Braque. The Round Table. 1929. Oil, sand, and charcoal on canvas. 145.7
113.7 cm (57 3⁄8
44 3⁄4). The Phillips Collection. Washington, D.C. © 2003 Artists Rights Society (ARS), New York/ADAGP, Paris.

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Organic or free-form shapes. These shapes are not regular or even. Their outlines may be curved, angular, or a combination of both. Shapes found in nature, such as clouds or leaves, are usually organic. Can you think of some exceptions to this rule?

Examine Figure 2–4. Which type of shapes—geometric or free-form—are used most in this artwork? How many of each type can you find?

FORM

SPACE

Look at the topmost portion of the artwork in Figure 2–5. Would you describe it as having the “shape of a human face”? If so, you would be partly right. Indeed, the part in question does resemble a human face; the lines of the nose and eye sockets are clear. Calling this part a shape, however, would be incorrect. In the language of art, there is a sharp distinction between shapes and forms. In fact, the term form is reserved for an object with three dimensions. Like shape, forms have height and width and can be either geometric or organic. Unlike shapes, forms have a third dimension—depth. The forms found in sculpture and architecture exist in real space. You can walk around these artworks and see them from different sides and angles. Sometimes, you can even walk into them.

In art, space does not refer to an empty void. It is something that is very much in evidence in and around an artwork. It helps to define the other elements in that work. Space is an element of art that refers to the real or implied distance between, around, above, below, and within objects. Look closely at Figure 2–4 again. Which objects appear closest to you? Which appear to be farther back in “space”? In both two- and three-dimensional works of art, the shapes and forms are called positive spaces. The empty area around and between these shapes and forms are called negative spaces. The relationship between the positive and negative spaces often determines a work’s success as a visually pleasing design.

TEXTURE Run your fingers over the surface of any object. When you do this, you feel the object’s distinctive surface. You feel its texture. Texture is the element of art that refers to the way things feel, or look as though they might feel, if touched. For example, an object might feel smooth, rough, soft, or grainy. How do you think the sculpture in Figure 2–5 would feel if you could reach out and touch it?

Check Your Understanding


Figure 2–5 How would the way you examine this sculpture differ from the way you would view the painting in Figure 2–4?

1. List five types of lines. 2. Name and define the three properties of color. 3. Explain the difference between shape and form. 4. What is positive space? What is negative space? 5. Which element of art refers to the way things feel, or look as though they might feel, if touched?

Constantin Brancusi. A Muse. 1917. Polished bronze. 49.8
29.7
24.4 cm (19 5⁄8
11 11⁄16
9 5⁄8). The Museum of Fine Arts, Houston, Texas. Gift of Mrs. Herman Brown and Mrs. William Stamps Fish. © 2003 Artists Rights Society (ARS), New York/ ADAGP, Paris.

Lesson 1 The Elements of Art

17

LESSON 2

Using the Elements of Art The painting in Figure 2–6 is an example of nonobjective art. This is an artwork in which no objects or subjects can be readily identified. In this painting, the artist has skillfully combined several elements of art to create a visually exciting composition.

WHAT YOU WILL LEARN This is the first of many studio lessons you will do. In these lessons, you will create artworks integrating themes found through direct observation, personal experiences, and imagination. You will also select appropriate art materials and tools to interpret subjects or themes traditionally and experimentally. For this studio lesson, you will create a nonobjective composition. Your drawing will be based on imagination as well as direct observation of the art elements. You will use a variety of art materials and tools.

WHAT YOU WILL NEED ● ●

Pencil and ruler Sheet of white drawing paper, 18
24 inches ● Colored markers, colored pencils, and crayons

WHAT YOU WILL DO


Figure 2–6 The artist chose to create a painting in which the “subject” consists of an arrangement of hues, shapes, and lines. Helen Frankenthaler. Blue Territory. 1955. Oil on canvas. 287
147.3 cm (113
58). Whitney Museum of American Art, New York, New York. Purchase, with funds from the Friends of the Whitney Museum of American Art.

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The Language of Art

1. Using one continuous pencil line, make a design that fills the sheet of drawing paper. Use your imagination. Your line should be straight in some places and curved in others. Allow your pencil to drift off the edge of the paper and return. Create a design that has both large and small shapes. 2. Use a ruler to divide your paper into eight equal rectangles. Each should measure 6 by 9 inches. Number the eight boxed areas lightly in pencil. You may order the numbers any way you like. 3. Using primary hues of crayons, color all the shapes in Area l. Using light and dark values of colored pencils, color in all the shapes in Area 2. Using bright and dull intensities of colored pencils, color in all the shapes in Area 3.

4. Using the pencil, go over the lines in Area 4. Press down on the pencil to add variety to your line quality. Make some of the lines darker and thicker. Using pencil, crayons, colored pencils, or markers, create three different textures to fill in all the shapes in Area 5. 5. Using markers, draw outlines around all the shapes in Area 6. Fill in some of the shapes with the markers. Leave others white. To show space, use a pencil to draw a new shape that overlaps the existing shapes in Area 7. Add to this feeling of space by using colored pencil to color this new shape in an intense or bright hue. Color the other shapes in dull hues. 6. Using a pencil, shade the shapes in Area 8 to suggest three-dimensional forms. Gradually increase the pressure on the

Form

Space

Shape

Texture

Line

Intensity

Value

Hue


Figure 2–7 Grid showing the elements of art in Figure 2–8.

PORTFOLIO IDEAS Keeping a portfolio helps you keep track of improvements in your work. Each artwork in your portfolio should include your name, the title of the work, the date it was completed, and the materials and tools used. Options for what type of portfolio to use include cases with zippers, cardboard folders, large envelopes, and three-ring binders.

Evaluating Your Work ● Describe Point to and name the element of art featured in each of the areas in your composition. ● Analyze Determine if your design clearly highlights each art element. Point to the area in your design that you think is most successful. Give reasons for your opinion.

pencil to create the illusion of depth. (For information on shading, see Technique Tip 6, Handbook page 315.) 7. Display your completed design. Challenge other members of your class to identify the different art elements found in each area of your composition.


Figure 2–8 Student Work. Nonobjective design.

Visual Art Journal After completing your studio project, participate in a small group critique. Taking turns, share your thoughts on how the elements of art were used in each artwork. Then, in your visual art journal, write an analysis of what you have learned through the project and the critique.

Lesson 2 Using the Elements of Art

19

LESSON 3

The Principles of Art Read the following: Gobble fast the it over skipping a. Were you able to make sense of this combination of words? Of course not! Effective communication takes more than just knowing individual words in a language’s vocabulary. It also requires arranging words in a way that follows the rules of grammar. This concept also holds true for art. Instead of rules of grammar, the language of art has rules called art principles. There are eight


Figure 2–9

Which type of balance is evident in this building?

Taj Mahal. 1632– 43. Agra, India.

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The Language of Art

in all: balance, variety, harmony, emphasis, proportion, pattern, movement, and rhythm. Artists use these principles to organize the art elements when creating works of art. When the elements and principles of art are used to create a sense of wholeness, unity is achieved. In this lesson, you will define a variety of concepts directly related to the art principles, using vocabulary accurately.


Figure 2–10 How has the artist achieved a sense of balance in this painting? Richard Diebenkorn. Girl with Plant. 1960. Oil on canvas. 203.2
176.5 cm (80
69 1⁄2). The Phillips Collection, Washington, D.C.

BALANCE If you have ever carried a stack of dishes or books, you know the importance of balance. Balance is the principle of art concerned with arranging art elements in an artwork so no one part of that work overpowers, or seems heavier than, any other part. In art, three kinds of balance are possible: ●

Formal balance. In artworks with formal, or symmetrical (suh-meh-trihkuhl), balance, the two halves “mirror” or closely resemble each other.

●

Informal balance. In artworks with informal, or asymmetrical (ay-suh-mehtrih-kuhl), balance, different elements appear to have equal weight. For example, several smaller shapes in different hues at one side of a painting can balance a much larger shape on the other side. ● Radial balance. Artworks with radial balance have elements or objects positioned around a central point or hub. Examine Figures 2–9 and 2–10. Which type of balance is used in each? Lesson 3 The Principles of Art

21

VARIETY Following the same routine day after day can become boring. So can using the same color, shape, or any other art element over and over in an artwork. To avoid dullness, artists introduce variety. Variety is the principle of art concerned with combining art elements with slight changes to increase visual interest. Look at Figure 2–11. How has the artist introduced variety into this work?

HARMONY While too little variety can be monotonous, too much variety can lead to chaos and confusion. Artists avoid chaos in their works by using the principle of harmony. Harmony


Figure 2–11 The artist has used many principles of art to make this painting visually interesting. How many can you identify? Compare and contrast the use of art elements and principles in this artwork with Figure 2–10. Kazimir Malevich. The Knife Grinder (Principle of Glittering). 1912. Oil on canvas. 79.5
79.5 cm (31 5⁄16
31 5⁄16”). Yale Art Gallery, New Haven, Connecticut.

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is the principle of art concerned with combining similar art elements to create a pleasing appearance. It is achieved through the use of repetition and gradual changes. How is the principle of harmony used in Figure 2–11?

EMPHASIS To direct a viewer’s attention to important parts of a work, artists use emphasis. Emphasis is the principle of art concerned with making an element or object in a work stand out. By using obvious contrasts in elements, artists can create centers of interest in their works. Study Figure 2–11 once again. What has the artist done to emphasize the figure of the knife grinder?

PROPORTION

RHYTHM

Have you ever looked at your reflection in a fun house mirror? Your head might appear abnormally small for the rest of your body. Your legs might appear ridiculously large. Humorous distortions like these result from changes in normal proportion. Proportion is the principle of art concerned with the relationship of certain elements to the whole and to each other. The principle of proportion is often associated with emphasis. For example, the large size of one shape compared with the smaller sizes of other shapes around it helps emphasize its importance. The viewer’s eye is automatically attracted to the larger shape. However, proportion is not limited to size. Different proportions of color or any of the other elements can also create emphasis. How has the artist used different proportions in Figure 2–11?

Artists often try to make their works seem active. To do this, they create rhythm. Rhythm is the principle of art concerned with repeating an element of art to make a work seem active or to suggest vibration. Sometimes an artist will repeat not just elements to create rhythm. He or she will repeat the same objects over and over. Point to places where the principle of rhythm is used in Figure 2–11. What elements are repeated?

PATTERN A checkerboard might be described as a pattern of alternating colored squares. In art, a pattern refers to a two-dimensional decorative effect achieved through the repetition of colors, lines, shapes, and/or textures. Repetition plays a major role in creating patterns that add visual interest to a work of art. Each repeated unit in this type of design is called a motif (moh-teef). Can you find a pattern in Figure 2–11? Describe the motif in this pattern.

MOVEMENT Artists often use the principle of movement to lead the viewer’s eye from one part of an artwork to another. Movement is the principle of art concerned with creating the look and feeling of action to guide a viewer’s eye throughout a work of art. In Figure 2–11, how has the artist used color and shape to move your eyes throughout this work?

ACHIEVING UNITY

IN

ART

When the pieces of a jigsaw puzzle lie scattered on the tabletop, they resemble nothing in particular. When they are properly fitted together, however, they form a picture. The same may be said for works of art. When the elements and principles in a work of art are skillfully combined, the work has a “wholeness” to it. It has unity. This term is defined as a look and feel of oneness or completeness in a work of art. In art, unity is achieved through the skillful application of the art principles to the art elements. The result is a visually pleasing design.

Check Your Understand

1. How are the principles of ar elements of art? 2. Name three kinds of balanc each kind. 3. What happens when an art little or too much variety? 4. How can emphasis be achi of art? 5. Define movement.

Lesson 3 The Principles of Art

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LESSON 4

Using the Principles of Art Artists use the language of art in many different ways. Figure 2–12 is one artist’s imaginative view of a fire engine racing though a rain-swept city at night. Notice that the artist, Charles Demuth, has not created a true-to-life picture. There are no clear images of trucks, wet streets, or darkened buildings. Rather, Demuth has captured the idea of those images. Look closely and you can almost hear the wail of Engine Company 5’s siren. You can practically see the red truck’s lights flashing.

WHAT YOU WILL LEARN In this activity, you will apply the principles of art to create an artwork integrating themes found through direct observation and imagination. Using watercolor paint and tempera paint, you will create a design made up of the letters of your name or nickname. Your completed design will demonstrate the principles of art you learned about in Lesson 3.

WHAT YOU WILL NEED ● ● ●

Sheets of scrap paper Pencil, ruler, and eraser Sheet of white drawing paper, 18
24 inches ● Watercolor paint and tempera paint ● Several brushes and mixing tray

WHAT YOU WILL DO


Figure 2–12 How are the principles of variety and harmony demonstrated in this painting? What has the artist done to suggest movement and rhythm? Charles Henry Demuth. I Saw the Figure 5 in Gold. 1928. Oil on composition board. 91.4
75.6 cm (36
29 3⁄4). The Metropolitan Museum of Art, New York, New York. The Alfred Stieglitz Collection, 1949. (49.59.1). Photograph © 1986 The Metropolitan Museum of Art.

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1. On scrap paper, practice making block letters of different sizes and shapes. Use only the letters in your name or nickname. 2. Working lightly in pencil, create a design with the letters on the sheet of drawing paper. Overlap some of the letters and allow others to go off the page. Use your imagination and integrate themes found through direct observation of the art principles. Fill the entire sheet of paper. 3. Use a ruler to divide your design into eight equal rectangles. Each should measure 6
9 inches. Number the eight rectangles lightly in any order you like. See Figure 2–13. 4. Using the pencil and eraser, add lines or erase existing lines to alter the shapes in Area 1 so they exhibit formal balance. Fill in some shapes with pencil. 5. Use tempera to paint the shapes in Area 2 with a variety of hues.

6. Paint the shapes in Area 3 using no more than three hues. Repeat one of these hues a few times to add harmony. 7. Identify the most interesting shape in Area 4. Using a bright tempera hue, paint this shape to give it emphasis. Paint the other shapes with dull hues. 8. Using pencil and eraser, rearrange the shapes in Area 5 to create a sense of rhythm. With pencil, fill in some of the shapes with different values. 9. Increase the proportion of one of the shapes in Area 6 by making it larger than the other shapes. Paint all the shapes with watercolors. Paint the large shape with a hue that emphasizes its importance. 10. Using pencil and eraser, rearrange the shapes in Area 7 to create a sense of movement in any direction. Paint the shapes with watercolors. Gradually change the value of hues from dark to light to add to the feeling of movement. 11. Use pencil and your imagination to create interesting patterns on each shape in Area 8. Create different patterns by repeating lines or smaller shapes within each of the larger shapes. You can also alternate dark and light shapes to make your patterns more interesting. 12. Examine your complete design. Do you think your work demonstrates an overall unity? If not, what could you do to add unity to your composition?

Evaluating Your Work ● Describe Identify the various letters of your name or nickname in your design. ● Analyze Explain how each area of your design illustrates a principle of art. Ask yourself if your design clearly highlights each principle of art. Determine if the overall design exhibits unity.

Pattern

Balance

Rhythm

Emphasis

Variety

Movement Proportion Harmony


Figure 2–13 Grid showing the principles of art in Figure 2–14.


Figure 2–14 Student work. Design using the principles of art.

REFLECTIVE THINKING Critical evaluation. Participate in a group critique. Analyze the artworks of your peers to form conclusions about formal properties. How did they demonstrate the principles of art in their studio projects? Now look at your own artwork. Analyze and compare relationships between the art elements and principles in your personal artwork.

Visual Art Journal In your art journal, review what you have learned in this chapter. Define a variety of concepts directly related to the art elements and principles, using vocabulary accurately. Then, draw a quick sketch to illustrate each element and principle.

Lesson 4 Using the Principles of Art

25

artin Puryear creates poetry out of wood instead of words. He shapes wooden sculptures into graceful lines and forms. The sculptures of Puryear are made in a spare, modern style called Minimalism. Yet, his methods are very old fashioned. Puryear places a high value on the traditional craft of cutting wood. His wood-crafting skills bring out the “poetry” in the material. Puryear’s pieces have a rhythm that mirrors the energy of nature. Martin Puryear. Brunhilde. 2000. Puryear earned a B.A. of Fine Arts at Catholic University of America in Washington, D.C. In 1966, he worked with African carpenters in a remote village in Sierra Leone. Hints of African folk craft appear in his sculptures, from basket weaving and canoe building to tent and kite construction. Today, many people are just starting to admire Puryear’s art. Puryear, however, pays no attention to public taste. Instead, he remains true to his own vision: producing beautiful objects.

TIME TO CONNECT • Using art books and your school’s media resource center, learn more about Martin Puryear.

• Select a sculpture of his that you like. • Write an essay about how Puryear uses the elements and principles of art in his work, and explain why you chose that piece to write about. 26

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Martin Puryear. Untitled. 2001. Working with wood and other materials, such as tar, Puryear makes solid substances seem as lyrical as poetry.

KATHERINE WETZEL/VIRGINIA MUSEUM OF FINE ARTS; INSET: NIGEL PARRY/CPI

Using nature’s bounty to create art

BUILDING VOCABULARY Number a sheet of paper from 1 to 14. After each number, write the term from the list that best matches each description below. balance color emphasis form harmony line pattern

proportion rhythm shape space texture unity variety

1. Element of art that is derived from reflected light. 2. A continuous mark made on some surface by a moving point. 3. The way things feel, or look as though they might feel, if touched. 4. An area clearly set off by one or more of the other elements of art. 5. An object with three dimensions. 6. Arranging art elements so no one part of a work overpowers, or seems heavier than, any other part. 7. Combining art elements to create interest by adding slight changes. 8. Combining similar art elements to create a pleasing appearance. 9. Making an art element or object in a work stand out. 10. The repeating of an element to make a work seem active or to suggest vibration. 11. The relationship of certain elements to the whole and to each other. 12. The arrangement of elements and principles of art to create a feeling of oneness or completeness. 13. The real or implied distance between, around, above, below, and within objects. 14. A two-dimensional decorative effect achieved through the repetition of colors, lines, shapes, and textures.

REVIEWING ART FACTS Number a sheet of paper from 15 to 19. Answer each question in complete sentences. 15. Identify the elements of art. 16. What is value? 17. How are geometric shapes different from organic shapes? 18. List the principles of art. 19. What is one way to achieve harmony in an artwork?

CROSS-CURRICULUM CONNECTIONS 20. Language Arts. A friend sends you an e-mail asking your advice about what kinds of lines to use in creating an actionpacked picture. How would you respond? 21. Science. Make a list of the elements of art. Choose objects from nature that show examples of these elements. Explain how each object demonstrates an art element.

Norton Simon Museum, Pasadena, California Learning to apply the language of art takes practice.You can do this at the Norton Simon Museum Web site! Click on the link at art.glencoe.com to review some of the concepts that you learned about in this chapter. Then, browse the museum’s online collection and test yourself by listing the elements and principles of art used in each artwork.You’ll be speaking the language of art fluently in no time!

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27

Focus On
Figure 3–1 How has the artist’s chosen media affected the mood of this artwork? Why is it important to select appropriate materials and tools when creating a work of art? Vincent van Gogh. Self-Portrait in Front of the Easel. 1888. Oil on canvas. 65.5
50.5 cm (253⁄4
197⁄8). Van Gogh Museum, Amsterdam, Netherlands. Bridgeman Art Library.

28

The Media of Art Color in a picture is like enthusiasm in life.

“

“

— Vincent van Gogh, Dutch painter (1853–1890)

P

icture yourself hammering a nail into a wall using a ballpoint pen. Imagine trying to eat spaghetti using pliers. Obviously, using the right tool can make a huge difference. This is also true in art. Examine the painting in Figure 3–1. Notice how the brushstrokes stand out. To achieve this effect, the artist needed to use the right tools. In this chapter, you will learn about art materials, tools, and techniques. After completing this chapter, you will be able to:

Quick Write Interpreting the Quote Reread the quote by Vincent van Gogh. Do you agree with his comparison? How does his use of color and brushstrokes create a sense of “enthusiasm” in Figure 3–1? Explain in a brief paragraph.

Key Terms medium of art pigment binder

● ●

● ●

Identify drawing, painting, and printmaking media. Analyze ways in which electronic media and technologies have influenced art. Identify sculpture, architecture, and crafts media. Use a variety of art media to create artworks integrating themes found through direct observation and imagination.

solvent printmaking edition pixels relief sculpture freestanding sculpture architecture crafts mixed media

29

LESSON 1

Drawing, Painting, and Printmaking One of the most important decisions an artist will make is what art medium to use. A medium of art is a material used to create a work of art. Paint is one medium. Pencil, crayon, and marker are others. When referring to more than one medium at a time, the plural term media is used. In this lesson, you will learn about the different kinds of media used in drawing, painting, and printmaking.


Figure 3–2 Pastels can create a spontaneous, vibrant appearance. What other effects do you think the artist intended to achieve with this medium? Mary Cassatt. At the Theater (Woman in a Loge). c. 1879. Pastel on paper. 55.4
46.1 cm (2113⁄16
18 1⁄8). The NelsonAtkins Museum of Art, Kansas City, Missouri.

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DRAWING Pen, pencil, charcoal, and chalk are some of the media used to draw. Another medium, pastel, consists of chalky sticks made from powdered colors. Pastel was a favorite medium of Mary Cassatt, the skilled artist who drew Figure 3–2. Take a moment to study this drawing. Notice how the artist has used pastels to capture the soft glow of indirect light on her subject.

The Purpose of Drawing Artists make drawings for different reasons. Sometimes drawings are done as finished works of art, as in Figure 3–2. Other times, they are used to plan or develop ideas for future works to be done in a different medium. The drawing in Figure 3–3 was done by the artist as a “study” for the finished painting seen in Figure 3–4.

PAINTING Before beginning a painting, an artist is faced with several media decisions. First and foremost among these is which paint to use. Another decision is the type of brush or other tool with which to apply the paint. A third consideration is the surface to be used. These

considerations are important because different combinations produce different results. All paint is made of the same three basic ingredients: ●

Pigment (pig-muhnt) is a finely ground, colored powder that gives paint its color. ● Binder is a liquid that holds together the grains of pigment in paint. The binder also makes it possible for the pigment to stick to a surface. ● Solvent is a material used to thin a paint’s binder. The thickness or thinness of a paint depends on the amount of solvent used. Turpentine is the solvent used in oil paints. Water is the solvent used in watercolors. Solvents are also used to clean brushes.


Figure 3–3 Millet completed a number of drawings of this subject in preparation for his painting. Why do you think it’s helpful to draw sketches before starting on a painting? Jean-François Millet. The Gleaners. c. 1855–56. Conté crayon on off-white china paper. 20
29.3 cm (7 7⁄8
111⁄2). The Baltimore Museum of Art, Baltimore, Maryland. The George A. Lucas Collection, purchased with Funds from the state of Maryland, Funds from Laurence and Stella Bendann, and Contributions from the Baltimore community.


Figure 3–4 Millet exhibited this painting in Paris in 1857. Compare and contrast this painting with the sketch. What similarities and differences can you find in their use of the art elements and principles? Jean-François Millet. The Gleaners. c. 1857. Oil on canvas. 83.8
111.8 cm (33
44). The Louvre Museum, Paris, France. Réunion des Musées Nationaux/Art Resource, NY.

Lesson 1 Drawing, Painting, and Printmaking

31


Figure 3–5 What are the important art elements in this painting? What can you learn about the tempera painting technique by studying this artwork? Andrew Wyeth. That Gentleman. 1960. Tempera on panel. 59.7
121.3 cm (231⁄2
47 3⁄4). Dallas Museum of Art, Dallas, Texas. Dallas Art Association Purchase, 1962.27.

Painting Media Every painting medium has its own unique look. Among the most commonly used painting media are the following: ●

Oil paint. Oil paint takes its name from its binder, linseed oil. Turpentine is its solvent. Because oil paint dries slowly, the artist is able to blend colors right on the canvas. The picture in Figure 3–4 on page 31 was done with oil paint. ● Tempera (tem-puh-ruh). Tempera paint is a mixture of pigment, egg yolk, and water. Tempera was the most important painting medium in Europe from about 1250 to 1450, when it gave way to oil paint. However, modern artists have revived an interest in this medium. See Figure 3–5. ● Watercolor. This medium is named for its solvent, water. Its binder, gum arabic, is a gummy plant matter. When painting with watercolors, the lighter colors are not obtained by adding white. Instead, water is added. This allows the white paper to show through the thin layers of paint. In Figure 3–6, notice how the thinned paints and areas of blank paper add light and delicacy to the picture. ● Acrylic (uh-kril-ik). A quick-drying water-based paint, acrylic is a popular medium among painters today. Acrylics are synthetic, or manufactured, paints that were introduced in the 1950s. Because its solvent is water, acrylic is easy to use and offers the artist a wide range of hues. See Figure 8–17 on page 127 for an example of an acrylic painting. 32

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Figure 3–6 Where has the artist used thinned paints or left portions of the paper unpainted? How is this watercolor technique different from the tempera technique in Figure 3–5? Charles Henry Demuth. Eggplant and Green Pepper. 1925. Watercolor with graphite on paper. 45.7
30.2 cm (18
11). The Saint Louis Art Museum, St. Louis, Missouri. Eliza McMillan Trust.

PRINTMAKING Another method of creating art is printmaking. This is a technique in which an inked image from a prepared surface is transferred onto another surface, such as paper or fabric. There are three basic steps in printmaking. First, the artist prepares a plate by creating an image on a metal sheet, wood block, or other material. Next, ink is applied to this plate. Finally, the inked plate is pressed against paper, cloth, or some other surface. This process transfers the image to the surface. These steps may be repeated many times with the same plate. A series of identical prints made from a single plate is called an edition.


Figure 3–7 Why is the element of line so defined in intaglio prints like this one? Do you think this technique enables the artist to deal effectively with light and dark values? What has the artist done to emphasize certain parts of this print? Gabrielle de Veaux Clements. Mont St. Michel. 1885. Etching on paper. 21.6
16.2 cm (8 1⁄2
6 3⁄8). National Museum of Women in the Arts, Washington, D.C. Gift of Wallace and Wilhelmina Holladay.

Printmaking Methods Artists can choose from four major methods of printmaking. ●

Relief printing. In relief printing, the image to be printed is raised from a background. This method requires that the artist cut away the sections of the plate not meant to hold ink. Two of the most common materials used in relief printing are wood and linoleum. ● Intaglio (in-tal-yoh). Intaglio may be thought of as the reverse of relief printing. In this method, the lines of an image are cut into a metal plate. Ink is then forced into these lines. The image is transferred when the plate is pressed tightly against another surface in a printing press. See Figure 3–7. ● Lithography (lith-ahg-ruh-fee). To make a lithograph, the artist draws the image to be printed on limestone, zinc, or aluminum with a special greasy crayon. The surface is then dampened with water and inked. The ink sticks to the greasy crayoned areas but not to the wet blank areas. Finally, a paper is placed over the drawing and the two are run though a press to transfer the image. ● Screen printing. To make a screen print, the artist transfers a design onto a silk screen. The areas of the design not to be printed are blocked off, creating a kind of stencil. The screen is placed on a printing surface and a squeegee is used to force the ink through the porous fabric in areas not covered by the stencil. Screen prints that are handmade by an artist are also known as serigraphs (ser-uh-grafs).

Check Your Understanding 1. Define medium of art. 2. List three media used in drawing. 3. List three media used in painting. 4. How does relief printing differ from intaglio printing?

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LESSON 2

Digital Art Recent decades have witnessed the arrival of new tools for creating art. These tools use state-of-the-art technology, offering today’s artists a world of creative possibilities. In this lesson, you will learn about some of these recent additions to the tools and techniques available to artists.

ELECTRONIC MEDIA TECHNOLOGIES

AND

Look closely at the artwork shown in Figure 3–8. How do you think it was created? Digital artists use a variety of computer


Figure 3–8 Electronic media and technologies allow new possibilities in art creation. How many different images can you identify in this digital collage? André Sanchez. Didem. 2002.

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software and hardware to create images and express ideas. There are many ways to display digital artwork. It can be viewed on a monitor or printed on paper or fabric. Digital art can also be combined with other traditional art media to create images. Digital Art Software At the heart of any computerized art project is the software. As with other computer applications, art software contains instructions used by the computer. These instructions enable the computer to carry out the artist’s intentions.

There are two basic types of digital art applications: ●

Paint programs. Also known as bitmap editors, paint programs store images as bitmaps, or a series of dots called pixels. Pixels, short for “picture element,” are tiny individual squares that make up computer images on the monitor. An advantage to this application is that it allows the user to edit individual pixels. ● Draw programs. Also known as vector art programs, draw programs use complex mathematical formulas to generate images. A draw program allows the user to create smooth, crisp graphics. Because images are recognized as objects rather than individual pixels, objects can be resized—made larger or smaller— without distortion. In recent years, software developers have created specialized programs that expand the capabilities of computer graphics. For example, 3–D modeling and rendering programs permit the creation of lifelike three-dimensional images. Drawings and images can be animated and made into movies. In fact, computer animation technology is often used in films to create special effects or fantasy creatures (see Figure 3–9).

Many software programs also exist for creating sophisticated Web sites. Digital Art Hardware Like art software, computer hardware technologies have opened new possibilities for artists to explore and create. Some of these devices include: ●

Scanners. Scanners are devices that translate drawn or printed images into electronic files. These files can then be edited with art software. ● Graphics tablets. A graphics tablet is a high-tech version of drawing paper. In place of brushes or other conventional tools, the digital artist draws and paints on the tablet with an electronic stylus. ● Digital cameras. A digital camera is capable of holding far more pictures than a traditional camera. Pictures are stored on an internal hard drive instead of on film. Images on a digital camera can be easily downloaded to a computer for editing, printing, and storing. To learn more about electronic media and technologies, refer to the Digital Media Guide, Handbook pages 325 to 331. Read the various articles and analyze how these technologies have influenced art.

Check Your Understanding 1. Explain the difference between paint and draw programs. 2. Name two types of digital art software recently developed by software designers. 3. What is a graphics tablet?


Figure 3–9 Notice how lifelike this fantasy film character looks. The creature was created using traditional film and cutting-edge computer animation technology. Golem from The Lord of the Rings: The Two Towers. Courtesy of Warner Bros. 2003.

Lesson 2 Digital Art

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LESSON 3

Digital Landscape Painting Many artists use digital, or electronic, media because of the freedom it provides. It permits the easy creation of dreamlike worlds like the one in Figure 3–10. The artist has combined a large clock surface with a beach scene and strange rock formations to create a fantasy world.

produce your electronic media-generated art. You may scan in or use digital images. Your landscape will include natural features, such as rivers, mountains, and animals. It may also contain objects made by humans, such as roads, bridges, and cars. You will choose colors, textures, and special effects that emphasize the mood of the landscape scene.

WHAT YOU WILL LEARN Explore the tools and menus in a paint or draw program. Experiment with the various features, tools, and filters. Once you feel comfortable with the software, create a real or imaginary landscape. You will select and use a variety of appropriate digital tools to

WHAT YOU WILL NEED ● ●

Computer with a paint/draw program Access to a folder on the school’s server or a disk to save your work ● Scanner or digital camera (optional) ● Color printer


Figure 3–10 By combining recognizable images in an unusual composition, the artist presents a landscape of fantasy and mystery. Phillip Wallick. The Tide of Time.

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WHAT YOU WILL DO 1. Think about interesting landscapes you have seen. If you have photos of such landscapes, you may scan these in to be used as part of your artwork. Save these in a location on the school server or on a disk so you can easily access them later. 2. Open your paint or draw program. Examine the toolbar, palettes, and menus. Experiment with the brushes, pens, and color palettes. Try the various filters and special effects. 3. Load any files you have scanned in. Keep these open for possible copying and pasting while you work. 4. Create a new file. Title and save your file. Using the Pencil, Pen, or small Brush tool, sketch a realistic or imaginary landscape with different topographical features. Draw foreground, middle ground, and background objects. Add colors and textures to different shapes using appropriate tools or filters. 5. If appropriate, incorporate portions of your scanned or digital images. Copy


Figure 3–11

Evaluating Your Work ●

●

Describe Identify the objects in your landscape. Describe the hues and textures of your work. Analyze Identify the tools and functions used to create the landscape. How did you apply colors, textures, or special effects? What principles of art did you use to organize the elements of color and texture?

and Paste these areas into your artwork. Experiment with layering, resizing, and placing these images. 6. If you make a mistake or do not like an effect you have created, use the “Undo” command from the Edit menu. Save periodically as you work. 7. When you are satisfied with your landscape, save a final copy. Print the file and display your work.

Student work. Digital landscape.

STUDIO OPTION Select and use a variety of traditional art materials and tools to create a landscape. You might use oil pastels, crayons, colored pencils, chalks, pens, watercolors, or tempera. Explore textures with your chosen media, and try layering colors. Work directly on one sheet of paper, combining several media. You can also try gluing together different shapes to make a landscape collage.

Visit art.glencoe.com to learn more about art media. There, you can also explore: ● ● ● ●

Artist Profiles Career Corner Interactive Games Student Art Gallery

Lesson 3 Digital Landscape Painting

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LESSON 4

Sculpture, Architecture, and Crafts The art you have looked at so far in this chapter is all two-dimensional. The images may suggest roundness and depth. In reality, however, these pictures are flat. They are meant to be viewed from the front only. In this lesson, you will learn about works of art that have real roundness and depth. Many of these works are created to be viewed from the front, back, and sides. You will become acquainted with the media and techniques used to create such works.

SCULPTURE

●

Relief sculpture is sculpture that is only partly enclosed by space. In this kind of sculpture, forms project outward from a background. Relief sculptures are flat in back and are meant to be viewed from the front. Figure 3–12 shows a relief sculpture. ● Freestanding sculpture is sculpture surrounded on all sides by space. Also known as sculpture “in the round,” sculptures of this type are meant to be seen from all sides. Figure 3–13 shows a freestanding sculpture.

Sculptures are three-dimensional works of art. They fall into one of two categories.


Figure 3–12 Why is this work, intended to be viewed from the front only, still classified as a sculpture? How is space suggested in this relief?


Figure 3–13 How would you react to this sculpture in a museum? Would you want to view it from a fixed position or walk around it to examine it from all sides? What has the artist done to pull the viewer’s eye around the sculpture?

Three Apostles. c. 1150–70. Limestone with traces of polychrome. 80.3
68.9
19.1 cm (31 5⁄8
27 1⁄8
7 1⁄2). Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Trust.

Nathaniel Kaz. Cyrano. 1950. Bronze. Height: 87 cm (341⁄4). Whitney Museum of American Art, New York, New York. Purchase with funds from the Wildenstein Benefit Purchase.

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Sculpture Methods Sculptors use four basic methods or techniques to create their art. These are: ●

Carving. Carving is a process of cutting or chipping a form out of a mass of material. Often, this material is stone or wood. The relief sculpture in Figure 3–12 was carved from stone. ● Casting. In casting, a melted-down metal or other liquid substance is poured into a mold to harden. This process enables the artist to duplicate an original sculpture done in wax, clay, plaster, or some other material. Bronze is a material often used in casting. The freestanding sculpture in Figure 3–13 was cast in bronze. ● Modeling. In modeling, a soft, workable material is built up and shaped into a three-dimensional form. Clay and wax are materials often used in this type of sculpture. ● Assembling. Assembling is a process of gathering and joining together different kinds of materials to create a sculpture. Wood, sheet metal, wire, glue, and nails are just a few of the materials used in assembling.

ARCHITECTURE Architecture is the art form of planning and constructing buildings to meet a variety of human needs. The first huts built as dwellings by primitive peoples were early examples of architecture. The importance of architecture grew steadily over the centuries as great churches, magnificent palaces, and impressive government buildings were built. The success of these buildings depends upon the skill and imagination of their designers. Architects design buildings of every shape and size to serve a variety of purposes. Figure 3–14 shows an example of a building of worship. Work on this church began in the late 1800s. It reflects an ancient style of building, but its main architect, Antonio Gaudí, gave it a new twist.


Figure 3–14 Analyze this intricately designed church. What features indicate the religious purpose of this building? Antonio Gaudí. Church of the Sacred Family. Late 1800s. Barcelona, Spain.

Lesson 4 Sculpture, Architecture, and Crafts

39


Figure 3–15 This museum has both traditional and modern characteristics. What kinds of lines can you find in this building? J. Paul Getty Museum. 1997. Los Angeles, California.

Buildings for business and entertainment present another example of architecture found around the world. The museum shown in Figure 3–15 provides visitors with a place to learn, appreciate art, and relax. What other kinds of buildings can you name?

CRAFTS Architecture is an example of art that serves a dual purpose. It provides visual pleasure, while serving a practical function or purpose. Another such branch of art is crafts. Crafts are everyday objects that are made to be visually pleasing as well as functional. Clothing, cooking utensils, and furniture are some examples of crafts. In some cultures, craft items are used for special ceremonies or to honor important people.

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Figure 3–16 What elements and principles of art make this porcelain jar visually appealing? Porcelain Covered Jar with Fish and Seaweed Design.

Craftspeople today, like those of the past, use a variety of techniques. Some of these include: ●

Pottery making. This craft involves making functional objects from clay. Once the clay objects are formed, they are placed in a special oven called a kiln. There, they are fired, or heated, which makes them hard and durable. Objects made in this fashion are known as “ceramics.” The jar shown in Figure 3–16 is an example of ceramic art. ● Weaving. Craftspeople create weavings, or textiles, by interlocking fiber strands. Wool, cotton, and other plant and commercially made materials are sources for these fibers. Figure 3-17, for example, shows an African mat woven from plant fibers. Weaving can be done by hand or on a special machine called a loom. The loom holds the strands in place as they are woven together.

●

Glassmaking. This art form involves shaping melted glass into objects. Glass can be blown, pressed, etched, or cut into useful and attractive items such as vases, figurines, and windows. The lamp in Figure 3–18 is an example of modern glassmaking.


Figure 3–18 This example of glassmaking is both functional and attractive. What other kinds of art objects can be made from glass? Daffodil leaded glass and gilt bronze table lamp. Tiffany Studios.

Check Your Understanding
Figure 3–17 Circular mats like this one are often used as lids for bowls or other storage items. What patterns or designs do you see repeated in this weaving? Africa, Nigeria, Fulani or Hausa peoples. Mat. Late twentieth century. Plant fiber. 32.9
32
2.5 cm (12 15⁄16
12 5⁄8
1). National Museum of African Art, Smithsonian Institution, Washington, D.C. Gift of Mildred A. Morton.

1. What are the two types of sculpture? 2. What are the four basic sculpting methods? 3. List three functions of architecture. 4. Define crafts. Name and describe three kinds of crafts.

Lesson 4 Sculpture, Architecture, and Crafts

41

LESSON 5

Mixed-Media Nonobjective Composition When artists use several different media, such as pen, ink, and watercolor, they create mixed-media artworks. Mixed media means the use of more than one medium in a work of art. Analyze Figure 3–19. In preparing to create this artwork, the artist carefully developed visual ideas with drawings and small threedimensional models. For the large, finished work, he used several media. In addition to different kinds of paint and ink, he used magnesium, aluminum, and fiberglass. Notice how the artist has assembled various shapes to create a work of art that projects outward toward the viewer. Note also that these shapes are brightly colored and exhibit a range of different textures. What were your first reactions to this work? How has the artist tied the various shapes, textures, and colors together to create a unified composition?

WHAT YOU WILL LEARN You will color and add texture to a variety of cut-out shapes that will then be glued together at different levels so they project outward in space. Your goal is to create a nonobjective work that demonstrates variety in shape, texture, and color.

WHAT YOU WILL NEED ● ● ● ● ● ● ● ● ● ●


Figure 3–19 What kinds of shapes and colors are used in this work? How many different kinds of texture can you identify? How are these textures created? Frank Stella. La vecchia dell’orto from the “Cones and Pillars” series. 1986. Mixed media and painted aluminum. Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France. © 2003 Frank Stella/Artists Rights Society (ARS), New York.

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The Media of Art

Piece of mat board, 10
12 inches Pieces of white lightweight poster board of various sizes Pieces of cardboard cut from corrugated boxes Scissors Crayons Talcum powder or chalk dust India ink and a medium brush An “etching” tool such as a large nail, scissors, or compass point Pencil and sketch paper White glue

WHAT YOU WILL DO 1. Review the different shapes in Figure 3–19. Cut out 30 to 40 shapes from the poster board. These should vary in size and have both straight and curved sides. 2. Color each shape with crayons. Make sure to press down heavily to obtain a thick layer of crayon over the entire surface. To show variety, use both warm and cool colors, and try blending two or more colors together. 3. Rub talcum powder or tap a chalkboard eraser over the surface of each crayoned shape. The powder or chalk dust will help make the india ink adhere to the slick crayoned surfaces. 4. Brush india ink over the surface of each shape. Cover each shape completely. Apply a second coat if needed. 5. While the ink is drying, illustrate ideas for different textures using pencil and sketch paper. 6. Using a pointed tool, scratch or “etch” different textures on each shape. Keep etched lines close together to reveal more of the crayon color beneath the ink. 7. Arrange the shapes on the mat board to create a unified design. Glue the shapes in place, using small pieces of cardboard glued to the back of each shape to make them project outward. Stack more pieces of cardboard together to make some shapes project outward more.

PORTFOLIO IDEAS To include three-dimensional artworks in a portfolio, photograph the pieces from various angles in good lighting. Select the photographs that best showcase your artwork.You may wish to work with your teacher or peers to analyze which photographs and artworks work best. Mount the photographs on construction paper before adding them to your portfolio.

Evaluating Your Work ● Describe Identify the media you used in this assignment. Point to and name the warm and cool colors in your composition. ● Analyze Explain how the principle of variety is demonstrated by the way you used the shapes, colors, and textures in your work. Do you think your work exhibits overall unity? Why or why not?


Figure 3–20 Student work. Mixed-media nonobjective art.

Visual Art Journal Hold a class exhibition of your nonobjective compositions. Analyze the artworks to form conclusions about formal properties, intents, and meanings. How did your peers use the art elements and principles? What intents and meanings can you find in their artworks? Summarize your conclusions in your visual art journal.

Lesson 5 Mixed-Media Nonobjective Composition

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Betye Saar uses old material to create arresting new work.

BETYE SAAR/MICHAEL ROSENFELD GALLERY (2)

ecycling is good for the environment, and when the recycling is done by Betye Saar, it’s also good for art. The California artist uses discarded objects in her collages and assemblages. Her fascinating artworks explore complex social issues such as race, economic class, and morality. Saar’s artwork brings together items from the past, ordinary everyday objects, and bits and pieces of technology. Combining these items allows Saar to explore the past and the future at the same time. “The art itself becomes the bridge [through time],” she says. One bridge the artist often makes is between her African American heritage and her life today as an African American woman. Grouping together cultural objects from the past and the present reveals how the lives of African Americans have both changed and stayed the same through the years. Saar’s artistic bridges let viewers connect different worlds and form ideas about those worlds. As a child, Saar loved to draw, but she didn’t decide to be an artist until she was 34. In the late 1960s, she began assembling small objects into boxes that served as frames or windows. Saar places together objects that normally aren’t seen side by side. This creates thought-provoking visual statements. Says Saar, “Each item I collect has [a] certain energy that carries over into its new use.”

Betye Saar. Records for Hattie. 1975. Saar creates new art by assembling discarded objects in unusual ways to explore fascinating ideas.

TIME TO CONNECT • Find examples of items you recycle in your neighborhood that have interesting colors, shapes, and textures.

• In a sturdy box, arrange your objects to build an interesting assemblage. Decide if your work will focus on a theme or explore colors, shapes, and textures.

• After gluing your final composition in place, write a journal entry that includes your work’s title, why and how you chose your objects, and what surprised you most about using recycled objects as art materials. 44

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The Media of Art

Betye Saar. Blackbird. 2002.

BUILDING VOCABULARY Number a sheet of paper from 1 to 12. After each number, write the term from the list that best matches each description below. architecture binder crafts edition freestanding sculpture medium of art

mixed media pigment pixels printmaking relief sculpture solvent

1. A material used to create a work of art. 2. A finely ground powder that gives every paint its color. 3. A liquid that holds together the grains of pigment in paint. 4. A material used to thin a paint’s binder. 5. A technique in which an inked image from a prepared surface is transferred onto another surface. 6. A series of identical prints made from a single plate. 7. Sculpture surrounded on all sides by space. 8. Sculpture only partly enclosed by space. 9. The art form of planning and constructing buildings. 10. Everyday objects made to be visually pleasing as well as functional. 11. The use of more than one medium in a work of art. 12. Tiny individual squares that make up computer images on the monitor.

REVIEWING ART FACTS

16. How do relief sculptures differ from freestanding sculptures? 17. List four examples of craft items.

CROSS-CURRICULUM CONNECTIONS 18. Language Arts. Write an article on selecting appropriate art media. Which art materials and tools would you select and use when drawing or painting? Which would you choose when creating prints or sculptures? 19. Science. Analyze ways in which electronic media and technologies have influenced art. Explain your thoughts in a paragraph.

Albright-Knox Art Gallery, Buffalo, New York The Albright-Knox Art Gallery has a rich collection of art in different media.You can also play art games and create your own painting and sculpture at the gallery’s Web site. Simply go to art.glencoe.com and click on the museum link for this chapter. Have fun with the interactive games and activities. Then, click on the gallery’s logo to explore some of the artwork in the permanent collection. What did you learn about the media of art during your virtual tour?

Number a sheet of paper from 13 to 17. Answer each question in complete sentences. 13. What are the two main reasons artists make drawings? 14. How are paint programs different from draw programs? 15. Describe the three basic steps in printmaking. Chapter 3 Review

45

Focus On
Figure 4–1 What kind of day is shown in this painting? Are the colors bright or dull? What word best describes the mood of this picture? What does the style of clothing shown tell you about the period in which it was painted? Childe Hassam. Washington Arch, Spring. 1890. Oil on canvas. 68.9
57.2 cm (27 1⁄8
22 1⁄2). The Phillips Collection, Washington, D.C.

46

Art Criticism, Aesthetics, and Art History “

“

The greatest work of an artist is the history of a painting. — Leone Battista Alberti, Italian mathematician (1404–1472)

H

ave you ever wondered what makes an artwork valuable? If you found such a work in your home, would you recognize it? Suppose, for example, you came upon the painting in Figure 4–1. Do you know what makes this painting worthy of being hung in a museum or reproduced in an art book? Can you make out the signature in the lower-right corner? It was painted by Childe Hassam. Do you know this name? Do you know when this artist lived? Learning to ask and answer questions like these will help you understand and appreciate art better. After completing this chapter, you will be able to:

Quick Write Interpreting the Quote Reread the quote by Leone Battista Alberti. What do you think he meant by this statement? Why is an understanding of history so important in art? What “history” can you detect in the painting in Figure 4–1?

Key Terms art criticism subject composition content

● ● ● ●

Apply the art criticism steps to artworks. Identify three aesthetic views. Apply the art history steps to artworks. Create paintings based on information gained from art criticism and art history.

aesthetic views art history style

47

LESSON 1

Art Criticism and Aesthetics You may have heard the expression, “Never judge a book by its cover.” It means that you should never jump to conclusions based on surface information alone. You should not, for example, size up people you meet based on first impressions. This advice also holds true for works of art. Sometimes, by looking closely, you discover there is more to a work of art than first meets the eye. Doing this, of course, requires knowing what to look for. You need to equip yourself with information that will increase your understanding of the piece. Learning this information will often help you appreciate the artwork more.

ART CRITICISM Some works of art, like the painting in Figure 4–2, are easy to “read.” There is no mistaking these ferocious beasts for friendly

pets. In addition, the unnatural colors heighten the terror you associate with fangs and glaring eyes. Other artworks are harder to understand. Look at Figure 4–3. What are your first reactions to this painting? Were you confused, maybe even frustrated, by it? Was there anything about it that raised your curiosity? Did you get the feeling that there might be something in it that you just don’t see? Works of art can be thought of as mysteries waiting to be solved. Trying to solve those mysteries is the goal of art criticism. Art criticism is the process of gathering facts and information from works of art in order to make intelligent judgments about them. It involves four steps. Used together, these steps help the viewer understand, evaluate, and defend judgments about art. These four steps are description, analysis, interpretation, and judgment.


Figure 4–2 Try to identify the type of animal shown. Do you think the artist wanted to show a particular kind of animal in this picture? What elements and principles of art make this a visually appealing design? Rufino Tamayo. Animals. 1941. Oil on canvas. 76.5
101.6 cm (30 1⁄8
40). Museum of Modern Art, New York, New York. Digital image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.

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Figure 4–3 Because there is no subject in this painting, how would you describe it? Do you think it is necessary for every work of art to have a subject? Why or why not? Joan Mitchell. August, Rue Daguerre. 1957. Oil on canvas. 208.3
175.3 cm (82
69). The Phillips Collection, Washington, D.C.

Description Description means gathering information about the following: ●

The size of the work and the media used. Museum labels and book credit lines often provide such information. They may also indicate what process is used to create the artwork. What can you learn by reading the credit line for Figure 4–3? ● The subject illustrated in the work. The subject of a work is the image of people, places, or things viewers can identify in the work. The subject in Figure 4–4 on page 50, for example, is a large group of people. The title of the work tells us that these people are dancing at a joyous event, a wedding. Look closely and you will find that there are more than 125 people in this crowded scene. Can you identify any other objects in this painting?

●

The elements of art used in the work. Look again at Figure 4–4. This time, focus your attention on the elements of art in the painting. Can you find any straight lines? Any curved lines? What colors can you identify in this picture? Are most of the shapes geometric or organic? Do these shapes look flat or three-dimensional? Has the artist created the illusion of space? If so, how? How many different textures can you identify?

Every work of art uses the elements of art, but not all have subjects. Figure 4–3 is a nonobjective artwork that does not show people, places, or things. Because there is no subject, the viewer should focus attention on the art elements when describing it.

Lesson 1 Art Criticism and Aesthetics

49


Figure 4–4 Analyze the use of art elements and principles in this artwork. How is space suggested? Now consider the painting’s content, or meaning. Do you think the artist succeeded in capturing the excitement and the energy of the wedding? Pieter Bruegel the Elder. The Wedding Dance. 1566. Tempera on panel. 119.4
157.5 cm (47
62). The Detroit Institute of Arts, Detroit, Michigan. City of Detroit Purchase. Photograph © 1984.

Analysis When analyzing a work of art, the critic focuses on its composition. Composition is the way the art principles are used to organize the art elements. Look once again at Figure 4–4. How has the artist used a bright red hue to add harmony to this busy composition? Did you notice that only seven couples are actually dancing? Can you find them? Trace your finger around this group of dancers. Did you discover that they form a large triangular shape? The lower points of this triangle are the man standing at the left and the musician at the right. If you direct your eyes upward, you will discover the upper point. It is formed by the joined hands of the most 50

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distant pair of dancers. Everything else in the painting is tied to this central triangle, giving the picture its overall unity. What other art principles have been used in this painting? Interpretation When interpreting a work of art, the critic is concerned with a work’s content, the feelings, moods, and ideas expressed by an artwork. Not all critics look for or value the same things in artworks. For this reason, it is not unusual for different critics to arrive at different interpretations for the same work. It should not surprise you if your interpretations differ from those expressed by others. Your decisions will reflect your knowledge

Art Criticism, Aesthetics, and Art History

and experience with art, which may differ from other people’s. Can you interpret the ideas and feelings expressed in Figure 4–4? Does it look like the entire village might be involved in the celebration, or just a few select guests? What kind of dance do you think the people are doing? Do you suppose it to be a gentle two-step or a whirling jig? What kinds of sounds do you associate with this scene? Listen to the painting for a moment. Can you hear the shouting, laughter, and stomping of feet? How about the music of the bagpipes? Do the people seem to be having fun? Taking all this into account, how does this picture make you feel? Judgment Judging a work of art means making a decision about its success or lack of success. This decision depends on the aesthetic (ess-thet-ik) view held by the person making the judgment. Aesthetic views are ideas or schools of thought on what is most important in judging works of art. They are important because they help identify the different qualities to look for in works of art. The following are three well-known aesthetic views: ●

The subject view. According to this aesthetic view, a successful work of art must have a subject that is easy to identify. ● The composition view. In this view, a successful work must use the elements and principles to achieve overall unity. A critic using this aesthetic view focuses on an artwork’s formal properties, or the organization of the elements of art by the principles of art. ● The content view. According to this view, a successful work must effectively communicate an idea, feeling, or mood to viewers.

Look one last time at Figure 4–4. Do you think this is a successful work of art? Did you base your judgment on the realism with which the artist depicted his subject matter? Maybe you were most impressed with the composition—how the art elements and principles were used to give the work overall unity. Perhaps it was the painting’s content— the skill with which the artist captured a joyous event—that won you over. Bear in mind that it is wise not to limit yourself to a single aesthetic view. In order to learn as much as possible from any artwork, refer to all three aesthetic views when you examine it. In this way, you will be better prepared to make and defend an intelligent judgment about it.

Check Your Understanding 1. What is art criticism? Name the four steps used by art critics. 2. Define subject, composition, and content. 3. What is an aesthetic view? 4. Why is it important to refer to all three aesthetic views when examining a work of art?

Lesson 1 Art Criticism and Aesthetics

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LESSON 2

Creating an Expressive Portrait Look at the painting in Figure 4–5. This painting is a portrait, a painting of a person. Describe what you see in the work. Do you think the proportions of the man in this painting are accurate or exaggerated? What elements of art are used? What art principles have been used to organize those elements? How would you describe the expression on the man’s face? Which aesthetic view seems most appropriate when judging this work? Using that aesthetic view, would you arrive at a positive judgment of this painting?

WHAT YOU WILL LEARN You will create a portrait drawing in which you use distortion and exaggeration to show a particular mood or feeling. In your experimental portrait, you will use a color scheme that helps emphasize the mood or feeling. You will select and use a variety of appropriate art materials and tools to produce your drawing.

WHAT YOU WILL NEED ● ● ● ●

Slips of scrap paper Pencil and eraser A shoe box or other box of similar size Sheet of white drawing paper, 12
18 inches ● Oil pastels (Colored chalks or crayons may be substituted if oil pastels are not available.)

WHAT YOU WILL DO


Figure 4–5 Do you think this is a realistic portrait? What features of this portrait seem to be exaggerated or distorted? Does the man look like he is looking at the viewer, or is his attention turned inward? What emotion do you think he is feeling? William H. Johnson. Man in a Vest. c. 1939–40. Oil on canvas. 76.2
61 cm (30
24). The National Museum of American Art, Smithsonian Institution, Washington, D.C. Gift of the Harmon Foundation. Art Resource, NY.

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1. Each member of the class is to receive a small scrap of paper. On this paper, each person is to write a word that suggests a common emotion. Some examples are happy, annoyed, calm, excited, and sad. 2. Place your paper slip in the shoe box. Pass the box around the room. Each student should reach into the box without looking and pick out a slip of paper. Students should not tell others what emotion they have chosen. 3. Your teacher will divide the class into teams of two. Choose one member of each team to serve as a model. That student will change his or her facial expression to reflect the emotion on his or her paper.

Art Criticism, Aesthetics, and Art History

4. Using direct observation, the other team member will draw the face of the model on a sheet of white paper. The drawing should be done using one continuous pencil line. This procedure will divide the face into many different shapes. Avoid creating very small shapes that will be difficult to color in later. The face, drawn from the front, should fill the entire sheet of paper. The facial features and expression should be distorted and exaggerated to emphasize the emotion expressed. 5. When the drawing is finished, the students in each team switch roles. The model for the first portrait now draws the other team member. The new model assumes the facial expression associated with the emotion on his or her paper. 6. Use oil pastels to color the portrait you have drawn. Select a color scheme that emphasizes the emotion you are trying to show. For example, you might choose to use greens if your emotion is “jealousy” or blues if your emotion is “sadness.” Press down firmly on the oil pastels to obtain rich, vibrant colors. Color the face and the background. 7. Place your completed portrait on display along with those by other members of your class. Try to guess the various emotions shown in the portraits. Can you guess the emotion illustrated in the student work shown in Figure 4–6?

Evaluating Your Work ● Describe Is your work easily recognized as a face viewed from the front? Point out the facial features. Are these features distorted and exaggerated? ● Analyze Identify the color scheme used and explain why you chose to use that particular color scheme. How does it add to the visual effect of your artwork? ● Interpret Were other students able to identify the emotion you tried to capture in your portrait? What visual clues helped them recognize that emotion? ● Judge Do you think that your work is a success based on the content view? Why or why not? How would your judgment differ if you favored the subject or composition view?


Figure 4–6 Student work. Expressive portrait.

COMPUTER OPTION Use a paint or draw program to create your expressive portrait. For inspiration on illustrating your chosen emotion, draw upon direct observations, personal experiences, and your imagination. Use the Brush or Fill tools to apply an appropriate color scheme. Save, title, and print your artwork.

Visual Art Journal Examine your completed artwork. How did it illustrate the idea of your chosen emotion? In your visual art journal, explain how you used direct observation, imagination, and personal experience to create your expressive portrait.

Lesson 2 Creating an Expressive Portrait

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LESSON 3

Art History Look at the painting in Figure 4–7. Examine the credit line. Do you know this artist’s name? Do you know when and where he lived? Do you know whether he is considered an important artist? If these questions seem familiar, it is because you have seen them before. You saw them on page 47, in connection with the painting that opened this chapter. Questions like these are at the root of art history. In this lesson, you’ll learn more about art history and how it can enhance your knowledge and enjoyment of art.

WHAT IS ART HISTORY? Art criticism, as you have seen, helps art scholars “read” a work of art. Another process exists which helps them “read between the lines.” Using this second process, scholars are able to go beyond merely recognizing what is in an artwork. They can understand what is behind the artwork—what went into and influenced its creation. Art history is the study of art from past to present. When art historians study art, they often use the same four steps used by art critics.


Figure 4–7 How does the pointing figure differ from the other people in this picture? What do you think the peasant is doing? How do the other figures react to his actions? Jean-Louis-Ernest Meissonier. Information (General Desaix and the Peasant). 1867. Oil on panel. 31.5
40.5 cm (12 3⁄8
15 15⁄16). Dallas Museum of Art, Dallas, Texas. Foundation for the Arts Collection, Mrs. John B. O’Hara Fund.

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They describe, analyze, interpret, and judge. However, unlike art critics, art historians do not use these steps to learn from art. They use them to learn about art. Description When describing an artwork, art historians answer the questions Who, Where, and When. In other words, “who created the work, and where and when was it created?” Look again at the painting in Figure 4–7. The credit line answers two of these questions. It reveals that the “who” is Jean-LouisErnest Meissonier (mehs-on-yehy), and the “when” is 1867. Running a search online or visiting your school or community library will give you more information. You will find that Meissonier was a French painter who lived from 1815 to 1891. Analysis When analyzing a work of art, the art historian focuses on questions of style. Style is an artist’s personal way of using the elements and principles of art to create artworks. At the analysis stage, historians ask: “What style did the artist use?” They try to answer this question by examining the distinguishing features of the work. For example, the distinguishing features in Meissonier’s painting include its accurate details. The people look true to life, and their actions are natural and easy to interpret. The painting in Figure 4–7 shows a humble farmer giving important information to soldiers. Nothing is left to the imagination in this picture. Every detail of the scene stands out clearly. Interpretation When interpreting a work of art, the art historian tries to determine how time and place may have affected the artist’s style. Usually, this requires in-depth research. Research on the painting in Figure 4–7 would reveal that: ●

The work shows an imaginary scene set in an earlier time period in France. During this period, Napoleon Bonaparte was the emperor of France.

●

The farmer is speaking to General Desaix, an important leader under Napoleon. ● Meissonier painted many scenes that glorified Napoleon’s military victories. In this painting, Meissonier captures the actions of dashing military officers receiving vital information from a local peasant. The colorful uniforms and the confident, almost cocky, poses of the officers help viewers relive the days of Napoleon’s victories. Judging When judging an artwork, the art historian determines if the work made an important contribution to art history. Some works are important because they are the first examples of a new style or technique. Others are valued because they demonstrate a great artist’s fully developed style. Meissonier’s painting, done at the peak of his career, carries on the long tradition of realism. The fame of artists and their works often rises and falls with the passing of time. Paintings like the one in Figure 4–7 made Meissonier immensely popular during his lifetime. Over the years, however, his popularity has waned. Today, he is not considered to be as important as he once was. Yet, he is still recognized for representing a realistic style of painting that dominated the art scene in France for generations.

Check Your Understanding 1. What is art history? Why is art history important? 2. Explain what the art historian does when describing, analyzing, interpreting, and judging a work of art. 3. Define style. What determines an artist’s personal style? 4. Describe two ways an artwork can make an important contribution to art history.

Lesson 3 Art History

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LESSON 4

Painting in the Cubist Style Examine the painting in Figure 4–8. If you were to apply the four steps of art history to this painting, you would learn the following: ●

The “who” behind this work is Pablo Picasso, and the “when” is 1925. ● The style of the work, which originated in part with Picasso, is known as Cubism. The style involves breaking objects down into simple shapes and then reassembling them in a new way. ● Cubism was one of the most important stylistic breakthroughs of the twentieth century.

WHAT YOU WILL LEARN Using direct observation, you will enlarge a section of the painting in Figure 4–8. You will use tempera to match the same colors, lines, shapes, and textures in the original. The principles of variety and harmony will be used to organize these elements. Your section will be added to those completed by your classmates to form a large version of the Cubist painting.


Figure 4–8 Pablo Picasso and Georges Braque were the first artists to paint in the Cubist style. This painting is a later form of Cubism that made use of more recognizable subjects and brighter colors than earlier examples. Pablo Picasso. Studio with Plaster Head. 1925. Oil on canvas. 98.1
131.1 cm (38 5⁄8
51 5⁄8). Museum of Modern Art, New York, New York. © 2003 Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

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WHAT YOU WILL NEED ● ● ● ●

Pencil and eraser Sheet of white drawing paper Tempera paint and several brushes Mixing tray

WHAT YOU WILL DO 1. Your teacher will divide the painting in Figure 4–8 into 16 equal sections. Each student will be assigned one of these sections. 2. Enlarge and draw freehand the lines and shapes of your section onto the sheet of drawing paper. Reproduce as accurately as possible the lines and shapes of the original work. 3. Mix tempera colors to match the hues used in the original painting. (For information on mixing paints, see Technique Tip 12, Handbook page 317.) Paint your design, making certain to use the same lines, shapes, and textures found in the painting. 4. Add your painting to those completed by other members of your class. Compare your class effort with the original painting. Determine if it exhibits the same features of the Cubist style as the original.

Evaluating Your Work ● Describe Identify the objects in your section of the class painting. Show where these same objects are found in the matching section of the original painting. Describe the colors, lines, textures, and shapes in your section. ● Analyze Point out how the principles of harmony and variety are demonstrated in your section of the class painting. ● Judge Determine if your section of the painting blends in with those completed by classmates. Discuss with peers the overall effect of the class painting. Is it successful?


Figure 4–9 Student work. Cubist style painting.

STUDIO OPTION Create a Cubist drawing in which you illustrate ideas from direct observation, imagination, and personal experiences, or from experiences at school and community events. Select and use a variety of appropriate art materials and tools to produce your drawing.

To learn more about art criticism, aesthetics, and art history, visit art.glencoe.com. There, you will also find: ● ● ● ● ●

Artist Profiles Career Corner Interactive Games Student Art Gallery Web Links

Lesson 4 Painting in the Cubist Style

57

Sitting near his model, Picasso displays two canvases on the same theme done in very different styles. BURSTEIN COLLECTION/CORBIS

enius is not a word applied to many people. However, that’s the word most often used to describe Pablo Picasso—the most celebrated figure in twentieth-century modern art. This Spanish-born artist who lived in France created art in many different styles, some of which he invented. The large, sad figures of his early Blue Period pieces echo Classical Greek art. Along with the artist Georges Braque, Picasso developed Cubism in the early twentieth century. This style broke the picture plane into flat, geometric shapes. He rearranged bits of faces, bodies, and objects (such as guitars, fruit, and books) into a mixed-up jigsaw pattern. Picasso not only worked in many styles, but in different media as well. He experimented with sculpture, drawing, printing, and ceramics. His output was vast, as was his fame. For generations, Picasso has remained an influence on artists. Because Picasso broke so dramatically with tradition, many of today’s artists are driven to create new styles of art. Thanks to Picasso, modern art is full of innovation.

TIME PICTURE COLLECTION

Contributions of a modern master.

TIME TO CONNECT • Find additional examples of Picasso’s artwork in art books or your school’s media resource center.

• Examine the way Picasso experiments with the elements and principles of art as well as the way he treats different subject matter.

• Then, from the point of view of a young, upcoming artist, write a letter to Picasso. Comment on what you admire, might not understand, and find most surprising about his work.

• Peer-edit your work. Check for the use of proper letter-writing format and correct spelling, punctuation, and grammar. 58

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Art Criticism, Aesthetics, and Art History

Pablo Picasso. Fruit Dish. 1908–09. This painting was one of Picasso’s early attempts at creating a new style of art called Cubism.

BUILDING VOCABULARY Number a sheet of paper from 1 to 7. After each number, write the term from the list that best matches each description below. aesthetic views art criticism art history composition

content style subject

1. An artist’s personal way of using the elements and principles of art to create artworks. 2. The study of art from past to present. 3. The image of people, places, or things that viewers can easily identify in an artwork. 4. The feelings, moods, and ideas expressed by an artwork. 5. Ideas or schools of thought on what is most important in judging works of art. 6. The way art principles are used to organize the art elements. 7. The process of gathering facts and information from works of art in order to make intelligent judgments about them.

REVIEWING ART FACTS Number a sheet of paper from 8 to 15. Answer each question in complete sentences. 8. What is describing, as the term is defined by art critics? 9. What do art critics look for when analyzing an artwork? 10. What are art critics concerned with when interpreting a work? 11. Summarize the three aesthetic views discussed in this chapter. 12. What are three questions an art historian would answer when describing a work? 13. What do art historians focus on when analyzing a work?

14. What do art historians seek when interpreting a work? 15. What do art historians determine when judging a work?

CROSS-CURRICULUM CONNECTIONS 16. Language Arts. Select one of the artworks shown in this chapter, and apply the four steps of art criticism to write an article for an art magazine. 17. History. Browse through this textbook, and select an artist whose work interests you. Using library or online resources, research the artist’s life and works. Summarize your findings in a paragraph. 18. Social Studies. Think about what you are learning in your Social Studies class. Analyze ways that the international, historical, and political issues you are learning about can influence artworks.

The Metropolitan Museum of Art, New York, New York The Metropolitan Museum of Art showcases a large selection of art from different cultures throughout the ages. Follow the link at art.glencoe.com to investigate the interactive time line at the museum’s Web site. Explore the different time periods and cultures featured. Which interest you the most? Why? Make a chart to record the time periods and cultures you explored. Write down three facts that you learned about the eras and cultures you “visited.”

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Focus On
Figure 5–1 This mask was made to cover the face of an ancient Egyptian king. He was found in a coffin made from gold and inlaid with semiprecious stones. How would you describe the skill of the artist who fashioned this mask? What does it tell you about the person for whom it was made? Death Mask of Tutankhamen, found in innermost coffin. Gold with inlay of semiprecious stones. Egyptian Museum, Cairo, Egypt.

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Art of Earliest Times Concerning Egypt itself I shall extend my remarks to great length, because there is no country that possesses so many wonders.

“

“

—Herodotus, Greek historian (c. 484–425 B.C.)

A

rt is the oldest form of human record. It predates writing by many thousands of years. Early cave dwellers made wall paintings using natural pigments. Later generations mastered other forms of visual expression. An example is the gold death mask shown in Figure 5–1. This work comes from an ancient Egyptian tomb. Such artworks from earliest times are like windows into the distant past. By peering through them, we can learn much about the civilizations and peoples of long ago. After completing this chapter, you will be able to: ● ● ●

●

Define the term culture. Describe life during ancient times. Explain what kinds of art were created during ancient times. Create artworks in the style of ancient artists.

Quick Write Interpreting the Quote Reread the quote by Herodotus. What do his words convey about ancient Egypt? Do you think the artwork in Figure 5–1 supports his statement? Why or why not?

Key Terms culture megaliths post-and-lintel system societies stele hieroglyphic urban planning ziggurat

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LESSON 1

Prehistoric Art The need to create art has always been a driving force among people. In this lesson, you will look at the art of our earliest ancestors. The works you will examine were created in prehistoric times. The term prehistoric means “before the existence of written records.” By studying these artworks, you will learn about ancient cultures. Culture is the ideas, beliefs, and living customs of a people.

ART

OF THE

OLD STONE AGE

The earliest artworks we know of today date back to the Old Stone Age. Also known as the Paleolithic (pay-lee-uh-lith-ik) period, the Old Stone Age lasted from about 30,000 to 10,000 B.C. The lives of people during the Old Stone Age were filled with danger and fear. In the winter, they searched for shelter from the snow and cold. In the summer, they battled the heat and the sudden rains that flooded their caves.


Figure 5–2 What gives these paintings of bison their lifelike appearance? Can you understand how images like this could have been thought of as magical by prehistoric peoples? Bison. c. 15,000–10,000 B . C . Altamira, Spain.

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Each day, they were at the mercy of wild beasts, hunger, and disease. The most important purpose in life was to find food for survival. Those lucky enough to survive were old by age 40. Few lived beyond their fiftieth year. Painting Many of the Old Stone Age artworks that exist today are paintings. One such early work appears in Figure 5–2. This remarkable, lifelike work was discovered deep inside a cave, hidden from daylight. The artist who created it likely lived at the mouth of this cave. Scholars have pieced together some probable facts about these early paintings. Their location suggests the paintings may have been used in secret hunting rituals. The animal subjects were probably the hunters’ prey. No one knows for sure what these rituals were like. Perhaps by using your imagination, you can “witness” one . . .


Figure 5–3 Why do you think prehistoric artists chose to represent animals in their paintings and sculptures? Clay Bison. c. 17,000 B.C. Musée des Antiquités Nationales, Saint-Germainen-Laye, France. Giraudon/ Art Resource, NY.

The evening meal over, the men of the clan stood. The boy—now a man—stood proudly with them. One by one, they moved away from the warm cooking fires and into the cool, shadowy depths of the cave. They walked in silence for a long distance, moving deeper into the cave. Finally, the boy saw the glow of a fire and quickened his pace until he reached a large area illuminated by torches. On one wall was a huge bison and, in the flickering light, the huge beast seemed to be charging toward him. The boy jumped back, startled. A closer glance showed that the animal was not real. The image was somehow fixed to the wall. Then he saw one of the clan members creating a second bison. Using a sharp stick, the artist scratched the outlines of the animal on the wall. With clumps of fur and moss, he filled in the body with a reddish-brown color. Details were then added, making the animal look lifelike. At last the second bison was finished. The men, now excited about the promise of the next day’s hunt, began to chant. The boy chanted with them and waved his spear. Along with his fellow hunters, he attacked the “spirit” of the bison on the cave wall, just as he would attack the real bison during the hunt.

Sculpture Old Stone Age artists were also skilled at sculpture. Notice the attention to detail in the bison shown in Figure 5–3. At first, this aspect of the work caused many scholars to doubt its authenticity. Some believed sculptures like these were done closer to our own time. One explanation was that they were created by shepherds taking shelter in the caves. The discovery of similar artifacts at several sites in Spain and France proved them to be true prehistoric art. Animal figures are the most common sculptures found in Paleolithic caves. These figures typically depicted bison, horses, cattle, and deer. Like cave paintings, prehistoric sculptures may have been used in hunting rituals. Other prehistoric art include relief sculptures and carvings. Many of these objects were found deep within caves. Their location protected the art from natural elements such as rain and wind. This helped preserve them through thousands of years. Study Figure 5–3 closely, and analyze it to determine its cultural context. What cultural ideas relating to social and environmental themes can you identify? For example, what does the artwork tell you about the relationship between prehistoric people and their environment?

Lesson 1 Prehistoric Art

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ART

OF THE

NEW STONE AGE

Over time, prehistoric peoples stopped wandering and began to gather together to form villages. This marked the beginning of the New Stone Age, or Neolithic (nee-uh-lithik) period. Instead of gathering or hunting their food, people began to produce it themselves. They learned to raise livestock and to grow their own crops. They also learned new ways of making art. Crafts Many of the surviving examples of New Stone Age crafts are decorative pottery. The pottery shown in Figure 5–4, for example, was made over 4,500 years ago. The shape of this pottery jar shows formal balance. Notice also that lines have been scratched into the clay to serve as decoration.


Figure 5–4 Why do you suppose prehistoric craftspeople made pottery like this? If it was made for purely functional reasons, how do you explain the decorative lines in this vessel? What does this tell you about the need to create inherent in all humans? Pottery jar. Late prehistoric period, c. 3000–2500 B.C. British Museum, London, England. © The British Museum.


Figure 5–5 Stonehenge consists of a large ring of stones with progressively smaller rings within. The tallest of the stones is about 17 feet and weighs over 50 tons. What questions come to mind when you consider the size and weight of stones like these? Stonehenge. Salisbury Plain, Wiltshire, England. 3100–1100 B.C.

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As to the full range of craft items that may have once existed, we can only guess. Many of these early objects were likely produced with perishable materials. It is believed, for example, that prehistoric people knew how to spin fibers. This would have permitted them to weave basic garments. Architecture During the New Stone Age, prehistoric builders began erecting huge architectural works. Many of these were constructed from megaliths (meg-uh-liths), large stone slabs used in or as monuments. The most famous of these gigantic megalithic structures is Stonehenge in southern England (see Figure 5–5). Take a moment to study this architectural wonder. It is made up of several rings of stone. Some of the megaliths used weigh several tons. Stonehenge was created using a post-and-lintel system. This is a method of construction in which a crossbeam is placed across the opening between two uprights. The purpose of Stonehenge still remains a mystery, though scholars continue to guess at its meaning. At one time, it was thought to be an ancient temple. More recently, scholars have claimed that it functioned as a calendar. Regardless of its original purpose, this massive structure still inspires fascination and wonder.

Making a Clay Pot In this activity, you will select and use a variety of appropriate art materials and tools to produce ceramics in traditional ways. Bring a rounded stone the size of an orange to class. Use a rolling pin to flatten out a ball of clay between two 1⁄4 inch wood slats. Create a slab with a uniform thickness. Drape the clay slab over the stone and press it down gently all around. Use a plastic knife to cut off the excess clay at the bottom. Carefully remove the clay from the stone. Tap the bottom lightly on a hard surface to flatten it. Allow the clay pot to harden for several minutes. Use a pointed instrument to make decorative lines on the clay surface. When it is completely dry, fire the pot in a kiln.

P O R T F O L I O Take a photograph of your ceramic pot. Then write a paragraph explaining how your artwork was inspired by prehistoric crafts. Include both the photograph and your explanation in your portfolio.

Check Your Understanding 1. Define the term culture. 2. Describe life during the Old Stone Age. 3. Where were prehistoric paintings of animals done? What is a possible explanation for these paintings? 4. What changes in the way people lived took place during the New Stone Age? 5. What is a megalith?

Lesson 1 Prehistoric Art

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LESSON 2

Earth Pigment Painting In order to create cave paintings, prehistoric artists made use of natural sources of pigment. For reds, browns, and golds, they mixed ground-up earth minerals in animal fat, vegetable juices, and egg whites. For black, they used charcoal from burned firewood. Minerals like these typically do not fade over time as other materials do. Look at the painting in Figure 5–6. It has kept its distinctive color for over 12,000 years!

WHAT YOU WILL LEARN You will create a painting about nature in the style of prehistoric cave paintings. To do this, you will make paints from local earth materials. Use both thin layers of this paint


Figure 5–6 Notice how the prehistoric artist made his painting of a deer look solid and threedimensional. Point to the details added to make the animal look more lifelike. Does the deer look like it is moving or standing still? What could the artist have done to make the animal appear more active? Large Deer. Altamira, Spain. c. 15,000– 10,000 B.C.

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and built-up layers to obtain different textures. This will add variety to your painting. To give your painting a more finished look, use acrylic paint to add lines and details. Select two hues of school acrylics plus black and white to complete your painting.

WHAT YOU WILL NEED ● ● ● ● ●

Pencil and sheets of sketch paper Yellow chalk Sheet of white paper, 12
18 inches Natural pigments School acrylic paint, several brushes, and palette ● Diluted white glue and a small jar ● Painting knife ● Water and paper towels

WHAT YOU WILL DO 1. Collect and grind your own earth pigments. (See Technique Tip 11, Handbook page 317.) 2. Make several sketches of scenes from nature that would make good use of these colors. White sand would be good for a beach scene. Reddish-brown colors would work well for trees or animals. Look at the colors you have, and let the colors give you ideas. 3. Select your best sketch. Using yellow chalk, draw the outline shapes of your sketch on the sheet of white paper. 4. Choose the colors of paint you will use. Remember to limit yourself to two hues of school acrylic, plus black and white. Prepare the earth pigment paints. Take care to mix no more than what you will use in a single day. 5. Paint your scene in the style of prehistoric cave paintings (see Figures 5–2 and 5–6). Experiment with different ways of using the earth pigments. For a thin, smooth area, use only the liquid part of the paint. For a built-up, textured area, make a thick binder using extra glue and add plenty of pigments. Apply the thick paint with the painting knife. 6. Display your work when it is dry. Look for ways in which your work is similar to and different from those of your classmates. Take note of any unusual effects created using the earth pigments.

Evaluating Your Work ● Describe Tell what scenes from nature inspired your work. Identify the different earth colors you used. Name the hues of school acrylic paint you used. ● Analyze Point out areas in which you used thick and thin layers of paint to create different textures. How did these different textures add variety to your painting? What elements in your picture reflect the style of prehistoric cave paintings? ● Interpret Explain how your painting represents nature. ● Judge Tell whether you feel your work succeeds. Explain your opinion.


Figure 5–7 Student work. Earth pigment painting.

PORTFOLIO IDEAS Brainstorm with classmates to create a list of items that you can keep in an art portfolio. You might also discuss strategies for evaluating whether a piece is strong enough to include in your portfolio. On a piece of paper, write down lists of the items and strategies. Tape the paper to the inside cover of your portfolio for easy reference.

To learn more about art and culture from ancient times, go to art.glencoe.com. There, you can also explore: ● ● ● ●

Career Corner Interactive Games Student Art Gallery Web Links

Lesson 2 Earth Pigment Painting

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LESSON 3

Art of Ancient Egypt The passage from prehistory to history was marked chiefly by the invention of writing. Yet, other changes in human development were evident as well. One was the gradual grouping of peoples from small villages into societies. These are large human groups whose members share a common purpose and similar ideals. Another change was a steady increase in population. As tribes multiplied, grazing land and fertile soil grew limited. Fights over these resources erupted. The survivors of these struggles realized a need for self-rule, or government. Civilization, as we know it, had come to exist. The first great civilizations emerged about 3000 B . C . in Egypt, China, India, and Mesopotamia (mes-uh-puh-tay-mee-uh). In this lesson, you will learn about the culture and art of one of these civilizations—Egypt.

ANCIENT EGYPTIAN CULTURE Ancient Egypt developed along the fertile banks of the Nile. Can you find this river on the map in Figure 5–8? It flows north through Egypt to the Mediterranean Sea. The Nile played an important role in Egyptian life. With its annual floods, the river enriched the soil, making the land excellent for farming. Later, after Egyptian civilization had prospered and grown, the river provided transportation routes. Commerce flourished. Egypt grew wealthy and powerful. Egypt was ruled by a leader called a pharaoh (fehr-oh). The pharaoh was more than just a king in the eyes of the Egyptian people. He was viewed as a living god. It was believed that after death, the pharaoh would go on to an afterlife. There, he would join other gods, whom Egyptians identified with forces of nature.


Figure 5–8 Map of Ancient Egypt.

Mediterranean Sea

Giza

Ancient Egyptian Civilization N ile

LIBYA

SAUDI ARABIA

Ri ve r

EGYPT Re d

Thebes

Se a

Lake Nasser

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0

250 mi

0

400 km

N E

W

SUDAN

S


Figure 5–9 This “mountain of stone” was constructed by piling over two million blocks of stone, each averaging 2.5 tons, to a height of 480 feet. Analyze this pyramid to form conclusions about formal properties and intents. For example, what art elements and principles can you identify? Why are there no doors or windows in this structure? Great Pyramid of Khafre. c. 2600 B.C. Giza, Egypt.

Architecture The belief in an afterlife was an important feature in Egyptian religion and art. It inspired one of Egypt’s greatest achievements in art— the great pyramids (see Figure 5–9). These architectural wonders are the oldest stone buildings in the world. Intended as tombs for the pharaohs, the pyramids were constructed by thousands and thousands of workers. These people toiled for decades to build a single pyramid. The biggest ever built rises higher than a 40-story building. It covers an area greater than that of ten football fields. Today, more than 80 pyramids still exist. At first the pyramids were the easy prey of tomb robbers. Thieves would enter to steal

the precious jewels buried along with the pharaoh. These and other such luxuries were believed to provide the pharaoh with earthly comforts in the afterlife. To counter theft, later pharaohs hid their tombs in the isolated cliffs near the city of Thebes. Locate Thebes on the map in Figure 5–8. Close by these hidden tombs, pharaohs built grand temples to honor their favorite gods. One of these is the immense temple of Egypt’s last great pharaoh, Ramses II. (See Figure 5–10 on page 70.) The four colossal images at the front of this temple are all of Ramses. These were meant to demonstrate the king’s power and greatness.

Lesson 3 Art of Ancient Egypt

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Figure 5–10 The seated figures of Ramses are about 60 feet tall. The pharaoh’s great power is demonstrated by the immense size of his carved image—and the fact that this image is repeated four times. Temple of Ramses II. 1257 B.C. Abu Simbel, Nubia.

Sculpture The Egyptians believed that the body had to be preserved after death. That way, the person’s spirit, or ka, would have a body to live in during the next life. As a kind of insurance, sculptures of the dead were placed in tombs. These were meant as substitutes for the body. Even if the real body were destroyed, the ka would have a substitute body to live in for all eternity. In fact, one of the Egyptian words for sculptor translates to read, “He who keeps alive.” The seated statue in Figure 5–11 is of Hatshepsut (hat-shep-soot). Hatshepsut is one of several female rulers of Egypt.


Figure 5–11 This life-size statue shows Hatshepsut in the ceremonial garments of an Egyptian pharaoh. Do you think it looks lifelike? What gives the figure its dignified appearance? Hatshepsut Enthroned. Thebes. 1503–1482 B.C. Painted limestone. Height: About 195 cm (77). The Metropolitan Museum of Art, New York, New York. Rogers Fund, 1929, Torso lent by Rijksmuseum van Oudheden, Leiden (L.1998.80) (29.3.2). Photograph © 1997 The Metropolitan Museum of Art.

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Painting Figure 5–12 shows a painting on wood. It was found in the tomb of Aafenmut (ah-fen-moot), one of the pharaoh’s officials. This artwork is a stele (stee-lee), a painted or carved upright stone or wood slab used as a monument. It shows Aafenmut presenting food offerings to the falcon-headed God of Heaven. You may have noticed something curious about the depiction of the figure of Aafenmut. Specifically, some of his body parts are shown from the side, others from the front. The reason for this was an Egyptian belief that paintings of people, like sculptures, could substitute for the body. Egyptian artists, thus, followed a strict set of rules when showing the human form. If Aafenmut’s arm were hidden behind his body, for example, his ka would emerge without an arm!

Creating a Writing System Look at the stele in Figure 5–12 and note the rows and columns of small birds and other images.These are examples of hieroglyphic (hy-ruh-glif-ik), an early form of picture writing. In this writing system, symbols are used instead of words. The symbols in Figure 5–12 provide a written record of Aafenmut’s achievements. Imagine that you are living in an ancient civilization. Recognizing the need for a writing system, you set out to invent one using symbols rather than words. Create a list of symbols to represent different ideas. (A heart symbol, for instance, might be used to mean “love.”) Arrange these symbols in a row to communicate a message. See if anyone in your class can “read” it.

P o r t f o l i o Keep a copy of your new writing system and message in your portfolio. As a self-reflection, explain what you learned about the relationship between art and writing and the importance of art to communication.

Check Your Understanding


Figure 5–12 What unusual features can you point out in the figure of Aafenmut? Why did the artist paint the figure this way? Stele of Aafenmut. Thebes, Khokha. c. 945–715 B.C. Painted wood. 23
18.2 cm (9
71⁄4). The Metropolitan Museum of Art, New York, New York. Rogers Fund, 1928. (28.3.35). Photograph © 1980 The Metropolitan Museum of Art.

1. About when did the ancient civilization of Egypt come into existence? 2. Who were the pharaohs? In what way were pharaohs more than just rulers? 3. Name two types of structures erected by Egyptian builders. 4. What is a stele? 5. How did Egyptian painters show the human figure in their work? What was their reason for doing this?

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LESSON 4

Picture Story in the Style of Ancient Egypt As you learned, ancient Egyptian artists were required to show all major parts of the human body. This was not the only rule artists needed to follow. Another was to make the most important person in a work larger than any others. The artist who painted the wall painting in Figure 5–13 followed both these rules. A nobleman hunting birds is seen striding forward in his boat. His companions, possibly his wife and daughter, hold flowers that they have gathered. Because the companions are considered less important, they are made smaller.

WHAT YOU WILL LEARN You will paint a picture story illustrating an important event in your life. Your painting


Figure 5–13 Is there a sense of deep space created in this painting? Does the main figure look like he is putting a great deal of energy into his hunting effort, or does he look relaxed and in control? What does this tell you about his power and importance? Fowling in the Marshes, fragment of wall painting from the tomb of Nebamun. Thebes. c. 1350 B.C. 83
98 cm (32 2⁄3
38 3⁄5). Musée d’Orsay, Paris, France. Bridgeman Art Library.

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will follow the two rules of Egyptian art noted above. Some parts of the figures will be painted to look as if viewed from the side. Others will appear as they would when seen from the front. Since you will be the most important figure in the painting, your proportions will be larger than those of other figures. You will use contrasting colors to emphasize the most important parts of the painting. Your figures will appear flat rather than threedimensional. You will not show deep space.

WHAT YOU WILL NEED ● ● ● ● ●

Pencil, sketch paper, and eraser Watercolor paints Medium and fine watercolor brushes Sheet of white paper, 18
24 inches Paper towels

WHAT YOU WILL DO 1. Drawing from personal experiences, brainstorm possible ideas for your picture story. Some possibilities might be a birthday party, a school dance, a family gathering, a play, or an athletic event. 2. Study the stiff and dignified manner of the figures in Figure 5–13. Make pencil sketches that show figures in the same way. Keep in mind that you must follow the rules required of ancient Egyptian artists. Use your sketches to plan the design for your painting. Work on the proportions of the figures. Determine how you will emphasize the most important parts of the painting. Do not include objects in the background. Instead, keep all figures and objects in the foreground. There should be little indication of space behind them. 3. Choose your best sketch and transfer it to the sheet of white paper. Work lightly in pencil, and fill the entire sheet. 4. Use watercolors to paint the scene. Fill in shapes to make them look flat and not round. Paint the background in a single color to eliminate the appearance of deep space. (For information on using watercolors, see Technique Tip 14, Handbook page 318.) 5. Display your finished work. See whether classmates can “read” your picture story.

Evaluating Your Work ● Describe What story does your painting tell? What adjectives would you use to describe your work? ● Analyze Which characteristics in your painting reflect the ancient Egyptian art style? What did you do to emphasize the most important parts of your picture? ● Interpret Is the important event in your picture easily identified? What details aid in this identification? What kind of feeling or mood does the scene suggest? ● Judge Does your work follow the same rules imposed on Egyptian artists? Do you consider it to be successful? Why or why not?


Figure 5–14 Student work. Picture story.

COMPUTER OPTION Use paint and draw programs to create your picture story. Draw a basic figure using the computer’s drawing tools. Copy and Paste duplicate figures in varying sizes. Experiment with a variety of tools, including Brush, Marker, patterns, textures, and other special effects, to fill in objects and background. Print and save your work.

Visual Art Journal Imagine that you are an archaeologist’s assistant charged with the task of making detailed sketches and notes. Select three ancient artworks in this chapter. For each, make a sketch and add notes describing its details. Analyze each artwork to form conclusions about the formal properties and historical and cultural contexts.

Lesson 4 Picture Story in the Style of Ancient Egypt

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LESSON 5

Ancient China, India, and Mesopotamia Like Egypt, the ancient civilizations of China, India, and Mesopotamia each developed in a river valley. Each also had a king and practiced a religion based on nature. Yet, despite these similarities, each civilization had its own unique culture and way of making art. In this lesson, you will learn about the culture and art of these civilizations.

The ancient history of China is divided into periods known as dynasties. Dynasties are named for ruling families of emperors. Archaeological findings have pointed to the Xia (hsia) dynasty as the first Chinese dynasty. This dynasty is believed to have begun about 2000 B.C. The last dynasty, the Qing (ching), ended in the 1900s. Like the history of China itself, the art of China is grouped by dynasties.

ANCIENT CHINESE CULTURE

Painting Chinese artists were skilled in all forms of art. Legends indicate that Chinese artists were creating pictures as early as 2200 B.C. Those same legends identify the first painter as a woman named Lei, a sister of the emperor. The oldest surviving examples of Chinese painting are two line and color drawings on silk. Both date from about the third century B.C.

The Chinese civilization emerged about 2600 B.C. This date coincides with the building of the first pyramids in Egypt. Chinese culture arose in the Yellow River valley (see Figure 5–15). Still in existence today, Chinese culture represents the oldest continuous culture in the history of the world.


Figure 5–15 Map of Ancient China, India, and Mesopotamia.

Caspian Sea

SYRIA

Ye

is gr Ti

Eu

ph ra tes

Harappa

IRAQ

MohenjoDaro

llow

Ancient India

R

PAKISTAN Mesopotamia

ive r

Ancient China CHINA

INDIA

South China Sea N

E

W S

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INDIAN OCEAN 0

1000 mi

0

1600 km

railroad workers laying track in the Indus River valley made a surprising discovery. Near the city of Harappa (huh-rap-uh), they found a hill of crumbing fired clay bricks. This turned out to be the remains of an ancient civilization that lasted from 2500 to 1500 B.C. Harappan Indian artists and craftspeople were skilled in clay pottery, bronze articles, and cotton cloth. In fact, one of India’s most important contributions to modern civilization was the use of cotton for clothing. Among the articles created by Harappan artists is the seal shown in Figure 5–17. Seals like this were used to stamp an impression into some other material. The objects resulting from this process may have been used for personal adornment. Various animals, including bulls, water buffalo, rhinoceroses, and elephants, are shown on many of these seals. The lines and shapes above the animal form seen in Figure 5–17 are known to be letters from an ancient writing system. Scholars, however, have never deciphered the Harappan language.


Figure 5–16 How does this vessel demonstrate the influence of nature on ancient Chinese artists? How is the look and feel of action realized in this work? Hu. Ninth century B.C. Bronze. Height: 53.7 cm (211⁄8). The Saint Louis Art Museum, St. Louis, Missouri. Museum Purchase.

Sculpture and Crafts Much older examples of sculpture and crafts have survived to the present day. Chinese artists demonstrated skill in bronze casting at a very early date. A large bronze vessel, known as a “hu,” is shown in Figure 5–16. Like most works of this kind, it is covered with bands of continuous lines that rise and fall, like the action of waves. This sense of movement guides the viewer’s eye around the vessel.
Figure 5–17 How does this work differ from the relief carvings you have seen in earlier chapters? Why do you think it was made this way?

ANCIENT INDIAN CULTURE The culture of ancient India remained cloaked in legend until modern times. In 1856,

Seal from the Indus valley, Pakistan. Third millennium B.C. National Museum, New Delhi, India. Nimatallah/Art Resource, NY.

Lesson 5 Ancient China, India, and Mesopotamia

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Architecture

MESOPOTAMIAN CULTURE

In 1922, a second ancient city was found in the area near Harappa. Its name is Mohenjo-Daro (moh-hen-joh-dahr-oh), which means “Hill of the Dead.” This city is believed to have had a population of 35,000. Mohenjo-Daro and Harappa are early examples of the art of urban planning. This is a plan for arranging the buildings and services of a city to best meet its people’s needs. Overlooking both cities was a fortress surrounded by buildings divided into two districts. One district housed government buildings, public baths, warehouses for grain, and shops. The other contained the houses of the inhabitants. Wide, open streets divided each district into large blocks about the size of four football fields.

The culture of Mesopotamia was more the culture of a region than of a people. The region was the fertile crescent of land between the Tigris (ty-gruhs) and Euphrates (yoo-frayt-eez) rivers. Find this area on the map in Figure 5–15 on page 74. The people of Mesopotamia lived in city states governed by a king. The Sumerians (soo-mehr-ee-uhns) were the first important group to live in Mesopotamia. This group of people arrived sometime between 3500 and 3000 B.C. No one knows for certain where they came from. What is known, however, is that the Sumerians possessed advanced knowledge and culture. They learned how to control the flood waters of the Euphrates River. This enabled


Figure 5–18 The height of great ziggurats like this one were impressive. The most famous was about 270 feet high and was intended to reach heaven itself. Described in the Bible, it is known today as the tower of Babylon. Study this ziggurat and refer back to Figure 5–9 on page 69. Compare and contrast the use of art elements and principles in the two structures. Ziggurat at Ur, Iraq. c. 2100 B.C.

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them to produce abundant crops in the rich soil. For over 1,000 years, the Sumerians dominated Mesopotamia. Eventually, they were replaced by the Babylonians, Assyrians, and the Persians. The oldest writing system we know of today was developed by the Sumerians. This was a picture writing system known as cuneiform (kyoo-nee-uh-form). A reed with a wedge-shaped tip was pressed into tablets of soft clay. When the tablets were baked, they became very durable. Archaeologists have uncovered thousands of these tablets. Architecture The center of Sumerian spiritual and cultural life was their temple. A large platform supported the temple buildings, which were reached by ramps and staircases. The result is known as a ziggurat (zig-uh-rat), a stepped mountain made of brick-covered earth. Figure 5–18 shows one of these “holy mountains,” designed to bridge the space between heaven and earth. Sculpture Sumerian artists, like their prehistoric ancestors, demonstrated great skill in giving their animal sculptures a lifelike appearance. The impressive bull’s head seen in Figure 5–19 is such a work. This object is part of a stringed instrument known as a lyre. It was discovered in a tomb in an ancient cemetery. The artwork shows that Sumerians made music as well as visual art. Notice that the item is covered in gold leaf and has details in a deep-blue gemstone. What does this tell you about the Sumerians? The bull, a symbol for strength and power, was widely admired in Mesopotamia. The beard on the bull illustrates an ancient practice of combining human and animal features.


Figure 5–19 What conclusions about intents and meanings can you form by analyzing this artwork? For example, does this bull look fierce or gentle? What does that tell you about the Sumerians’ feelings toward this animal? Bull-headed lyre sound box from Ur, Iraq. c. 2685 B.C. Gold, lapis lazuli, shell on wooden reconstruction. University of Pennsylvania Museum, Philadelphia, Pennsylvania.

Check Your Understanding 1. What are dynasties? How are they related to the art of China? 2. What are the oldest surviving examples of Chinese painting? 3. Name two ancient cities found in the Indus River valley. 4. What is a ziggurat? What group of people built the ziggurats?

Lesson 5 Ancient China, India, and Mesopotamia

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Social Art& Studies

Exploring Pyramids Around the World The ancient Egyptians were famous for their pyramids. Did you know, however, that pyramids have been built in many parts of the world? Several cultures throughout the ages have used the pyramid form for architectural purposes. Look at the two pyramids on these pages. Figure 5–20 shows the step pyramid of King Zoser built in Egypt. Figure 5–21 shows the Pyramid of the Sun, located in Teotihuacán (tay-oh-tee-wuh-khan), Mexico. These pyramids

were built half a world apart.Yet, they share common features. Study them closely. Can you identify some of these common characteristics? There are differences between these two pyramids as well. The pyramid in Egypt is much older. It was built in 2750 B.C. The pyramid in Mexico was built sometime between A.D. 50 and 200. Look again at the two pyramids. What differences do you find in their appearance?

The Step Pyramid of Zoser • was the first pyramid built in ancient Egypt. • functioned as a tomb. • was the central structure in a funerary complex.


Figure 5–20 This pyramid was built in Saqqara, near the present-day city of Cairo. How is it different from the other Egyptian pyramids you’ve studied in this chapter? Step Pyramid of King Zoser. c. 2750 B.C. Saqqara, Egypt.

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The Pyramid of the Sun • was a religious site dedicated to worship. • had a temple, now destroyed, built at the top. • was built with a stairway on one side.


Figure 5–21 This Pyramid rises to a height of 210 feet. It was built with 2.5 million tons of material. Pyramid of the Sun. A.D. 50–200. Teotihuacán, Mexico. SEF/Art Resource, NY.

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Artworks can teach us about the cultures and societies that created them. The similarities and differences between these pyramids indicate similarities and differences between the civilizations of ancient Egypt and pre-Columbian Mexico. For example, both of these architectural forms were places of honor. The Egyptian pyramid was intended as a tomb for a pharaoh named King Zoser. In contrast, the Teotihuacán pyramid was built as a place of ceremony, where people came to worship. It was considered to be sacred, the home of the gods. Analyze the two pyramids closely. What else can you determine about their cultural contexts?

MAKE THE CONNECTION Take Another Look 1. Make two lists to compare and contrast the pyramids on these pages. 2. Civilizations separated by geography and time have used the pyramid form to construct buildings. Why do you think the pyramid is such a popular architectural form?

Art & Social Studies Draw a Map. Refer to the World Map on page 1. Trace the basic shapes of the continents and label them. Plot and label the locations of pyramids discussed in this chapter. Also include the Mayan temples in Guatemala and the modern Louvre pyramid in Paris. Research to find out the dates of these pyramids, and include them on your map. Color and decorate your map, making it as artistic as possible.

Exploring Pyramids Around the World

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ZAHI HAWASS/ABRAMS (2)

Archaeologist Zahi Hawass stands in the antechamber of Zed-Khonsu-efankh’s tomb.

Egyptian tombs reveal delights from the ancient past.

ne of the greatest discoveries in the history of Egyptian archaeology was made by… a donkey! In 1996, the animal fell into a hole near the town of Bahariya, some 230 miles southwest of Cairo. That hole, it turned out, contained incredible historical treasures. Zahi Hawass, one of Egypt’s leading archaeologists, led the excavation of the area around the hole. He has uncovered tombs filled with gold-covered mummies, Hawass excavated 41 mummies copper bracelets, gold amulets, and other artifacts. from undisturbed tombs found in this burial site. It had been sealed 2,000 So far, 10,000 mummies have been found. One years ago, when Egypt was part of find was particularly exciting. In the burial chamber the Roman Empire. of a tomb, Hawass discovered the coffin of Zed-Khonsu-efankh, Bahariya’s most powerful governor during the sixth TIME TO CONNECT century B.C. Before the discovery, Hawass had dreamed he was in a Locate Bahariya on a map.Then use the • smoke-filled room. Suddenly, a man’s Internet or your school’s media resource face appeared in the haze. It was the center to research the town’s climate image of Zed-Khonsu-efankh he later and environment. • Based on all you’ve learned, write a letter found on the coffin. The story is worthy of a Hollywood movie. Hawass is satisfied in the voice of Hawass. Describe what a his find is worthy of a place in the day working at the site is like. Make your history of art. letter engaging to give a sense of your daily experience. 80

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BUILDING VOCABULARY Number a sheet of paper from 1 to 8. After each number, write the term from the list that best matches each description below. culture hieroglyphic megaliths post-and-lintel system

societies stele urban planning ziggurat

1. The ideas, beliefs, and living customs of a people. 2. Large stones used as monuments or building blocks. 3. A method of construction in which a crossbeam is placed across the opening between two uprights. 4. A painted or carved upright stone or wood slab used as a monument. 5. An early form of picture writing. 6. A plan for arranging the construction and services of a city to best meet its people’s needs. 7. A stepped mountain made of brickcovered earth. 8. Large human groups whose members share a common purpose and similar ideals.

REVIEWING ART FACTS Number a sheet of paper from 9 to 16. Answer each question in complete sentences. 9. What is another term for the Paleolithic period, and when did it begin? 10. What characteristic of prehistoric cave paintings has led scholars to believe that they were not done for decoration? 11. What behavior on the part of prehistoric people marked the change from the Old Stone Age to the New Stone Age? 12. What was the function of the Egyptian pyramids? 13. Describe one reason why sculptures were placed in Egyptian tombs.

14. Name two ways in which ancient China, India, and Mesopotamia were like ancient Egypt. 15. Why was the 1856 discovery near the city of Harappa important? 16. What instrument and technique did the Sumerians use to produce their picture writing?

CROSS-CURRICULUM CONNECTIONS 17. History. From a historical standpoint, why are the cave paintings by prehistoric artists important to us today? 18. Science. The Egyptians believed that their dead had to be protected and preserved for the afterlife. Research and write a brief summary of mummification, the process Egyptians followed to preserve the body.

Egyptian Museum, Cairo, Egypt Learn more about ancient art in Egypt by making a virtual visit to the Egyptian Museum in Cairo! Click on the link at art.glencoe.com to go to the museum’s Web site. There, test your skills of perception and observation by playing the interactive games. Next, explore the museum’s collection to see more examples of Egyptian art. How do they compare to the artwork shown in this chapter? What else did you learn about Egyptian history and culture by visiting this Web site? Summarize your findings in a paragraph.

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Focus On
Figure 6–1 What has the artist done to guide the viewer’s eye through this painting? What kind of mood or emotion does this work communicate? Yin Hong. Birds and Flowers of Early Spring. c. 1500. Hanging scroll, ink and mineral pigments on silk. 168.7
102.7 cm (66 1⁄2
40 1⁄2). Kimbell Art Museum, Fort Worth, Texas. © 2003 by Kimbell Art Museum.

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“

Writing and painting serve a single aim, the revelation of innate goodness. —Tang Hou, Chinese writer (1300s)

P

repare yourself for a spellbinding journey through space and time. The trip starts in ancient China. There you will discover artworks influenced by a great admiration for nature. As Figure 6–1 shows, much of Chinese art depicts nature with sensitivity and detail. Your next destination will be Japan. There you will meet artists of the past who built upon the achievements of the Chinese. You will witness unique art forms admired for their beauty and simplicity. After completing this chapter, you will be able to: ● ●

●

●

Explain the role of religion in the art of China and Japan. Describe the unique features of Chinese painting, sculpture, and crafts. Describe the unique features of Japanese architecture, sculpture, painting, and printmaking. Create artworks influenced by the art of China and Japan.

Quick Write Interpreting the Quote Reread Tang Hou’s quote, and apply it to the painting in Figure 6–1. Do you think the work shows “a single aim”? Does it reveal “innate goodness”? Explain your reactions in a short paragraph.

Key Terms scroll porcelain glaze perceive pagoda Yamato-e screen Ukiyo-e woodblock printing

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LESSON 1

The Art of China The people of China can point with pride to a long history of remarkable accomplishments. These include a machine for measuring earthquakes invented two thousand years before the modern seismograph. The compass, paper, and kite are other early Chinese inventions. The Chinese gift for creativity is also evident in their art. In this lesson, you will learn about Chinese culture and its contributions in the world of art.

CHINESE CULTURE The Chinese civilization dates back to about 2000 B.C. The “modern” period of their civilization is thought to have begun with the Han Dynasty. This dynasty lasted from 206 B.C. to A.D. 220. Early in this “modern” period, missionaries from India introduced a new religion to China. Known as Buddhism (boo-dizuhm), it placed great importance on the oneness of humans with nature. An important feature of Buddhism is meditation, focusing one’s thoughts on a single object or idea. This reflection is thought to help one experience the inner beauty of the object or idea.

Landscape Painting The earliest Chinese paintings included images of people. These works communicated the belief that people should live together peacefully. They also emphasized the importance of respect for one’s elders. With the influence of Buddhism, the focus of painting shifted toward nature. By about A.D. 1100, the landscape was the main theme of Chinese painting. One such painting appears in Figure 6–2. Scroll Painting Many early Chinese artists were also scholars. They recorded their thoughts on paper with delicate thick and thin lines. The same technique came to be used to paint pictures on fans, pages of books, and scrolls. A scroll is a long roll of illustrated parchment or silk. Some scrolls were meant to hang on walls. Others were intended to be unrolled a little at a time and read like a book. The intent of Chinese scrolls was to capture a feeling, not an image. Only lines and shapes needed to capture the feelings were included in scroll paintings. (See Figure 6–5 on page 86.) Sculpture For many centuries, important people in China were buried in large tombs. Buried along with them were objects they could use in the next world. Among these items were numerous clay sculptures of saddle horses.


Figure 6–2 Compare the proportion of the human figures to that of the landscape. What kinds of cultural ideas relating to social and environmental themes do you think this artwork expresses? Gazing at a Waterfall. 1127–1279. Album leaf, ink and color on silk. 23.8
25.2 cm (93⁄8
97⁄8). The Nelson-Atkins Museum of Art, Kansas City, Missouri. Gift of Robert H. Ellsworth.

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These animals were symbols of importance, power, and wealth. Figure 6–3 shows an example from the Tang dynasty. Notice how the neighing horse captures the look and the spirit of the real animal.

Learning to Perceive Many artists train themselves to perceive, or to become aware of aspects of the environment through the senses. Studying the subject intently helps artists recognize qualities that might otherwise go unnoticed. Bring a natural object, such as a leaf, rock, or pinecone, to class. Observe its form, values, lines, and textures. Illustrate ideas from direct observation by drawing what you perceived.

P O R T F O L I O


Figure 6–3 Impressive works like this were created to be placed in tombs of important people. Do you regard this as a successful work of art? On what do you base your decision? Saddle Horse. Tang dynasty, 618–907. Earthenware with threecolor lead glaze. Height: 68.6 cm (27). The Nelson-Atkins Museum of Art, Kansas City, Missouri. Gift of Mr. S. Yamanaka.

Why is it important to be able to illustrate ideas from direct observation? How would strong perception skills help in preparing your art portfolio?

Crafts In the centuries following the Tang dynasty, advances were made in the production of porcelain (pore-suh-luhn). This is a fine-grained, high quality type of ceramic. Porcelain is made primarily from a fine white clay called kaolin (kay-uh-luhn). It was during the Ming dynasty (1368–1644) that Chinese work in porcelain reached its peak. Examine the elegant matched vases shown in Figure 6–4. The brilliant blue designs of the painted dragons are protected by a glaze, a glasslike finish.

Check Your Understanding
Figure 6–4 Analyze the formal properties of these vases. How does the balance of the painted designs differ from the balance of the vase shapes? Pair of Vases. Xuande period, Ming dynasty, 1426–35. Porcelain with underglaze blue decoration. 55.3
29.2 cm (213⁄4
111⁄2). The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Trust.

1. Name two inventions credited to the early Chinese. 2. How did the arrival of a new religion change the focus of Chinese paintings? 3. What are scrolls? How were they used? 4. What art form reached its highest point during the Ming Dynasty?

Lesson 1 The Art of China

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LESSON 2

Making a Scroll Based on Perception Look at the Chinese scroll painting in Figure 6–5. In the center of the scroll, you will see a man and his servant approaching a bridge. It presents a popular theme in Chinese art. It shows the artist-scholar retreating to the countryside. There the artist can enjoy peace and quiet, free from life’s distractions. This scroll was meant to be unrolled slowly and viewed from right to left.

WHAT YOU WILL LEARN You will illustrate ideas from experiences at your school or community by creating a scroll. You will use your perception skills to observe scenes and objects. You will then record these observations on a long strip of paper using pencils and markers. Large areas of negative space will be left around some objects. This will help create the illusion of distance. Your scroll should capture the look and the mood of the scenes.

WHAT YOU WILL NEED White paper, 1
6 feet Pencil, watercolor markers, and transparent tape ● Two dowels, 14 inches in length ● Piece of ribbon, 24 inches ● ●

WHAT YOU WILL DO 1. Walk slowly through your school or around your community. Look carefully around you. React to scenes and objects as though you were seeing them for the first time. Use direct observation and personal experiences to determine if the scenes suggest certain feelings or moods. 2. Upon your return, roll the long sheet of paper into a scroll. Close your eyes and concentrate. Try to picture one of the scenes and the mood associated with it.


Figure 6–5 Observe how the negative spaces contribute to the feeling of distance in this work. How are the most important objects emphasized? What kind of mood or feeling does this work communicate? Zhu Derun (Chu Te-Jen). Returning from a Visit. Yuan dynasty, mid 1300s. Ink on paper. 28.6
119.4 cm (111⁄4
47). Kimbell Art Museum, Fort Worth, Texas. © 2003 by Kimbell Art Museum.

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3. Unroll 10 inches of your scroll. Make a pencil drawing of the scene using light lines. Do not fill the entire section of paper with objects. Instead, leave some negative space around distant objects. Try to capture the same mood or feeling you experienced when viewing the scene. 4. Use markers to trace over the light pencil lines. No pencil lines should be left showing. To emphasize the most important shapes, fill them in with color. Do not color blank negative spaces. 5. When you are satisfied with your work, unroll another 10 inches. Follow the same procedure to complete another scene. Continue working this way until you have filled all of the paper. 6. Fasten each end of your scroll to a dowel with tape. Roll up the scroll and tie it with the ribbon. 7. Exchange scrolls with a friend. Examine your friend’s scroll slowly. See if you can identify the scenes pictured in the work.

Evaluating Your Work ● Describe

Do you think the scenes pictured in your scroll have enough details to make them easy to identify? What story does your scroll convey? ● Analyze Did your use of negative space help suggest the illusion of distance? What art elements and principles did you use in your artwork? ● Interpret What moods or feelings does your scroll succeed in communicating? ● Judge Do you think your work is a success? On what aesthetic view or views did you base your judgment?

SAFETY TIP When a studio activity calls for the use of markers, make certain to use the water-based kind. Permanent markers have chemicals in them that can be harmful when inhaled.


Figure 6–6 Student work. Scroll.

STUDIO OPTIONS ● Use a brush and watercolors to paint your scroll. See Technique Tip 14, Handbook page 318. ● Create a vertical scroll. Your scene should start at the ground and end in the sky. Use watercolors to paint the scene as you perceived it. Include details and use colors that capture the mood of the scene.

Visual Art Journal In your visual art journal, explain how art critics favoring different aesthetic views would react to the scroll in Figure 6–5. Based on your analysis, form conclusions about the intents and formal properties of Chinese scroll paintings.

Lesson 2 Making a Scroll Based on Perception

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LESSON 3

The Art of Japan Japan is an island nation with an area smaller than the state of California. (See Figure 6–7.) During much of its history, Japan was known among its people as “the floating world.” The reference was to the peace and serenity that typified early Japanese life. Such an atmosphere gave rise to art marked by both charm and imagination.

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The beginnings of Japanese art can be traced back to prehistory. Artists of the Jomon (joh-muhn) culture created the earliest surviving works. Jomon clay objects are thought to have been made as early as 3000 B.C. In A.D. 552, a ruler from one of Korea’s kingdoms sent the Japanese emperor a gift. It was a bronze sculpture of the Buddha (bood-uh), founder of the Buddhist religion. The statue was soon followed by priests, who came to spread the teachings of Buddha. Eventually, the people of Japan accepted this new religion. Japanese art was also heavily influenced by Korean and Chinese cultures.

Architecture The first important Japanese art of “modern” times made its appearance about A.D. 594. It came in the form of magnificent Buddhist temples like the one shown in Figure 6–8. The temples were designed by Chinese or Chinese-trained architects. These buildings were constructed of wood with tile roofs. The islands of Japan are of volcanic origin, so there was little stone available for building or carving. Japanese architecture was designed to stand up against earthquakes and storms. One of the most interesting of the early Japanese temples was the pagoda (puh-gohduh). This is a tower several stories high with roofs curving slightly upward at the edges. Figure 6–9 shows a pagoda from the famous temple complex in Japan. Dating from about A.D. 607, this temple complex includes a main hall and a pagoda. These are the oldest wooden structures in the world.

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Figure 6–7 Map of Japan.

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Figure 6–8 At least 10,000 pieces of Japanese art of the period have been stored in this temple for over one thousand years. Analyze this temple to determine its cultural context. What features of the building reflect the art style of the culture that created it? Todai-Ji Temple, Nara, Japan. c. A.D. 600.


Figure 6–10 Imagine yourself standing before this huge sculpture. Does it seem threatening or peaceful? What art principle is used to give the figure its sense of stability and permanence?
Figure 6–9 Analyze this building to form conclusions about formal properties. What elements and principles of art can you identify in this pagoda?

Buddha of Todai-Ji. Eighth century. Bronze. Height: over 15.2 m (50). Nara, Japan.

Horyu-Ji Temple Pagoda, Nara, Japan. A.D. 700.

Sculpture Early Japanese artists modeled small sculptures out of clay and carved images from wood. They also cast works in bronze. Most of these sculptures featured the figure of the Buddha. Every new emperor who came to power would order a new Buddha to be created. To demonstrate their own importance, emperors required their Buddhas to be successively larger. In time, these sculptures reached colossal proportions. The one seen in Figure 6–10 weighs 700 tons. The work is over 50 feet high.

Painting Japan entered into its golden age of art near the end of the eighth century. During a 400-year period, countless new temples were built. At the same time, a new painting style called Yamato-e was introduced. Yamato-e (yah-mah-toh-ay) is an art style whose name means “pictures in the Japanese manner.” Paintings done in this new style were the first examples of a pure Japanese art form. The desire to work in a purely Japanese style of painting continued into the 1600s. This style reflected the life and spirit of the times.

Lesson 3 The Art of Japan

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Figure 6–11 So-tatsu gained great fame during his lifetime and influenced many artists who followed him. Today, he is ranked among the foremost masters of Japanese painting. What cultural ideas relating to environmental themes can you identify in this work? Tawaraya So¯tatsu. Waves at Matsushima. Early seventeenth century. Painted screen, paper. Each panel: 152.1
358.8 cm (597⁄8
1411⁄4). Freer Gallery of Art, Smithsonian Institution, Washington, D.C. Gift of Charles Lang Freer, F1906.231.

Figure 6–11 shows a screen painting done in the Yamato-e style. A screen is a partition used as a wall to divide a room. Painted screens served two purposes. One was to brighten the dimly lit interiors of temples and homes. The other was to provide a temporary wall dividing adjacent rooms. An added advantage of these screens was their light weight. They could be easily moved about the house, allowing more efficient use of space. Once in place, they were meant to be viewed from right to left, like scrolls. Take a moment to study the screen shown in Figure 6–11. This work captures the swirling action of waves crashing against rocky, tree-studded peaks. The waves do not look realistic because they were not intended to. Rather, they are part of a decorative design meant to suggest the churning action of the sea. Simplified shapes are countered by areas of rich detail that add variety. The gold color throughout and the pattern of repeated lines in the waves give the work harmony.

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Printmaking In 1185, civil war brought an end to the golden age. Japan remained in a state of political unrest for the next 430 years. Much of the art created during these stormy times focused on the harsh realities of war. When peace came at last, it was accompanied by another new art style. This new style was Ukiyo-e (oo-kee-yoh-ay), an art style whose name means “pictures of the floating world.” Pictures done in this style showed scenes of daily life. They also depicted the different ways in which the Japanese enjoyed life. The demand for artworks in the new style was great. To meet this demand, artists turned to a technique introduced from China, woodblock printing. This is the process of making prints by carving images in blocks of wood, inking the surface of these blocks, and printing. With this process, artists could reproduce as many inexpensive prints as they wanted. Figure 6–12 shows a woodblock print in the Ukiyo-e style. Note the

manner in which line and shape are used in this picture. The strong lines and flat shapes are typical of artworks in the Ukiyo-e style. So is the subject, an ordinary scene from daily life. The center of interest is the reflected face of a woman seen in a mirror. This face is emphasized by the bold curved line representing the edge of the mirror. Did you notice anything missing in this picture? Of course, there are no shadows. This is a common feature found in Japanese art.

Using Cropping to Improve a Drawing Look closely at Figure 6–12. Notice how the figure is cut off by the edge of the picture. Perhaps this reminds you of a cropped photograph. Can you see how this kind of cropping adds visual interest to the work? Look through old magazines to find a photo that demonstrates cropping. Cut out the image. Bring it to class and place it on display alongside those of other class members. Identify the photos that were most effectively cropped. Discuss how careful cropping can be used to make your pictures more interesting. Find a drawing in your sketchbook and draw it again, using the cropping technique to improve on it.

P O R T F O L I O Review and analyze the artworks in your portfolio. Could any of them be improved by cropping? How?

Check Your Understanding
Figure 6–12 In this print, the Japanese artist has transformed an ordinary scene into an impressive and welldesigned image. Do you think the artist was concerned with making the figure look three-dimensional? Point to features in the work to support your answer. Kitagawa Utamaro. Reflected Beauty, from the series Seven Women Seen in a Mirror. c. 1790. Color woodblock print. 36.2
24.1 cm (141⁄4
91⁄2). Honolulu Academy of Arts, Honolulu, Hawaii. Gift of James A. Michener, 1969.

1. What important event in the history of Japanese art happened in A.D. 552? 2. What is a pagoda? 3. When did the golden age of Japanese art begin? What painting style developed during that period? 4. Define Ukiyo-e. What technique was most commonly used for this style of art?

Lesson 3 The Art of Japan

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LESSON 4

Making a Print in the Ukiyo-e Style Look again at the Japanese woodblock print in Figure 6–12 on page 91. Now examine the one in Figure 6–13. Notice how both artists used bold lines and simple shapes. Nothing in the background distracts the viewer’s eye from these lines and shapes. The faces stand out as large flat shapes with a minimum of facial features indicated. Note also how these shapes are cut off, or cropped, at the edges of the picture. Combined with the neutral background, this enables the viewer to focus attention on the subject’s face, hair, and costume.

WHAT YOUR WILL LEARN You will make a print portrait in the Ukiyo-e style. You will select and use a variety of appropriate art materials and tools to produce the print traditionally. Shapes representing the face, hair, and clothing will be cut from cardboard and mounted on a backing. They will then be inked and printed. Facial features and details will be added with a fine brush.

WHAT YOU WILL NEED ● ● ● ●

Pencil and sheets of sketch paper Two pieces of cardboard, 6
9 inches Scissors Several sheets of white paper, 12
18 inches ● White glue ● Brayer (a rubber-surfaced roller)


Figure 6–13 How has the artist used the elements of line and shape in this work? Is hue or value more prominent in this artwork? How would you describe the detail of facial features? - 1794. Color - usai Tosh Sharaku. Portrait of the Actor Ichikawa Ebiz o. print. 37.8
25.1 cm (147⁄8
9 7⁄8). Tokyo Fuji Art Museum, Tokyo, Japan. Bridgeman Art Library.

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●

Ink slab made from floor tile or a piece of glass with taped edges ● Tube of light colored water-soluble printer’s ink ● Newspaper to cover tables or desks ● India ink and a fine brush

WHAT YOU WILL DO 1. Pair with a classmate. Sketch full-face portraits of each other. Work to eliminate all unnecessary details. Reduce your drawings to three simple shapes representing the face, hair, and upper

portion of clothing. Cut off the portrait at the bottom and one or both sides. This will further emphasize the face and add an informal look. 2. Pencil over the entire back of your drawing. This will allow you to trace your design onto the piece of cardboard. 3. Cut out the three shapes of your portrait. Glue these to the second piece of cardboard. Leave a narrow space between the shapes when gluing. This will result in a line that divides these shapes in the finished print. 4. Spread newspapers over tabletops and desktops. Squeeze a small amount of light colored printing ink onto the floor tile or glass. 5. Roll over the ink with a brayer until it is spread evenly over the inking slab. 6. Roll the inked brayer over the mounted design. Work from side to side and top to bottom. This will ensure an even distribution of ink over the entire surface. 7. Place a piece of white paper over the inked design. Rub gently over the entire surface with your fingers to transfer the image. Peel back a corner of the paper. See if further rubbing is necessary to transfer the entire image. Make several prints in this manner and then set them aside to dry. 8. Use india ink and a fine brush to add facial features and other details. 9. Place your best print on display alongside those done by classmates. Determine how the works compare with the Japanese portraits.

REFLECTIVE THINKING Critical evaluation. As you work on your print, evaluate it carefully. With your teacher and peers, analyze this personal artwork in progress. Use critical attributes to analyze your artwork. For example, are you using the elements and principles of art effectively?

Evaluating Your Work ● Describe

Point to the three shapes representing the face, hair, and clothing. What words would you use to describe these shapes? ● Analyze Is your work easily identified as a close-up face viewed from the front? Are all the facial features indicated? Explain how you used the element of line in your work. ● Interpret How would you describe the feeling or mood communicated by your portrait? ● Judge Do you think your print is successful? What aesthetic view or views did you rely on when making your judgment?


Figure 6–14 Student work. Print portrait.

Visual Art Journal Review the four steps an art historian follows when trying to gain information about a work of art (see Chapter 4, page 55). Acting as an art historian, use these same four steps to examine and judge the woodblock portrait in Figure 6–13. Write your analysis in your visual art journal.

Lesson 4 Making a Print in the Ukiyo-e Style

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Social Art& Studies

The Art of Silk As you’ve learned, the Chinese are credited with many inventions and discoveries. One such innovation is the production of silk. According to legend, an empress named Hsi Ling Shih discovered the potential of silkworms as early as 2640 B.C. She realized that cocoon fibers could be gathered into threads and woven into fabric. Since this discovery, generations of Chinese people have worked to perfect the process of producing high-quality silk. Because silk was such a valuable fabric, these processes remained a guarded secret for centuries.


Figure 6–15 Notice the clouds, waves, and mountains embroidered in this robe. Their symmetrical arrangement was meant to symbolize an orderly universe. What other images or symbols can you identify in the design of this robe? Emperor’s 12-Symbol Dragon Robe. Qing dynasty. Eighteenth century. Blue silk warp twill with ornament in couched, wrapped gold and silver yarns. 143.8
161.3 cm (565⁄8
63 1⁄2). The Metropolitan Museum of Art, New York, New York. Gift of Lewis Einstein, 1954. (54.14.2). Photograph © 1980 The Metropolitan Museum of Art.

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SILK

AND CHINESE CULTURE The production of silk was so highly regarded that it was an important part of everyday life. Females in every silk-producing region devoted much time to raising silkworms. These women were also responsible for reeling, spinning, weaving, dyeing, and embroidering the silk. In the beginning, only the emperor, his close relatives, and important officials could wear silk clothing. Eventually, different classes of society were allowed to use this material. Some of the uses of silk fibers included clothing, decoration, and strings on musical instruments. During the Han dynasty, silk was even used as a form of currency!


Figure 6–16 Map of the Silk Road.

Despite this general use, the silk robes worn in the emperor’s court remained highly regulated. The colors and designs on official robes reflected an individual’s rank. Take a look at the garment in Figure 6–15. This is a ceremonial robe worn by an emperor during the Qing dynasty, the last Chinese dynasty. The elaborate designs were embroidered with gold and silver threads. Some of the imperial symbols incorporated in the design include the sun, moon, and dragon.

THE SILK ROAD Silk was an important economic good traded between China and Western countries. The first traders between these countries had to travel over the harsh terrain of Central Asia. As the map in Figure 6–16 shows, this region is primarily desert. Eventually, the routes taken by these merchants became more developed, and trade grew. As caravans traveled through this region, diverse cultures interacted, trading a variety of goods. However, silk was such a valuable commodity that these routes came to be called “The Silk Road.”

MAKE THE CONNECTION Take Another Look 1. Analyze the formal properties in Figure 6–15. What elements and principles of art can you identify in this robe? 2. Historically, what type of person would wear the robe in Figure 6–15? 3. Study Figure 6–16. Using a ruler and the scale provided on the map, estimate the distance covered by the Silk Road.

Art & Social Studies Design a silk robe. Imagine that you are a craftsperson in China during the height of the silk trade.You have been assigned to design a silk robe that will be traded along the Silk Road. Select and use a variety of appropriate art materials and tools to draw and color your design. Refer to the artwork in this chapter as inspiration.

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GREG DAVIS/IPJ (2)

Japan’s master gardener Shozo Arai continues an ancient art.

ith a few stones and a single small tree, Shozo Arai can create an entire world. One of the few master gardeners in Japan, Arai tends some of the centuries-old temple gardens in the medieval city of Kamakura. Arai takes care of miniature gardens, which became popular after the Buddhist religion spread in Japan in the late twelfth century. Buddhists believe that a person can When people stroll through gain wisdom through the contemplation of nature. Shozo Arai’s gardens, they feel in harmony with nature. Japanese gardens take many forms, but the most essential ingredients are ponds, plants, stones, waterfalls, and bridges. Zen TIME TO CONNECT dry rock gardens use large rocks placed artfully on a bed of gravel. • Use your school library or the Internet to Arai has spent a lifetime research a form of Japanese poetry called haiku. mastering his craft and worries about its future: “The gardens • Look at the top photo and list adjectives and adverbs that express the way nature appears are disappearing because of the to you in this garden. high cost of land and because a generation of Japanese who love • Use some of the words in a haiku to vividly gardens is dying out.” convey what it might feel like to experience nature in the Japanese garden. 96

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BUILDING VOCABULARY Number a sheet of paper from 1 to 9. After each number, write the term from the list that best matches each description below. glaze pagoda perceive porcelain screen

scroll Ukiyo-e woodblock printing Yamato-e

1. A long roll of illustrated parchment or silk. 2. A fine-grained, high-quality type of ceramic. 3. A glasslike finish on pottery. 4. To become aware of the environment through the senses. 5. A tower several stories high with roofs that curve slightly upward at the edges. 6. An art style whose name means “pictures in the Japanese manner.” 7. An art style whose name means “pictures of the floating world.” 8. The process of making prints by carving images in blocks of wood, inking the surface of these blocks, and printing. 9. A partition used as a wall to divide a room.

REVIEWING ART FACTS Number a sheet of paper from 10 to 14. Answer each question in complete sentences. 10. What was the goal of Chinese scroll painting? 11. Why were sculptures of horses buried in the tombs of important people in China? 12. What event contributed to the spread of Buddhist teachings in Japan? 13. Why did Japanese builders rely on wood as their main building material? 14. How did Japanese artists meet the demand for artworks made in the new Ukiyo-e style?

CROSS-CURRICULUM CONNECTIONS 15. Social Studies. In 1974, well diggers near the ancient Chinese city of Xi’an discovered a tomb complex of the first emperor of China, Shi Huang Di. Research why this discovery caused such a sensation. Prepare a report on this discovery. Include illustrations of what was found in this ancient tomb. 16. Language Arts. Tawaraya So-tatsu attempted to capture the power and beauty of a churning sea in the screen painting seen in Figure 6–11. Write a short poem about the sea in which you use words to do the same thing. 17. Social Studies. Select a specific period in the history of China or Japan. Research events that took place during that time. Write a short essay analyzing ways that international, historical, and political issues influenced art created in that country during that period.

National Palace Museum, Taipei, Taiwan You don’t have to travel half a world away to explore the treasures at the National Palace Museum in Taiwan. Just follow the link at art.glencoe.com to visit the museum’s interactive Web site. There, you can browse the museum’s collection, take virtual tours, and play games.You can also click on Kid’s Corner to learn more about Chinese history, culture, and art. Write a journal entry detailing your experiences on this online exploration. How did the Web Museum Activity increase your knowledge and appreciation of Asian art?

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Focus On
Figure 7–1 This relief carving is part of a large panel that once hung in the interior of a Mayan temple or palace. The figure wears the feathered headdress of the Mayan god of the underworld. What do you find most impressive about this artwork? Seated Male from a Relief Panel, from Chiapas, Mexico. A.D. 702–64. Limestone with traces of paint. 99.4
67.3
4.4 cm (39 1⁄8
26 1⁄2
1 3⁄4). The Museum of Fine Arts, Houston, Texas. Museum Purchase.

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Pre-Columbian Art of Latin America As long as the world will endure, the fame and glory of Mexico-Tenochtitlán will never perish.

“

“

—Domingo Chimalpahin Cuauhtlehuanitzin (1579–1626)

I

n 1492, Christopher Columbus and his crew succeeded in crossing the Atlantic Ocean. To them, the land that lay before them was a new world. However, great civilizations had already flourished there for centuries. These peoples had made significant contributions in such fields as city planning and mathematics. They had also made high quality art. (See Figure 7–1.) In this chapter, you will learn about the people and art of pre-Columbian Latin America. After completing this chapter, you will be able to: ● ●

●

Describe eight important pre-Columbian cultures. Identify the contributions these cultures made to the art world. Create your own art in the styles of pre-Columbian artists.

Quick Write Interpreting the Quote Reread the quote on the left. Why do you think it’s important to recognize the “fame and glory” of ancient civilizations? How do artworks like Figure 7–1 keep alive the culture of past civilizations?

Key Terms artifacts effigies motif artisans adobe genre monolith stylized

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LESSON 1

Art of Mesoamerica You can probably guess the meaning of the term pre-Columbian. It means “before Columbus.” Art historians use it to identify the art of early Mexico, Central America, and South America. In this lesson, you will read about four major cultures of Mesoamerica, or ancient Mexico and Central America. These are the Olmec, Teotihuacán, Mayan, and Aztec cultures.

OLMEC CULTURE The Olmec (ol-mek) people lived on the Gulf of Mexico nearly three thousand years ago. The center of their civilization is noted on the map in Figure 7–2. According to native legends, the Olmec was Mexico’s first civilization. Support for this view has been provided by ancient artifacts found in the region the Olmecs occupied. Artifacts are simple handmade tools or objects.


Figure 7–3 Carved heads like this one were huge, with circumferences as large as 22 feet. Some of these heads were defaced, suggesting that the Olmec were conquered by invaders. What kind of feeling does this work inspire in you? Olmec Head. 1500–800 B.C. Basalt. Museo de Antropología de Jalapa, Jalapa, Mexico.

Sculpture The most impressive of the Olmec creations were colossal human heads carved from rock. (See Figure 7–3.) These heads measure over 8 1⁄4 feet high and weigh up to 40 tons. The expression on the realistic faces is grim and forceful. However, there is a softness in the treatment. Notice the suggestion of wrinkles between the eyes.
Figure 7–2 Map of Mesoamerica.

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The first of these heads was discovered in 1939. At least seventeen have been unearthed to date. Many have been found at La Venta. This was a center for religious ceremonies and the residence for Olmec rulers. The heads are thought to be effigies (eff-uh-jeez). Effigies are representations of people or animals. Some scholars believe that these heads represent defeated players in a ball game called pelota. The game had great social and religious significance. Often, the game ended in the sacrifice of one or more of the losing players.

TEOTIHUACÁN CULTURE The period in pre-Columbian history from about A.D. 200 to 800 is known as the Classical period. Several cultures rose to gain political power and attain artistic mastery. One of particular importance had its center in the ceremonial city of Teotihuacán (tay-ohtee-wuh-kahn). The city was located north of present-day Mexico City. By about A.D. 25, more than forty thousand people were living there. Five hundred years later, that number had grown to between one and two hundred thousand. Teotihuacán was among the largest cities in the world. Architecture Generations of workers labored to build Teotihuacán. A great marketplace, apartment compounds, numerous plazas, and six hundred pyramids were laid out on carefully planned streets. The great Pyramid of the Sun dominated the city. This immense artificial mountain had five levels and a grand staircase rising 200 feet. See Figure 5–21 on page 79. Painting Brilliantly colored paintings covered the interiors and exteriors of buildings in Teotihuacán. Even the surfaces of streets and plazas were painted. The most impressive paintings adorned the walls of palaces. A fragment of one such painting is seen in Figure 7–4. This figure is a representation of a god of agriculture.


Figure 7–4 What formal properties are used to create interest and appeal in this mural? Wall mural fragment: Goddess Holding Flowering Branches. c. A.D. 650–750. Denver Art Museum, Denver, Colorado.

MAYAN CULTURE The most advanced civilization of the Classical period was that of the Mayas (my-uhs). By about A.D. 800, their vast empire covered the Yucatan (yoo-kuh-tahn) peninsula. It included modern Belize (buh-leez), Guatemala, and Honduras. The Mayas were great artists, architects, and city planners. They were also astronomers and mathematicians. They were the only pre-Columbian people to have a true form of writing. Architecture Tikal (tih-kahl), one of the greatest Mayan cities, covered an area of 50 square miles. It had over 50,000 inhabitants. The city included public buildings and huge paved plazas. Within these plazas, spectators gathered to witness sacred rituals. The rituals involved efforts to obtain blood for their gods. Rulers and their wives voluntarily drew their own blood; prisoners were sacrificed. The Mayas felt this was necessary for the gods to bestow good health and power. Figure 7–5 on page 102 shows a pyramid with a temple at its peak. It is typical of many temples built by the Mayas. These pyramids were smaller than those at Teotihuacán but still reached impressive heights.

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Figure 7–5 The site of the Mayan city of Tikal lies on a patch of high ground surrounded by swamps. Analyze this structure to determine its cultural context. What characteristics distinguish it as a pre-Columbian pyramid? Jaguar Temple, Tikal, Guatemala. c. A.D. 800.

Sculpture The Mayas were skilled at sculpture. This is demonstrated by the relief carving that opened this chapter. (See Figure 7–1.) The Mayas also crafted sculptures in the round. Figure 7–6 depicts a Mayan ruler dressed to resemble a mythical king of the past. His complex costume reveals much. It tells his high rank, his close association with the gods, and his importance in the universe. Why figures like this were made remains a mystery. However, thousands have been found in tombs. This suggests they may have played a role in some kind of burial ritual.
Figure 7–6 What adjectives would you use to describe this figure’s costume? Do you think the costume succeeds in demonstrating the wearer’s importance? Standing Ruler. c. A.D. 600–800. Ceramic with traces of paint. 23.8
9.9
9.8 cm (9 3⁄8
3 9⁄16
3 7⁄8). Kimbell Art Museum, Fort Worth, Texas. © 2003 by Kimbell Art Museum.

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AZTEC CULTURE The largest of the ancient Mesoamerican cultures was the Aztec. Warlike and religious, the Aztecs came to Mexico about A.D. 1200. By 1325, they had carved out a powerful empire with its capital at Tenochtitlán (taynawch-teet-lahn). This city grew into a huge metropolis. Its magnificence stunned the Spanish conqueror Hernando Cortes when he first saw it in 1519. By then, the city covered over 25 square miles. It contained Pre-Columbian Art of Latin America

ceremonial centers, palaces, gardens, schools, and workshops. The city also had an advanced system of irrigation canals. The Aztecs showed great skill in building and decorating huge pyramid-shaped temples. Today, Mexico City occupies the same site the Aztec capital once did. Sculpture The Aztecs adopted the cultures of the Mayas and other earlier peoples of central Mexico. Among the art forms they borrowed were carvings of standard-bearers. One of these is shown in Figure 7–7. These stone

figures were placed on either side of entrances and stairways. Originally, the figures carried standards, or banners, in the openings in both hands. Religion was the great controlling force in Aztec life. Figure 7–8 shows a statue of the maize goddess, patron of corn and growth. Notice the rectangular form of the stone from which the figure was carved. The head alone shows evidence of truly rounded surfaces and carved details. The rest of the figure is made up of flat planes. Shallow relief carving is used to indicate simple clothing and some ornamental detail.


Figure 7–8 Examine this figure and the one shown in Figure 7–7. Compare and contrast the use of art elements and principles in the two artworks. Corn Goddess. Aztec. A.D. 1300–1500. Lava stone. Height: 144.8 cm (57). Philadelphia Museum of Art, Philadelphia, Pennsylvania. The Louise and Walter Arensberg Collection, 1950.

Check Your Understanding


Figure 7–7 Do you think this figure looks strong and determined or frail and nervous? Identify formal properties in the sculpture to support your opinion. Standard-Bearer. Aztec, late post-Classic period. 1425–1521. Volcanic stone. 120.5
40.6
33.7 cm (47 7⁄16
16
1 3 1⁄4). The Museum of Fine Arts, Houston, Texas. Gift of D. and J. de Menil.

1. What people are believed to be the oldest civilized inhabitants of Mexico? 2. What was the most advanced civilization of the pre-Columbian Classical period? 3. Name an important Mayan city that demonstrates the culture’s skill in architecture. 4. Describe the Aztec city of Tenochtitlán.

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LESSON 2

Making a Decorative Clay Vessel Figure 7–9 is an example of an Olmec effigy vessel. This pot, in the shape of a duck, has an opening in the head. The object was used as a tomb offering. Birds were one of the most popular subjects for Olmec art. Note the etched, repeated motif (moh-teef) on the wings of this vessel. A motif is part of a design that is repeated over and over in a pattern or visual rhythm. This pattern combined with the skillfully formed duck gives the work elegance and unity.

WHAT YOU WILL LEARN You will select and use a variety of appropriate art materials and tools to produce ceramics traditionally. From a clay slab, you will fashion a compact vessel at least 6 inches high or long. The vessel will have the form of a bird or fish. You will decorate your vessel with etched lines and shapes arranged in repeating patterns. The overall form of your bird or animal will be formally balanced. You will have the option to experiment with different glazes to complete your artwork.


Figure 7–9 Observe how the markings on the wings are arranged in repeating patterns. What kind of balance is used in this work? Duck Vessel. Early pre-Classic Olmec, Mexico. 1200–900 B.C. Incised earthenware. 20.6
23.5
17.2 cm (8 1⁄8
9 1⁄4
6 3⁄4). The Museum of Fine Arts, Houston, Texas. Museum purchase with funds provided by the Alice Pratt Brown Museum Fund.

WHAT YOU WILL NEED ● ● ● ● ●

Pencil and sheets of sketch paper 2 wood slats about 1⁄2 inch thick Newspaper Clay Rolling pin, needle tool, paper towel, and modeling tools ● Slip (a mixture of water and clay used to join clay pieces together) and container of water ● Plastic bag to cover work in progress and keep it moist ● Optional: Glaze and brush 104

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WHAT YOU WILL DO 1. Make several line drawings of birds and fish. Show the creature as it would appear from the side. Add only enough details to help viewers identify your subject. 2. Select your best sketch and reproduce it on another sheet of sketch paper. Make certain that it is at least 6 inches tall or 6 inches long. 3. Place the two wood slats on a sheet of newspaper. Place a ball of clay between

Pre-Columbian Art of Latin America

the slats. With a rolling pin, roll out a rectangular slab. The slab should be large enough to contain two identical drawings of your animal. Lay your drawing on the clay slab. Use a pencil to trace lightly around the shape of the body. Trace a second drawing on the clay. 4. Use the needle tool to cut out the two identical images. The bottom edges, which will be joined together, should be cut at a sharp angle. Score, or scratch, these bottom edges with the needle tool. Coat the two pieces with slip, and press them together. 5. Gently spread the two sides apart to create the rounded form of the vessel. Create an opening at the top. Place pieces of clay inside your bird or fish form to support its shape. 6. Add clay details by scoring, adding slip, and pressing them in place. Use clay modeling tools to incorporate designs such as decorative patterns of lines and shapes. 7. When your clay vessel is leather hard, carefully remove the clay pieces from the inside. Fire the vessel in a kiln. 8. Optional: To give your ceramic vessel a unique look, experiment with different glazes. Use a brush to cover your vessel with the glaze. Do not apply glaze to the bottom. Fire it again in the kiln. After the vessel has cooled, it is ready for use in everyday life!

Evaluating Your Work ● Describe What adjectives best characterize your vessel? How would you describe the shape and dimensions of your artwork? ● Analyze Point to and explain the art elements and principles used in creating your vessel. ● Interpret What feelings or moods does your work convey? Is your bird or fish decorative as well as functional? Explain. ● Judge Determine if your work is a success. To what do you attribute its success, or lack of success?


Figure 7–10 Student work. Decorative vessel.

PORTFOLIO IDEAS From time to time, you should critically review the contents of your portfolio. You may decide to add new artwork or remove some of the less successful entries. Try to keep a selection of artwork that demonstrates your skill and represents a variety of art media and techniques.

Visit art.glencoe.com to learn more about pre-Columbian art. There, you can also explore: ● Interactive Games ● Student Art Gallery ● Web Links

Lesson 2 Making a Decorative Clay Vessel

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LESSON 3

Art of the Andes Taken together, the four major cultures of Mesoamerica spanned a period of several thousand years. While these civilizations were developing, parallel developments were under way in the Andes (an-deez) Mountains of South America. You can find this mountain range on the map in Figure 7–11. Here, four miles above sea level, several great cultures flourished. In this lesson, you will learn about these cultures and their contributions to art.

CHAVIN CULTURE The earliest of the Andes civilizations was the Chavin (chuh-veen). The Chavin made their home in the highlands of present-day Peru. Artifacts discovered there place the beginning of the Chavin civilization at about 1000 B.C. The name, Chavin, is taken from the civilization’s ceremonial center, Chavin de Huántar (hwahn-tahr). Today, stone pyramids and stone sculpture can still be found at that site.


Figure 7–12 The unusual pottery style features two curving tubes joined to form a common spout. How do the formal properties in this work create a feeling of completeness or wholeness? Stirrup-Spout Vessel: Feline and Cacti. c. 1000–700 B.C. Ceramic. 25.7
19.7
14.6 cm (10 1⁄8
7 3⁄4
5 3⁄4). Dallas Museum of Art, Dallas, Texas. The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, and Mr. and Mrs. John D. Murchison.


Figure 7–11 Map of the Andes Region. ECUADOR Inca People

Moche People BRAZIL

PA C

PERU

IF I

Chavín de Huántar Machu Picchu Cuzco Tiahuanaco

C

Inca/Moche People

OC

Lake Titicaca

Inca/Tiahuanaco People

EA

N

N E

W

BOLIVIA

Inca People

S

CHILE

0

500 mi

0

800 km

PARAGUAY ARGENTINA

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Crafts Pottery-making developed earlier in South America than in Mexico and Central America. Chavin artists were especially skilled in this craft. Their creations went far beyond ordinary pottery for everyday use. In fact, these artisans (ar-tuh-zuhnz) are noted for their inventiveness and originality. Artisans are artists who specialize in crafts. An example of their creativity can be seen in the vessel in Figure 7–12. Notice the clever handle-spout. This feature was probably designed to slow evaporation in a hot, dry climate. The overall design of the pot skillfully combines cat and plant forms. The result is a vessel that is both functional and pleasing to the eye.

Pre-Columbian Art of Latin America

thieves. Inside the tomb were the remains of a warrior-priest, several servants, and a dog. One of the skeletons wore the same type of headdress and necklace as the figure on the earring. Apparently, the Mochica borrowed their pottery designs from the Chavin. They went on to become masters of this craft in their own right. Compare the Mochica pitcher in Figure 7–14 with the Chavin vessel in Figure 7–12. Both make use of the same handlespout design and sculptured figures. However, the Mochica object incorporates three-dimensional figures in the design. The genre (zhahn-ruh) scene showing a hunter and deer is also painted below. The term genre means the representation of subjects and scenes from everyday life.
Figure 7–13 The figure on the earring is about the size of a thumb. It wears a movable nosepiece and carries a movable war club. Earring. National Geographic Society, Washington, D.C.

MOCHE CULTURE The rise and fall of Moche (moh-chay) culture occurred roughly between A.D. 100 and 700. The Mochica (moh-cheek-uh), as the people are called, lived on the northern coast of present-day Peru. Mainly farmers, the Mochica irrigated the desert lands between the Andes and the Pacific. They were then able to grow corn, beans, squash, and peanuts. The Mochica buried their nobles in great adobe pyramids and platforms. Adobe (uh-doh-bee) is sun-dried clay used as a building material. Much of what is known about life in ancient Moche towns comes through their art. Crafts The Mochica buried fine works of gold and pottery with their dead. One of these, a gold and turquoise earring, is shown in Figure 7–13. It was found by scientists in 1987 deep inside a burial site. This was one of the few sites that had not been looted earlier by


Figure 7–14 The scene shown in two and three dimensions may illustrate a mythical hunt or a contemporary hunting scene. What earlier artworks from other parts of the world also focused on the hunt? Stirrup-Spout Vessel: Deer Hunting Scenes. A.D. 450–550. Ceramic. 25.4
15.9
23.2 cm (10
6 1⁄4
9 1⁄8). Dallas Museum of Art, Dallas, Texas. The Eugene and Margaret McDermott Art Fund, Inc.

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TIAHUANACO CULTURE The Tiahuanaco (tee-uh-wah-nah-koh) culture developed around the time the Mayas were coming to power. The Tiahuanaco made their home in the Andes highlands of modern Bolivia, just below Lake Titicaca (tih-tihkah-kah). Architecture Like the Mayas, the Tiahuanaco were master builders. For the gateway to their great ceremonial center, they erected a monolith. This is a structure made from a single stone slab. The impressive structure is pictured in Figure 7–15. A richly carved relief adorns the section above the doorway. In the center of the relief is the Staff God or Sun God. Armed winged figures, some with bird heads, appear on either side of the god. The figures look ready to answer the god’s commands. Crafts Woven hats provide an example of the Tiahuanaco’s skill in weaving. Typically, these hats were made of wool. The one shown in Figure 7–16 is an exception. It was made by securely attaching feathers to a cloth and reed foundation. On all four sides of the hat are profiles of pumas with bared teeth and glaring eyes. These alternate with an abstract design made up of squares and triangles.


Figure 7–15 Do you think this gateway is a good example of formal balance? Why or why not? Gate of the Sun. Tiahuanaco, Lake Titicaca, Bolivia. A.D. 600.

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Figure 7–16 Images found on Tiahuanaco pottery suggest that colorful hats like these were worn by warriors. How would you describe the shapes in this design? Hat. Wari-Tiahuanaco, Peru. A.D. 500–1000. Cloth, reed, feathers. 17
14
14 cm (6 11⁄16
51⁄2
51⁄2). Brooklyn Museum of Art, Brooklyn, New York. A. Augustus Healy Fund.

INCAN CULTURE The Incas completed their conquest of Peru about 1450. They made their capital at Cuzco (kooz-ko). By then, their empire stretched more than 2,500 miles from north to south. The Incan empire included presentday Peru as well as parts of Ecuador, Chile, Argentina, and Bolivia. (See Figure 7–11). Expert Incan engineers built irrigation canals, suspension bridges, fortresses, and palaces. One of their most amazing accomplishments was the construction of an extensive road system. This tied together the remote parts of this great empire. Amazingly, the Incas maintained tight control of the population and its activities without a written language. They did, however, develop a counting system using knotted strings to record numbers. They also used these knots as memory aids in reciting Incan history. Architecture Figure 7–17 shows a view of the ancient walled city of Machu Picchu (mah-choo peek-choo). To discourage attackers, the Incas built the city on a ridge between mountains. Its buildings were linked to one another

Pre-Columbian Art of Latin America

by hundreds of stone staircases. The stones of those buildings were fitted into place with extreme care. To this day, a knife blade cannot be slipped between any two stones. Crafts The Incas also excelled in ceramics, metalwork, and weaving. Incan pottery came in a variety of shapes. One of the most common

was a shallow tray or plate like the one shown in Figure 7–18. The fish and vegetable pattern on this tray makes use of shapes that are nearly alike. Three swimming fish in the center move in a circle. The remaining fish turn outward toward the rim of the tray. The slight variety in the placement of the vegetable images adds a touch of freedom to the design. This increases its overall visual appeal.


Figure 7–17 This walled city has withstood wars and earthquakes for five centuries. What does this indicate about the skill of its builders? Machu-Picchu, Peru.

Check Your Understanding
Figure 7–18 How is variety demonstrated in the decoration of this tray? What has been done to make the fish appear to be moving? Dish with fish and peppers. Inca, Peru. c. 1400–1532. Ceramic. 7.9
23.6 cm (3 1⁄8
9 5⁄16). The Art Institute of Chicago, Chicago, Illinois. Buckingham Fund, 1955.2223. © 1992 The Art Institute of Chicago, All Rights Reserved.

1. Which was the earliest Andean civilization? When did it come into existence? 2. What is Chavin pottery noted for? 3. What feature did Mochica and Chavin pottery designs have in common? 4. List three crafts that the Incas excelled at.

Lesson 3 Art of the Andes

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LESSON 4

Making a Stylized Positive and Negative Design Look at Figure 7–19. Observe how the artist used a stylized pairing of two figures as a motif. Stylized means simplified or exaggerated to fit a specific set of design rules. The figures in this textile design are simplified and repeated. The result is an interesting overall pattern.

WHAT YOU WILL NEED ● ● ●

Pencil and sketch paper Ruler and scissors Two sheets of colored construction paper, 12
18 inches and 9
12 inches (Note: One of these should be a dark color and the other a light color.) ● White glue

WHAT YOU WILL LEARN You will create a stylized, symmetrical figure seen from the front. You will use it as a motif repeated in a positive and negative design. The design will feature the same motif throughout. However, you will use contrasting light and dark values in the alternating positive and negative shapes. This will add variety to the overall design.

WHAT YOU WILL DO 1. Make several simple line drawings of figures viewed from the front. Make each figure symmetrical. (A line drawn down the center should result in two identical halves.) Concentrate on drawing the contour or outside edge of these figures. Avoid all but the most important details.


Figure 7–19 Notice how the artist has simplified the figures by using geometric shapes and dark lines to outline them. Also, note the contrasting light and dark values used for the figures and background in the different sections. Textile Fragment. Late Chimu, Peru. Ninth century. Cotton, wool. The Metropolitan Museum of Art, New York, New York. Gift of Henry G. Marquand, 1882. (82.1.5 and 82.1.7). Photograph © 1978 The Metropolitan Museum of Art.

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2. Reproduce your best drawing on sketch paper measuring 3
4 inches. Place your drawing in the center of the page. A light pencil line drawn vertically down the center of the paper will help center your figure. Make sure no part of your drawing goes off the paper at any edge. Stylize the drawing by simplifying it even more. Use a ruler to make all the contour lines straight. (Refer back to the motifs in Figure 7–19.) Pencil over the entire back of your drawing. This will allow you to trace the design onto another sheet of paper. 3. Cut the smaller sheet of colored construction paper into four equal rectangles. Trace your drawing on each of the four rectangles. 4. Fold one rectangle in half. Cut the figure out from the folded edge. The figure that is cut out is the positive part of the design. The section of paper containing the opening is the negative. Cut out the figures in the remaining three rectangles. 5. Unfold all of the positive and negative shapes. Cut along each fold so that each shape is divided into two parts. 6. Select one half of the negative part of one rectangle. Glue it in the upper-left corner of the second sheet of construction paper. 7. Select one half of the positive part of one rectangle. Carefully align and glue it next to the negative shape. This will complete one positive and negative motif for your design. 8. Complete the overall pattern by gluing alternating positive and negative sections in place.

COMPUTER OPTION In a paint or draw program, experiment with different tools to create a balanced, stylized motif. Fill in the basic shapes of your design with contrasting hues. This will give you positive and negative shapes. Copy and Paste the motif to create a pattern similar to that in Figure 7–19. Save and print your electronic media-generated art.

Evaluating Your Work ● Describe What animal or object did you base your stylized motif on? Is it easy to identify? What colors did you use to create your design? ● Analyze Is the figure used in your design balanced symmetrically? Do the contrasting light and dark values create a sense of positive and negative space? What is the effect of the interplay between the positive and negative shapes? ● Interpret Name one or more ways your positive and negative design might be used. ● Judge Basing your judgment on the composition view, do you think your design is successful? What is the most effective feature of your design?


Figure 7–20 Student work. Stylized positive and negative design.

Visual Art Journal Compare the Peruvian weaving in Figure 7–19 with the Tiahuanaco hat in Figure 7–16 on page 108.What are the similarities and differences? What elements and principles of art are used in each work? Summarize your analysis in your visual art journal.

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Art&Math Pre-Columbian Calendars As you know, the Mayan civilization was very advanced. Among the Mayas’ many accomplishments was the development of a sophisticated calendar. Calendars measure and organize the passage of time. Typically, these measurements are related to the earth’s rotation and its revolution around the sun. For example, when the earth completes one full rotation, one day has passed. When the earth completes one full revolution around the sun, one year has passed. Because the Mayas were excellent mathematicians and astronomers, their calendar was very accurate.

THE MAYAN CALENDAR The Mayas actually kept track of three different calendars at the same time. One of them, called the Haab, measured the length of a year. This calendar was made up of 18 months, and each

month had 20 days. A period of five days, called the Uayeb, was added after the last month, completing the year. 18 months x 20 days/month = 360 days 360 days + 5 days ( Uayeb) = 365 days 365 days = 1 year The Mayas considered the Uayeb unlucky. During these 5 days, the Mayas prayed and mourned. A remarkable example exhibiting details of the Mayan Haab calendar appears in Figure 7–21. Each of the four sides of this pyramid has a stairway with 91 steps. The additional shared step platform at the top brings the total number of steps to 365. Look closely at one face of the pyramid. Did you notice the terraces on each side of the stairway? If you counted the terrace segments, you would arrive at the number 18. They represent the 18 months of the Mayan calendar.


Figure 7–21 This pyramid was built to honor Kukulkan, the Feathered Serpent God. It served as a ceremonial temple, a calendar, and a site for observing astronomical events. Pyramid of Kukulkan, Chichén Itzá, Mexico. c. 1050.

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Figure 7–22 This Calendar Stone, also called the Sun Stone, weighs over 24 tons and is 3 feet thick. What art elements and principles make this a visually interesting artwork? Aztec Calendar Stone. c. 1500. Stone slab. Diameter: approximately 3.7 m (12). National Museum of Anthropology, Mexico City, Mexico.

THE AZTEC CALENDAR The Aztecs adopted the Mayan calendar. Figure 7–22 shows the famous Aztec Calendar Stone. This elaborate calendar is nearly 12 feet in diameter. The central image depicts the face of Tonatiuh, the Aztec’s Sun God. The ring around the Sun is divided into 20 sections, representing the days of the month. In addition to recording time, the stone also held astronomical and mythological meaning. For the Aztecs, the intricate carvings told the story of the universe.

MAKE THE CONNECTION Take Another Look 1. Study Figure 7–21. How is it similar to other pyramids you’ve learned about in this book? How is it different? 2. Look at Figure 7–22. What cultural ideas are expressed by the placement of the Sun God in the stone’s center?

Art & Math Create an artistic calendar. Use your math skills to organize the 365 days of the year into your personal calendar. Decide what kinds of events you’d like to track with your calendar. You might choose astronomical events, community events, or personal activities. Next, design and decorate your calendar using the artwork in this chapter as inspiration.

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etween 1200 B.C. and 900 B.C., Olmec artists sculpted about 17 huge heads in the jungles of Mexico's southern Gulf Coast. Made of volcanic basalt, the imposing sculptures range in height from 5 feet to 11 feet and weigh as much as 40 tons. They have been found as far as 80 miles from where the stone they are made of was dug up. Moving the blocks of stone “must have been an incredible engineering effort,” comments Peter David Joralemon, a pre-Columbian art expert. “These people didn't have beasts of burden, and they didn’t have wheels. We don’t know if they floated the blocks on rafts or traveled over land.” Equally puzzling is exactly who these faces represent. All the faces have heavy eyelids, broad flat noses, and thick lips. However, no two are exactly alike. One theory states that the sculptures portray the ancestors of the highestranking Olmec. Another theory says that the faces belong to warriors or ball players who played a game that had religious significance. However, the greatest mystery about the Olmec is why, around A.D. 300, their civilization vanished.

TIME TO CONNECT • Use your math skills (and the help of your teacher, if necessary) to calculate how many pounds there would be in a 10-ton Olmec stone head.

• Write a short essay that explains how people might have moved these heavy stones about 80 miles to where they were discovered today. Make sure your suggestions are logical and well organized. Use effective transitions and precise wording in your writing. 114

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These huge Olmec sculptures are the oldest known monuments in pre-Columbian Mexico. What type of person do you think this massive stone head might represent?

CHARLES & JOSETTE LENARS/CORBIS

Perplexing riddles of pre-Columbian Mexico’s stone heads.

BUILDING VOCABULARY Number a sheet of paper from 1 to 8. After each number, write the term from the list that matches each description below. adobe artifacts artisans effigies

genre monolith motif stylized

1. Simple handmade tools or objects. 2. The representation of subjects and scenes from everyday life. 3. Representations of people or animals. 4. Artists who specialize in crafts. 5. Simplified or exaggerated to fit a specific set of rules of design. 6. Sun-dried clay used as a building material. 7. A structure created from a single stone slab. 8. Part of a design that is repeated over and over in a pattern or visual rhythm.

REVIEWING ART FACTS Number a sheet of paper from 9 to 16. Answer each question in complete sentences. 9. What does the term pre-Columbian mean? How do art historians use this term? 10. The time from about A.D. 200 to 800 is known as what period in pre-Columbian history? 11. What decorated the exterior and interior walls of Teotihuacán buildings? 12. Which pre-Columbian culture was the only one to have a true system of writing? 13. Which was the largest of the ancient Mexican and Central American cultures? 14. List four major civilizations that flourished in the Andes mountains. 15. Why was Machu Picchu built on a mountainside? What evidence can be

used to support the claim that the Incas were talented architects? 16. What did the Incas use to record numbers and to help them in reciting history?

CROSS-CURRICULUM CONNECTIONS 17. Language Arts. Imagine that you are an art historian studying pre-Columbian cultures. Write a brief article comparing and contrasting the civilizations you read about in this chapter. Which were most alike? Which were the least alike? Support your statements with explanations and examples. 18. Social Studies. Review the artworks in this chapter. Select one, and write a paragraph analyzing its historical and cultural context. For example, what cultural ideas are expressed? What social, political, and environmental themes can you find? Refer to this textbook or, if necessary, additional resources to help you with your analysis.

San Antonio Museum of Art, San Antonio, Texas The San Antonio Museum of Art boasts an impressive collection of pre-Columbian art. Visit the museum Web site by clicking on the link at art.glencoe.com. Learn more about pre-Columbian cultures and their art. Explore the online collection, and compare the artworks to those in your textbook. Write a short essay discussing what you learned on your virtual tour. Make sure you refer to at least three specific works of art shown on the museum’s Web site.

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Focus On
Figure 8–1 This artwork was created by the Bella Coola, a tribe located in British Columbia, Canada. What do you think is the significance of the birds and the whale surrounding the face in the center of the mask? Canada, Central British Columbia, Bella Coola Tribe. Image of the Sun (Sinxolatla). Late nineteenth century. Carved and painted alder, red cedar. Height: 108.6 cm (42 3⁄4
). Seattle Art Museum, Seattle, Washington. Gift of John Hauberg.

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Treat the earth well: it was not given to you by your parents, it was loaned to you by your children.

—Ancient Native American proverb

M

any cultural groups had settled on the North American continent long before its “discovery” by European explorers. Different Native American groups had different identities. They spoke their own languages and practiced distinct traditions. However, many of these groups shared a common connection to nature. They lived close to the earth and respected the land. These characteristics can be seen in their art, including the mask in Figure 8–1. In this chapter, you will learn about different Native American cultures. You will also learn about their respected artistic traditions. After completing this chapter, you will be able to: ● ●

●

Name and describe major groups of Native Americans. Identify the contributions to the history of art made by different Native American cultures and artists. Create a weaving and painting inspired by Native American art.

Quick Write Interpreting the Quote Reread the proverb quoted on this page. What actions can people today take to follow this advice? How does the artwork in Figure 8–1 reflect the environmental theme in the quote?

Key Terms totem pole kiva pueblos coiled pot tepee cradle board loom warp weft Kachina sand painting

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Origins of Native American Art Thousands of years ago, groups from Asia crossed the Bering Strait into present-day Alaska. Some of these peoples chose to remain in the Arctic and Subarctic regions. Others journeyed down the Pacific coast. Still others traveled south for a while and then headed east. Eventually, settlements could be found across much of the North American continent. Figure 8–2 shows the areas occupied by these first true inhabitants of the continent, or Native Americans. These groups showed a remarkable ability to adapt to their surroundings. They drew from environmental resources to build ways of life unique to their community. From these resources, they also created art that reflected their beliefs and customs.

ARCTIC

AND

SUBARCTIC CULTURES

The lands encompassing northern Alaska and Canada are barren and frigid. Temperatures are cold the year round. The art of early settlers to the region was therefore driven partly by necessity. It included articles of clothing similar to the warm parka shown in Figure 8–3. These garments were meant to

N E

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Figure 8–3 Traditions of Inuit peoples throughout the centuries can be seen in this parka. The garment shows how the Inuit made necessary items into works of art. The elaborate beadwork also symbolized status and skill.

S


Figure 8–2 Map of Native American Cultures.

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Canada, Northwest Territories, Hudson’s Bay, Eskimo Point, Caribou Inuit (Padlimuit). Woman’s Parka. 1938. Caribou fur, wool cloth, glass beads, caribou hide, caribou teeth. Length: 122 cm (48
). Royal Ontario Museum, Toronto, Canada.

protect their wearers against the frozen Arctic climate. Take a moment to examine this object. Its native name is quilittaq. This particular example was made in 1938 but is representative of earlier works. Note the colorful geometric patterns decorating this garment. They were made to mimic the appearance of a caribou. In fact, the parka was sewn from caribou hide.

NORTHWEST COAST INDIAN CULTURE The coastal sections of British Columbia and the northern United States are rich with plant and animal life. Rain is plentiful, and cooling sea breezes keep temperatures mild. Several groups traveling south before 7000 B.C. settled in this region. They are now identified as Northwest Coast Indians. The Northwest Coast tribes depended on wood for their main building material. They fashioned houses and boats from trees. Many of their artworks were also crafted from wood. One example is the mask shown in Figure 8–1. Another is the totem pole in Figure 8–4. A totem pole is an upright wood carving of animal symbols. The word totem refers to an object that serves as an emblem or respected symbol. Each totem is a shorthand retelling of a legend associated with a particular family or clan. Totem poles were used to proclaim a family’s status in the community. Study Figure 8–4. Notice the strong abstract style used to carve the animal and human figures.

SOUTHWEST CULTURES As Native American groups migrated farther southward, they encountered increasingly warmer climates. Several of these cultures settled in the area of present-day Arizona and New Mexico. These settlers were ancient ancestors of Southwest tribes, including the Pueblo. “The People,” as these earliest inhabitants called themselves, were farmers. They grew cotton, which they wove into clothing. They had a democratic form of government and trade relations with neighboring peoples.


Figure 8–4 Carvers often required an entire year to carve a single totem pole. Analyze this artwork to determine its cultural context. What meaning did this totem pole have for the people who created it? Alaska, Sukkwan Village, Kaigani Division, Haida. Totem Pole. c. 1870. Cedar. Height: 8.72 m (28 7
). Denver Art Museum, Denver, Colorado. Gift of the University of Pennsylvania Museum.

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Architecture The very first settlers to the area built round pithouses. These were dug into the ground and covered with branches. Later, they began building with adobe, a sun-dried brick made with clay and straw. Using this material, they built “apartments” into hollow sections of cliffs. The circular pithouse form became a kiva, a ceremonial room, in later architecture. The stacked dwellings made of adobe later became known as pueblos. The term was first used by Spanish explorers; in Spanish, pueblo means “village.” In time, the term was extended to the Native American builders themselves. Look closely at the pueblo in Figure 8–5. Notice that each story is set back farther than the one below, creating large terraces. Crafts The Pueblo were also skilled craftspeople. Among their creations was the coiled pot. This is a pot formed by coiling long ropes of clay in a spiral. The technique allowed pots to be created in many different shapes and sizes. One of these appears in Figure 8–6. Observe the careful pinching together of the coils. This gave the pot strength and added a decorative touch.


Figure 8–5 These buildings demonstrate the Pueblos’ resourcefulness in using the material available in their environment. What modern type of building serves the same purpose as a pueblo? Pueblo Dwellings, Taos, New Mexico. c. 1100.

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Figure 8–6 The bottom of this pot is disc-shaped and was made by pressing the clay into a mold. What formal properties can you identify in this pot? Pueblo. Coil pot. A.D. 1050–1200. Exterior: coiled neck; pinched coil underbody and base; lug handles on each side of neck; smoothed interior. 27.9  26.7 cm (11  101⁄2
). Courtesy of the School of American Research, Indian Arts Research Center, Santa Fe, New Mexico. Gift of Maria Chabot, Albuquerque, New Mexico.

PLAINS INDIAN CULTURE Not all Native Americans chose to live in permanent dwellings. Some groups moved from place to place, following the food supply. One such group was the Plains Indians. This group occupied an area bounded by the Mississippi River and the Rocky Mountains. Many of the Plains tribes depended for survival on the availability of buffalo. The animal was hunted not only for food but also for its hides. The Plains tribes used the hides to make clothing. When the herds moved, the Plains Indians followed, carrying all their possessions with them. Architecture Among the belongings that the Plains people carried with them was the tepee. A tepee (tee-pee) is a portable dwelling. Typically, tepees were cone-shaped and made of buffalo hide stretched over poles. As Figure 8–7 shows, tepees were often decorated with painted images and designs. The sizes of tepees varied. At its base, a tepee could measure from 12 to 30 feet in diameter. A large tepee contained about as much space as a standard living room today.


Figure 8–8 Notice the symmetry and beauty of the beaded patterns woven into this cradle board. What does it tell you about how children were viewed in this culture? Oklahoma, Kiowa. Cradle. 1897–98. Native leather, beads, Osage orange wood, various ornaments. Length: 1.4 m (55
). Denver Art Museum, Denver, Colorado.


Figure 8–7 Examine the structure and design of this teepee. What do you think were the advantages and disadvantages of this kind of dwelling? Blackfeet. Otter Tepee. Twentieth century. Buffalo hide. Height: 6 m (19 8
). Width: 10.5 m (34 5
). Glenbow Museum, Calgary, Canada.

Crafts Because the Plains Indians were wanderers, crafts needed to be light enough to carry. One example is the object pictured in Figure 8–8. This is a cradle board. It is a harness worn on the shoulders and used to carry a small child. Often these were made as gifts by members of the family. It was common to decorate these items with beaded and painted designs.

WOODLANDS CULTURE The people of the Woodlands culture made up the largest group of Native Americans. They settled in the regions east of the Mississippi River. In addition to hunting and gathering, these peoples also farmed and harvested crops such as corn, beans, and squash. Several tribes made up the Woodlands culture. Among these were the Iroquois, the Mohawk, the Cherokee, and the Creek. The shoulder bag in Figure 8–9 was embroidered by a Creek artisan. Notice the colorful and interesting designs. Parts of the design are repeated to create rhythm and unity.


Figure 8–9 This bag is both functional and artistic. How were the art elements and principles used to create visual interest? Creek. Shoulder bag. 1820. Wool fabric, cotton fabric and thread, silk ribbon, glass beads. Strap: 135.2  18.7 cm (531⁄4  7 3⁄8
). Bag: 19.4  10.2 cm (7 5⁄8  4
). The Detroit Institute of Arts, Detroit, Michigan. Founders Society Purchase with funds from Flint Ink Corporation. Photograph © 1993.

Check Your Understanding 1. What purpose did totem poles serve? 2. What form of architecture gave one Native American group its name? Where did this term originate? 3. What are coiled pots? 4. What is the name for a portable dwelling made of buffalo hide stretched over poles? What people made this type of dwelling? Why did they choose to live in this type of dwelling?

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LESSON 2

Making a Weaving Weaving was and remains an important craft in many Native American cultures. Figure 8–10 shows a Navajo rug. The ornate design expressed the beliefs, customs, and traditions of the culture. Weavings are typically done on a loom, a frame or machine that holds a set of threads. The warp threads are threads that run vertically and are attached to the loom’s frame. The weft threads are threads passed horizontally over and under the warp threads. In this lesson, you will create a weaving using a circular loom.

variety of weaving techniques to change the patterns and colors in your design. Your weaving will use a complementary, monochromatic, or analogous color scheme.

WHAT YOU WILL NEED ● ● ● ●

1 flexible wire hanger Masking tape Assorted fibers 2 or more blunt tapestry needles

WHAT YOU WILL DO WHAT YOU WILL LEARN You will make a round weaving on a loom made from a wire coat hanger. You will select and use a variety of appropriate art materials and tools to produce your fiber art. Use a

1. Make a frame for your loom. Do this by pulling a flexible hanger into a circular shape. Bend the hook into a loop. Use this to hang your completed work. (See Figure 8–11.) 2. Pick the colors of yarn and fibers you will use. Choose a complementary, monochromatic, or analogous color scheme. 3. Tie a long strand of fiber to your frame using a double knot. Wrap the fiber strand completely around the frame using half-hitch knots. (See Figure 8–11.) Tie the end with a double knot. 4. Create a warp. First thread the end of a long strand of fiber through your needle. Then tie the end to the frame fiber. Pass the fiber across the circle, crossing the center several times. Each time, connect it


Figure 8–10 This weaving has intricate patterns made with closely related hues and bold value contrasts. How have these art elements been used to create patterns? Explain how this creates rhythm and harmony. Southwest, Navajo. Rug. c. 1885. Wool. 217.2  158.8 cm (851⁄2  62 1⁄2
). University of Iowa Museum of Art, Iowa City, Iowa. Promised gift of Webster and Gloria Gelman, 1991.23.

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to the outer fiber. After each crossing, move along the circle about an inch. Then begin another warp fiber, crossing the center again. Continue in this fashion until you have at least ten warp lines. (See Figure 8–12.) 5. Working from the center, begin the weft using a tabby (over and under) weave. Vary your colors. Weave part of the circle or all the way around. Experiment to create different designs and color areas. Leave open spaces. Try tying short pieces to create a shag effect. 6. Display your weaving along with those done by your classmates. See if you can identify the weaving techniques used in each work.


Figure 8–11 Making the wire loom.

STUDIO OPTIONS ● Make a second weaving, this time using a different color scheme. Emphasize texture by using different fibers for your weaving. ● Use a heavy-duty paper or plastic plate as a loom. Make an uneven number of notches around the edge of the plate. Warp it following the instructions in the lesson. Create another weaving.

Evaluating Your Work ● Describe Identify the different colored shapes you created. ● Analyze Point to different areas of color or pattern in your weaving. How did those different areas of color or pattern add to the work’s visual interest? ● Interpret What mood does your weaving convey? How did the color scheme you chose contribute to the mood? ● Judge Are you satisfied with the weaving skills demonstrated in your work? What is most satisfying about your effort, its craftsmanship or its design?


Figure 8–12 Warping the loom. Examples of weaving techniques.

Visual Art Journal Study your completed weaving and consider possible practical applications for it. Then analyze and compare relationships, such as function and meaning, in your personal artwork. Write your analysis in your visual art journal.

Lesson 2 Making a Weaving

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LESSON 3

Native American Art Traditions In the centuries following Columbus’s arrival in America, explorers and settlers arrived from all over Europe. Interactions between the Native Americans and the Europeans were complex. Sometimes, disputes arose over matters such as land boundaries. In other cases, native peoples helped new settlers adapt to and survive in the environment. These interactions between diverse cultures were often learning experiences.

TRADITIONAL NATIVE AMERICAN ART Over time, contact with European cultures brought changes to the original Native American way of life. Much of their artistic tradition has lived on, however. This can be seen in the Native American art of recent centuries up through the present time. Many of the designs and techniques used today date back over one thousand years. Crafts Figure 8–13 shows a Native American artwork with an enduring tradition. This is a Kachina (kuh-chee-nuh). It is a hand-crafted statuette that represents spirits in Pueblo rituals. Pueblo legend tells of supernatural spirits called Kachina. It was believed that these figures once lived among the people. They taught the Pueblo how to live in harmony with nature. To keep their spirits alive, performers wear masks and costumes resembling the Kachina. The Kachina figures are miniature versions of these performers. They are used to introduce Pueblo children to the many spirits who watch over village life. The Kachina in Figure 8–13 was created early in the twentieth century. The black body with different colored spots identifies this figure as the Pueblo Fire-God.


Figure 8–13 The Pueblo believe that there are between 300 and 400 Kachinas. What other cultures that you’ve learned about also believed in many spirits? New Mexico, Zuni. Kachina. Early twentieth century. Wood, feathers, wool, cotton, hide, silk, pigment, iron. 45.1  15.2 cm (17 3⁄4  6
). Brooklyn Museum of Art, Brooklyn, New York. Museum Expedition 1903, Museum Collection Fund.

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Another Native American craft that continues to be practiced today is pottery. The vase in Figure 8–14 was made by Maria and Julian Martinez. This husband-wife pair combined traditional methods with their own techniques. Tradition is preserved in the ancient feather motif circling the neck. Innovation is evident in the matte finish. Also notice how the sleek lines of the design complement the shape of the jar. Sand Painting Some ancient art techniques still practiced today are associated with health and wellbeing. An example is sand painting, an art form used in a Navajo healing ceremony. Specifically, it is an image or design made with different colors of powdered rock poured on a flat section of earth. Figure 8–15 shows a sand painting being created. Notice the striking colors used. Works like this are rich in symbolism. These beautiful designs are destroyed after they have served their ritual purpose.


Figure 8–14 Do the graceful lines of the serpent on this jar bring to mind any other images you have seen in this chapter? Maria and Julian Martinez. Jar (olla) with Feathers and Avanyu. San Ildefonso Pueblo, New Mexico, 1934–43. Matte black-onblack earthenware. 36.2  47.3 cm (14 1⁄4  18 5⁄8
). The Museum of Fine Arts, Houston, Texas. Gift of Miss Ima Hogg.


Figure 8–15 Creating a sand painting requires great skill and attention to detail. What elements and principles of art can you see in the emerging artwork? Navajo sand painting.

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MODERN NATIVE AMERICAN ART Allan Houser (1914–1994) Allan Houser grew up in an Apache farming community in Oklahoma. Inspired by images in magazines and books, he started drawing and carving at an early age. In 1934, he enrolled in the Painting School at the Santa Fe Indian School. Five years later, Houser was already exhibiting his work in San Francisco, Washington, D.C., and Chicago. He also began receiving commissions for murals and sculptures. In addition to creating artworks such as the one in Figure 8–16, Houser also taught art for 24 years. After retiring from teaching in 1975, he devoted himself to sculpting. He produced numerous sculptures and gained international fame. Houser received the National Medal of the Arts in 1992.

Some contemporary Native American artists have explored non-native media and techniques. They use this knowledge to portray their cultural heritage in new, original ways. Sculpture One of the most influential Native American artists was Allan Houser (how-zuhr). A Chiricahua Apache (chir-uh-kah-wuh uhpach-ee), Houser worked chiefly in stone or bronze. He created innovative sculptures that retell the stories about his people. Among his most moving subjects are women and children. The two women depicted in Figure 8–16 are at a social gathering. They are waiting for someone to ask them to dance. Houser skillfully contrasted smooth and rough textures to give his work visual appeal. Painting Portrait and landscape paintings are not aspects of Native American art tradition. However, some Native American artists used these art forms to express their heritage. One example is T. C. Cannon. Cannon, a member of the Kiowa (ky-uh-wuh) tribe, was a student of Allan Houser. He painted traditional subjects in a brightly colored, modern style. Typical of his work is the portrait in Figure 8–17. Can you identify both traditional and modern qualities in this painting?


Figure 8–16 Analyze the formal properties of this artwork.What has the artist done to tie these two figures together in a unified whole? Allan Houser. Watching for Dancing Partners. 1978. Pink Tennessee marble. 76.2  53.3 cm (30  21
). Museum of the Southwest, Midland, Texas. Gift of Mr. and Mrs. Lynn D. Durham.

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Another important Native American painter was Gerald Tailfeathers. He used a realistic style to depict Native American life. A member of the Plains Indians, he grew up with tales of buffalo hunting and sacred rituals. These were recited by elders of his tribe. Figure 8–18 shows how he used those stories as inspiration for his artwork. In the painting, holy women solemnly prepare for an annual midsummer ceremony. Behind them, the open landscape and tepees suggest the Plains Indians’ nomadic way of life.

Check Your Understanding


Figure 8–17 Study both this painting and the one shown in Figure 8–18. Compare and contrast the use of art elements and principles in the two artworks. T. C. Cannon. His Hair Flows like a River. 1973. Acrylic on canvas.

1. What are Kachinas, and what are they used for? 2. What is sand painting? For what is sand painting used? 3. What material did Allan Houser use to create art? 4. Name two Native American artists known for their paintings.


Figure 8–18 What feelings and emotions do you think the figures in this painting are expressing? What cultural ideas relating to social and environmental themes can you identify in this artwork? Gerald Tailfeathers. Procession of the Holy Woman, Blood Sundance. 1960. Tempera on paper. 36.6  48.6 cm (14 2 ⁄5  19 1⁄8
). Glenbow Museum, Calgary, Canada.

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LESSON 4

Painting in an Abstract Inuit Style Many of the native peoples of the Arctic call themselves Inuits (in-yoo-its). The term, in one of their native dialects, means “the real people.” Inuits have a long tradition of carving bone, ivory, or stone. Carvings common among the Inuits include those of birds, Arctic animals, and human figures. This tradition of carving abstract images influenced the art they created in other media. The abstract owl in Figure 8–19 was created by Kenojuak Ashevak, a well-known Inuit printmaker. Note how the feathers radiate from the head and how the tail curves boldly upward. Except for a small area of the tail, the entire image is made up of curves.


Figure 8–19 Birds are one of Kenojuak Ashevak’s favorite subjects. How has the artist used line and color to create a dynamic, interesting design? Kenojuak Ashevak. The Enchanted Owl. 1960. Stonecut. 38.5  58.2 cm (151⁄5  23
). Reproduced with the permission of the West Baffin Eskimo Co-operative Ltd., Cape Dorset, Nunavut.

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WHAT YOU WILL LEARN You will create an abstract painting of an animal or bird using only curved lines. You will interpret your subject experimentally using a variety of art materials and tools. You will use curves to divide your creature into a variety of shapes. The background will be made of large and small curved shapes, too. It will extend lines used to create the animal or bird image.

WHAT YOU WILL NEED ● ● ●

Pencil and sketch paper 2 sheets of white paper, 8  10 inches Tempera paint in different hues, large and small brushes, mixing tray, and paint cloth

WHAT YOU WILL DO

Evaluating Your Work

1. Find a clear illustration of an animal or bird viewed from the side. Make several pencil sketches of the animal or bird. Eliminate all unnecessary details. 2. Transfer your best sketch to a sheet of white paper in light pencil lines. Make certain that the animal or bird image fills a good portion of the paper. 3. Change all the lines in your drawing to curved lines. Extend these lines into the body of the animal or bird. This will break up the body into a variety of large and small curvilinear shapes. Do not change the direction of the lines as you extend them. Continue the direction of the original curved lines. 4. Next, extend the curved lines of the animal or bird into the background. This will break up the background into a variety of curvilinear shapes. You will find that you have “lost” the animal or bird image. It is now hidden within the maze of curved lines and curvilinear shapes you have drawn. 5. “Restore” the image of your animal or bird by painting its shapes in a variety of intense hues. Paint the background shapes in a variety of dull hues.

● Describe Is the animal or bird image easily recognized in your picture? Point to and name the important features of this animal or bird. ● Analyze Are all the lines in your picture curved lines? Are all the shapes curvilinear? How did your use of different colors contribute to the visual effect of your design? ● Interpret Do the curved lines and curvilinear shapes of your animal or bird give it a certain feeling? What is that feeling? ● Judgment Is your painting a success? Why or why not? What would you do to improve on it?


Figure 8–20 Student work. Painting in an abstract Inuit style.

STUDIO OPTION Use straight lines only to create an abstract drawing of a fish in profile. Extend the straight lines as you did the curves above. Paint your picture. Use dull hues for the geometric fish shapes. Use intense hues for the geometric background shapes. How did the use of straight lines affect the overall feeling of this design?

To learn more about Native American art and cultures, visit art.glencoe.com. There, you’ll also find: ● ● ● ●

Artist Profiles Career Corner Interactive Games Student Art Gallery

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Social Art& Studies

Native American Historical Figures historical figures have inspired generations of people, including artists. The time line below introduces a few of these important Native Americans.

Native Americans have played an important role in United States history. Many of them are remembered for their cultural contributions and acts of bravery. Throughout the centuries, these


Figure 8–21 Sculpture of Pocahontas. Kenneth Campbell. Bust statue of Pocahontas. National Hall of Fame for Famous American Indians.

Pocahontas (poh-cuh-hahn-tuhs) was the daughter of Chief Powhatan. She was reported to have saved the life of Captain John Smith, an English colonist. Pocahontas helped to maintain friendly relations between the Native Americans and the colonists. In 1614, she married an English settler named John Rolfe. Their marriage further promoted peace between their peoples.

Sacajawea (sak-uh-juh-wee-uh) was a member of the Shoshone Indians. She served as a guide and interpreter on the Lewis and Clark expedition. This expedition began in 1804. Its goal was to survey and open up territories in the American West. Sacajawea’s help was extremely valuable to the success of the expedition.

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Tisquantum (tiss-kwahn-tuhm), also known as Squanto, was a member of the Pawtuxet tribe. He served as an interpreter between the Pilgrim settlers and the Wampanoag Indians. He played a role in the signing of the 1621 peace treaty between the two groups. Squanto also helped the colonists adapt to their environment, advising them on planting and fishing.

Chief Joseph belonged to the Nez Percé Indians. After several battles with American troops in 1877, the Nez Percé were forced to surrender. Chief Joseph made a moving surrender speech: “I am tired; my heart is sick and sad. From where the sun now stands I will fight no more forever.”


Figure 8–22 Photograph of Chief Joseph. Edward S. Curtis. Chief Joseph, Nez Percé.


Figure 8–23 Painting depicting Sacajawea guiding explorers through the Rocky Mountains. Alfred Russell. Sacajawea Guiding the Lewis and Clark Expedition. c. 1904.

HISTORICAL HERITAGE Learning about history helps us gain a sense of heritage. We also develop respect for the traditions and contributions of different peoples and cultures. Historical and cultural heritage often provides inspiration for creating artwork. The sculpture in Figure 8–21, for example, is a tribute to Pocahontas. The photograph in Figure 8–22 records Chief Joseph’s nobility and the traditions of his people. The painting in Figure 8–23 was inspired by Sacajawea’s role in an important expedition. Artworks like these help to preserve and celebrate aspects of Native American history in the United States.

MAKE THE CONNECTION Take Another Look 1. Examine Figures 8–21 and 8–22. What adjectives would you use to describe the portrayals of Pocahontas and Chief Joseph? 2. Look at Figure 8–23. Describe the action taking place. What art elements and principles help convey this action?

Art & social studies Create a historical tribute. Research further one of the Native Americans discussed in this feature. If you wish, you may select another historical Native American, such as Sitting Bull or Sequoyah. Drawing from your research, create an artwork honoring your chosen historical figure.

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TOP: LUKE ANGUHADLUQ/SANAVIK CO-OPERATIVE BOTTOM: COURTESY DEPT. OF INDIAN AND NORTHERN AFFAIRS

Using modern means to depict ancient ways.

uke Anguhadluq (Ahn-goohod-look) drew his first picture when he was 65 years old. However, he was an artist long before then. Anguhadluq was born around 1895 in a remote area in northwest Canada. His Inuit community’s first contact with the outside world took place when a Danish explorer arrived in 1923. Anguhadluq was a respected camp leader and hunter until Luke Anguhadluq. 1961, when declining food sources forced Old Caribou him to move to a Canadian government Hunters. 1980. settlement. There, arts projects were Luke Anguhadluq (LEFT) drew many introduced to help the Inuit earn money. aspects of Inuit life, Anguhadluq worked until his death in 1982, such as hunting, producing drawings and prints that showed fishing, and cooking Arctic animals. the life he had known. The creative process was not new to Anguhadluq. He had grown up making soapstone carvings and traditional hunting instruments. Carving is an ancient skill among the Inuit. They often TIME TO CONNECT create small religious figures made of bone, ivory, or stone. • Learn about Inuit culture using textbooks and In Anguhadluq’s work you can your school’s media resource center. Explore see the transformation of the Inuit Inuit beliefs as well as traditional ways of living. as they moved from isolation to contact with the outside world. • As you write notes, cite the references in which Although Anguhadluq ended up you found the information. working in the Western European • Examine the image of Luke Anguhadluq’s work. techniques of drawing and printFrom your research, describe what aspect(s) of ing, what never changed was his Inuit culture you find in Anguhadluq’s work. subject matter: his Inuit heritage. Support your observations with citations to the specific references you obtained. 132

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BUILDING VOCABULARY Number a sheet of paper from 1 to 11. After each number, write the term from the list that best matches each description below. coiled pot cradle board Kachina kiva loom pueblos

sand painting tepee totem pole warp weft

1. A pot formed by coiling long ropes of clay in a spiral. 2. Stacked dwellings made of adobe. 3. An upright wood carving of animal symbols. 4. A portable dwelling. 5. A harness worn on the shoulders and used to carry a small child. 6. A hand-crafted statuette that represents spirits in Pueblo rituals. 7. An image or design made with different colors of powdered rock poured on a flat section of earth. 8. A frame or machine that holds a set of threads. 9. Threads that run vertically and are attached to the loom’s frame. 10. Threads passed horizontally over and under the warp threads. 11. A ceremonial room.

REVIEWING ART FACTS Number a sheet of paper from 12 to 17. Answer each question in complete sentences. 12. Describe some of the migration patterns of the first inhabitants to the North American continent. 13. What was the purpose of totem poles? 14. Why did the Plains Indians choose to live in tepees? 15. Name two everyday items that could be made on a loom.

16. What happens to Navajo sand paintings after they have served their religious purpose? 17. What does the term Inuit mean in one of the native dialects of this group?

CROSS-CURRICULUM CONNECTIONS 18. Social Studies. Research the geographic regions where the Inuit lived. What is the climate and environment like? How do you think these factors influenced the Inuit people’s choice of art media? 19. Math. Identify all the artworks in this chapter that make use of geometric patterns. What kinds of motifs appear in each one? Discuss the use of patterns from nature in Native American designs.

The Minneapolis Museum of Arts, Minneapolis, Minnesota Go on an interactive exploration of Native American art and culture at the Minneapolis Museum of Arts! Visit the museum’s Web site by clicking on the link at art.glencoe.com. There, you can learn about the art and history of different Native American groups. You’ll also see how each group’s culture influenced the art created. Complete the online activity. Then, compare and contrast the artwork(s) you explored with one in this chapter. Write a short essay presenting your analysis.

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Focus On
Figure 9–1 This sculpture may be a portrait of a grandson of the Roman emperor Augustus. His ornate cloak is a sign of wealth. In your opinion, what makes this figure look so natural and lifelike? Portrait Statue of a Boy, probably Lucius Caesar. Roman, late first century B.C. to early first century A.D. Bronze. Height: 123.2 cm (48 1⁄2
). The Metropolitan Museum of Art, New York, New York. Rogers Fund, 1914. (14.130.1). Photograph © 2000 The Metropolitan Museum of Art.

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Art of Greece and Rome All art is but imitation of nature.

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—Lucius Annaeus Seneca, Roman philosopher (c. 3 B.C.–65 A.D.)

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he art of Western civilization has its roots in the fertile soil of ancient Greece. Artists of ancient Greece painted beautiful images on elegant vases and carved lifelike statues. They also erected magnificent temples. Eventually, Greece fell to a powerful new rival—Rome. The Greek influence in art and culture, however, lived on. The Romans admired and adopted the art forms and styles of the Greeks. This chapter will guide you through major works of ancient Greek and Roman artists. You will explore architectural wonders, beautiful vases, and striking sculptures (see Figure 9–1). After completing this chapter, you will be able to: ●

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Identify the contributions of ancient Greek and Roman artists. Name some important works by Greek and Roman artists and indicate why they are so highly regarded. Create and paint a design for a Greek-style vase. Complete a relief sculpture modeled on Roman reliefs.

Quick Write Interpreting the Quote Reread Seneca’s quote. Do you agree with his statement? When might there be exceptions to this philosophy? What characteristics in Figure 9–1 show that it is an “imitation of nature”?

Key Terms frieze amphora concrete round arch aqueduct triumphal arches

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LESSON 1

Art of Ancient Greece Every Western civilization has compared its achievements with those of the ancient Greeks. For almost four hundred years, Greece was the center of philosophy, science, and art. In the centuries since, the Greek impact on Western societies has been unchallenged. This influence is the most evident in culture and art.

ANCIENT GREEK CULTURE The story of ancient Greece begins about 1500 B.C. It was around that time that tribes from the north settled in the region bordering the Aegean (ih-jee-uhn) Sea. Find this region on the map in Figure 9–2. Ancient Greece never became a nation. Instead, it remained a collection of small, independent city-states. One reason that the city-states never united was geography. Greece is divided into regions by mountains and the sea. These natural barriers made communication between city-states difficult. In addition,

Aegean Sea

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pride and jealousy kept the city-states from banding together to form a nation. Events during the middle of the fifth century B . C . forced a change. Greece was invaded by armies from Persia. To withstand the attack, the city-states formed an alliance known as the Delian League. Athens, the largest and most powerful of the city-states, headed the league. Once the Persians had been driven back, Athens remained in control. Architecture Funds collected from members of the Delian League were used to erect buildings. These are still regarded as some of the most beautiful structures ever built. One of these is the temple shown in Figure 9–3. Do you recognize this famous building? It is the Parthenon, built in honor of the Greek goddess Athena (uh-thee-nuh). Even though the Parthenon was built over two thousand years ago, its grace and majesty still shine through today. Take a moment to study this building. It reveals that Greek architects valued grace, harmony, and precision above all else. The Parthenon stood with other temples on a sacred hill in Athens known as the Acropolis (uh-krop-uh-luhs). Ceremonies to honor the goddess Athena took place in front of the Parthenon. To make the temple’s exterior as attractive as possible, a handsome frieze (freez) was commissioned. A frieze is a decorative horizontal band running across the upper part of a wall. The Parthenon’s frieze consisted of a series of relief carvings. These showed the citizens of Athens delivering gifts to Athena. A section of this frieze can be seen in Figure 9–4.

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Figure 9–2 Map of the Aegean Civilization.


Figure 9–3 Originally, much of this building was painted in bright colors. Analyze the formal properties of this structure. Did you notice that the building makes use of the post-and-lintel system of construction? Where have you seen this same construction system before? Parthenon, Temple of Athena. Fifth century B.C. Acropolis, Athens, Greece.


Figure 9–4 This small section of the Parthenon frieze is part of a large work that included 350 people and 125 horses. What kind of sculpture does this work represent? Section of the Parthenon frieze. Athens, Greece. c. 438–432 B.C.

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Sculpture The sculptor who directed work on the Parthenon frieze was a man named Phidias (fid-ee-uhs). Art historians agree that Phidias was among the greatest of all Greek sculptors. One of his masterpieces was a colossal statue of the goddess Athena, created for the Parthenon’s interior. This magnificent sculpture, adorned with gold and ivory, rose to a height of almost 40 feet. The gold used in this statue is believed to have weighed over a ton. Sadly, this statue, like all of Phidias’s works, has been lost. Our only knowledge of it comes through ancient written descriptions. Based on these descriptions, a recreation of Phidias’s statue of Athena was completed in 1990. Shown in Figure 9–5, this impressive statue is housed in a replica of the Parthenon built in Nashville, Tennessee.


Figure 9–5 What value is there in creating copies of famous works from the past? What difficulties might this kind of project present? Compare and contrast this sculpture with the one shown in Figure 9–4 on page 137. What similarities and differences can you find in the use of art elements and principles? Alan LeQuire. Athena Parthenos. (Reproduction of the statue by Phidias, fifth century B.C.) 1990. Fiberglass and gypsum cement, marble, paint, and gold leaf. Height: 13 m (42 ). The Parthenon, Centennial Park, Nashville, Tennessee.

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Painting and Crafts Ancient Greek painters were more famous in their time than sculptors. Like sculptors, painters tried to make their pictures as lifelike as possible. Unfortunately, none of these paintings remain today. However, surviving pottery from ancient Greece were painted with designs and scenes. The pictures on these vases give us an idea of what Greek paintings would have looked like. The earliest Greek vases were decorated with bands of geometric patterns. Later, artists began painting human figures on vases. Often these were gods or popular heroes. Sometimes ordinary people were depicted, as in Figure 9–6. This vase painting shows several women and girls working with wool. There are several scenes in the painting, each showing a different stage of the weaving process. Notice the decorative band above these scenes. In it, girls are shown dancing on either side of a seated woman or goddess. She is, in turn, flanked by two standing male figures. The repeated pattern and curved surface give the scene a spirited sense of movement.

Creating a Vase-Shape Cutout Greek artists designed their pottery for many different purposes. They created large jars for storage and delicate cups for drinking. Figure 9–7 shows different shapes used for their pottery. Fold a large, rectangular sheet of white paper in half. Pick one of the vase shapes in Figure 9–7. Beginning at the folded edge of the paper, draw one half of the vase as accurately as possible. Make sure that your drawing ends at the crease. Leaving the paper folded, cut out your vase shape along the line you have drawn. Unfold the symmetrical cutout and mount it on a sheet of dark-colored construction paper. Use a black marker to create a design using geometric or organic shapes.

P o r t f o l i o


Figure 9–6 What has the artist done to carry your eye around the jug? Do you think the painted images complement the shape of the vessel? Lekythos (Oil Jug). Attic, c. 540 B.C. Terracotta. Height: 17.1 cm (6 3⁄4
). The Metropolitan Museum of Art, New York, New York. Fletcher Fund, 1931. (31.11.10). Photograph © 1999 The Metropolitan Museum of Art.

Make a symmetrical cutout of a contemporary vase. Mount it on darkcolored construction paper. Compare it to your cutout of the Greek vase shape. List the similarities and differences between the two. Include both cutouts and your written comparison in your portfolio.

Check Your Understanding 1. What three qualities did Greek architects value most? 2. What was the Parthenon? On what sacred hill is this building located? 3. What is a frieze? 4. How did the designs on early Greek vases differ from those found on later examples?


Figure 9–7 Examples of Greek vase shapes.

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LESSON 2

Making a Painting for a Greek-Style Vase Examine the object pictured in Figure 9–8. This is an ancient Greek amphora (am-fuhruh), a vase with two handles and a narrow neck. How would you react to this vase if you were a critic supporting the subject view? Would you judge the figures and their actions to be lifelike? What would you focus on if you were a critic favoring the composition view? Can you find the real and imaginary lines that form an X in the design? Do the lines linking the warriors to each other and to the vase’s handles reflect a unified composition? Next, assume the role of a critic holding the content view. Do you think the painting

communicates a story or a mood? What kind of story or mood? Did you notice the women pictured on the sides? What emotions do you think they are feeling? Do the images in the painting successfully present an idea, message, or feeling? Finally, do you think this amphora is successful in terms of all three aesthetic views? Why or why not?

WHAT YOU WILL LEARN Review the vase shapes in Figure 9–7 on page 139. You will choose one of these shapes and make a cutout, as in the Studio Activity. This time, you will use tempera to add a scene to your cutout. Your subject will be an athletic event and will include at least two figures. These figures will show motion and be painted to look as realistic as possible. Shapes and lines of the painted scene will tie the design to the shape. Your scene will communicate an idea, mood, or feeling.

WHAT YOU WILL NEED ● ● ● ●

Pencil and sheets of sketch paper Scissors Sheet of white paper, 18  24 inches Sheet of colored construction paper, 18  24 inches ● Black tempera paint, several brushes, and mixing tray


Figure 9–8 The scene on this amphora depicts warriors in the Trojan War, showing that the artist was influenced by his time and place in history. How would this kind of information be of value to an art historian? How might it impact the historian’s judgment of this work? Black-Figured Panel Amphora. Last quarter sixth century B.C. Ceramic. Dallas Museum of Art, Dallas, Texas. Munger Fund.

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WHAT YOU WILL DO 1. Make several pencil sketches of two athletes in action. Examples include runners in a race or basketball players going for the same rebound. Work on making your active figures look lifelike, but omit small details. Try to capture the color and excitement of the sporting event. 2. Review the vase shapes in Figure 9–7 on page 139. Decide which of the shapes would be best suited to your best sketch. Create a cutout for this shape, as instructed in the Studio Activity. 3. Transfer your sketch to the cutout. The shapes and lines of your drawing should complement the shape of the vase. 4. Using a fine-pointed brush and black tempera, paint over the outlines of your figures. Carefully paint around the lines within each figure. These lines will appear white in the finished painting. 5. Paint the rest of your vase using black tempera. Add decorative designs to the handle, neck, and foot of the vase. 6. Mount your vase design on the colored sheet of construction paper.

Evaluating Your Work ● Describe Explain the action illustrated on your vase painting. ● Analyze What art elements and principles did you use? How does your design complement the shape of the vase? ● Interpret What idea, mood, or feeling does your painting convey? What qualities in your painting illustrate the idea, mood, or feeling? ● Judge Do you consider your work a success? On what aesthetic view or views did you base your judgment?


Figure 9–9 Student work. Greek vase painting.

REFLECTIVE THINKING Critical Evaluation. Analyze the amphora in Figure 9–8 to form conclusions about its historical and cultural context. Remember that the painted scene depicts warriors in the Trojan War. What cultural ideas relating to social and political themes can you identify?

Visual Art Journal Locate buildings in your community that exhibit features of Classical Greek architecture. In your visual art journal, illustrate several of these features from direct observation, and explain what characterizes them as being in the Classical Greek style.

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LESSON 3

Art of Ancient Rome As you’ve learned, the Greek city-states had difficulties forming a nation. They also had problems living together peacefully. They fought among themselves often over a thirteen-hundred-year period, weakening the country. Finally, in 187 B . C ., Greece fell to Roman invaders. Although the Romans defeated the Greeks, their influence lived on. The Romans greatly admired Greek culture and art. Much of Roman art and culture is based on that of the Greeks. However, Romans made many achievements of their own. In fact, many historians identify the ancient Romans as the world’s greatest builders.

ANCIENT ROMAN CULTURE By the time Greece was conquered, Rome was the greatest power in Western civilization. Figure 9–10 shows the extent of the Roman Empire. At its peak, the city of Rome had a population of over one million.

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Magnificent public buildings, baths, and parks were erected in an area about three square miles. Architecture The Romans were a practical people. They were more interested in engineering, law, and government than they were in art. Their greatest creative contributions were in the field of architecture. The Romans were the first to use concrete as a standard material in construction. Concrete is a hard, strong building material made from a mixture of powdered minerals, gravel, and water. Concrete was used to create buildings with great domes and soaring ceilings. One of these buildings is the Pantheon, shown in Figure 9–11. The Pantheon is a large, circular domed temple built to honor all the Roman gods. It is the largest domed building from ancient times that has survived to the present day. Unlike Greek temples, the Pantheon was built with concrete rather than marble. Because it was built for people to worship in, the building’s interior is more important than its exterior. The Romans also devised the round arch. This curved arrangement of stones over an open space created new building possibilities. A series of round arches, for example, could be used to construct bridges and aqueducts. An aqueduct (ak-wuh-duhkt) is a network of channels used to carry water to a city. The aqueduct in Figure 9–12 carried water to the Roman city of Tarragona in Spain. Notice how the side-by-side placement of the arches enables them to support each other. This helps them carry the weight of the structure to the ground.


Figure 9–10 Map of ancient Rome.


Figure 9–11 In what two ways does this Roman temple differ from those built by the Greeks? What different forms would you be sure to mention when describing this building? What has been done to create the contrast of values that adds to the building’s appearance? Pantheon, Rome, Italy. A.D. 118–125.


Figure 9–12 At the top of the aqueduct, a channel with a continuous gradual decline carried water from a mountain stream to the city. Why do you think it is possible to appreciate this work for its beauty as well as for its practical value? Las Ferras Aqueduct. Tarragona, Spain. c. first century B.C.

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Round arches were also used to build triumphal (try-uhm-fuhl) arches. These were arched monuments built to celebrate great military victories. The largest ever built was the Arch of Constantine in Rome. (See Figure 9–13.) The great central arch was reserved for the emperor and his officers. Foot soldiers


Figure 9–13 Explain how the repetition of forms adds to the harmony of this monument. How are the different values created? Next, analyze this artwork to determine its cultural context. What does it tell you about the values and practices of ancient Romans? Arch of Constantine, Rome, Italy. A . D . 312–15.


Figure 9–14 This famous amphitheater is a ruin today. Many of the great palaces built in Rome in the sixteenth and seventeenth centuries were constructed with stones taken from the Colosseum. Colosseum, Rome, Italy. A . D . 72–80.

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would march through the small side arches. The people of Rome would stand by and cheer during these victory marches. Another example of the round arch is found in the famous structure in Figure 9–14. This is the Colosseum, considered by many to be the city’s most impressive monument.

The events held at the Colosseum dominated social life in the ancient capital. Eighty arches at each of the three levels circle this massive structure. The lower archways are entrances and exits. The Colosseum could seat over fifty thousand spectators. During one event, the amphitheater was flooded with water to a depth of five feet to stage a naval battle involving three thousand participants! Sculpture Greek sculptors idealized their subjects. Roman sculptors, on the other hand, were more concerned with showing their subjects realistically. This desire for realism is evident in the sculpture shown in Figure 9–15. Through careful observation, the artist has created an honest portrait.

Designing a Victory Arch You will illustrate ideas from experiences at school events by designing a triumphal arch to celebrate a school team’s victory. Examine the different features found on the Roman arch in Figure 9–13. Then, working in pencil in your sketchbook, design an arch that includes similar features. Make sure to show three rounded arches. Sketch in some freestanding sculptures to represent the coach and players. Finally, sketch some relief carvings above the arches, illustrating highlights of the winning game.

P O R T F O L I O Presenting your sketches in a series will demonstrate how you developed an idea. In your portfolio, show both your sketches of the entire arch as well as details of the relief carvings.

Check Your Understanding 1. What led to the downfall of Greece? How did Greek culture and art survive? 2. What was the Pantheon? What material was used to build it? 3. What is an aqueduct? What architectural innovation made the construction of aqueducts possible? 4. How did Roman portrait sculpture differ from that of the Greeks?
Figure 9–15 Examine this sculpture closely. What characteristics emphasize that it is a realistic portrayal of a Roman citizen? Roman Gentleman. c. A.D. 120. Marble. 43.2  60  27.3 cm (17  23 5⁄8  10 3⁄4
). The Nelson-Atkins Museum of Art, Kansas City, Missouri.

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LESSON 4

Making a Roman-Styled Relief The triumphal arch was not the only type of monument Romans used to glorify their accomplishments. They also erected columns like the Tower of Trajan (see Figures 9–16 and 9–17). This impressive structure was built to celebrate one of the emperor’s successful military campaigns. The Romans borrowed the practice of building monuments of this kind from the Greeks. The Roman version, however, was bigger and more elaborate. The Tower of Trajan, for example, soars to a height of one hundred feet. The marble column is decorated

with a continuous relief carving. This ornament describes the heroic acts of Trajan and his soldiers. Originally, these reliefs were painted and gilded to make them even more striking. At the top of the monument was a statue of Trajan. Unfortunately, this sculpture was destroyed during the Middle Ages.

WHAT YOU WILL LEARN You will make a plaster relief carving that illustrates one of your accomplishments. You will select and use a variety of appropriate art materials and tools to interpret your accomplishments. Your relief sculpture will be produced in traditional ways. Your finished work will be placed on display along with those made by classmates. Together, they will make a continuous relief carving celebrating the accomplishments of the class.

WHAT YOU WILL NEED ● ● ● ● ● ●

Cardboard shoe-box cover to be used as a mold Pencil and newsprint, 12  18 inches Newspapers to cover table or desk tops Plaster and container for mixing Carving tool (scissors, nail, fingernail file, or similar items) Small piece of fine sandpaper

WHAT YOU WILL DO
Figure 9–17 Column of Trajan, detail.


Figure 9–16 The relief band on this column is 656 feet long. It is carefully carved all the way to the top. Column of Trajan, Rome, Italy. c. 113 A.D.

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1. Lay the shoe-box cover on the newsprint and trace around it with a pencil. This will result in a rectangular shape in which you will make your drawing. When drawing, make certain that this rectangle is placed vertically. Complete a drawing in which you show yourself accomplishing something you are proud of. Draw large, simple figures and objects, and eliminate small details.

2. Place newspapers over your working surface. Mix plaster and carefully pour it into the shoe-box cover. (You may wish to line the shoe box with plastic wrap to prevent the plaster from sticking to the box.) 3. Allow the plaster to harden thoroughly before removing it from the box top. If some of the cardboard sticks to the plaster, wash it off with running water. 4. Smooth the sharp edges of the plaster by scraping it with a carving tool. 5. Select your best sketch. Pencil over the back completely. Place your sketch over the plaster with the penciled side down. Transfer the image by tracing over the lines of your sketch. 6. Use carving tools to cut away the plaster around the figure and other objects in your work. Carve slowly and carefully to make the figure and objects stand out from the background. Soaking the plaster in water occasionally will make carving easier. Because plaster is brittle, you may want to place it on a pad of folded newspapers. This precaution will help prevent breakage. 7. When you are finished carving, use fine sandpaper to smooth out the surface. 8. Clear a space on a long table or on the floor. Combine your relief with those made by classmates. Line up the finished works side by side to create one continuous narrative.

Evaluating Your Work ● Describe Identify the figure and other objects in your relief. Describe the action taking place. ● Analyze Determine if the figures and other objects seem to stand out in space. Does this create a pattern of light and dark values across the surface of the work? What is the effect of these contrasting values? ● Interpret Do you think the event shown is clearly recognized as a worthy accomplishment? What elements in your artwork suggest that it is? ● Judge Do you think your work is a success? In making your judgment, which aesthetic view or views did you rely on?


Figure 9–18 Student work. Roman-style relief.

STUDIO OPTION Make several sketches of a monument honoring “The American Student.” Create a threedimensional model of this monument using a variety of appropriate art materials and tools. Use both traditional and experimental methods to produce your sculpture. You might incorporate sculpted clay, carved plaster, and found objects. Be creative!

Visual Art Journal Illustrate ideas from personal experience and from experiences at community events. In your journal, make a list of the ways people today celebrate important events or achievements. Determine if any of these include a monument of some kind. Share your ideas with other members of the class.

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Art& REading The Art of Greek Myths The ancient Greeks were not only great artists but also great storytellers. Among their vast literary legacy is a rich tradition of mythology. The words mythology and myth come from the Greek word mythos, which means “story.” These stories were passed down verbally centuries before the Greek writing system was developed. Greek myths told the stories of gods and goddesses and their interactions with humans.

THE MYTH

OF

PROMETHEUS

The ancient Greeks often created stories to explain why or how things came to be. A myth might account for why the seasons change or what causes day and night. Myths might also explain how certain plants and animals came into existence. The following myth recounts the origin of humankind and how fire first appeared among humans.

Prometheus Zeus, king of the gods, assigned Prometheus and Epimetheus the task of creating life on earth. Prometheus, whose name means “forethought,” carefully fashioned a figure after himself and the other gods. Meanwhile, Epimetheus, whose name means “afterthought,” created numerous animals. Forgetting about humankind, Epimetheus gave all the gifts, including strength, speed, and fur, to his creatures. “I cannot have humankind live in cold, hunger, and darkness,” Prometheus thought. “They are noble like the gods and should not live unprotected among beasts. I must give them the gift of fire to lift them out of ignorance and darkness.” Although he knew that Zeus would be angered, Prometheus stole fire from the sun. He brought the flame to humankind, giving them light and warmth. Zeus was enraged that Prometheus dared to give humans a secret belonging solely to the gods. He ordered guards to chain Prometheus to a large rock. Every day, a vulture tormented him, tearing his flesh and eating his liver. Prometheus suffered his punishment for centuries until the hero Heracles freed him.

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Figure 9–19 Identify the positive and negative shapes in this artwork. What art elements did the artist use to depict this scene? Prometheus Giving Fire to Man. A . D . first century. Mosaic tile. Museo delle Terme, Rome, Italy.

ART

AND

MYTH

Throughout the ages, Greek mythology has inspired artists. One example is the artwork in Figure 9–19. It is a mosaic, an artwork made with small pieces of colored tiles. The pieces were carefully arranged to depict Prometheus giving humankind the gift of fire. Notice how the mosaic tiles were used to show line and shape. The artwork in Figure 9–19 was created almost two thousand years ago. It portrays Prometheus and humankind as noble, strong figures. Prometheus holds out a container for the fire, symbolizing the transference of knowledge. The human figure watches attentively as Prometheus teaches him how to use the fire. Why do you think the artist chose to depict this scene? If you were to illustrate a scene from the myth of Prometheus, which would you select? Why?

MAKE THE CONNECTION Take Another Look 1. Myths are often full of symbolic meaning. Reread the story of Prometheus. Why are the names Prometheus and Epimetheus symbolic? 2. In the story, fire provided humankind with light and warmth. However, what else might fire symbolize or represent in this myth? 3. Analyze the original artwork in Figure 9–19 to form conclusions about intents and meanings. What do you think the artist was trying to communicate in this artwork?

Art & Reading Illustrate a scene from literature. Using library resources, select and read another story from Greek mythology. Next, choose a scene that particularly interested or inspired you. Use your imagination to illustrate the ideas expressed in the myth.

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Women artists in ancient Greece.

ith the help of a good education and broad-minded fathers and husbands, certain women in ancient Greece made their artistic mark in the world. For the most part, the rights of women in ancient Greece were limited. Their main responsibility was to take care of the household. They were not allowed to participate in many activities These are fragments of a mosaic of the Battle of Issus (315 B.C.), believed to be based on a painting by the outside of the home. ancient Greek artist Helena. A handful of ancient Greek women, however, were able to work in the visual arts. The ancient Roman historian Pliny said that Greek women artists of the time often learned their trade from their fathers because they were not allowed to study with men outside the family. Some females served as art teachers, and they inspired other young women to become artists. Women artists of Greece usually produced portraits, but most visual evidence of their work has been lost. One exception is the impressive second century B.C. Roman mosaic from Pompeii, which shows Alexander the Great at the Battle of Issus. It demonstrates the excellence of female artists from ancient TIME TO CONNECT Greece. Historians believe this mosaic is based on a painting • Research information about the goddesses in Greek from around 315 B.C. by the mythology.Then, read a myth related to one of artist Helena. Her complex, the goddesses. exciting composition vividly conveys the sound and fury of • Create a Venn diagram that compares and contrasts the battlefield. It is considered the portrayal of Greek goddesses and the typical life of one of the great works of art by women in ancient Greece as described in this article. a woman who lived more than • Respond: What I found most interesting about the 2,000 years ago. similarities and differences between Greek goddesses and the life of actual ancient Greek women was… 150

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BUILDING VOCABULARY Number a sheet of paper from 1 to 6. After each number, write the term from the list that best matches each description below. amphora aqueduct concrete

frieze round arch triumphal arch

1. A decorative horizontal band running across the upper part of a wall. 2. A vase with two handles and a narrow neck. 3. A hard, strong building material made from a mixture of powdered minerals, gravel, and water. 4. A curved arrangement of stones over an open space. 5. A network of channels meant to carry water to a city. 6. An arched monument built to celebrate great military victories.

REVIEWING ART FACTS Number a sheet of paper from 7 to 14. Answer each question in complete sentences. 7. Which was the largest and most powerful of the Greek city-states? 8. No examples of Greek painting have survived to the present day. Nevertheless, we are able to determine what they may have looked like. Explain how. 9. What was the Acropolis? What kinds of events took place there? 10. Who was Phidias? Name two contributions he made to the Parthenon. 11. In what way did the materials used to build Rome’s Pantheon differ from the building materials the Greeks used in such structures as the Parthenon? 12. Why did the Romans place more importance on the interior rather than the exterior of the Pantheon?

13. Name three structures in which the Romans used the round arch. 14. What was the purpose of the Roman Colosseum?

CROSS-CURRICULUM CONNECTIONS 15. Language Arts. Imagine that you are the Greek sculptor Phidias. Officials of Athens have asked you to prepare a speech for the grand opening of the Parthenon. Write a short speech. In it, discuss the features, intents, and meanings of your work. 16. Language Arts. You are an art historian studying the architecture of ancient Greece and Rome. Write an article analyzing the similarities and differences between Greek and Roman temples. Use the Parthenon and Pantheon to support your views and claims. Make sure you compare and contrast the use of art elements and principles, using vocabulary accurately.

The British Museum, London, England How is art related to sports? Find out at the British Museum’s Web site! Follow the link at art.glencoe.com to take the museum’s tour on sports in ancient Greece. The tour will teach you about ancient Greek culture, traditions, and art. What did you learn about ancient Greek civilization through the museum tour? How does art help us learn about different cultures and time periods? Summarize your conclusions in a brief essay.

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Focus On
Figure 10–1 Which is the most important figure in this scene? How is that figure emphasized? What technique is used to suggest space or depth in this painting? A Princely Hawking Party in the Mountains, attributed to Mirza ‘Ali. Iran, 1560–80. Color and gilt on paper. 25.7
16.5 cm (10 1⁄8
6 1⁄2). The Metropolitan Museum of Art, New York, New York. Rogers Fund, 1912. (12.223.1). Photograph © 1987 The Metropolitan Museum of Art.

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Art of India and Islam Beauty is in the ideal of perfect harmony. . .

“

“

— Rubindranath Tagore, Indian writer (1861–1941)

A

rtworks can take us on a journey through time and space. Consider the painting in Figure 10–1. This work takes us to a faraway place in the distant past. It invites us to join a young, elegantly dressed Persian prince on a leisurely hunt. Gazing upward, the prince spies a game bird in a tree. With his staff, he alerts an attendant, who, in turn, orders the release of a hunting hawk. This painting was once an illustration in a great manuscript. Today, centuries later, it is our passport to a cultural and historical journey. After completing this chapter, you will be able to: ●

● ●

●

Identify major Indian contributions to architecture and sculpture. Create a banner design in the Buddhist style. Identify major Islamic contributions to painting, architecture, and crafts. Complete a work of art in the Islamic style.

Quick Write Interpreting the Quote Reread the quote by Tagore. Do you agree with his definition of beauty? Why or why not? Would you say that the artwork in Figure 10–1 exhibits harmony? Which elements of art are used to achieve this effect?

Key Terms stupas relic calligraphy arabesques mosque mihrab collage

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LESSON 1

Art of India India, shown in Figure 10–2, is a land of variety. Its northernmost reaches boast some of the world’s highest snow-capped mountain peaks. In the south are tropical lowlands and parched deserts. In between are rainsoaked valleys. Yet, for all its diversity, India is a land whose people are united by their strong religious beliefs. These beliefs have influenced Indian art since the dawn of civilization. In this lesson, you will learn about the religions and art of India.

THE RELIGIONS

OF INDIA

Indian culture has long been shaped by two religions. One is Buddhism, which you learned about in Chapter 6. The other, Hinduism (hin-doo-iz-uhm), traces its origins to prehistoric times. In fact, Buddhism emerged as an outgrowth of Hinduism around 500 B.C.
Figure 10–2 Map of India.

Unlike Buddhism, Hinduism did not evolve from the teachings of a great religious leader. Rather, it arose from the collected ideas, beliefs, and cultural practices of a people over thousands of years. Followers believe they can come to know the powers of the universe through the worship of their many gods. The most important of these gods are Brahma the Creator, Vishnu the Preserver, and Shiva the Destroyer. Hindus also believe that the soul or spirit never dies. Instead, it is reincarnated (ree-inkahr-nayt-uhd), or reborn into a new life form. The specific form depends on the person’s behavior in his or her previous life. These two religions, Hinduism and Buddhism, have influenced Indian culture for over 2,500 years. They have also been central to its art.

AFGHANISTAN

IRAN

CHINA

PAKISTAN

NEPAL Sanchi

BHUTAN

BANGLADESH

Arabian Sea

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0

500 mi

0

800 km

MYANMAR

Bombay

Bay of Bengal

SRI LANKA


Figure 10–3 The dome of this structure symbolized the dome of heaven. The carvings on the gate include animals, symbols, and scenes from the Buddha’s life on earth. However, there are no images of the Buddha himself. These were not created until later. The Great Stupa. Sanchi, Madhya Pradesh, India. Founded third century B.C., enlarged c. 150–50 B.C.

Architecture Among the earliest and most important examples of Indian Buddhist architecture are stupas (stoop-uhs). These are small, domed shrines. Inside the shrines are relics of the Buddha. A relic is a sacred object associated with a religious leader. Figure 10–3 shows the Great Stupa at Sanchi (san-chee). This impressive structure rises to a height of 50 feet. Worshipers entered the area around the stupa through four gates covered with relief sculptures. Then they circled the stupa, meditating on the Buddha and his teachings. They believed this practice would help them achieve a higher, purer state in the next life. The great cave temples that Hindu architects created later were also impressive. These temples evolved from earlier, less ambitious shrines carved from hillsides and rock cliffs. One of the largest and most remarkable was the Karli Cave Temple. (See Figure 10–4.) Carved out of a solid natural rock formation, it contained a hall 125 feet long and almost


Figure 10–4 Explain how a sense of movement is achieved in this interior. If the purpose of movement is to guide the viewer’s eye, then to what is the viewer’s eye directed here? Chaitya Hall, Karli Cave, India. c. A.D. 50.

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45 feet high. To complete it, builders first cut a passageway deep into the rock. Next, the ceiling was carved and wood beams were added for support. Work then continued downward as laborers cleared out all the space. When they had finished, only the columns and a small stupa remained at the


Figure 10–5 Born about 563 B.C., a wealthy Indian prince named Siddhartha Gautama withdrew from the world to lead a life of meditation. Achieving a state of enlightenment, he went on to preach a simple message of salvation that included meditation, giving up worldly possessions, and performing good works. How would you describe this figure’s pose and expression? Seated Buddha. Indian, Gandhara region, Kushan Period. First half of third century A.D. Gray schist. 100
29.5 cm (39 3⁄8
115⁄8). Cleveland Museum of Art, Cleveland, Ohio.

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end of the hall. Light from a large window above the entrance illuminated the stupa. Imagine what it must have been like to enter this impressive temple. The worshiper would meditate while walking down the long hall lined by rows of columns. In the distance would be the stupa glowing in the darkness.

Sculpture Many Indian sculptures show the Buddha seated in meditation. The work in Figure 10–5 is no exception. Note the unusually long earlobes and the dot on the forehead. Found on many Buddha images, these features each have a symbolic meaning. The earlobes, for example, are a reminder of the heavy earrings the Buddha once wore. Born a prince, the Buddha gave up these earrings along with other worldly possessions. The elongated lobes are thus a warning of the burden connected with material possessions. In contrast to the weighty stone Buddha figures are the elegant bronze sculptures created by later Hindu artists. One of these is shown in Figure 10–6. It pictures Shiva (also spelled Siva), the god of dance. The many arms do more than suggest the graceful act of dancing. They also protect the worshiper and hold symbols representing both creation and destruction. As he performs his ritual dance, the god’s right foot tramples a small figure representing ignorance.

Capturing Action in a Figure Painting Look again at Figure 10–6. Notice how the artist has captured the graceful movements of a dancer. Arrange to have a classmate model an action pose. On a large sheet of white paper, capture the action using a single color of tempera paint. Base your artwork on direct observation and use quick, bold strokes of the brush. Work quickly and fill the entire paper with your painting. Complete several paintings in this manner. When the paint has dried, add contour lines and details using a fine-tipped black marker.

P O R T F O L I O Display your paintings as a group next to the works of classmates. Participate in a group critique, identifying the most effective paintings. What made these works successful? What would you do to improve your painting for your portfolio?

Check Your Understanding 1. What two major religions have shaped Indian culture? 2. What is a stupa? 3. How was the Hindu temple seen in Figure 10–4 created? 4. Name two features found on many images of Buddha.


Figure 10–6 How would you interpret the mood or feeling expressed by this sculpture? Compare and contrast the use of art elements and principles in this artwork with Figure 10–5. Shiva Nataraja. South India, thirteenth century. Bronze. Height: 74.9 cm (29 1⁄2). The Museum of Fine Arts, Houston, Texas. Gift of Carol and Robert Strauss.

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LESSON 2

Making a Banner Design The most impressive works created by Buddhist artists in India were threedimensional. Yet the culture also produced its share of notable two-dimensional artworks. Creating illustrated banners, for example, was popular among some sects of Buddhist monks. These groups often moved from one monastery to another. Transporting large three-dimensional works was impractical. One of these banners is shown in Figure 10–7. Typically, banners like these told the story of the religious groups who ordered them. Over time, these banners became more and more complex. Eventually, they came to require years of work to complete.


Figure 10–7 In what ways is this painted image of the Buddha similar to the sculpture of the same subject shown in Figure 10–5? How does it differ? How are the principles of variety and emphasis demonstrated in this work? The House (Griha) of Ratnasambhava. Tibet, twelfth to thirteenth century. Opaque watercolor on cotton. 92.1
68.3 cm (36 1⁄4
26 7⁄8). Los Angeles County Museum of Art, Los Angeles, California. Nasli and Alice Heeramaneck Collection. Museum Associates Purchase.

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WHAT YOU WILL LEARN You will use tempera paint to create a complex banner design composed entirely of words. Like the banner in Figure 10–7, yours will also tell a story: your story. Base your artwork on personal experiences and imagination. The words selected for your banner will be ones that describe you and your interests. These words should be arranged to fit within a banner shape. The shapes of letters will vary in size and hue. This will add variety to your work. You will emphasize the one adjective you feel describes your best quality.

WHAT YOU WILL NEED ● ● ● ●

Pencil and sheets of sketch paper Ruler Sheet of white paper, 18
24 inches Tempera paint, several brushes, and mixing tray

WHAT YOU WILL DO 1. Think about nouns and adjectives that describe you and your interests. On a sheet of sketch paper, make a list of these words. Determine which adjective you feel best describes you. 2. Cut a large, simple shape for your banner from the sheet of white paper. With pencil, use the words from your list to create a design. Overlap words and vary the size of the letters used to spell them. Use a ruler to make all lines straight. Fill the entire sheet of paper with your word design. Determine how you will emphasize the single most important descriptive adjective. Consider where you will place this adjective. Ask yourself: What size should the letters be? What color will I use to paint these letters? 3. Carefully paint your design. The entire sheet should be filled with color. This means painting both the positive and negative shapes. Make certain that you have emphasized the most important adjective. 4. Place your banner on display along with those made by classmates. Can you guess who the artist of each design is?

PORTFOLIO IDEAS A portfolio should be organized so that it best shows your artistic abilities. You may wish to organize by media, theme, style, or subject matter. It can be helpful to show a progression of your skill or the development of an idea. Ask your art teacher for help in organizing your portfolio.

Evaluating Your Work ● Describe Can you read the various words on your banner? What colors and shapes did you use to create your design? ● Analyze What art elements did you use to give your work variety? Does one adjective in your design stand out? What technique did you use to emphasize this word? ● Interpret Does your banner design describe you and your interests? Were other students able to use the words in your design to identify you as the artist? ● Judge Do you feel that your design is a success? On what do you base your decision?


Figure 10–8 Student work. Banner design.

Visual Art Journal Hold an exhibition of your completed banners. Analyze this peer exhibition to form conclusions about formal properties, intents, and meanings. Write your analysis in your visual art journal.

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LESSON 3

Art of Islam With the rise of Buddhism in India, Hinduism lost favor. It began to make a comeback, however, around A.D. 600. At about that same time, another religion was reaching prominence two thousand miles to the west. This new religion was Islam (iz-lam). It would eventually grow into one of the world’s largest, with over one-half billion followers.

THE GROWTH

OF ISLAM

The spiritual and geographical center of Islam is the city of Mecca (mek-uh). Mecca is located on the Arabian Peninsula. (See Figure 10–9.) There, in A.D. 613, a merchant named Muhammad (muh-hahm-uhd) began preaching a faith centering on one god, Allah. People eventually came to share Muhammad’s beliefs and recognized him as Allah’s holy messenger. Followers of Muhammad are called Muslims (muhz-luhms). By the early 700s, Muslims could be found throughout the Middle East, North Africa, and Asia.

EUROPE

ASIA

Mecca

AFRICA

I ND IA N OC EAN

0

1000 mi

0

1600 km


Figure 10–9 Map of the Islamic World, c. A.D. 750.

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Painting The Koran (kuh-ran) is a collection of sacred writings of Islam. A page from the Koran is shown in Figure 10–10. Some of the finest examples of early calligraphy (kuh-lig-ruhfee) appear in volumes like this. Calligraphy is a method of fine handwriting, sometimes done with a brush. Notice the decorated background on this carefully designed page. The goldcolored floral designs used there contrast with and highlight the slim black letters of the text. Designs like those used in this background are known as arabesques (ar-uh-besks). These are decorations composed of intertwined, flowing patterns of flowers, leaves, branches, and scrollwork. Early Muslim teachings forbade using images of humans or animals in religious texts and buildings. Thus, arabesques became popular decorative designs. Architecture One way in which Muslims demonstrated their faith was through the building of religious monuments. Chief among these was the mosque, a Muslim house of worship. By the 800s, the Muslim capital of Cordoba (korduh-vuh), Spain, was reported to have 300 mosques. Figure 10–11 shows a view inside the largest of those mosques. Notice the row upon row of polished marble columns. These extend back to the mihrab (mee-ruhb), a highly decorated niche in the wall of a mosque. The mihrab is the most important part of the mosque. Some scholars believe it may represent the place Muhammad stood in his own house during prayer. It became a standard feature in all mosques. Look again at Figure 10–11. Analyze the architecture to determine cultural contexts. What does it tell you about the aesthetic values and beliefs of the people who created it?


Figure 10–10 Even though it is not illustrated, this page from a Koran can be considered a work of art. What characteristics contribute to the artistic effect of the page? Page from a Koran. Iran, twelfth century. Ink, colors, gold on paper. 29.8
22.2 cm (113⁄4
8 3⁄4). The Metropolitan Museum of Art, New York, New York. Gift of Horace Havemeyer, 1929. (29.160.23). Photograph © 1986 The Metropolitan Museum of Art.


Figure 10–11 Once their eyes adjust to the darkness in this great mosque, visitors find themselves in an architectural wonder, surrounded by 400 pillars and arches that lead to the mihrab. How do you think you might feel upon finding yourself inside this mosque? Interior of the Mosque at Cordoba, Spain. Begun

A.D.

786.

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A Message from the Alhambra A short distance to the west of the Alhambra is a small bridge. It is known as the Bridge of Pinos. It was the site of many skirmishes between Christians and Moors. These occurred during a period when the Moors controlled Spain. The bridge’s fame, however, rests on an incident that took place there in 1492. King Ferdinand and Queen Isabella had recently taken possession of the Alhambra. At the bridge, a messenger dispatched from the palace overtook a discouraged sailor. The sailor had himself just left the palace moments earlier. The messenger had come with good news. He told the sailor that the queen had changed her mind. She was willing to finance his voyage of discovery. The sailor’s name was Christopher Columbus.


Figure 10–12 The Alhambra was the last Islamic stronghold in Spain. When it fell to the armies of Ferdinand and Isabella in 1492, it signaled the end of an Islamic occupation of Spain that had lasted for more than 750 years. Patio of the Arrayanes, interior of the Alhambra, Granada, Spain. c. 1230–1354.

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Spain boasts another impressive monument: the ancient fortress-palace known as the Alhambra. This magnificent complex of palaces, courtyards, and fountains stands on a hill overlooking the city of Granada. It is one of the most splendid examples of Islamic architecture. Figure 10–12 presents a view of the interior. The walls overflow with delicate patterns and inscriptions from the Koran. These decorations were originally covered with gold and brilliantly colored. Crafts One of the great contributions of Islamic art is the knotted-pile, or Persian, carpet. The knots in these handmade carpets are extremely close together. That way, when the pile (raised loops of yarn) is worn away, the colors remain visible. Examine the elaborate pattern of the carpet in Figure 10–13. The carpet depicts a garden scene with cypress, almond, and other trees.

Making Persian Knots Look again at Figure 10–13. A feature common in carpets like this is the Persian knot, illustrated in Figure 10–14. Using knots like this, the weaver was able to create an unusually tight weave. You will create a weaving, an example of fiber art, in this activity. Select and use a variety of appropriate art materials and tools to produce your fiber art. Start by making a very small cardboard loom and make a warp. See Chapter 8, Lesson 2 for instructions on how to make a warp. Using a tapestry needle and yarn, alternate rows of Persian knots with rows of tabby weave. (Tabby weave is a simple over, under, over, under pattern.)

P O R T F O L I O


Figure 10–13 Less than half of the original 40-foot long carpet has survived to the present day. The design was first painted by an artist in the Persian court and then woven and knotted by skilled artisans. Compare and contrast the design of this carpet with Figure 10–1. What similarities and differences can you find in the use of art elements and principles? Tree Carpet. Persia, sixteenth to seventeenth century. Wool and cotton. 5.3
3.6 m (174
119). Philadelphia Museum of Art, Philadelphia, Pennsylvania. The Joseph Lees Williams Memorial Collection, 1955.

Experiment making small weaving samples with knots of your own design. Compare your efforts with the weaving done with Persian knots. Include samples of your best fiber art in your portfolio.

Check Your Understanding 1. Who was Muhammad? When and where did he begin preaching his new faith? 2. What is the Koran? 3. What is calligraphy? 4. What kinds of images were not permitted on the pages of the Koran? 5. What is a mosque? What is a mihrab?


Figure 10–14 Persian knot diagram.

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LESSON 4

Making a Collage in the Islamic Style Examine the Islamic miniature painting in Figure 10–15. Did you notice that everything seems to lie flat on the picture surface? What technique is used to show that some figures and objects are farther back in space? Do you think this technique captures the illusion of depth? How would you describe the color used in this work? How many scenes can you identify? Did you notice how the artist presents many points of view in the same picture? Answering questions like these will help you understand the Islamic style of painting. It will also enable you to create art of your own in this style.

WHAT YOU WILL LEARN In this lesson, you will create a collage. A collage is an artwork made up of pieces of twodimensional materials pasted onto a background. Your collage will show several scenes related to a real-life event. The work will be organized in the manner of a flat, colorful Islamic miniature painting. Figures and objects appearing farther back in space will be placed higher than other figures and objects. Decorative backgrounds will be made with patterned fabrics and papers. People and other objects will be made by drawing and painting them on white paper.

WHAT YOU WILL NEED ● ●

Pencil, sketch paper, ruler, scissors Sheet of white paper or poster board, 22
28 inches ● Pieces of patterned fabrics and papers ● White glue, colored pencils ● Small pieces of white drawing paper

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Figure 10–15 Notice the patterns, rhythmic designs, and bright colors in this book illustration. Some of the pigments for the colors were made by grinding precious metals such as gold and silver. What other characteristics add to the appeal of this work? Analyze this artwork to form conclusions about formal properties, historical and cultural contexts, intents, and meanings. ’Abd Allah Musawwir. The Meeting of the Theologians. c. 1540–50. Watercolor on paper. 28.9
19.1 cm (113⁄8
7 1⁄2). The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Trust.

WHAT YOU WILL DO 1. With classmates, brainstorm school or community events that could be depicted in several scenes. Make pencil sketches of different scenes related to one event. 2. Using a pencil and ruler, lightly draw different-sized rectangles on a sheet of poster board. The scenes you are illustrating will fit inside these rectangles. Rectangles placed at the bottom of the poster board will contain close-up scenes. Those at the top will depict scenes farther back in space. 3. Measure each rectangle. Then cut out patterned fabric or paper to fit within each. Consider how the patterns will look when placed next to each other. Try to use contrasting patterns so that the rectangles will differ from one another. You may also use colored pencils to create patterns in some of the rectangles. Glue the pieces of fabric and paper to the poster board. 4. On a separate sheet, draw figures and objects to place in each scene. Make simple shapes, and color them in bright hues. Each figure should fit inside the rectangle for which it is intended. Cut out the drawn figures and objects, and glue them onto the design. Make sure you apply design skills to communicate effectively ideas and thoughts in everyday life. 5. Ask other students if they can guess the event shown in your collage.

Evaluating Your Work ● Describe What activities did you illustrate in your collage? Is each scene of your collage easily identified? Is your collage easy to “read”? ● Analyze Explain how your collage uses the element of space. Is your design flat and colorful? What other art elements and principles did you use in your collage? ● Interpret What emotion or feeling is associated with the scenes illustrated in the collage? ● Judge Relying on the composition view, do you think your collage is a success? How would you judge your work using the subject view or the content view?


Figure 10–16 Student work. Collage in the Islamic style.

COMPUTER OPTION Use your computer to create patterns, textures, and drawings to use in your collage. Select and use a variety of appropriate tools in your paint or draw program. Scan in fabrics, pictures, or photos. Print out the images on different types of paper. Use both traditional and experimental methods to create the pieces for your collage. Then follow the directions in the studio lesson to assemble your collage.

Go to art.glencoe.com to learn more about the art of India and Islam. There, you will also find: ● ● ● ● ●

Artist Profiles Career Corner Interactive Games Student Art Gallery Web Links

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Art& Reading Epic Storytelling in India India’s artistic tradition dates back thousands of years. As you’ve seen, Indian art often reflects the people’s beliefs, values, and aspects of daily life. The art of storytelling also plays an important role in the culture of India. These stories, passed down orally throughout the centuries, help teach social and moral values. Among the most famous of these tales is The Ramayana. Stories from this great epic have been told and retold for 4,000 years.

A HERO’S ADVENTURES The Ramayana recounts the adventures of Rama, a legendary Hindu prince destined for heroic deeds. His accomplishments range from defeating demons terrorizing India to establishing a golden age in his kingdom. Throughout his journey, Rama acts with virtue, respect, and loyalty. His behaviors and actions serve as a model for all people to follow. The following is a retelling of an early scene from The Ramayana.

Rama and the Bow (Adapted from The Ramayana) A wise man arrived in Rama’s kingdom to train the young prince for his great destiny. During this training, he led Rama to a land ruled by Janaka, a king married to Mother Earth. “This king owns a magical bow,” said the wise man. “No one on earth has been able to string this bow. I am certain that you, the best of men, will succeed!” King Janaka welcomed Rama to his kingdom. He told the young prince, “Whoever can bend and string my mighty bow shall win my daughter Sita’s hand in marriage. Only a man of great courage, loyalty, and righteousness can accomplish this task. Thus far, none have succeeded.” “Winning your fair and virtuous daughter’s hand would be the highest of honors, great king,” Rama replied. “I accept this noble challenge.” Thousands arrived at Janaka’s palace to witness this event. The kingdom’s strongest warriors pulled forth the mighty bow on an impressive chariot. Rama lifted, bent, and strung the bow easily. King Janaka kept his promise and blessed the wedding. During the sacred marriage ceremony, Rama and Sita vowed to love and remain devoted to one another through eternity.

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Figure 10–17 Do you think this painting successfully captures the action of the story? Why or why not? What contributes to the visual appeal of this artwork? Rama Bends His Bow (Ramayana). c. 1700. Opaque watercolor on paper. 22
32.8 cm (8 21⁄32
12 29⁄32). San Diego Museum of Art, San Diego, California. Edwin Binney III Collection.

THE EPIC LIVES ON The Ramayana has inspired various art forms for generations. This timeless tale has been depicted in paintings, sculptures, poetry, film, and even in comic books. It has also been performed in theatre, music, and dance. Figure 10–17 shows a painting illustrating Rama’s success in bending King Janaka’s bow. This artwork was created in India in the early 1700s. Rama, with his blue skin and rich garments, easily stands out in the picture. He bends the large bow with grace and ease as the crowd looks on. The vibrant colors in the painting help emphasize the story’s sense of excitement and adventure.

MAKE THE CONNECTION Take Another Look 1. Reread the story on page 166. What characteristics are associated with Rama? Why do you think he is an important role model in Hindu culture? 2. Examine the painting shown in Figure 10–17. How has the artist emphasized the figure of Rama? What elements and principles of art help capture the action of the story?

Art & Reading Create an artwork inspired by literature. Using library resources, research and read another episode from The Ramayana. Choose a scene that you particularly like. Using your imagination, illustrate that scene. Select and use appropriate art materials and tools to create your artwork. Include a short summary of the scene with your artwork.

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TOP: PAUL ALMASY/CORBIS; BOTTOM: ROGER WOOD/CORBIS

A rare medieval Persian architectural scroll is discovered in Turkey.

ABOVE: A detail of a mosaic used in the Saadien Tombs in Marrakesh, Morocco, in the late sixteenth century. BELOW: The dome of the Shrine of Shah Ne’matollah Vali in Mahan, Iran (1601).

n 1986, Harvard professor Gulru Necipoglu was doing research in Istanbul, Turkey, the city of her birth. The most exciting item she found was a 92-foot-long medieval scroll. “I had never seen anything like it,” she says. The paper scroll, with its 114 drawings, is a pattern book, used as a guide to making architectural objects. It came from the workshop of a master builder who worked in Persia (now Iran) around the early sixteenth century. Working drawings, which served as an early draft or blueprint, were often used in medieval Islam, but most have been lost. Necipoglu believes that Persian tile makers, who came to Istanbul to carry out the abstract, geometric designs, left the scroll behind. Fortunately, someone placed it in the imperial treasury. For centuries, this “how-to” guide for decorating interiors with glorious geometric designs lay unseen. Geometric patterns in Islamic art were not just for decoration. Necipoglu explains that Muslims believed that geometry was a gateway to spiritual wisdom. Patterns of interlocking stars and many-angled shapes had religious importance. The complex designs and colors awakened viewers to the harmony of the universe.

TIME TO CONNECT The scroll dates from the Timurid dynasty or early Safavid dynasty.

• Use your school’s media resource center to find and interpret various sources (maps, reports, visuals, etc.) about these dynasties.

• Use the information to write a description about what life was like during the time the scroll was made. From your research, discuss what you think the scroll might suggest about the role architecture played in this period. 168

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BUILDING VOCABULARY Number a sheet of paper from 1 to 7. After each number, write the term from the list that best matches each description below. arabesques calligraphy collage mihrab

mosque relic stupas

1. Small domed shrines. 2. A method of fine handwriting, sometimes done with a brush. 3. A sacred object associated with a religious leader. 4. Decorations composed of intertwined flowing patterns of flowers, leaves, branches, and scrollwork. 5. A Muslim house of worship. 6. A highly decorated niche in the wall of a mosque. 7. An artwork made up of pieces of twodimensional materials pasted onto a background.

CROSS-CURRICULUM CONNECTIONS 15. Social Studies. Both Hinduism and Buddhism played central roles in the art and culture of India. Write a brief essay comparing and contrasting similar types of artworks inspired by the two religions. Possibilities might include temples or statues. 16. Math. The use of geometry can be seen in much of Islamic art. It is evident, for example, in Islamic architecture, wall panels, illustrations, and carpets. Write a paragraph analyzing the use of geometric shapes in the examples of Islamic art shown in this chapter. 17. Language Arts. Read one of the selections in Tales of the Alhambra, by Washington Irving. Write a brief summary of the story using a calligraphy style. Illustrate your synopsis with arabesque decorations.

REVIEWING ART FACTS Number a sheet of paper from 8 to 14. Answer each question in complete sentences. 8. Identify one of the earliest and most important examples of Indian Buddhist architecture. 9. Name a specific example of Indian Hindu architecture. Why is this example impressive? 10. Why does the Hindu god Shiva have many arms? 11. What is the Koran? 12. Why did arabesques become popular decorative designs used on sacred buildings and on the pages of the Koran? 13. What is the Alhambra, and where is it located? 14. Identify a special characteristic of knots used in Persian carpets.

Seattle Art Museum, Seattle, Washington Art tells us stories, opens our imagination, and teaches us about other cultures. Experience these wonderful aspects of art at the Seattle Art Museum! Click on the link at art.glencoe.com to take a cultural journey at the museum’s Web site. Play the interactive game to learn more about three important figures in Indian religion. What kinds of stories did the artworks tell? How did the explanations help you appreciate the artworks better? Write a journal entry to record your experience.

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Focus On
Figure 11–1 This ivory mask was created by an artist in the Benin Empire in Nigeria. The identity of this portrait is unknown, but it is thought to be a woman because of the four marks over the eyes. In Benin, three marks would have identified the portrait as that of a man. Africa, Nigeria, Court of Benin. Pendant Mask. Early sixteenth century. Ivory, iron, copper. Height: 23.8 cm (9 3⁄ 8
). The Metropolitan Museum of Art, New York, New York. The Michael C. Rockefeller Memorial Collection. Gift of Nelson A. Rockefeller, 1972. (1978.412.323). Photograph © 1995 The Metropolitan Museum of Art.

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Art of Africa and Oceania “

“

The great images of Africa’s tribal past speak to us as part of the heritage of all mankind. — J. Carter Brown, former Director of the National Gallery of Art, Washington, D.C.

T

he art of Africa is as varied as the many cultures found on that great continent. Deep religious roots help explain the many different styles. Each culture evolved its own art style to honor its gods and express its beliefs. Some groups created remarkably realistic art. Other groups chose to create symbolic works, like the one seen in Figure 11–1. Similar to the tribal art of Africa, Oceanic artwork of the Pacific Islands also demonstrated the history and traditions of native cultures. Both African and Oceanic cultures have made valuable contributions to the artistic accomplishments of humankind. After completing this chapter, you will be able to: ●

●

●

●

Describe the wood and bronze figures made by African sculptors. Name the three kinds of masks created by African sculptors. Use a variety of art materials and tools to create art objects inspired by African art. Describe the artwork created by Oceanic cultures.

Quick Write Interpreting the Quote Reread J. Carter Brown’s quote. Why do you think artwork from different cultures “speak” to all people? Why are they a “part of the heritage of all mankind”? Now look at Figure 11–1. What does the mask “say” to you?

Key Terms abstract art face mask headpieces shoulder masks papier-mâché

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LESSON 1

The Figure Sculptures of Africa Africa is the second largest continent in the world. In area, it is three times larger than the United States, including Alaska. Its population of 500 million is distributed among almost one thousand different cultural groups. Language, social organization, and customs vary among these groups. It is therefore not surprising that the groups produce such different styles of art. Nowhere is this difference more evident than in their richly varied wooden sculptures.

made its own unique contribution to the world of art. This began with rock carvings and etchings in the south. Some of these date back twenty-seven thousand years. They were created around the time prehistoric artists made their cave paintings in Europe. In the centuries that followed, cultures and art forms developed and flourished. African art became more complex and organized. In this lesson, you will learn about the human figure sculptures created by African artists of the western regions.

THE CULTURES

Carved Wood Figures A favored medium of early African sculptors was wood. Carvings were usually made from a single log. The log’s shape often determined the shape of the finished work.

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Figure 11–2 Map of Africa. Major cultural groups.

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The peoples of Africa south of the Sahara live in many different nations and kingdoms. A number of these are shown on the map in Figure 11–2. Over time, each culture has

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Evolution of an Art Form African wood carvings are noted for the imagination that went into them. These highly expressive works impressed and influenced important European artists, including Picasso and Matisse. What aspects of African art captured the attention of artists of such stature? Surprisingly, the answer to this question involves contributions by two unlikely forces of nature. One is Africa’s damp environment. The other is the wood-eating white ant. Their destructive actions required each generation of carvers to replace damaged artworks of the previous generation. These new works revised, improved upon, and revitalized the traditional forms.


Figure 11–3 Compare and contrast the use of art elements and principles in this artwork with those used in Figure 11–1. What similarities and differences can you find? Africa, Democratic Republic of the Congo, Kuba people. Ndop Portrait of King Mishe miShyaang maMbul. Eighteenth century. Wood. Height: 49.5 cm (19 1⁄2
). Brooklyn Museum of Art, Brooklyn, New York. Purchased with funds given by Mr. and Mrs. Alastair B. Martin, Mrs. Donald M. Oenslager, Mr. and Mrs. Robert E. Blum, and the Mrs. Florence A. Blum Fund.

Rituals were performed by the artist at each stage of the carving. These included offerings to the spirit of the tree from which the wood was taken. The resulting sculptures took on many different forms. These were almost always based upon the human figure. Figure 11–3 depicts an eighteenth-century ruler. He is shown seated cross-legged on a raised platform. Study the man’s face. How would you describe the expression on it? Does the king look troubled or excited? Does he appear to be composed and even aloof? Do you think the expression on this face is appropriate for a great leader? What cultural ideas relating to social, political, and environmental themes can you identify in this artwork? A carving like this does more than honor the spirit of the dead ruler. It also acts as a resting place for his spirit. Here the spirit can dwell until it begins its journey to the next world.

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Figure 11–4 shows a Senufo carving of a man on horseback. This carving was never meant to look lifelike. It is an example of abstract art. This is art in which the subject is recognizable but portrayed in an unrealistic manner. The rider represented by this work was a great magician. He was said to have powers that allowed him to travel between the real and spirit worlds. He is shown with his shoulders back and his chest and chin thrust forward. These details of body language demonstrate dignity and pride. The sculpture seen in Figure 11–5 is known as a power figure. Medicines that give the figure its power are sealed behind two mirror-covered cavities. One is in the stomach, and the other is in the back. The people who created the figure believed it had the

power to heal, harm, or punish. Figures like this were also used to settle disputes and bring about peace. Metal blades or nails were driven into the figure whenever its powers were needed.


Figure 11–4 What elements and principles of art can you identify in this artwork? How do the artwork’s formal properties contribute to its mood?


Figure 11–5 Does this figure look as if it is inattentive and relaxed, or does it look like it is alert and ready to act? Point to characteristics in the work to support your decision.

Africa, Ivory Coast, Senufo Tribe. Equestrian Figure. Nineteenth to twentieth century. Wood, patination. 32.1  7.3  22.3 cm (12 5⁄8  2 7⁄8  8 3⁄4
). Dallas Museum of Art, Dallas, Texas. The Gustave and Franyo Schindler Collection of African Sculpture.

Africa, Democratic Republic of the Congo, Kongo (Yombe) people. Power Figure (Nkisi Nkondi). Nineteenth century. Wood, iron, glass mirror, resin, pigment. 86  34.9 cm (33 7⁄ 8  13 3⁄ 4
). Brooklyn Museum of Art, Brooklyn, New York. Museum Expedition 1922, Robert B. Woodward Memorial Fund.

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Cast Bronze Figures The art of Africa first came to the attention of western Europe in the late 1400s. It was during this period that the Portuguese began exploring the continent. However, it was not until 1897 that Europeans became fully aware of a long, flourishing African art

Designing a “Who I Am” Necktie


Figure 11–6 How has the chief’s importance been emphasized in this work? What ancient culture that you read about earlier followed the same practice? Africa, Nigeria, Court of Benin, Edo. Plaque: Warrior Chief, Warriors, and Attendants. Sixteenth to seventeenth century. Bronze. 47.1 cm (183⁄4
). The Metropolitan Museum of Art, New York, New York. Gift of Mr. and Mrs. Klaus Peris, 1990.

tradition. In the spring of that year, thousands of bronze sculptures arrived in England. They had been shipped from the city of Benin (buh-neen) in western Africa. Among these were bronze reliefs used to decorate the palace of the Oba, or king. One of these, showing a warrior chief, warriors, and attendants, appears in Figure 11–6. Notice how the chief raises a ceremonial sword in his right hand. It is almost as if he is saluting the Oba. The chief is easily identified by his position in the center of the work. He wears the leopard-tooth necklace of a warrior. Among the ornaments that identify his rank are a high beaded collar and cap. The two smaller warriors on either side wear similar leopardtooth necklaces. Both carry shields, and one holds a spear similar to the chief’s. The four smallest figures are attendants, each performing a specific task. One is fanning the chief, while another sounds a fanfare noting the chief’s arrival. A third carries a sword, while the fourth holds a box of offerings.

Look again at the Benin bronze shown in Figure 11–6. Note the high collar indicating that the central figure was a chief. Imagine that you live in a society where neckwear indicates an individual’s occupation and interests. What would appear on your necktie? From light-colored construction paper, cut the shape of a tied necktie. Glue this piece to a sheet of dark-colored construction paper. Decorate your necktie with a variety of images arranged in a visually attractive design. The images should indicate your occupation, interests, and anything else you would like people to know about you. Apply design skills to communicate effectively ideas and thoughts in everyday life.

P O R T F O L I O Select one of your classmates’ designs and analyze the peer artwork to form conclusions about formal properties, historical and cultural contexts, intents, and meanings. Indicate the strong and the weak points. Then, analyze your own work. Revise, if necessary, and include the finished work in your portfolio.

Check Your Understanding 1. Why is it not surprising that the peoples of Africa practice so many different art styles? 2. What is the meaning of abstract art? 3. What were African carved sculptures almost always based upon? 4. What was the purpose of Benin bronze reliefs?

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LESSON 2

Abstract Figure Relief in the Kota Style Study the art object in Figure 11–7. This mysterious abstract figure was created by the Kota people of central Africa. Made of wood and metal, the object’s purpose was to protect relics of the dead. Notice that the large oval head is framed by arch-shaped pieces. The face is covered with designs made up of geometric shapes and repeated lines. The lower part of the sculpture, representing the body, is greatly simplified with a diamondshaped opening. All of the shapes and lines in the figure are balanced symmetrically.

WHAT YOU WILL LEARN You will create a standing abstract figure viewed from the front. The head and face of your figure will be emphasized. The figure and all decorative features will be balanced symmetrically. You will use a variety of flat, simple shapes for the body parts, features, and decorations. This will give your work a sense of harmony. All parts of your figure will be wrapped in aluminum foil. This will give the object a metallic surface similar to the one in Figure 11–7. You will use closely spaced lines to create textured, decorative areas. These will contrast with the smooth surfaces on the remainder of your figure.

WHAT YOU WILL NEED ● ● ● ● ● ●

Pencil and sheets of sketch paper Poster board, 12  18 inches Scissors and tape Aluminum foil White glue Mat board or cardboard, 12  18 inches or larger ● Pieces of corrugated cardboard

WHAT YOU WILL DO


Figure 11–7 How do you feel when you notice that this figure is staring directly at you? Do you think the figure is meant to be frightening? Why or why not? Africa, Gabon, Kota people. Reliquary Figure. c. nineteenth to twentieth century. Wood, brass, copper, iron. 73.3 cm (22 7⁄8
). The Metropolitan Museum of Art, New York, New York. Purchase, 1983. (1983.18). Photograph © 1983 The Metropolitan Museum of Art.

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1. Begin by carefully examining Figure 11–7. Note the simple shapes used to represent various parts of the body. Observe how these parts have been combined to create an abstract figure. Analyze how the artist used shape and line to emphasize the face of the figure. Note where different textures add a decorative contrast to the work. 2. Make several sketches of an abstract figure viewed from the front. Make certain that each figure is made up of

separate shapes. Use simple shapes and lines for features and decorations. Balance all the shapes and lines symmetrically. 3. Choose your best sketch. Make a large line drawing of this sketch on the sheet of poster board. Cut out the separate shapes of the body. 4. Using the remaining poster board, cut out small shapes representing features and decorations. Glue these to the different shapes of the body. 5. Cover each of the body shapes with aluminum foil. Wrap the foil completely around each of the shapes. Use tape to fasten the foil to the back of the cardboard. 6. Using the end of your pencil, press down carefully and firmly on the foil around the smaller poster board shapes. 7. Use a dull pencil point to make closely spaced lines along the edges of body shapes. This will add textural contrast to your work. 8. Cut small pieces of corrugated cardboard. Glue these to the back of each body shape. Stacking two or more cardboard shapes will increase the three-dimensional appearance of your finished work. 9. Assemble the body shapes of your figure on the mat board and glue in place. Option: You may wish to cut out a large piece of cardboard and cover this with aluminum foil as well. This would then be used as a backing for your figure.

Evaluating Your Work ● Describe Point to and name the different parts of your figure. Is it easy to identify your work as a human figure viewed from the front? ● Analyze Is your figure balanced symmetrically? What different textures did you create in your figure? What features give your work unity? ● Interpret Does your abstract figure exhibit any of the mystery noted in the figures created by the Kota people? How so? ● Judge Based on the composition view, do you feel that your work is a success? Why or why not? Would your judgment be the same if you base your judgment on the content view? Explain.


Figure 11–8 Student work. Abstract figure relief.

STUDIO OPTION Incorporate Kota-style designs into an artwork for use in everyday life, such as a bookmark. Select appropriate art materials and tools to produce your artwork.

Visual Art Journal Examine the artwork in this chapter. Select one to analyze in your visual art journal. Jot down your conclusions about its historical and cultural contexts, intents, and meanings.

Lesson 2 Abstract Figure Relief in the Kota Style

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LESSON 3

The Masks of Africa African peoples had several ways of relating to the spirit world through art. One, which you learned about in Lesson 1, was through the use of figure sculptures. Another made use of masks. Like figure sculptures, masks made by African artists were skillfully fashioned. They, too, are considered to be among Africa’s finest art forms. In addition to being visually exciting, these masks also held great spiritual importance. African artists created three different types of masks. These were the face mask, the headpiece (or headdress), and the shoulder mask. You will learn about these types of masks in this lesson.


Figure 11–9 Kuba chiefs were usually buried wearing masks like this. Analyze this mask to determine its cultural context. What does this artwork tell you about the culture that created it? Africa, Democratic Republic of the Congo, Kuba people. Mask (Moshambwooy). Late nineteenth or early twentieth century. Bark, cloth, leather, pigment, shell, hair, beads, fabric. 49  37 cm (19 5⁄16  14 9⁄16
). Brooklyn Museum of Art, Brooklyn, New York. Museum Expedition 1922, Robert B. Woodward Memorial Fund.

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THE FACE MASK The face mask was a mask worn to hide the identity of the wearer. The wearer even changed his or her voice so as not to be recognized. An example of a face mask is shown in Figure 11–9. It represents the founder of the Kuba people and is one of their most important masks. It is worn by the king and by important chiefs. The mask is meant to show both their wisdom and their right to rule. The wooden ears, mouth, and nose are attached to a face made of painted animal hide. A painted geometric pattern is used to decorate the face. The white beard represents that of an old man of great wisdom and experience.

It also contrasts with the dark color of the face, giving the mask added visual interest. African face masks served many different purposes. Some were used in ceremonies to ensure a good harvest. Others were worn to mark the transition from childhood to adulthood. Still others, like the Songye mask seen in Figure 11–10, were intended to protect the

community from danger. Sometimes the wearer raced through the village chasing out evil spirits by screaming threats and waving sticks. At other times, the mask was worn to rally warriors during battle. With features that are part human and part animal, this mask represents a spirit thought to live in the mountainous wilderness of Zaire.


Figure 11–10 Analyze this mask to form conclusions about intents and meanings. What animal do you associate with the stripes and crest used? What features could be described as human? What cultural ideas relating to social and environmental themes can you identify in this artwork? Africa, Democratic Republic of the Congo, Songye people. Mask for the Kifwebe Association. Late nineteenth century. Wood, pigment. Height: 53.3 cm (21
). Philadelphia Museum of Art, Philadelphia, Pennsylvania. The Samuel S. White III and Vera White Collection, 1957.

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THE HEADPIECE

THE SHOULDER MASK

Not all African masks were made to hide the wearer ’s identify. The abstract animal “masks” of the Bambara tribe of West Africa took the form of headpieces. Headpieces were ornamental or ceremonial coverings worn on the head. In Bambara culture, the antelope is a symbol for a rich harvest. Look at the headpieces in Figure 11–11. These objects were worn at ceremonies held when a new field was readied for planting. Performers took part in a spirited dance with steps mimicking the actions of leaping antelopes. The dance honored Tyi Wara, the mythical being who taught the Bambara how to cultivate crops. The design of the headpiece was meant to blend the speed and grace of the antelope with the powerful spirit of Tyi Wara.

Shoulder masks were large, carved masks that cover the head and rest on the shoulders of the wearer. Like face masks and headpieces, shoulder masks were part of a complete costume. They, too, were made to be worn by performers in special ceremonies. A shoulder mask of the Baga people is shown in Figure 11–12. This art object was used during a dance ritual meant to guarantee a successful harvest. The wearer peered out through holes cut into the mask. Long fiber strips were used to cover the body of the dancer. When the shoulder mask was in place, the dancer was over eight feet tall. The effect of this towering figure must have been impressive—maybe even frightening—to onlookers.


Figure 11–11 Antelope headpieces such as these were an important part of Bambara agricultural ceremonies. How is the rhythm of the dance echoed in the design of these carvings? Africa, Mali, Bambara people. Antelope Headpieces. Nineteenth to twentieth century. Wood, metal bands. Left: 71.2  30.9  5.4 cm (28  12 1⁄8  2 1⁄8
). Right: 90.7  40  8.5 (35 3⁄4  15 3⁄4  3 3⁄8
). The Metropolitan Museum of Art, New York, New York. The Michael C. Rockefeller Memorial Collection. Gift of Nelson A. Rockefeller, 1964. (1978.412.435–.436). Photograph © 1983 The Metropolitan Museum of Art.

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Making an Expressive Mask Design


Figure 11–12 Unlike other masks, carved wooden shoulder masks were heavy, weighing as much as 75 pounds. They required strong performers, and they could only be worn for short periods of time. Africa, Guinea, Baga people. Shoulder Mask. Nineteenth to twentieth century. Wood. 122.6  40.9  70.3 cm (481⁄4  161⁄8  27 5⁄8”). Dallas Museum of Art, Dallas, Texas. The Gustave and Franyo Schindler Collection.

Use torn pieces of colored construction paper to create a colorful, expressive mask design. Begin by tearing a large circular or oval shape from construction paper. Glue this to a background sheet of construction paper in a contrasting hue. Tear out smaller shapes to represent the various facial features. Exaggerate these features to express a specific mood or emotion. Try stacking smaller shapes on top of larger shapes. For example, tear out a large shape for an eye and smaller shapes for the iris and pupil. Then glue these shapes together, one on top of the other. Tear out shapes for a neck and collar and add it to your mask design.

P O R T F O L I O Participate in a group critique of the face masks created. Based on peer feedback, try to improve your mask for your portfolio. Include your finished design (or a photograph of it) in your portfolio.

Check Your Understanding 1. What are face masks? What are they used for? 2. What role did the antelope play in Bambara culture? Who or what was Tyi Wara? 3. What do face masks, headpieces, and shoulder masks have in common? 4. How did shoulder masks differ from face masks and headpieces?


Figure 11–13 Student work. Expressive mask.

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LESSON 4

Making a Papier-Mâché Puppet Head African artworks are noted for their expressive quality. Masks were meant to communicate a certain mood or feeling to viewers. Examine the half-human, halfanimal Senufo helmet mask shown in Figure 11–14. Picture this mask worn by a dancer in the flickering light of a ceremonial fire. What kind of emotions do you think you would experience?

WHAT YOU WILL LEARN You will create a puppet head of an imaginary animal modeled after the expressive masks created by African artists. You will make your puppet head out of papier-mâché (pay-puhr muh-shay). Papier-mâché is an art medium made from torn paper and liquid paste. To increase visual interest, use bright colors and texture contrasts. You will exaggerate the features of your imaginary animal so that it strongly communicates a mood or feeling. The colors and textures you use will help emphasize that mood or feeling.

WHAT YOU WILL NEED ● ● ●

Pencil and sheets of sketch paper Plastic clay, about the size of an orange Newspaper or paper towels torn or cut into strips about 1 ⁄ 2 inch  11 ⁄ 2 inches ● Nontoxic commercially prepared papiermâché paste or white glue ● Plastic mixing bowl and water
Figure 11–14 How would you describe this mask? What mood or feeling is conveyed in this artwork? Africa, Ivory Coast, Senufo. Helmet Mask. Nineteenth to twentieth century. Wood. 96.5 cm (38
). The Detroit Institute of Arts, Detroit, Michigan. Gift of Governor and Mrs. G. Mennen Williams. Photograph © 1994.

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● ● ● ●

Fine-grained sandpaper Knife or saw Tempera paint and brushes Cloth, yarn, string, cotton, or other fibers (to be used for details) ● Polymer gloss medium

WHAT YOU WILL DO 1. Make several sketches of a head belonging to an imaginary animal. Exaggerate features to emphasize a certain mood or feeling. 2. Select your best sketch and use it as a guide to model a three-dimensional head and neck with the plastic clay. (The neck is important as a place to insert one or

two fingers to control the puppet and to attach “clothing.”) Avoid adding small details to this clay head. 3. In a bowl, mix the paste to the consistency of cream. Follow the instructions for applying papier-mâché in Technique Tip 20, Handbook page 320. Apply the paste-saturated paper strips directly onto the puppet head. Continue to add strips until the entire head is covered. Make certain that all wrinkles and bubbles are smoothed out after each strip is applied. 4. Allow the puppet head to dry. Then, carefully cut it in half with a knife or saw and remove the clay. 5. Place the two halves together and fasten with additional papier-mâché strips. Set aside to dry. 6. Use sandpaper to lightly smooth out the surface of the puppet head. Try to create different textures. Refer to your sketches and paint the head. Select colors that help emphasize the mood or feeling you are trying to express. Additional materials, such as yarn for hair or buttons for eyes, can be added if desired. 7. Apply a coat of polymer gloss to add sheen to the puppet head.

Evaluating Your Work ● Describe Identify the various facial features on your puppet head. Point to similarities that your work shares with the Senufo mask shown in Figure 11–14. ● Analyze Did you use bright colors and contrasts of texture? Point to areas showing different textures and explain how they were created. What effect does this texture create? ● Interpret What mood or feeling does your puppet head communicate? Explain how exaggeration helped in communicating that mood or feeling. ● Judge What do you consider to be the best feature of your work? Do you think it succeeds as an expressive work of art?

SAFETY TIP Avoid using wallpaper paste and similar glues. These glues contain poisons that can enter the body through the skin.


Figure 11–15 Student work. Puppet head.

STUDIO OPTION Produce fiber art using a variety of art materials and tools in traditional and experimental ways. Design a costume for your puppet and cut it out of a piece of cloth. Glue it to the neck of the puppet head. Add any other articles of clothing that you think will contribute to the expressive quality of your work. You can also make a stand for displaying your puppet head by inserting a dowel rod into a hole drilled into a small, square board. (See Figure 11–14.)

To learn more about the artwork and cultures discussed in this chapter, visit art.glencoe.com. There, you will also find: ● ● ● ●

Artist Profiles Interactive Games Student Art Gallery Web links

Lesson 4 Making a Papier-Mâché Puppet Head

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LESSON 5

Oceanic Art The many islands of the South Pacific are spread across millions of square miles of ocean. These islands are the home of three cultures: Micronesia, Melanesia, and Polynesia. The name Oceania is used to refer to these islands and the continent of Australia. Figure 11–16 shows a map of Oceania.

THE ART

OF

the effect of emphasizing the figure’s unusual proportions. There are no facial features, and the hands and feet are missing. Perhaps the artist was expressing that it is impossible for humans to capture the likeness of a goddess.

MICRONESIA

The islands of Micronesia are small and have limited resources. These facts of nature have influenced the art produced by its peoples. A scarcity of wood, for example, has made sculpture a rarity. What little wood is available is used for canoes, bowls, and other utensils. The few wood carvings that have been created take the form of masks and figures. One of these is the goddess figure shown in Figure 11–17. This work reveals the highly abstract style favored by these people. All details have been eliminated, which has


Figure 11–17 What kind of balance is shown in this work? How does this type of balance contribute to the visual effect of the figure?
Figure 11–16 Map of Oceania.

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Micronesia, Nokuoro Island. Female Figure. Wood. Height: Approximately 39.5 cm (15 9⁄16
). Honolulu Academy of Arts, Honolulu, Hawaii. Museum exchange, 1943.


Figure 11–18 Point to and identify different kinds of texture found on this mask. What features make this mask look menacing? How does it make you feel? Melanesia, New Ireland. Mask. Late nineteenth century. Wood, paint, obsidian chips, cane, plant fibers, bark cloth, shagged bark. 33  62  37.5 cm (13 1⁄8 241⁄2  143⁄4
). Dallas Museum of Art, Dallas, Texas. The Roberta Coke Camp Fund.

THE ART

OF

MELANESIA

Melanesia has a rich artistic culture. The art produced on one of its islands, New Guinea, is particularly outstanding. Various regions of this island have their own individual styles. For example, the mask seen in Figure 11–18 comes from a northwestern region known as New Ireland. There is no mistaking the menacing look on this figure’s face. It is a look meant to strike fear in the heart of the viewer. Constant warfare may have led to the creation of terrifying images like this one. Notice the staring eyes and cruel mouth of the figure. These features reveal a rich imagination and strong sense of fantasy on the part of the artist.

THE ART

OF

POLYNESIA

Polynesia includes the Hawaiian Islands, the Marquesas, Easter Island, and many other island groups. The artists of these islands are recognized for their figure sculptures. The most famous of these are the strange carvings


Figure 11–19 What features do all these sculptures have in common? What do you find mysterious about these figures? Do you think they could represent specific individuals? Why or why not? Polynesia, Easter Island. Giant Figures. Stone. c. fifteenth century.

shown in Figure 11–19. These are the huge stone heads of Easter Island. More than three hundred of these gigantic heads and halffigures dot the island, all staring out to the sea. These mysterious figures were carved from the soft rock lining the crater of an extinct volcano. Besides the sculptures found on the island, hundreds of unfinished statues have been found inside the crater. These were left as if the carvers had intended to return but never did. The largest of the carved heads on Easter Island weighs about 50 tons. It rises to a height of 66 feet. The most curious fact about these carvings is their location miles from the crater. How did the island’s inhabitants transport the heavy stones for the sculptures over such great distances? How did they lift the stones once they had reached their destination? No one really knows. Nor does the mystery end there. Who were the people represented by these sculptures? Scholars are uncertain. Some believe the sculptures represent important rulers.

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“Discovering” Australia The first native peoples of Australia appeared more than 40,000 years ago. For thousands of years, they lived in relative isolation. Europeans first found out about Australia’s existence when sailors sighted it in the early 1600s. It wasn’t until the late 1700s and early 1800s, however, that Europeans truly explored the continent. European explorers found that the native peoples of Australia felt a strong tie to the land. The native peoples also had distinct art traditions and styles. Explorers found rock and cave paintings depicting animals and humans in the “X-ray” style. For example, a painting of a kangaroo would also show its major bones and organs. Another important art form was bark painting. As Figure 11–20 shows, these paintings often portrayed stories. They were used to pass traditions from generation to generation.


Figure 11–20 The title refers to the mythical sisters who gave birth to the ancient ancestors of the Hyirrkala people of Arnhem Land. Is there any effort to show space in this work? Do the figures look three-dimensional? What do you find most appealing about this painting? Australia, Yirrkala, Arnhem Land. Mungarawai. The Djanggawul Sisters. Bark and paint. The Art Gallery of New South Wales, Sydney, Australia.

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THE ART

OF

AUSTRALIA

Unlike that of the South Pacific islands, most of the native art of Australia is used in traditional ceremonies. These rituals include songs and dances as well as paintings on rock and bark, carved figures, and body painting. Such ceremonies are intended to help the native people make the mystical journey into the distant past, when their world was created. It is believed that their continued life depends upon recreating legendary events from this period called “Dream Time.” Examine the intricately designed bark painting shown in Figure 11–20. This work recreates the birth of the human race. The painting overflows with symbolic forms. Among these are trees, the sun, and the birth of a people. These detailed images are repeated to create a tightly woven overall pattern. Contrasts of value, shape, line, and texture give the work added interest. This work demonstrates the success of native Australians in expressing their religious beliefs.

Cut

Constructing a Miniature Animated Mask Look again at the mask in Figure 11–18 on page 185. Notice the way the artist treated each of the facial features to give the mask its terrifying appearance. Glue the opening in a small cereal box shut. Then carefully cut the box along both sides and across the top (see Figure 11–21). Do not cut across the bottom of the box. Carefully bend the box open, exposing the two openings. Place four fingers of one hand into one of these openings and your thumb into the other. By moving your fingers and thumb up and down, you can suggest a mouth opening and closing. Using construction paper, colored markers, and other materials, add hair and facial features. Try to express a particular emotion or feeling. When you are finished, show your mask to classmates. Ask whether they can identify the emotion or feeling portrayed.

P O R T F O L I O Participate in an individual critique of your animated mask. What improvements can you make? After modifying your design, take a photograph of it to include in your portfolio.

Check Your Understanding 1. Why are wooden sculptures rare in Micronesia? 2. What reason could explain why artists in Melanesia create masks that look so frightening? 3. What is meant by “Dream Time”?
Figure 11–21 Box diagram.

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Art& Math Geometry in African Art As you studied this chapter, you probably noticed some similarities in the African artworks shown. For example, you may have concluded that most African art had practical or ceremonial functions. There is, however, another common quality in the appearance of these artworks. Did you recognize this quality? Of course, many of these artworks incorporate the use of geometric shapes. Geometric shapes are made of straight lines, angles, and mathematical curves. Figure 11–22 shows some basic geometric shapes. Can you think of any others? In art, geometric shapes can help create a stylized, abstract look. This contributes to the distinct styles in African artworks. In fact, geometry has been used in African art for centuries.

Square Square

Rectangle Rectangle

Triangle

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Take a look at the art object shown in Figure 11–23. Sculptures like this one were used by female spiritual advisers in Senufo society. These carved figures are displayed and used in rituals. Most commonly, these figures depict a man riding a horse. His war helmet and spear indicate that he is ready for battle. Notice the geometric quality of the sculpture in Figure 11–23. This adds to the strength and stability of the sculpture.Using abstract geometric styles to emphasize important features of artworks is common in this region of Africa.

Circle Circle

Ellipse

Trapezoid


Figure 11–22 Basic geometric shapes.

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Figure 11–23 What feeling or mood does this sculpture convey? How does the geometric quality of the figure contribute to that feeling or mood? Africa, Côte d’Ivoire, Senufo people. Equestrian figure (madebele). Mid-twentieth century. Wood. 23.2  7.8  14.8 cm (91⁄8  3 1⁄16  5 13⁄16
). National Museum of African Art, Smithsonian Institution, Washington, D.C. Bequest of Eliot Elisofon.


Figure 11–24 Historically, Kente cloths were worn by Asante royalty and important officials at ceremonies or special events. What elements and principles of art can you identify in this artwork? Africa, Ghana, Asante people. Kente cloth. Cotton cloth. UCLA Fowler Museum of Cultural History, Los Angeles, California.

FIBER ART Another African art form that incorporates the use of geometric shapes is weaving. Examine the intricate design of the textile shown in Figure 11–24. This fabric is an example of a Kente cloth. Kente cloths, created by Asante weavers, are among the most famous textiles produced in Africa. These traditional cloths feature a variety of geometric shapes that form repeating patterns. A Kente cloth’s colors and geometric designs carry symbolic meaning. They can represent history, values, and beliefs.

MAKE THE CONNECTION Take Another Look 1. Examine Figure 11–23. Imagine that you are looking at the sculpture as a twodimensional drawing. What basic geometric shapes would you be able to find? 2. Look closely at the textile in Figure 11–24. Which geometric shapes can you identify in this work?

Art & Math Create a geometric design. Apply design skills to communicate effectively ideas and thoughts in everyday life. Select a variety of geometric shapes, and assign an idea or value to each. Use the geometric shapes to create an interesting design.You may combine the shapes to build a figure, or fill a rectangle with repeating patterns.

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Cultural diversity within a continent and its art

KIMBELL ART MUSEUM/CORBIS

frican art is much more than carved wooden masks. Cultures throughout the continent have long produced amazing works of art. These include prehistoric rock paintings from Namibia, alabaster statues from ancient Egypt, carved heads from South Africa, and intricate gold weights from Ghana. Sokari Douglas Camp, a Nigerian sculptor, explains the greatness of traditional African pieces: “What makes them wonderful is not their design but their power. We believe that they have the power to make you mad or to heal you.” African tribal art is used as part of local religious rituals or as functional objects. Although Africans today create modern art—art made for its own sake—they still produce the traditional art that is admired everywhere. Traditional African artwork has influenced artists around the world. Since the nineteenth century, the ideas and techniques of African artists have played an important role in shaping art styles around the globe.

TIME TO CONNECT • Look at the artwork on this page. Use your school’s media resource center and textbooks to learn more about the culture from which it came.

• Investigate other art objects this culture produced and the way they were used. Did they have a social, political, spiritual, or functional use?

• Use your research to write a detailed caption for one of the artworks, explaining how it specifically relates to the culture. 190

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This sculpture portrays the head of a king from Nigeria. It was made between the 12th and 14th centuries.

BUILDING VOCABULARY Number a sheet of paper from 1 to 5. After each number, write the term from the list that best matches each description below. abstract art face mask headpieces

papier-mâché shoulder masks

1. A mask worn to hide the identity of the wearer. 2. A work of art in which the artist uses a recognizable subject but portrays it in an unrealistic manner. 3. An art medium made from torn paper and liquid paste. 4. Large carved masks that cover the head and rest on the shoulders of the wearer. 5. Ornamental or ceremonial coverings worn on the head.

REVIEWING ART FACTS

14. For what artworks are the Easter Islands famous? From what material were these artworks created? 15. How is the art of Australia different from the art of the South Pacific islands?

CROSS-CURRICULUM CONNECTIONS 16. Language Arts. Using library or online sources, research how animals were used in African art and in prehistoric cave paintings found in western Europe. Write a brief article discussing the similarities and differences of these animal images. 17. Social Studies. Select one of the Oceanic cultures presented in this chapter. Research the culture and its artistic traditions. Summarize how the people’s beliefs and ways of living influenced their art.

Number a sheet of paper from 6 to 15. Answer each question in complete sentences. 6. What kind of art activity was taking place in Africa at about the same time that prehistoric artists in western Europe were painting animal images on cave walls? 7. What is the favored medium among African tribal sculptors? 8. What type of African mask was not made to hide the wearer’s identity? 9. What did Benin artists do to decorate the pillars of the Oba’s palace? 10. Name three purposes for which African masks were made. 11. What abstract animal is depicted on the headpieces created by Bambara artists? 12. What made the dancer wearing a Baga shoulder mask look so impressive? 13. What are the three cultures of the South Pacific islands?

National Museum of African Art, Washington, D.C. The National Museum of African Art is a part of the Smithsonian Institution in Washington, D.C. There, you will discover an amazing collection showing the richness and diversity of African art. Follow the link at art.glencoe.com to visit the museum’s Web site. Explore the artworks, and check out the map of Africa. Select three works of art that you particularly liked. What elements or principles of art were used? What similarities and differences do you see in the three works?

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Focus On
Figure 12–1 This illustration comes from a richly decorated book of prayers. What similarities and differences can you find between this illustration and the Persian manuscript shown in Figure 10-1 on page 152? Book of Hours, Noah’s Ark (front cover). France. c. 1465–70. Vellum. 22.7
15.3 cm (8 15⁄16
6). The Walters Art Museum, Baltimore, Maryland.

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Art of the Middle Ages “

He who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands and his head and his heart is an artist.

“

— St. Francis of Assisi (c.1182–1226)

A

t one time, the period of European history from about A.D. 475 to 1000 was known as the Dark Ages. This term suggests that progress of any kind had been put on hold. However, nothing could be further from the truth. Much development in the arts took place during this period and the centuries that followed, now called the Middle Ages. The Middle Ages included the Romanesque and Gothic periods. During that era, architecture found expression in magnificent churches. Monks labored to copy and illustrate beautiful books similar to the one shown in Figure 12–1. After completing this chapter, you will be able to: ●

●

●

●

Tell how life in Romanesque times influenced the art of the period. Identify the purpose of Romanesque sculpture and book illuminations. Explain the contributions made by Gothic architects and painters. Complete your own art based upon works produced by artists of the Middle Ages.

Quick Write Interpreting the Quote Reread the quote. Which of these descriptions would you apply to the person who created Figure 12–1? Why? Explain your response in a paragraph.

Key Terms castles cloister illuminations cathedral pointed arch buttress stained glass fresco gargoyle

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LESSON 1

Art of the Romanesque Period The later Middle Ages is divided into two major periods. The first period, the Romanesque (roh-muh-nesk), lasted from about 1050 to about 1150. The second period, the Gothic, lasted from about 1150 to around 1500. This lesson will focus on the first of these two periods: the Romanesque.

LIFE

IN THE

As travel and trade increased, a more international art style began to emerge. Religious subjects continued to be favored. However, the manner in which these subjects were portrayed changed. The name given to this new international style of art was Romanesque. Soon, the term was applied to all the arts, including architecture.

EARLY MIDDLE AGES

During the eleventh and twelfth centuries, western Europe was made up of small farming communities. Land was the main source of wealth and power. Kings, nobles, and lords were constantly at war over land control. As a result, the common people were united by a desire for security in this life. They were also linked by a hope for a better life in the next world. These factors strengthened the influence of the Catholic Church. The Church was the sole central authority in western Europe during this period. It strongly influenced the development of art styles and forms.

ARCHITECTURE Since warfare was common, kings and nobility felt the need for protection. To meet this demand, castles were built. These were fortlike dwellings with high, thick walls and towers. Most castles had additional protection in the form of a moat and a drawbridge. One of these structures is pictured in Figure 12–2. Even today, it looks as if it could stand up to any attack. For security reasons, windows of castles were small and few in number. This made the interiors of these fortresses dark and cold. Castles were not built for comfort, but for safety. Tapestries decorated the damp


Figure 12–2 This castle was built of brick because it was the material preferred by its Muslim builders. The structure was surrounded by a deep, wide moat, which could only be crossed by two drawbridges. Coca Castle, near Segovia, Spain. c. 1450.

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Figure 12–3 The Archbishop’s castle and the church are easily identified among the houses and shops of ordinary citizens. What does this tell you about the social and political status of different groups of people in the Middle Ages?


Figure 12–4 Thick walls and lack of windows made these churches look like fortresses. This may be the origin of the phrase “fortress of God,” often used to describe Romanesque churches.

Walled City of Carcassone, Southern France. c. 1100.

Romanesque church, Bohi Valley, northeastern Spain. Twelfth century.

stone walls of drab rooms that contained very little furniture. Fireplaces provided the only source of heat. The largest fireplace in a castle was located in the great hall. This was where the family gathered to have its meals.

the walls. This might, in turn, bring the heavy stone roof crashing down. As a result, these churches were dark and somber inside. Churches were not the only type of religious buildings constructed during the Middle Ages. Another important religious structure was the monastery. Figure 12–5 on page 196 shows an example of a monastery. These buildings housed religious communities of men known as monks. Monks were united by a desire to live a life of prayer and self-denial. Monasteries were built in remote forests or on rocky mountain slopes. The location was a safeguard against the temptations of the world. At the center of every monastery was the church. Surrounding buildings housed the library, dormitories, kitchen, dining hall, workshops, and guest house. The monks worked long days in one of the workshops or nearby fields. After a day of hard work, they sought retreat in the monastery’s cloister. A cloister is a covered walkway around an open court. (See Figure 12–6 on page 196.) Every monastery had a cloister. Here, weary monks could rest or meditate.

Walled Cities Ordinary citizens faced many of the same dangers as kings and nobility. To protect themselves, they built sturdy walls around their communities. At first, these walls were made of wood. Beginning in the twelfth century, however, stone was used. One of the most impressive of these walled cities is Carcassone in southern France. (See Figure 12–3.) Today, this city looks much as it did when it was built in the Middle Ages. Religious Structures Beginning as early as A.D. 400, Europeans began building churches all across the continent. These churches, like the one shown in Figure 12–4, had thick walls with few windows. Often, towers were added. Towers continued to be a feature of church construction in western Europe for centuries. Windows were avoided because they would weaken

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Figure 12–5 Isolated monasteries like this one were selfsufficient and well organized. A monk’s life was dictated by a strict set of rules. These rules told him when to sleep, work, eat, and pray. Front façade, Poblet Monastery, near Tarragona, Spain. c. 1250.

SCULPTURE Most of the people who lived during the Middle Ages could not read. This presented the Church with a problem. How were people to receive religious instruction if they could not read? To help address this problem, the Church turned to sculptors. These artists covered the exteriors of churches with reliefs and sculptures of saints and religious events. Artwork such as the relief shown in Figure 12–7 illustrated the teachings of the Bible.

PAINTING


Figure 12–6 Describe the architectural features of this cloister. How do the formal properties contribute to its visual appeal? Cloister, Poblet Monastery. c. 1250.

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The teachings of the Church were also recorded in handwritten books containing illuminations. Illuminations are richly painted book illustrations. For nearly one thousand years, these illustrations were the most important paintings created in Europe. Figure 12–8 shows an illumination from a prayer book. It illustrates one of the writers of the gospels at work with pen in hand. The opening lines from one of the Gospels appears on the facing page. Notice that the figure in the illumination has cast his eyes upward. It is as if he is searching for heavenly inspiration to complete his important task. This illumination shows the rich colors and intricate designs common in many manuscripts of the period.

Designing a Decorative Letter Elaborate letters were often used to decorate Romanesque manuscripts. Notice the artistic treatment of the capital letter D in Figure 12–1 on page 192. Note also the capital N in Figure 12–8. Monks used these types of decorative letters to begin a section of written text. Make a large pencil drawing of a capital letter.You might choose the first letter of your name. Decorate it as if it were the start of an important Romanesque manuscript. Use a ruler to draw a “frame” around your letter. Use a marker to outline all the shapes in your letter. Use a variety of thick and thin black lines. Add bright colors to your letter and the frame’s background with oil pastels.

P O R T F O L I O
Figure 12–7 The door to this Romanesque church is an elaborate Bible in stone. Analyze this artwork to determine its cultural context. What does it tell you about life in the Middle Ages? Portal, Monastery Church of Santa Maria, Ripoll, Spain. Twelfth century.

Participate in a group critique with your teacher or peers. Using critical attributes such as composition and technique, analyze your decorative letters. If necessary, modify your design for your portfolio.

Check Your Understanding


Figure 12–8 Monks painted illuminations to record and pass on history as well as religious teachings. Closely examine this illustration and the one in Figure 12–1. What would you say are some characteristics of manuscript illuminations? Saint John Writing His Gospel and decorated text page. Abbey of Helmarshausen, Germany. c. 1120–1140. Tempera colors, gold, and silver on parchment. Each leaf: 22.9
16.5 cm (9
61⁄2). J. Paul Getty Museum, Los Angeles, California.

1. When did the Romanesque period begin? When did it end? 2. What was the central authority in western Europe during the Middle Ages? 3. Why was it necessary to build castles in the Middle Ages? 4. What did the interiors of Romanesque churches look like? Why did they look this way? 5. What were cloisters, and what were they used for?

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LESSON 2

Romanesque-Style Manuscript Page Imagine that you live and work in a Romanesque monastery. For quite some time, you have been assigned to the monastery kitchen. However, you dream of the opportunity to illustrate and decorate books. To demonstrate your skill, you decide to create a page of a manuscript. At dusk, in a corner of your dormitory, you set to work. . .

WHAT YOU WILL LEARN You will design a manuscript page. On it, you will write the opening lines of a favorite story or poem. The first letter will be emphasized. It will be enlarged and colorfully decorated using images of people, objects, or both. The remaining letters of the text will be carefully drawn in three lines across the page.


Figure 12–9 In the decorative letter, King David is shown striking bells to demonstrate that, as the composer of the psalms, he creates “beautiful noise.” Below, Saint Francis is shown speaking to the birds in the presence of another saint. Note the style and size of the remaining letters on this manuscript page. King David Playing Bells. Psalter, MS.W. 45, fol. 139v. c. 1290. Vellum. 18.6
12.5 cm (7 5⁄16
415⁄16). The Walters Art Museum, Baltimore, Maryland.

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You will add other decorations at the top, bottom, and sides of your page. To ensure harmony, you will repeat one color throughout your design.

WHAT YOU WILL NEED ● ●

Pencil and sheets of paper Sheet of white poster board, 9
12 inches ● Ruler ● Mixing tray, tempera paint, and 2 brushes (one wide, one fine-tipped)

WHAT YOU WILL DO 1. Examine the Romanesque book illustration in Figure 12–9. Refer also to the decorative letter you completed in the previous lesson. Make several rough pencil sketches of a design for a manuscript page. Include the opening words of a poem or story arranged in three lines across the page. Emphasize the capital letter of the first word. Do this by making it larger and more elaborate than any other letter. Incorporate one or two figures in the design of this letter. The actions of these figures should tie in with your story or poem. Outline the remaining letters so that they can be filled in with paint. Fill the empty spaces at the top, bottom, and sides of your page with designs. 2. Transfer your best sketch to the sheet of poster board. Your design should fill the entire sheet. 3. Use tempera to paint your manuscript page. Select bright hues for the large capital letter. Use dark hues or black for the remaining letters. Repeat one particular color throughout your design to ensure harmony. Paint carefully. Make your designs and letters as neat and precise as possible. 4. Display your finished work with those of classmates. Identify the manuscript pages that are especially impressive. Discuss the features that made those designs stand out.

Evaluating Your Work ● Describe Are you able to read the words on your manuscript page? Describe the actions of the figures in your artwork. ● Analyze How did you emphasize the first capital letter of your poem or story? How did you achieve harmony in your work? ● Interpret In what ways is your artwork most like the Romanesque style? In what ways is it least like the Romanesque style? ● Judge Do you think your manuscript page would earn you a job illustrating and decorating manuscripts? Why or why not?


Figure 12–10 Student work. Romanesque-style manuscript page.

STUDIO OPTION Based on the manuscript pages in this chapter, design a decorative letter as a clay relief. Transfer the monogram design to a flat slab of clay. Use a modeling tool to remove clay in the negative shapes of your design. Create decorative patterns. After firing the slab, coat your relief with liquid white shoe polish. Buff lightly with a soft cloth. Note the interesting pattern of light and dark values over the surface of the relief.

Visual Art Journal Illustrate ideas from direct observation and personal experience by describing examples of calligraphy and book illustrations that you have seen. In your journal, write a paragraph explaining why these art forms are valuable.

Lesson 2 Romanesque-Style Manuscript Page

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LESSON 3

Art of the Gothic Period Toward the end of the Romanesque period, Europe began to change. Trade among nations grew. As it did, money replaced land as the measure of wealth. Castles were abandoned, giving way to large cities in which merchants and artisans thrived. The changing times also brought a new art style. The term Gothic is used to identify both this era and the art style that emerged.


Figure 12–11 The cathedral is a complex and ambitious art form. What are some common characteristics of Gothic cathedrals? What formal properties can you identify in this structure? Façade, Chartres Cathedral, France. c. 1194–1260.

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ARCHITECTURE During the Gothic period, the Church remained a major force in daily life. Its influence on the arts was especially great. Nowhere was this more evident than in towering structures like the one in Figure 12–11. This is a Gothic cathedral. A cathedral is the principle church of a bishop. Bishops were important church leaders with authority over a number of parishes or congregations.

Cities with bishops took great pride in building huge cathedrals. Architects, sculptors, stained-glass makers, and other artists all contributed to their creation. These artists incorporated color, space, and sunlight with splendid sculptured forms. Look again at Figure 12–11. Magnificent structures like this one were made possible by the development of two important architectural features: ●

The pointed arch. Gothic architects were dissatisfied with the thick, windowless walls and dark interiors of Romanesque churches. Their solution to this problem was the pointed arch. This was a curved arrangement of stones that meets at a central

point at the top. The curve of the pointed arch is more vertical than the rounded arch. This permits the weight of the roof to be carried downward to supporting columns. This arrangement is shown in Figure 12–12. Notice the pointed arches in the ceiling above the rows of columns. ● The flying buttress. A buttress (buhtruhs) is a brace or support placed on the outside of a building. Such supports are said to “fly” when they arch over other parts of a building. In Gothic cathedrals, flying buttresses helped support the weight of the stone roof. See Figure 12–13.


Figure 12–13 What was the purpose of flying buttresses found on Gothic cathedrals? Study this image and Figure 12–11 closely. Compare and contrast the use of art elements and principles in the two structures. Flying buttresses, Saint-Etienne Cathedral, Bourges, France. Late twelfth through thirteenth centuries.


Figure 12–12 Pointed arches allowed architects to build very high ceilings. Imagine yourself inside this cathedral. Where does your eye travel? How does this visual effect emphasize the religious purpose of the building? Interior, Chartres Cathedral, France. c. 1194–1260.

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CRAFTS Pointed arches and flying buttresses opened up other design possibilities for Gothic architects. One was replacing solid walls with windows of stained glass. Stained glass is an artistic arrangement of colored glass pieces held in place with lead strips. A detail from a stained-glass window is shown in Figure 12–14. Sunlight streaming through these windows filled the buildings with a softly tinted light. These windows, with their brilliantly colored pictures of religious figures, had a second function. That was to remind people of inspirational stories from the Bible.


Figure 12–14 Do you think the dark lines made by the lead strips take away from the beauty of this work? Why or why not? What art forms of the Romanesque period also illustrated Bible stories? Stained-glass detail, Chartres Cathedral, France. Twelfth century.


Figure 12–15 What kinds of emotions are expressed by the actions of the figures in this work? Who do you think is the most important figure in the painting? How has the artist directed your attention to that figure? Giotto. Lamentation. c. 1305. Fresco. Scrovegni Chapel, Padua, Italy. Alinari/Art Resource, NY.

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PAINTING The Gothic style of architecture gained popularity everywhere in western Europe except Italy. There, churches continued to be built with large, unbroken walls and darkened interiors. This left little opportunity for stained-glass windows. Artists of the time devised an alternative by developing a technique known as fresco. Fresco (fres-koh) is a painting created when pigment is applied to a section of wall spread with fresh plaster. The technique required the artist to work quickly before the plaster dried. The pigment mixed with the wet plaster, and the painting was permanently preserved. The fresco in Figure 12–15 graces the wall of a chapel in Padua, Italy. It is one of a series done by the artist Giotto (gee-oh-toh). According to legend, Giotto learned to draw on flat rocks while tending sheep in the fields. He went on to become one of the great painters of history. He painted the same religious subjects as the other artists of the day. Giotto, however, distinguished himself by making his figures as lifelike as possible. The figures in his paintings are not just religious symbols. They are real people, living in a real world, expressing real emotions. His genius was such that a century would pass before another artist of equal skill appeared.

Giotto di Bondone (c. 1267–1337) Giotto di Bondone was born about 1267 in a village near Florence, Italy. According to tradition, Giotto was a student of Cimabue, a well-known Florentine painter. Giotto became famous for his paintings. These paintings, like the one in Figure 12–15, showed expressive figures that reflected the human condition. Giotto’s work was so impressive that royalty and Church authorities commissioned him to paint for them. In 1334, the city of Florence gave Giotto the title of “Magnus Magister,” which means “Great Master.” In addition to this honor, he was named the city architect and superintendent of public works. Giotto created great works of art during his lifetime. In addition, generations of artists were influenced by his revolutionary work.

Check Your Understanding 1. What was the advantage of using pointed arches in cathedral construction? 2. What are flying buttresses? 3. What is stained glass? What made it possible to use so much stained glass in Gothic cathedrals? 4. What is a fresco? How were frescoes created? 5. Who was Giotto? How did his paintings of religious subjects differ from those created by other artists of his day?

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LESSON 4

Making a Gargoyle Sculpture Imagine yourself approaching a Gothic cathedral. What would you notice? You would probably observe that the lines of the building direct your eyes upward—toward heaven. As you walk closer, you may be surprised to see something quite strange as well. Creatures that look like spirits fleeing from the holy building project outward in space. These sculptural forms, shown in Figure 12–16, are gargoyles. A gargoyle is a projecting ornament on a building carved in the shape of a fantastic animal or grotesque creature. These gargoyles also served a practical purpose. They were rainspouts that carried rainwater away from the roof of the cathedral. In this lesson, you will create a ceramic gargoyle integrating themes found through direct observation and imagination. You will select and use a variety of appropriate art materials and tools to produce your ceramic sculpture traditionally.


Figure 12–16 Why do you think Gothic builders would choose to make the rainspouts on cathedrals look like grotesque creatures? Gargoyles, Cathedral of St. Just and St. Pasteur, Narbonne, France. Fourteenth century.

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WHAT YOU

WILL

LEARN

You will model and carve an imaginary creature modeled after Gothic gargoyles. A variety of textures will be used to suggest fur, hair, scales, or feathers. The finished gargoyle will take the form of a freestanding sculpture. It should be designed to draw the viewer’s attention around the entire work.

WHAT YOU WILL NEED ● ● ● ●

Pencil and sketchbook Slips of paper and a small box Clay and modeling tools Burlap or cloth cut into sections, 14
14 inches

WHAT YOU WILL DO 1. On three separate slips of paper, write the names of different animals. Place these slips of paper, along with those completed by classmates, in a box. 2. Pass the box around the room. Without looking, pick out two slips.

3. Complete several pencil sketches of gargoyles. In your sketches, combine features of the animals named on your slips of paper. Use your imagination to draw a creature unlike anything seen in real life. Sketch in details such as hair, fur, scales, and feathers. 4. Complete a three-dimensional version of your gargoyle in clay. Begin by modeling the basic form of the gargoyle. Turn the work often. Work around it to make it interesting from all points of view. Add details using both modeling and carving techniques. 5. Add different, contrasting textures with modeling tools. Possibilities include pressing various small objects into the clay to create textures and patterns. Create textures that look like hair, fur, scales, and feathers. 6. Working from the bottom, hollow out your gargoyle. This will enable it to dry thoroughly before firing. If you want, create a channel though the sculpture’s back that runs through the open mouth. This channel represents the passage through which rainwater would flow in a real gargoyle. 7. Fire your sculpture. 8. Optional: You may wish to add color by using glazes in one or two colors. Experiment with ways to make your ceramic sculpture unique. After glazing, fire the gargoyle again.

Evaluating Your Work ● Describe Point to and name the features of two different animals in your sculpture. Identify the different textures. ● Analyze What elements and principles of art did you use in your sculpture? How did they contribute to the visual effect of the gargoyle? ● Interpret What feelings or emotions does your imaginary creature convey? ● Judge Is your work interesting from all points of view? Which aesthetic view would you use to make and defend a positive judgment for your work?


Figure 12–17 Student work. Gargoyle sculpture.

PORTFOLIO IDEAS Looking at the portfolios of peers, students in art schools, or professional artists can help you develop your own portfolio. Analyze portfolios by peers and others to form conclusions about formal properties, historical and cultural contexts, intents, and meanings. How do others organize and present their work? What kinds of work do they showcase? Draw inspiration from others and apply it to your portfolio.

Go to art.glencoe.com to learn more about the art and culture of the Middle Ages.There, you can also explore: ● ● ● ●

Artist Profiles Career Corner Interactive Games Web Links

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Social Art& Studies

Castle Life in the Middle Ages Many people associate the Middle Ages with imposing castles and heroic knights. In fact, numerous stories throughout history have described this period in idealized and romantic terms. However, what was life in the Middle Ages really like? Are images such as the one in Figure 12–18 accurate portrayals of castle life? Let’s find out!

INSIDE

A

MEDIEVAL CASTLE

As you’ve learned, wars were common during the Middle Ages. Castles had to function as defensive fortresses. Because they were designed with security in mind, early castles had very basic living areas. In general, castle interiors were poorly lit and provided little comfort.

One of the most important features of a castle interior was the great hall. This was the social center of the castle. Meals, feasts, and ceremonies took place in this area. In early castles, the family slept in the hall, with only a curtain or screen to provide privacy. Later, private chambers called solars were built on upper floors. By late in the thirteenth century, castles finally offered more comfort, privacy, and convenience. An item of luxury found in castles was the tapestry. This is a heavy woven textile used as a wall hanging. Often, tapestries depicted scenes filled with elaborate details. One such example is the tapestry in Figure 12–19. It is one in a series of seven tapestries portraying the hunt and capture of a unicorn. This work of art provided both warmth and beauty. Tapestries were also used to tell stories or celebrate important events.


Figure 12–18 This illustration shows the courtly behavior of knights and ladies in a castle. What cultural ideas relating to social themes does this image express? Castles: Life in a Knight’s Castle. After a picture by Mair von Landshut, 1499.

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Figure 12–19 The rich colors and details in this tapestry were painstakingly woven in a special workshop. The Unicorn Leaps Across a Stream. Tapestry. c. 1495–1505. Silk, wool, silver and gilt threads. 368.3
427 cm (121
14). The Metropolitan Museum of Art, New York, New York. Gift of John D. Rockefeller, Jr. 1937. (37.80.3). Photograph © 1998 The Metropolitan Museum of Art.

SOCIETY

AND

ENTERTAINMENT

Castle life was not as idealized and romantic as some stories and images might suggest. However, the images depicted in Figure 12–18 are not completely inaccurate. During the Middle Ages, many knights followed a code of conduct called chivalry. Ideally, knights acted with honor and bravery. They also demonstrated respect and courtesy, especially toward ladies. In addition to festivals, feasts, and religious celebrations, castle inhabitants had several forms of entertainment. One was a tournament, in which knights would compete in jousting and archery matches. Another popular sport was hunting, as Figure 12–19 suggests. The nobility also sponsored traveling performers. Sometimes, these were poet-musicians who used to be knights. They would sing ballads or recite stories. Other performers might juggle, dance, or do acrobatic tricks.

MAKE THE CONNECTION Take Another Look 1. Examine the picture in Figure 12–18. Describe the activities taking place. Which details match the description of castle life in this feature? 2. Study the tapestry in Figure 12–19. How were formal properties used to create visual interest? 3. In what ways is the unicorn tapestry both functional and visually pleasing?

Art & social studies Write and illustrate a journal entry. Imagine that you lived in a castle during the Middle Ages. Write a journal entry describing a typical day in your life. On your entry, add decorations and illustrations inspired by the artwork in this chapter.

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REUTERS NEWMEDIA INC/CORBIS

His works bring a new direction for painting.

ELIO CIOL/CORBIS

n late-fourteenth-century Europe, you would not find a painting that realistically portrayed an average person. That’s because western European art at this time primarily showed images that related to the Christian religion: beautiful Madonnas, saints, and images of Christ. The angelic images did not show “everyday” people. The religious figures stood for spiritual ideas. It wasn’t until the Italian artist Giotto burst onto the scene that art began to take a different direction. Giotto’s revolution in religious art set the course of Western art for the next 600 years. He painted narratives—pictures with stories—that communicated strong human feelings and passion. Placed in the foreground, his figures expressed joy, grief, fear, pity, and other human emotions. Giotto’s paintings still have a powerful impact. Gazing at them today, people enter a centuries-old world that pulses with emotion.

TIME TO CONNECT • List adjectives and adverbs describing the feelings that the different figures on this page convey.

• Next to each word, identify how Giotto suggested the emotion. Consider his choice of color, pose, shapes, and the relationships between the figures. Make as many observations as possible.

• Compare and contrast your results with a partner. Then share what you find most surprising about one another’s observations.What did you learn that you hadn’t seen before? 208

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TOP: Giotto. The Mourning of Christ. 1303–05. BOTTOM: Giotto. The Crib at Greccio. 1297–1300. The details from the frescoes above show how Giotto vividly depicted human emotions.

BUILDING VOCABULARY Number a sheet of paper from 1 to 9. After each number, write the term from the list that best matches each description below. buttress castles cathedral cloister fresco

gargoyle illuminations pointed arch stained glass

1. Fortlike dwellings with high, thick walls and towers. 2. Richly painted book illustrations. 3. A covered walkway around an open court. 4. The principal church of a bishop. 5. A curved arrangement of stones that meets at a central point at the top. 6. A brace or support placed on the outside of a building. 7. An artistic arrangement of colored glass pieces held in place with lead strips. 8. A painting created when pigment is applied to a section of wall spread with fresh plaster. 9. A projecting ornament on a building carved in the shape of a fantastic animal or grotesque creature.

REVIEWING ART FACTS Number a sheet of paper from 10 to 14. Answer each question in complete sentences. 10. Name three common features of a Romanesque castle. 11. What was the purpose of the sculptures placed on the outside of Romanesque churches? 12. List three common characteristics of manuscript illuminations. 13. Under what circumstances can a buttress be said to “fly”? 14. What kind of images were used in the stained-glass windows of Gothic cathedrals?

CROSS-CURRICULUM CONNECTIONS 15. Language Arts. You are a reporter for the Gothic Times. Your editor wants you to interview the artist Giotto. What questions would you ask? Write an imaginary dialogue between you and the artist. 16. Social Studies. During the Middle Ages, there was a political and economic system known as feudalism. This system governed the lives of the people in Europe. Using library and online resources, research this topic. What historical, political, and international issues were mentioned? Write a brief report analyzing how these issues influenced art in the Middle Ages.

The State Hermitage Museum, St. Petersburg, Russia As you have learned, castles were an important architectural feature during the Middle Ages. What was it like to be a knight during those times? Find out by visiting the Web site of the State Hermitage Museum in Russia! Follow the link at art.glencoe.com and click on “Time of Knights.” Complete the online lesson. Analyze the online exhibition to form conclusions about formal properties, historical and cultural contexts, intents, and meanings. Then, write a paragraph explaining how the lesson increased your understanding of life and art during the Middle Ages.

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Focus On
Figure 13–1 Although Raphael was only 22 or 23 when he painted this picture, he was already recognized as one of the greatest artists in Italy. What art elements has the artist used to lead the viewer’s eye to the head of the dragon? Raphael. St. George and the Dragon. c. 1506. Oil on panel. 28.5
21.5 cm (111⁄8
8 3⁄8). National Gallery of Art, Washington, D.C. Andrew W. Mellon Collection.

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Art of the Renaissance “

“

The true work of art is but a shadow of the divine perfection. — Michelangelo (1475–1564)

T

he Middle Ages in Europe ended in the 1400s. The Renaissance, the period that followed, was a time of great discovery and growth. Daring explorers set out in search of new lands and shorter trade routes. Advancements were made in every field, and the arts flourished. During this period, artists pushed the boundaries of art. These legendary artists included Leonardo da Vinci, Michelangelo, and Raphael. Figure 13–1 shows a painting by Raphael, who is said to have influenced more painters than any other artist in history. The Renaissance was also a time when female artists began to gain attention and respect. After completing this chapter, you will be able to: ●

●

●

Identify artists of the Italian Renaissance and describe their contributions. Identify Northern Renaissance artists and describe their contributions. Create artworks focusing on space and texture, two art principles emphasized in the works of Renaissance artists.

Quick Write Interpreting the Quote Reread Michelangelo’s quote. Do you agree that all artists try to capture “divine perfection” in their work? Why or why not? Do you think Raphael’s painting in Figure 13–1 shows aspects of “divine perfection”? Explain.

Key Terms Renaissance linear perspective Pietà aerial perspective symbolism oil paint simulated textures

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LESSON 1

Art of the Italian Renaissance Much of the artwork of the Middle Ages was religious in nature. By the beginning of the 1400s, however, European artists began depicting subjects outside of religion. They also began portraying their subjects in a more realistic manner. The first of these shifts reflected society’s growing interest in the “here and now.” The second showed a desire to achieve new heights in all the arts. This period of great awakening is known today as the Renaissance (reh-nuh-sahns).

THE RENAISSANCE

Florence, emerged as an important banking center. It also became the artistic center of Italy. Painting One of the artists living in Florence was a young painter named Masaccio (muh-sahchee-oh). Masaccio picked up where Giotto had left off one hundred years earlier.

IN ITALY

The shift in interest that marked the Renaissance was especially noticeable in Italy. (See the map in Figure 13–2.) There, a number of cities experienced remarkable growth as trading and business centers. One of these,

Ligurian Sea

Florence

Renaissance Italy

Adriatic Sea

Rome

M

ed N

ite rr a ne E

W

Tyrrhenian Sea

an

S 0 0

200 mi

Ionian Sea

Sea

300 km


Figure 13–2 Map of Renaissance Italy.

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Figure 13–3 An architect and friend of Masaccio named Filippo Brunelleschi (fi-leep-oh broon-uhl-esskee) is given credit for inventing linear perspective. With your finger, trace the slanted lines used by the artist to suggest space. Where do these lines meet? Masaccio. The Holy Trinity. c. 1428. Fresco. Church of Santa Maria Novella, Florence, Italy.

A Revolutionary Painting


Figure 13–4 Diagram showing linear perspective. Linear perspective is based on a trick the eyes play on us. This trick causes the sides of a highway, for example, to look as if they come together in the distance. The point at which such lines appear to meet at the horizon is called the vanishing point.

Building upon Giotto’s innovations, he created a painting style that became the trademark of Renaissance art. One of Masaccio’s pictures appears in Figure 13–3. Take a moment to study this painting. Notice that it contains solid, lifelike figures expressing real emotions. To add more realism, Masaccio created the illusion that these figures were three-dimensional. He did this by using a technique known as linear perspective (lin-ee-uhr puhr-spek-tiv). This is a graphic system that showed artists how to create the illusion of depth and volume on a flat surface. The diagram in Figure 13–4 illustrates this technique. Look again at Masaccio’s painting. Notice how the lines of the ceiling slant inward and downward to suggest depth. Other Italian artists expanded upon Masaccio’s discoveries. One of them was Leonardo da Vinci (lee-uh-nard-oh duh vin-chee). Leonardo’s talents were not limited to art. He was also skilled in science, literature, and music. His great talents were both a blessing and a curse. His many interests prevented him from completing most of the projects he started. Even so, the works that have survived testify to his genius. Figure 13–5 shows Leonardo’s painting, Madonna of the Rocks. A Madonna is a work depicting the Virgin Mary. In this painting, Leonardo uses light and dark values in the

Masaccio’s picture of The Holy Trinity, shown in Figure 13–3, is a fresco. It is painted on the wall of a church in Florence. In Masaccio’s day, creating the illusion of space was unheard of. Paintings of the time showed flat figures on flat backgrounds. So, it was a revolutionary move when Masaccio used perspective to show space and dimension. Viewers who saw Masaccio’s painting were shocked by it. When the work was unveiled, many believed they were looking into an actual room. They were also convinced that the life-size figures towering over them were real. Many became frightened and ran from the church.

FPO
Figure 13–5 Notice the gradual change from light to dark values used in this painting. How does this add to the realism of the painting? Leonardo da Vinci. Madonna of the Rocks. c. 1483. Oil on panel, transferred to canvas. 199.4
243.8 cm (781⁄2
48). Louvre, Paris, France. Réunion des Musées Nationaux/Art Resource, NY.

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manner of Giotto and Masaccio. Look closely at this work. The gradual change from light to dark makes the figures look threedimensional and lifelike. Even though the subject matter is religious, Leonardo depicts Mary in a unique way. She appears more like a real-life mother than a divine figure. Leonardo influenced many artists. One of these was Raphael, the artist whose work opened this chapter. Look once again at Figure 13–1 on page 210. Notice the gradual transition from light to dark values. Unlike many Renaissance artists, Raphael chose not to show emotion in his work. He was more interested in beauty and a carefully balanced composition. Sofonisba Anguissola (so-foh-nis-bah ahn-gwee-soh-lah) was the first female painter to gain an international reputation.


Figure 13–6 About 50 paintings by this artist survive to the present day. She had an exciting and successful career that must have influenced other talented women to become artists. Compare and contrast the use of art elements and principles in this painting with those used in Figure 13–8 on page 216. Sofonisba Anguissola. Portrait of the Artist’s Sister Minerva. c. 1564. Oil on canvas. 85.1
66 cm (331⁄2
26). Milwaukee Art Museum, Milwaukee, Wisconsin. Layton Art Collection. Gift of the Family of Mrs. Fred Vogel, Jr. L1952.1. Photo: Larry Sanders.

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She gained fame as a portrait painter. Figure 13–6 shows a portrait of one of her sisters. Notice the natural pose, expressive eyes, and fine details. These features are typical in Anguissola’s work. In fact, her paintings were said to be “so lifelike that they lacked only speech.” Sculpture Like Leonardo, Michelangelo Buonarroti (mee-kell-ahn-juh-loh bwon-nah-roh-tee) excelled in many fields. These included poetry, painting, and architecture. As an artist, however, he thought of himself as a sculptor first. Figure 13–7 shows one of his greatest and best-known works, his Pietà. A Pietà is a work showing Mary mourning over the body of Christ. Michelangelo created this work when he was only 24 years old.

Study this sculpture closely. Can you see anything unusual about the proportions of the two figures? Did you notice that Mary is much larger than her full-grown son? Michelangelo made her this size for two reasons. One was to make her appear able to support the weight of Jesus’ body. The other was to emphasize the sadness of a mother cradling her dead child. She gracefully extends her left hand to the viewer, calling attention to her deep sorrow.

Illustrating Perspective Renaissance artists became fascinated with linear perspective. This technique required that the artist master a few simple rules: ● Vertical lines remain vertical. ● Receding lines—horizontal lines going away from the viewer—gradually seem to come together. They meet at a vanishing point. This is an imaginary spot on the horizon where all the receding lines meet. ● Below the horizon line, receding horizontal lines slope upward. Above the horizon line, receding lines slope downward. Imagine yourself standing in the middle of a straight street. Using a ruler and pencil, make a drawing of the street. Show how it narrows gradually as it goes back into space. Continuing with pencil and ruler, add a sidewalk. Then add buildings on both sides of this street. Avoid small details. Concentrate on making certain that your drawing uses perspective correctly.


Figure 13–7 How is the design of this sculpture similar to the design of da Vinci’s painting in Figure 13–5? Michelangelo. Pietà. c. 1501. Marble. St. Peter’s Basilica, Rome, Italy. SCALA/Art Resource, NY.

Check Your Understanding

P O R T F O L I O Demonstrate your skill in perspective drawing by creating a more finished artwork. This time, include realistic details such as doors, windows, cars, trees, and people. Include your finished perspective drawing in your portfolio.

1. What was the Renaissance? What city was the center of the Italian Renaissance? 2. What is linear perspective? Who was one of the first artists to use it in a painting? 3. How did Leonardo make his figures look three-dimensional and lifelike? 4. Why did Michelangelo choose to use unusual proportions for the two figures in his Pietà?

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LESSON 2

t

Using Aerial Perspective Examine the portrait by Leonardo da Vinci in Figure 13–8. It demonstrates again how gradual changes in value can suggest a three-dimensional form. However, notice how Leonardo shows the space in which that form is placed. In this painting, there is no opportunity to use linear perspective. Instead, he uses a second technique for creating the illusion of depth. It is called aerial perspective, or atmospheric perspective. This is a method of using hue, value, and intensity to show distant objects in landscape paintings. To understand this concept, look at the landscape


Figure 13–8 What has the artist included in the landscape at the right to lead the viewer’s eye back into space? Why do you suppose objects in the distance look blue? Could it be the effect of air, light, and distance? Leonardo da Vinci. Ginevra de’ Benci. c. 1474. Oil on panel. 38.1
37 cm (15 1⁄4
14 9⁄16). National Gallery of Art, Washington, D.C. Ailsa Mellon Bruce Fund.

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painted on the right side of this painting. Notice that the objects farther back in space overlap each other. They also appear bluer, lighter, and duller than the objects close at hand.

WHAT YOU WILL LEARN You will select and use a variety of appropriate art materials and tools to paint an imaginary landscape. In it, all the forms will be shown as overlapping, flat shapes. These shapes will be painted in a variety of

values. You will obtain these values by mixing white and black tempera paint. You will paint the nearest objects in your landscape in the darkest value. Values used for objects in the distance will be gradually lighter. Objects painted farthest back in space will be painted in the lightest value.

WHAT YOU WILL NEED ● ● ●

Pencils and sheets of sketch paper White drawing paper, 9
12 inches Black and white tempera paint, mixing trays, and several brushes

WHAT YOU WILL DO 1. With classmates, make a list of objects found in landscapes. Examples may include hills, trees, rivers, lakes, fences, and buildings. 2. Complete several sketches of imaginary landscapes using objects you identified. Make sure all the objects in your landscape are shown as flat, overlapping shapes. 3. Transfer your best sketch to a sheet of white paper. Work lightly in pencil. 4. Mix a small amount of black with white tempera to make light gray. Paint the object farthest back in your landscape using this tone. 5. Use a similar mixing process to make darker gray. Paint objects that are closer with this tone. Objects closer to the viewer should be painted in values that become gradually darker.

Evaluating Your Work ● Describe Identify the different objects in your painting. Are they easily recognizable? Describe the shapes and values used in your work. ● Analyze Do overlapping shapes create the appearance of different positions in space? What is the effect of the gradual change in value in your work? Does it create an illusion of space? ● Interpret What kind of feelings are inspired by your painting? How might these feelings be related to your use of space and values? ● Judge Do you think you have successfully used aerial perspective? Why or why not?


Figure 13–9 Student work. Imaginary landscape emphasizing space.

STUDIO OPTION Using the method described above, create an imaginary cityscape. This time use two complementary hues of tempera paint instead of black and white. Paint the nearest object with one hue. Add a small amount of the second hue to the first to lessen its intensity. Paint the second nearest object. Repeat this process until you complete the painting. The object farthest away should appear in a neutral color.

Visual Art Journal In your visual art journal, compare and contrast linear perspective and aerial perspective. In creating art, when would you choose one type of perspective over another?

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LESSON 3

Art of the Northern Renaissance From Italy, the Renaissance spread outward to other European countries. The Northern Renaissance differed from the Italian Renaissance, however. Artists in northern Europe were not as enthusiastic about linear perspective or similar breakthroughs. For them, the Renaissance was more a refining of technique than a rebirth. The artistic styles they refined and perfected were those of the Gothic period.

THE RENAISSANCE IN NORTHERN EUROPE The center of Northern Renaissance art was a region known as Flanders. This region included part of northern France and western Belgium. The map in Figure 13–10 shows where Flanders was located.

One feature of Gothic art that remained popular was a reliance on symbolism. Symbolism is the use of an image to stand for an idea. Many of the details found in the paintings of northern European artists had special meanings. A dog, for example, was a symbol of loyalty. A lily represented purity.

PAINTING The most important contribution of the Northern Renaissance was the introduction of a new medium. This medium was oil paint, a mixture of pigment, linseed oil, and turpentine. This type of paint dried slower than other painting media. Thus, artists had more time to add details to their pictures. In addition, colors could be mixed directly on the painting surface.


Figure 13–10 Map of northern Europe. UNITED KINGDOM NETHERLANDS

Flanders N

Brussels

GERMANY

BELGIUM LUXEMBOURG

FRANCE SWITZERLAND N 200 mi E

W S

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0

300 km

ITALY

Jan van Eyck The artist credited with perfecting the oil painting technique was a man named Jan van Eyck (yahn vahn ike). A Flemish painter, van Eyck was fascinated with detail. His paintings exhibit a precision rarely equaled in art. He spent hours using the smallest of brushes to paint the finest of details. He would carefully paint each blade of grass in a meadow. Notice this attention to detail in the brilliantly colored painting shown in Figure 13–11. The subject is the Annunciation. The angel Gabriel announces to Mary that she will be the mother of Christ. Notice the care with which the faces are modeled using light and dark values. Van Eyck has rendered the scene so skillfully that no brushstrokes are visible. Individual strands of hair can be seen. The angel’s jeweled and beaded robe and crown are painted with precision and unmatched craftsmanship.


Figure 13–11 Van Eyck’s skill in faithfully painting details is matched by his ability to create a realistic looking space in which his figures move. What examples of symbolism can you find in this painting? Analyze this artwork to determine its cultural context. What characteristics of Northern Renaissance art does it possess? Jan van Eyck. The Annunciation. c. 1434–36. Oil on canvas transferred from panel. 90.2
34.1 cm (35 1⁄2
13 7⁄16). National Gallery of Art, Washington, D.C. Andrew W. Mellon Collection.

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Rogier van der Weyden Second in fame only to Jan van Eyck was Rogier van der Weyden (roh-jehr vahn duhr vyd-uhn). Like van Eyck, van der Weyden could reproduce the smallest details with

precision. However, van der Weyden was more interested in capturing feelings and emotions. You might at first question this when viewing the portrait in Figure 13–12. Yet, look more closely. Did you notice the


Figure 13–12 What emotions does this painting convey? What elements and principles of art has van der Weyden used to express those emotions? Rogier van der Weyden. Portrait of a Lady. c. 1460. Oil on panel. 34
25.5 cm (13 3⁄8
10 1⁄16). National Gallery of Art, Washington, D.C. Andrew W. Mellon Collection.

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woman’s lowered eyes or the head turned to one side? Note also the hands clasped tightly in front of her. These act almost as a barrier between her and the observer. Imagine this woman at a party. Do you think she would likely be surrounded by people, talking loudly? Do you instead picture her off to one side, alone? Van der Weyden has done more than show us what this woman looked like. He has also provided us with a “view” of her personality.

Sketching Details Look again at the paintings in Figures 13–11 and 13–12. Notice how every detail in both pictures is captured in sharp focus. Both paintings demonstrate the artists’ powers of observation. Exercise your own powers of observation. Draw two detailed, close-up views of a pencil. For each drawing, use a separate sheet of 2
11 ⁄ 2-inch paper. Concentrate on the point of the pencil in one drawing and the eraser end in the other. Complete both drawings in sharp focus. Use shading to suggest the threedimensional form of the pencil. Mount each drawing on a sheet of black construction paper.

P O R T F O L I O Think about the pencil features that you noticed as you drew. List these on a separate piece of paper. Do you feel you were able to capture those features accurately in your drawings? What did you learn by making a detailed, finished drawing of an ordinary object? How can you apply this knowledge to subjects for future artworks for your portfolio?


Figure 13–13 Student work. Detail drawing.

Check Your Understanding 1. Where was the center of northern Renaissance art? 2. What feature of Gothic art did northern European artists continue to make use of? 3. What artist is given credit for perfecting the oil painting technique? 4. In what way did Rogier van der Weyden’s paintings differ from those of Jan van Eyck?

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LESSON 4

Creating a Simulated Texture Relief Look back at Jan van Eyck’s painting of The Annunciation (Figure 13–11 on page 219). Compare it with his portrait of a newlywed couple in Figure 13–14. Note how he captures the many different textures in each of the works. Some of these painted textures look rough. Others appear smooth. Yet, all would feel the same if you were actually to touch the paintings. That is because these textures are simulated and not real. Simulated textures are textures suggested by the way the artist has painted certain objects to look rough, smooth, or soft. Few artists could equal van Eyck’s skill in painting simulated textures. Examine the


Figure 13–14 How many different kinds of simulated texture can you identify in this painting? What techniques has the artist used to create the illusion of space? Why do you think the artist has included the small dog in this painting of a wedding? Jan van Eyck. Giovanni Arnolfini and His Bride. 1434. Oil on panel. 83.8
57.2 cm (33
22 1⁄2). National Gallery, London, England. Erich Lessing/Art Resource, NY.

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hair, fur, silk, metal, and wood in this painting. Notice how lifelike these textures appear. In this lesson, you will create a relief composed of a variety of simulated textures.

WHAT YOU WILL LEARN You will create a relief. It will consist of flat rectangular or square shapes, each exhibiting a different simulated texture. These textures will be made using india ink applied with pen or brush. Your finished relief will contain at least five shapes in various sizes.

WHAT YOU WILL NEED ● ● ● ● ● ●

Evaluating Your Work

Two pieces of oak tag board, both about 9
12 inches Scissors Pencil and ruler Black india ink, pen, fine brush White glue Piece of corrugated cardboard

● Describe What adjectives would you use to describe your design? How many rectangular or square shapes did you use? ● Analyze Identify the different simulated textures on each of the shapes of your relief. How did you create these textures? Do the shapes of the relief extend outward at different levels? What visual effect is created by these different levels? ● Interpret How do you think each different texture of your design would feel? ● Judge Is your relief visually appealing? What aspects might you improve upon?

WHAT YOU WILL DO 1. With ruler and pencil, divide one sheet of tag board into rectangular or square shapes. Each should be a different size. There should be at least five shapes in all. Cut out the shapes. 2. Switch to a pen or fine brush. Using india ink, paint a different texture on each cutout shape. Try to create intricate and visually interesting textures. 3. Cut the corrugated cardboard into small squares to use as spacers. (These will later be used to help give your artwork depth.) 4. Arrange the cut-out shapes on the other sheet of tag board. Experiment with different design arrangements. Consider how you will overlap the different shapes. Stack the spacers to different heights under your shapes. When you are satisfied, glue the spacers to the backs of the cut-out shapes. 5. Glue the cut-out shapes to the tag board. Overlap shapes as you glue them in place. This will permit the cut-out shapes to extend outward at different levels.


Figure 13–15 Student work. Texture relief.

REFLECTIVE THINKING Historical and Cultural Heritage. Look again at Figure 13–14.This wedding portrait tells us about Northern Renaissance culture. For example, we see the kind of clothing worn during the period. What other cultural ideas relating to social themes can you identify in the painting?

To learn more about Renaissance art and artists, go to art.glencoe.com. There, you can also access: ● ● ● ●

Artist Profiles Career Corner Interactive Games Web Links

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The Renaissance in England From its origins in Florence, the Renaissance spread throughout much of Europe. By the late 1500s, the movement had crossed the English Channel to England. The Renaissance in England found expression in art, music, and literature. The period produced a figure that many consider to be the greatest playwright of all time. A portrait of this writer appears in Figure 13–16. Do you recognize him? His name was William Shakespeare. During his lifetime, Shakespeare wrote 37 plays and numerous poems. Some of his most well-known plays include Romeo and Juliet, A Midsummer Night’s Dream, and Hamlet.

HISTORICAL BACKGROUND Shakespeare lived during the time of Queen Elizabeth I, who ruled England from 1558–1603. Figure 13–17 shows a portrait of this important queen. During Elizabeth’s reign, England achieved great power and success. The English navy was unrivaled, and trade flourished. Explorers and settlers traveled to distant lands, increasing England’s wealth and influence. Because these achievements occurred under Queen Elizabeth’s reign, this period is known as the Elizabethan Age.


Figure 13–16 William Blake, another great English poet, painted this portrait. He lived two centuries after Shakespeare. This painting shows a central portrait of Shakespeare as well as two scenes from one of his plays, Macbeth. William Blake. Portrait of Shakespeare. c. 1800. Tempera on canvas. Approximately 40.6
81.3 cm (16
32). Manchester Art Gallery, Manchester, England. Bridgeman Art Library.

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Figure 13–17 This portrait of Queen Elizabeth shows her standing on a map of England. Examine this painting closely, keeping in mind what you’ve learned through reading this feature. What conclusions can you form about the historical and cultural context of this painting? Marcus Gheeraerts the Younger. Queen Elizabeth I. c. 1592. Oil on canvas. 241.3
152.4 cm (95
60). National Portrait Gallery, London, England. By Courtesy of the National Portrait Gallery, London.

MAKE THE CONNECTION

SOCIETY

AND

CULTURE

London was the economic and cultural center of England during the Elizabethan Age. A middle class of merchants contributed to the booming economy. Playwrights and poets also gathered in London. There, they produced new dramas and comedies. The first playhouses appeared in 1576. Before then, plays were often performed in courtyards. The people who acted in plays were called players. Both men and women attended the theater. Women often wore veils or masks. Playwrights and poets like Shakespeare produced masterpieces during this era.This golden age of literature was an important part of the English Renaissance. Unlike the Renaissance in Italy and northern Europe, literary achievements overshadowed developments in the other arts. Much of the art produced during the Elizabethan Age were portraits. These portraits show the influence of art created in Italy and northern Europe.

Take Another Look 1. Examine Figure 13–16. Do you think the painting celebrates Shakespeare’s literary skill? Why or why not? What elements and principles of art did the painter use to convey Shakespeare’s importance? 2. Look again at Figure 13–17. Notice the queen’s elaborate garments. Test your observation skills by listing features of the painting that suggest Elizabeth’s power and wealth. 3. Keep in mind that Figure 13–17 shows a portrait of an important ruler. What cultural ideas relating to social or political themes can you identify in the painting?

Art & social studies Explore historical and cultural heritage. Review the art and information in this chapter. Compare and contrast the English Renaissance with the Renaissance in Italy and northern Europe. Summarize your analysis in a short essay. Include pictures or sketches that help support your essay.

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Truth or fiction? ortrait painting gained popularity in fifteenth-century Italy. During this period, an idea called humanism was beginning to turn the focus of art on people. Portraits were becoming more lifelike than ever before. Renaissance artists drew with incredible accuracy the details of hairstyles, clothing textures, and jewelry that women wore. Yet, these pictures still weren’t what we would call “realistic.” Artists like Sandro Botticelli were valued for their ability to create idealized images of people. The people in these portraits seemed untouched by the earthly trials of daily living. Renaissance canvases don’t show the flaws that make people human. Search the paintings and you will find no imperfect facial features. Instead, the portraits flattered their subjects. That’s because Renaissance paintings were concerned with ideal— not inner—beauty.

TIME TO CONNECT • Examine Botticelli’s painting. Imagine meeting this woman.What do you think she would be like?

• Use the artist’s choice of pose, colors, clothing, and so forth to build a story of her life. From her perspective, write a diary entry in which the woman describes a typical day in her life. Make sure to use what you see in the portrait itself for inspiration.

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Sandro Botticelli. Young Woman in Mythological Guise. c. 1480. Art historians believe that the model of this portrait was Simonetta Vespucci, a renowned beauty who died in 1476 at the age of 23. The artist Botticelli has transformed her into the Italian ideal of blond hair, ivory skin, and sparkling eyes.

BUILDING VOCABULARY Number a sheet of paper from 1 to 7. After each number, write the term from the list that matches each description below. aerial perspective linear perspective oil paint Pietà

Renaissance simulated texture symbolism

1. A period of great awakening. 2. A graphic system that showed artists how to create the illusion of depth and volume on a flat surface. 3. A method of using hue, value, and intensity to show distant objects in landscape paintings. 4. The use of an image to stand for an idea. 5. A work showing Mary mourning over the body of Christ. 6. A mixture of pigment, linseed oil, and turpentine. 7. Textures suggested by the way the artist has painted certain objects to look rough, smooth, or soft.

13. Name an important contribution of the Northern Renaissance. 14. Which artist is credited for perfecting the oil painting technique?

CROSS-CURRICULUM CONNECTIONS 15. Social Studies. Review the art styles of the Italian Renaissance and the Northern Renaissance. Then research these movements using online or library resources. Write a short essay discussing how cultural and historic context influenced the art of these two movements. 16. Language Arts. A friend does not believe the two van Eyck paintings (Figures 13–11 and 13–14) are by the same artist. Convince your friend. Write a brief letter explaining the characteristics that the two paintings have in common.

REVIEWING ART FACTS Number a sheet of paper from 8 to 14. Answer each question using complete sentences. 8. What did Masaccio do to make his figures look as if they existed in space? 9. What prevented Leonardo da Vinci from completing many of the projects he started? 10. What Renaissance innovation did Raphael choose not to make use of in his works? 11. What is unusual about the proportions of the two figures in Michelangelo’s Pietà? 12. How did the approach of northern European artists differ from that of the Italian Renaissance artists?

National Gallery of Art, Washington, D.C. Not only does the National Gallery of Art in Washington D.C. have an extensive collection of fine art, but its Web site also has exciting interactive learning activities. Go to art.glencoe.com and click on the museum link for this chapter. Test your observation and analysis skills by completing the activity. Then, explore the museum’s online collection of Renaissance art. Next, apply what you’ve learned from the museum Web site to some of the artworks in this chapter. Write a short essay to summarize your analysis.

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Figure 14–1 How does this painting differ from the portraits you examined in the previous chapter? What gives the work its emotional appeal? Artemisia Gentileschi. Self-Portrait as the Allegory of Painting. 1630. Oil on canvas. 96.5
73.6 cm (38
29). Royal Collection Picture Library, Windsor Castle, Windsor, England. The Royal Collection © HM Queen Elizabeth II.

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Art of the 17th and 18th Centuries “

“

Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. —Oscar Wilde, Irish writer (1854–1900)

T

he Renaissance was a period of peace and confidence. This can be seen in the pictures of comforting religious subjects that were painted. In 1517, however, a man named Martin Luther challenged the authority of the Catholic Church. His action brought about a period of uncertainty and tension known as the Protestant Reformation. Art created during this period reflected the turmoil. Eventually, a more relaxed, confident atmosphere returned to western Europe. With it came a new style of art that made use of bold contrasts. Figure 14–1 shows an example of this new style. Note the contrast between light and dark values in the painting. After completing this chapter, you will be able to: ●

● ●

●

Quick Write Interpreting the Quote The painting in Figure 14–1 is a self-portrait. In this situation, the artist and the “sitter” are one and the same. Reread the quote by Oscar Wilde. Do you feel the quote applies to this painting? Explain.

Key Terms Baroque façade Rococo etching

Identify features of the Baroque style and name important artists who created art in this style. Create a still-life painting in the Baroque style. Describe the Rococo style and name important artists who practiced it. Construct a whimsical three-dimensional form in the Rococo style.

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Art of the 17 th Century The Protestant Reformation drew many people away from the Catholic Church. To win them back, the Church launched its own reform movement in the 1600s. Called the Counter-Reformation, this movement began in Rome and spread across Europe during the next two centuries. Art played an important role in the Counter-Reformation. Artists were asked to

create works that would bring about a renewal of religious spirit. They responded with a new style of art that featured action and drama. Known as Baroque (buh-rohk), it was an art style that emphasized movement, contrast, and variety.

ARCHITECTURE The call to renew religious spirit was answered by several architects, including Francesco Borromini (fran-ches-koh bor-uhmeen-ee). The small church pictured in Figure 14–2 broke with tradition and made Borromini famous. Look carefully at the façade (fuh-sahd), or outside front of the building. How does it differ from buildings you have examined in earlier chapters? Notice how the building’s surface seems to curve in and out and then in again. As the sunlight changes direction, the pattern of light and dark shadows across this surface changes. This constantly changing pattern of light and dark gives the building a dramatic sense of movement.

PAINTING The Baroque emphasis on movement was not limited to architecture. It also became an important feature of painting as well. This style originated in Italy and became popular across western and northern Europe.


Figure 14–2 Some have said that this façade looks as if it could have been modeled in soft clay. Do you agree with that description? Why or why not? How do contrasts of light and dark values give this façade a sense of movement? Francesco Borromini. San Carlo alle Quattro Fontane, Rome, Italy. c. 1665–1676.

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Italy The leader of the Baroque painting style was a gifted Italian painter named Michelangelo Merisi da Caravaggio (kar-uh-vahj-yo). Throughout his short life, Caravaggio’s hot temper involved him in one scandal after another. Despite these difficulties, he continued to paint. His unique style had an impact on the entire European art world.

Art of the 17th and 18th Centuries

Caravaggio’s approach to art had two distinguishing characteristics. First, he used light in a daring new way. Second, he was a master storyteller. Both of these skills are evident in the painting in Figure 14–3. Briefly study this lifelike work, done early in Caravaggio’s career. The painting shows three musicians, plus a young assistant. Notice the exact moment in time Caravaggio has elected to capture. He does not depict the musicians playing a tune but, rather, during a break. The center figure tunes a stringed instrument, while the musician on the right sets down his violin to study some sheet music. The third player is barely visible. He is in the background, holding what appears to be a flute. The look on his face suggests he is impatient, eager perhaps to start playing again. Can you find the assistant? He is on the left, reaching for some grapes. Notice how Caravaggio has used light and shadow to highlight key points of his composition. Spotlights seem trained on each figure, revealing the individual’s appearance, expressions, and actions.


Figure 14–3 Observe the realistic details in this painting. During Caravaggio’s time, many found his realistic style shocking, especially when he used it to paint religious pictures. Why do you think this was so?

Spain Caravaggio’s method of using light and shadow for dramatic purposes influenced many artists. One of these, Diego Velázquez (vuh-las-kez), is regarded as Spain’s greatest Baroque painter. His skill earned him the position of court painter to King Philip IV. Under the king’s patronage, Velázquez painted many portraits of the nobility. Examine the painting in Figure 14–4. Its subject is an aristocrat on a rearing horse. In the background, we see a dramatic sky. Velázquez used rich colors to paint the Count-Duke and his horse in vivid detail. Notice how the rider ’s dark hat and hair frame his face, highlighting his commanding expression.


Figure 14–4 This portrait shows a Spanish aristocrat in a dramatic yet regal pose. What areas in the painting add to its sense of action? What areas are “stable,” providing balance for the movement evident in the artwork? Diego Velázquez. The Count-Duke of Olivares on Horseback. c. 1634. Oil on canvas. 313
239 cm (123 3⁄8
97 1⁄8). Museo del Prado, Madrid, Spain. SCALA/Art Resource, NY.

Michelangelo Merisi da Caravaggio. The Musicians. Before 1591. Oil on canvas. 92
118.4 cm (36 1⁄4
46 5⁄8). The Metropolitan Museum of Art, New York, New York. Rogers Fund, 1952. (52.81). Photograph © 1983 The Metropolitan Museum of Art.

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Flanders Like the Renaissance before it, the Baroque movement spread northward. In Flanders, it was led by the painter Peter Paul Rubens. His painting in Figure 14–5 illustrates a story from the Bible. It shows a woman pleading with King David to forgive her husband for having offended him. Rubens holds his composition together with an imaginary line. Can you find this line? It curves across the painting like a letter S lying on its side. At the center of the picture, the two principle figures meet. The head of David is dramatically silhouetted against a light blue sky. Why do you think the artist chose to present the king this way?

Holland In neighboring Holland, which became a Protestant stronghold, artists were turning away from religious subjects. They began to paint portraits, still lifes, and scenes from everyday life. One of many who specialized in portraits was Judith Leyster. Using quick, dazzling brushstrokes, she captured the fleeting expressions on her subjects’ faces. Her painting in Figure 14–6 captures a moment in the life of a happy young couple. The woman gazes fondly at the man, who is playing a violin. He, in turn, looks out at the viewer. The smile on his face seems to be an invitation to “join the fun.”


Figure 14–5 The S that holds this painting together begins with the head of the young beardless man at the far left. Follow the line of his arm as it curves downward to link with the shoulder and arm of the man holding a basket. Trace the entire S-curve that Rubens used to unify his composition. Peter Paul Rubens. The Meeting of David and Abigail. 1625–28. Oil on canvas. 179.7
250.2 cm (70 3⁄4
98 1⁄2). The Detroit Institute of Arts, Detroit, Michigan. Gift of James E. Scripps. Photograph © 1984.

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Figure 14–7 Rembrandt borrowed the method of using light and dark values in his paintings from a famous Italian painter. Who do you think was the famous painter?


Figure 14–6 Leyster was one of the best-known Dutch painters of the seventeenth century. What has she done to make this painting engaging to the viewer?

Rembrandt van Rijn. Aristotle with a Bust of Homer. 1653. Oil on canvas. 143.5
136.5 cm (56 1⁄2
53 3⁄4). The Metropolitan Museum of Art, New York, New York. Purchase, special contributions and funds given or bequeathed by friends of the Museum, 1961. (61.198). Photograph © 1995 The Metropolitan Museum of Art.

Judith Leyster. The Happy Couple. 1630. Oil on canvas. 68
55 cm (263⁄4
215⁄8). Louvre, Paris, France. Réunion des Musées Nationaux/Art Resource, NY.

The leading Dutch painter of the seventeenth century was Rembrandt van Rijn (ryn). Like other Baroque artists, he painted emotionally charged subjects made more exciting by the use of dramatic lighting. His painting in Figure 14–7 makes reference to three notable figures from ancient times. The Greek philosopher Aristotle gazes respectfully at a sculpture of the blind poet Homer. The medallion that hangs from Aristotle’s neck bears an image of Alexander the Great. Note how Rembrandt has used soft light to highlight the most important parts of this picture. At the same time, the contrasts of dark and light values add to the painting’s emotional impact.

Check Your Understanding 1. What was the Counter-Reformation? Where did it begin? 2. What new art style developed during the Counter-Reformation? What were the main features? 3. Who was the leader of the Baroque painting style in Italy? Identify two features of this artist’s painting style. 4. Who is regarded as Spain’s greatest Baroque painter? 5. What subjects did artists in Holland paint during the Baroque period?

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LESSON 2

Painting a Still Life in the Baroque Style One of the most popular still-life subjects in seventeenth century Holland was flowers. Rachel Ruysch was a celebrated painter who specialized in flower paintings. Her successful career lasted for nearly 70 years. Examine Figure 14–8. It demonstrates Ruysch’s skill in realistically depicting the form, texture, and color of flowers. Notice how carefully she has recorded the details of each flower. Her ability to observe and capture nature is evident. Her Baroque style, moreover, gives the work a vivid appearance.

Like Rubens, Ruysch organized her composition along an imaginary S-curve. Like Caravaggio, she used contrasting light and dark values to give her paintings a dramatic look and feel.

WHAT YOU WILL LEARN You will paint a still life consisting of at least five objects of various sizes and shapes. You will paint these objects as accurately as you can. One object will be emphasized by


Figure 14–8 Ruysch worked slowly and carefully, making certain to record every detail as realistically as possible. She once spent seven years painting three pictures as a wedding gift for her daughter. Rachel Ruysch. Flowers in a Vase. Oil on canvas. 47.6
40 cm (183⁄4
15 3⁄4). National Museum of Women in the Arts, Washington, D.C. Gift of Wallace and Wilhelmina Holladay.

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its value, which will be lighter or darker than the other objects and the background. This contrast will also add a sense of excitement to your composition.

WHAT YOU WILL NEED ● ● ● ● ●

Five or more still-life objects in various sizes and shapes Pencil and sheets of sketch paper Sheet of white paper, 9
12 inches Tempera paint in different hues Medium and small brushes, mixing tray, and paint cloth

WHAT YOU WILL DO 1. Working with other students, arrange the objects in a pleasing fashion. 2. Make several sketches of the still life. Draw each object as accurately as possible. While sketching, determine which of the objects you will emphasize. Also, determine how you will use contrasting light and dark values to make that object stand out. One option is to make the object lighter than the other objects and the background. The other is to make it darker. 3. Working lightly in pencil, transfer your best sketch to the white paper. 4. Paint your composition with care. Use contrasting light and dark values to emphasize one of the still-life objects and add to the painting’s dramatic appearance.

Evaluating Your Work ● Describe Point out and name the five still-life objects in your picture. Describe the hues you used in your painting. ● Analyze Compare your painting of the still-life objects with the actual objects. How accurately did you paint the objects? Does your picture show contrasting light and dark values? Did you emphasize one object by painting it in a different value from the background and other objects? ● Interpret What is the effect of the value contrasts in your painting? ● Judge Examine your painting using each of the aesthetic views. Determine if your work is a success in terms of the subject view, the composition view, or the content view. Under which aesthetic view is your painting the most successful?


Figure 14–9 Student work. Still life in the Baroque style.

PORTFOLIO IDEAS It’s a good idea to create a Web portfolio. Scan in or take digital photos of your traditional artworks. Include any completed digital artworks. Make sure the size and resolution of images are appropriate. Analyze online portfolios by peers and others for inspiration. Form conclusions about their formal properties, historical and cultural contexts, intents, and meanings. Then design your Web portfolio to best present your work.

Visual Art Journal Study Figure 14–8 and your own still life. Compare and contrast the use of art elements and principles in the two works. Write your analysis in your visual art journal.

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LESSON 3

Art of the 18th Century The Catholic Church was not alone in recognizing the power of art to impress and overwhelm. In the 1700s, rulers were equally anxious to show their power and wealth. This was especially true of the most powerful emperor in Europe. He was Louis XIV of France. Beginning in Louis’s royal court, the Baroque style underwent a transformation. First, it changed from bold and dramatic to festive and decorative. Eventually, a new, lighter, and more graceful art style replaced it altogether.

King.” He held supreme power over every aspect of French society. This included the power to decide what was—and what was not—art. Architecture The Baroque style of art began to change in 1661. In that year, Louis ordered his architects to build him the biggest, grandest palace in the world. The result was Versailles (vuhrsye), erected a short distance from Paris. Figure 14–11 shows this luxurious, majestic palace. No single photograph can do justice to the Palace of Versailles. The building covers 15 acres and contains enough rooms to house 10,000 people. It is surrounded by 250 acres of landscaped gardens. In Louis’s time, 4 million flower bulbs were brought in each year from Holland for the king’s gardens.

FRANCE During the 1600s, France emerged as Europe’s strongest and wealthiest nation. (See Figure 14–10.) Its capital, Paris, became the center of art. Its leader was the pleasureloving Louis XIV, who reigned for over 70 years. Louis was viewed as a shining sun around which all France revolved. Not surprisingly, he became nicknamed the “Sun

UNITED KINGDOM BELGIUM

GERMANY LUXEMBOURG Paris

AU SWITZERLAND

AT LA NT IC

ITALY

OC EAN

Mediterranean Sea

SPAIN 0

250 mi

0

400 km

ANDORRA


Figure 14–10 Map of France.

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Painting At Versailles, life for the king and his court was happy and carefree. This lighthearted mood spilled over into art of the early 1700s. A new style, known as Rococo (roh-koh-koh), was born. This style is marked by free, graceful movement, a playful use of line, and delicate colors. The first artist to use the Rococo style was a painter named Antoine Watteau (an-twahn wah-toh). Watteau’s pictures show a makebelieve world filled with happy men and women enjoying life. The painting in Figure 14–12 is an example. The work shows a leisurely gathering of well-to-do people in a dreamy parklike setting. The French ruling class enjoyed having their portraits painted. An artist who met this demand was Élisabeth Vigée-Lebrun (ay-lee-zah-bet vee-zhay-luh-bruhn). She became a successful portrait painter before she was 20. By the time she was 25, she was named the queen’s official portrait painter.

Art of the 17th and 18th Centuries


Figure 14–11 Versailles was originally built to be a royal hunting lodge. Louis XIV had his architects expand and embellish it until the palace was elaborate and luxurious enough to serve as the official residence of the French Court. Louis le Vau and Jules Hardouin-Mansart. Palace of Versailles, France.


Figure 14–12 Music is a theme that can be found in nearly all of Watteau’s paintings. What has the artist done to link the seated figures to the standing man? Antoine Watteau. La Partie Quarrée. c. 1713. Oil on canvas. 49.5
62.9 cm (19 1⁄2
24 3⁄4). Fine Arts Museum of San Francisco, San Francisco, California. Museum Purchase, Mildred Anna Williams Purchase Fund, 1977.8.

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Vigée-Lebrun’s portraits often flattered her subjects, emphasizing their charms and glossing over their imperfections. She followed this same practice when she painted her own portrait (see Figure 14–13). This work was completed at the peak of the artist’s popularity. Vigée-Lebrun’s pictures portrayed the leading social figures of Paris. The works of Jean-Baptiste Siméon Chardin (zhahn-bahpteest see-may-ohn shar-dahn) showed another side of French life. His genre pictures take the viewer into the humble homes of everyday people. One of these works, Figure 14–14, shows a nurse carefully preparing a meal. Nothing disturbs the peaceful mood of the room. A soft light falls upon the nurse and the table. The rest of the room is hidden in soft shadows. Chardin’s

gift was his ability to see beauty in the commonplace. His paintings show us how to appreciate this kind of beauty.


Figure 14–13 Vigée-Lebrun lived to be 87 and left behind about 800 paintings. What element of art is used to emphasize the figure in this painting?


Figure 14–14 Take a moment to listen to this painting. What do you hear? How do these sounds add to the comforting mood of this picture?

Élisabeth Vigée-Lebrun. Self-Portrait. c. 1781. Oil on canvas. 64.8
54 cm (251⁄2
211⁄4). Kimbell Art Museum, Fort Worth, Texas. © 2003 by Kimbell Art Museum.

Jean-Baptiste Siméon Chardin. The Attentive Nurse. c. 1738. Oil on canvas. 46.2
37 cm (181⁄8
141⁄2) . National Gallery of Art, Washington, D.C.

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SPAIN The Rococo style in painting was not limited to France. In Spain, the style was adopted by a freethinking artist named Francisco Goya (goy-uh). Goya’s early Rococo works depict the same kinds of subjects popular in France. They show elegant members of the aristocracy engaged in fun-filled dancing and hunting scenes. His art changed dramatically, however, when he witnessed the horrors and suffering of war.

Art of the 17th and 18th Centuries

In 1808, French troops stormed into Spain. The bloody scenes Goya witnessed prompted a series of etchings on the stark brutality of war. An etching is an intaglio print made by scratching an image into a specially treated copper plate. The etching in Figure 14–15 shows a French firing squad taking aim at a war prisoner. The prisoner, his dead comrade, and the weapons stand out against a darkened sky. Goya’s view of war is stripped of brave warriors and glorious victories. It is a vision of death and destruction. Works like this shocked viewers. Eventually, social and political events brought an end to the carefree life of the Rococo age.

Make It Extraordinary Look closely at the details in Chardin’s painting in Figure 14–14. Notice the care with which he has painted the ordinary still-life objects on the table. Following Chardin’s example, find a small ordinary object as the subject for a painting. Select something you would not usually think of as “important enough” for a painting. Study the object carefully. Then draw it on a sheet of white paper as accurately as you can. Fill the page with the drawing. Paint your drawing with tempera, capturing the form, color, and texture of the object. Paint the background in a contrasting color so the object will stand out.

P O R T F O L I O Participate in an individual critique. Use the steps of art criticism to evaluate your painting. Is it strong enough to include in your portfolio? If not, what can you improve upon?


Figure 14–15 Goya’s series of etchings showing the “Disasters of War” was published after his death. What social and political themes can you identify in this artwork? Why do you suppose Goya decided not to include the riflemen in this print? Do you think that decision added to the emotional impact of this work? Francisco Goya. Y No Hay Remedio (And There’s Nothing to Be Done), from The Disasters of War, 15. 1810–13. Etching. The Metropolitan Museum of Art, New York, New York. Harris Brisbane Dick Fund, 1932. (32.62.17). Photograph © 1994 The Metropolitan Museum of Art.

Check Your Understanding 1. Which city became the center of the art world in the late 1600s? What king helped make this happen? 2. What new art style grew out of the carefree life of the king and his court at Versailles? What are the main features of works done in this style? 3. What kinds of paintings did Antoine Watteau create? What kind of paintings were done by Élisabeth Vigée-Lebrun? 4. What caused Goya to change his style of painting?

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LESSON 4

Creating a Rococo Shoe During the reign of Louis XIV, fashion was extremely important. A person’s clothing reflected his or her status in society. The nobility and wealthy middle class strove to keep up with the latest styles. Figure 14–16 shows an example of the clothing worn during this period. Imagine yourself in fashion-conscious Paris at the time of Louis XIV. You are a designer for a shoe company. You have been asked to design a new shoe for the king. In other words, you are to design a Rococo shoe.

WHAT YOU WILL LEARN You will use your imagination and skill to create a highly decorative three-dimensional

Rococo shoe. Your shoe will be constructed of cardboard and scrap materials. It will make use of a variety of colors, shapes, and textures.

WHAT YOU WILL NEED ● ●

Pencil and sheets of sketch paper Sheets of poster board or lightweight cardboard ● Scissors, heavy cardboard scraps, white glue, and stapler ● Pieces of brightly colored, richly patterned cloth ● Scrap materials, such as buckles, laces, bows, and sequins


Figure 14–16 Jean-Baptiste Joseph Pater was inspired by Antoine Watteau and followed the Rococo art style. Notice the lush fabrics and elegant clothing worn by the figures in this painting. Jean-Baptiste Joseph Pater. Concert Champêtre. c. 1734. Oil on canvas. 52.1
67.9 cm (20 1⁄2
26 3⁄4). The Metropolitan Museum of Art, New York, New York. Purchase, Joseph Pulitzer Bequest, 1937. (37.27). Photograph © 1982 The Metropolitan Museum of Art.

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WHAT YOU WILL DO 1. Study the clothing worn by the figures in Figure 14–16. Design a shoe inspired by the fashion style shown in the painting. Make several pencil sketches of the shoe as seen from the side. Make your designs as elaborate and unusual as possible. Include exaggerated heels, soles, laces, and other decorative features. Give your imagination free reign! 2. Choose your best sketch. Draw the outline of the shoe on a sheet of cardboard. Make the shoe life-size. Carefully cut out the shoe. 3. Place your cutout on a second piece of cardboard. Holding the shape firmly in place, carefully cut around it, creating a second identical shoe shape. 4. Glue strips of heavy cardboard between the two shoe cutouts. These will be hidden inside and will give you the basic form of a shoe. 5. Using pieces of cloth in different colors and patterns, cover the shoe form. Curve the cloth pieces around the heel of the shoe and across the top and the toe. Staple or glue the cloth in place. (Hint: Cutting the cloth scraps small will help add to the decorative look of the shoe.) Glue buckles, bows, laces, and other decorative details in place. 6. Place your finished shoe on display along with those fashioned by classmates. Which ones might Louis XIV and members of the French nobility favor? Why?

Evaluating Your Work ● Describe Point to and identify the heel, sole, and other parts of the shoe. Is your finished work easily recognized as a shoe? What adjectives would you use to describe your artwork? ● Analyze How did you use form, colors, shapes, and textures to create your design? What is the effect of your use of the art elements? ● Interpret Explain why people in France during the eighteenth century would appreciate your shoe design. How does it differ from contemporary shoe designs? ● Judge Do you think your shoe qualifies as a Rococo shoe? Explain why.


Figure 14–17 Student work. Rococo shoe.

STUDIO OPTIONS ● Decorate a shoe box with a design in the same Rococo style as your shoe. ● Select a historical period you have read about and design a shoe that reflects that period in an original and humorous way. Place your finished shoe on display and ask classmates if they can identify the period it represents.

Go to art.glencoe.com to learn more about 17th and 18th century art in Europe. There, you’ll also find: ● Artist Profiles ● Interactive Games ● Web Links Lesson 4 Creating a Rococo Shoe

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Art&writing The Baroque Style in the Arts During the seventeenth century, the arts flourished. As the Baroque art style spread, it influenced music and literature. For example, drama, variety, and emotional intensity became important features in all the arts.

THE THEME

OF

MUSIC

IN

ART

Oftentimes, these different fields influenced and inspired one another. It is therefore not surprising that music was a common theme depicted in

Baroque artwork. Look at the painting shown in Figure 14–18. Two Italian artists worked together to complete it. One of these painters was Orazio Gentileschi (jayne-tee-less-kee). He was the father of Artemisia, whose self-portrait opened this chapter. The other was Giovanni Lanfranco, one of the founders of the High Baroque style of painting. The subject of the painting is Saint Cecilia, the patroness of musicians, composers, singers, and poets. The artists show the saint playing an organ, the instrument with which she is most often


Figure 14–18 How have the artists emphasized the two figures in the painting? Imagine yourself stepping into the painting. How would you describe the music being played? Orazio Gentileschi and Giovanni Lanfranco. Saint Cecilia and an Angel. c. 1617–18 and c. 1621–27. Oil on canvas. 87.5
108 cm (345⁄8
421⁄2). National Gallery of Art, Washington, D.C. Samuel H. Kress Collection.

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Excerpt from John Dryden’s “Song for St. Cecilia’s Day, 1687” But oh! What art can teach, What human voice can reach The sacred organ’s praise? Notes inspiring holy love, Notes that wing their heavenly ways To mend the choirs above.

associated. An angel holds sheet music for the young saint, suggesting heavenly inspiration. Notice the dramatic use of dark and light values. Can you identify other characteristics of the Baroque style in this painting?

A POETIC TRIBUTE Writers often favored subjects that were popular among artists. The above passage, for example, is an excerpt from a poem celebrating Saint Cecilia and music. John Dryden, an English poet, wrote this poem, titled “Song for St. Cecilia’s Day, 1687.” Unlike artists, poets do not use art elements and principles to communicate their ideas. Instead, they use literary “elements” including rhyme and imagery. Such “tools” allow poets to organize words into meaningful poems. Look again at Dryden’s lines above. Focus on the last word in each line. Which of these words rhyme? What kinds of images do Dryden’s words paint?

MAKE THE CONNECTION Take Another Look 1. Study Figure 14–18. What adjectives would you use to describe the two figures portrayed? How would you describe the mood of the painting? 2. Reread the excerpt from Dryden’s poem and compare it to the painting of Saint Cecilia. In what ways are the subjects similar? In what ways are they different?

Art & writing Write a poem celebrating music. Look again at the painting in Figure 14–18. Write a short poem about the scene in the painting. Music should be the main theme in your poem. Using Baroque art as inspiration, draw a decorative border around your poem.

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Capturing moods and details in extraordinary paintings.

an Vermeer, a seventeenthcentury Dutch master, is one of the most famous artists in history. Vermeer produced only 34 paintings in his lifetime, but each was a masterpiece. Vermeer was the king of color, which he used with great subtlety. His paintings imitate the exact texture of individual objects. The Jan Vermeer. Woman with a shadows and light in his Balance. c. 1663. scenes add to the extraordinary realism. Can you tell where the light in this Vermeer developed a way to build up forms with painting comes from? Although many of Vermeer’s paintings had windows, continuous movements of his brush. He used tiny bright the outside world was not an imporhighlights to bring particular surfaces of light into focus. tant feature. This helped produce a feeling of serenity in viewers. His special effects could produce anything from the exact shine of a pearl to the individual hairs of a fur collar. Vermeer primarily painted women in comfortable middle-class TIME TO CONNECT homes. His female subjects tend to focus inward, writing letters, • Examine Vermeer’s painting.What do you think playing music, or weighing their is happening? What is the mood of this artwork? jewelry. Vermeer’s distinctive • Write a short story with a beginning, middle, style and subject matter appeal to and end. Describe what happened before, during, many people. That he turned out and after the scene in the painting took place. so few paintings makes each one Why is the woman doing this? How can even more special. Vermeer’s use of shadows and light influence or move forward the story line? 244

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BUILDING VOCABULARY Number a sheet of paper from 1 to 4. After each number, write the term from the list that best matches each description below. Baroque etching

façade Rococo

1. The outside front of a building. 2. An art style emphasizing movement, contrast, and variety. 3. An intaglio print made by scratching an image onto a specially treated copper plate. 4. An art style stressing free, graceful movement; a playful use of line; and delicate colors.

REVIEWING ART FACTS Number a sheet of paper from 5 to 11. Answer each question in complete sentences. 5. What architectural art style did Francesco Borromini practice? 6. What two features distinguished Caravaggio’s painting style? 7. Why did Dutch artists of the seventeenth century turn to scenes from everyday life for their artworks? 8. What kinds of paintings were the specialty of Judith Leyster? 9. Who was the first artist to create paintings in the Rococo style? 10. What side of French eighteenth-century life is revealed in the paintings of JeanBaptiste Siméon Chardin? 11. What subject matter did Francisco Goya choose to paint early in his art career?

CROSS-CURRICULUM CONNECTIONS 12. Language Arts. Review the artwork presented in this chapter. Select one and use it as inspiration to write a short story. 13. Music. Famous composers of the Baroque period include Bach, Handel, and Vivaldi. Working in teams of three or four, research one of these composers. Use your findings to present an in-class report. Bring a sample of the composer’s music to play during your presentation. Discuss similarities you found between music and paintings from this period. 14. Social Studies. Research what court life was like during the reign of Louis XIV. Based on your information, write an imaginary journal entry. Your entry should detail a day in the life of a member of Louis’s royal court.

The Louvre, Paris, France One of the most famous museums in the world, the Louvre is rich in both art and history. Follow the link at art.glencoe.com to visit this extraordinary museum. Taking the virtual tours offered at the Web site is the next best thing to visiting the museum in person! Explore the online collection of paintings. Compare and contrast French paintings from the seventeenth and eighteenth centuries with Italian paintings from the same period. Write a brief essay summarizing the similarities and differences that you found.

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Focus On
Figure 15–1 Would you describe this artist’s style as realistic? Why or why not? Do you think this artist has captured the hustle and bustle of a large city in this painting? If so, how has he done this? Claude Monet. Boulevard des Capucines. 1873–74. Oil on canvas. 80.3
60.3 cm (315⁄8
23 3⁄4). The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: the Kenneth A. and Helen F. Spencer Foundation Fund. © 2003 Artists Rights Society (ARS), New York/ADAGP, Paris.

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Art of the 19th Century “

“

A painting should first and foremost be a feast for the eye. —Eugène Delacroix, French painter (1798–1863)

T

he nineteenth century was an active and exciting period in the history of art. Unlike other periods, no one art style dominated. Instead, new and original styles emerged, gained acceptance, and were replaced by other styles. The century began with artists looking to the past for ideas. These artists drew inspiration for their works from the art of ancient Greece and Rome. This changed by midcentury, however. Artists now took to city streets and the countryside in search of subject matter. The everyday scenes they painted were often done with dabs and dashes of color. One example of this new style of painting is shown in Figure 15–1. After completing this chapter you will be able to: ●

●

●

Describe the Neoclassic, Romantic, Impressionist, and Post-Impressionist styles, and name artists who practiced these different styles. Identify some important nineteenth century American artists and describe the art styles they practiced. Create artwork influenced by nineteenth century art styles.

Quick Write Interpreting the Quote Reread Delacroix’s quote. Do you agree with his view? Why or why not? How else might you explain the purpose of paintings? Do you think the painting in Figure 15–1 presents you with “a feast for the eye”? Explain.

Key Terms Neoclassic Romanticism landscape Salon Impressionism Post-Impressionism Realism

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Neoclassic and Romantic Art The late 1700s and early 1800s were stormy times in France. Outraged by the greed of the wealthy ruling class, the poor rose up in revolt. This uprising, known as the French Revolution, began with a bloody reign of terror. Thousands, including the king and queen, lost their heads on the guillotine. The following 20 years were marked by war and turmoil. Finally, the troubled government was turned over to a popular young general. His name was Napoleon Bonaparte (nuh-polyuhn boh-nuh-part).

NEOCLASSICAL ART The lighthearted Rococo style seemed out of place amid all the political unrest. Artists of the time sought alternative outlets for their creativity. Some found an alternative in a revival of classical Greek and Roman art styles. Works done in this style were known as Neoclassic (nee-oh-kla-sik). Meaning “new classic,” this term describes an art style that borrowed features from the works of ancient Greek and Roman artists.


Figure 15–2 David’s painting has a dramatic quality. What elements and principles of art add to the mood and drama of the picture? How has the artist emphasized the figure of Socrates? Jacques-Louis David. The Death of Socrates. 1787. Oil on canvas. 129.5
196.2 cm (51
77 1⁄4). The Metropolitan Museum of Art, New York, New York. Catherine Lorillard Wolfe Collection, Wolfe Fund 1931. (31.45). Photograph © 1995 The Metropolitan Museum of Art.

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One of the leading artists of this style was Jacques-Louis David (zhahk loo-ee dahveed). Before the revolution, David was Louis XVI’s court painter. Once the fighting broke out, however, he sided with the rebel cause. He even became known as “the painter of the Revolution.” Later, David became Napoleon’s official painter. David depicted ancient Greek and Roman subjects in several of his paintings. In Figure 15–2, he portrays the death of the great Greek philosopher Socrates. In 399 B.C., Socrates was accused of holding unacceptable beliefs. The Athenian government gave him a choice. He could renounce his beliefs or be condemned to death. A man of high virtue, Socrates chose the second option. The painting depicts the instant before he drinks the poison that will end his life. His students and followers surround him, filled with despair. Socrates himself appears calm. Like many of David’s paintings, this artwork illustrates themes of honesty, sacrifice, and duty.

The Late Arrival In 1822, Alexandre Dumas hosted a party in his home. Dumas is best known as the author of The Three Musketeers. Many of his artist friends attended. These special guests were invited to decorate the walls of the house with murals. They were busy at work when a late guest arrived. Seeing the other artists at work, he picked up a piece of charcoal and began drawing. The other artists soon stopped working. All looked on in awe as the newcomer used brushes and paints to add color to his picture. In two hours, the action-filled painting was finished, and the onlookers burst into applause. The artist looked up in surprise. He had been so intent on his work that he failed to notice the crowd watching him. The artist’s name was Eugène Delacroix. An example of his artwork can be seen in Figure 15–3 on page 250.

ROMANTIC ART As the nineteenth century wore on, the French people grew weary of the fighting and political unrest. They yearned for an escape that would take their minds off these troubling events. Some artists shared this same yearning. These artists were responsible for developing a new style of art called Romanticism (roh-mant-uh-siz-uhm). This was a style of art that focused on dramatic and exotic subjects.

France To the Romanticists, nothing stirred the imagination more than visions of far-off places and colorful, action-filled adventures. Both can be found in the paintings of Eugène Delacroix (oo-zhen del-uh-kwah), a leader of the Romantic school. One of his paintings is shown in Figure 15–3 on page 250. Inspired by a trip he took to Morocco in 1832, Delacroix shows a horseman charging across a shallow river. The dramatic subject and action are intended to stir the viewer’s emotions and imagination.

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Figure 15–3 How has Delacroix created a sense of movement in this painting? How do the colors and brushstrokes add to the action of the scene? Eugène Delacroix. Moroccan Horseman Crossing a Ford. c. 1850. Oil on canvas. 46
37.9 cm (18 1⁄8
14 15⁄16). J. Paul Getty Museum, Los Angeles, California.


Figure 15–4 What has the artist done to create the illusion of space in this painting? Some have described Turner’s pictures as having been painted with “tinted steam.” Do you think this is a fitting description of this painting? Why or why not? Joseph M. W. Turner. The Dogana and Santa Maria della Salute, Venice. 1843. Oil on canvas. 62
93 cm (24 3⁄8
36 5⁄8). National Gallery of Art, Washington, D.C. Given in memory of Governor Alvan T. Fuller by the Fuller Foundation, Inc.

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England Like Delacroix, the English painter Joseph M. W. Turner also relied on his imagination to create new, stirring artwork. Unlike Delacroix, Turner expected his viewers to use their imaginations as well. His works are characterized by the use of glowing colors, dazzling light, and blurred images. These qualities draw the viewer into the world of the painting. Turner spent his life painting landscapes. A landscape is a work of art showing mountains, trees, or other natural scenery. He was fascinated in particular by sunlight and its shimmering effects on water. That fascination inspired paintings like the one in Figure 15–4. Notice how the buildings in the distance seem to melt in the sun’s golden glow. This effect makes them look less real and more dreamlike. Turner’s painting ignores the details of a specific time and place. Instead, its soft colors and shadows create a dreamy mood. The viewer is thus invited to share in the magic of a faraway place.

Check Your Understanding 1. How did historical and political issues influence French artists during the late 1700s and early 1800s? 2. What is the Neoclassic art style? Who was one of the leading artists of this style? 3. What is Romantic art? What led artists to begin creating art in this style? Who was one of the leaders of this art style? 4. What is a landscape painting? Name a nineteenth-century English artist known for painting landscapes.

Capturing Action with a Monoprint Compare the actions of the figures in David’s painting (Figure 15–2) with that in Delacroix’s painting (Figure 15–3). Notice how David’s figures appear quiet and still. In contrast, Delacoix shows a great deal of movement in his painting. Note the energetic horse and rider, the cloud-filled sky, and the rushing water.You will use Delacroix’s action-filled scene as inspiration for this activity. Take a section of light-colored laminated plastic or a sheet of glass (with taped edges). Using a brayer, cover the surface with water-based printing ink. Ask a classmate to act as a model. Decide on an action pose for him or her. Then use a cotton swab, pencil, or any combination of different objects to scratch through the ink.Your goal is to produce a drawing of the model. Work quickly and ignore details. Try to create a drawing that records the movement of the model. Place a sheet of white paper over the inked surface. Rub gently, and lift the print.

P O R T F O L I O Participate in an individual critique. Analyze your monoprint. Would you classify it as Neoclassic or Romantic? Why? What changes might make it more clearly in that style? Revise your artwork and include it in your portfolio.

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LESSON 2

Designing a Neoclassic Stage Set One of Jacques-Louis David’s most famous paintings is shown in Figure 15–5. The artwork is based on a play about two families living in neighboring ancient Roman cities. The families are related by marriage but divided by a war between their cities. In the painting, a father and his three sons are pledging to defend their city. They know that this means doing battle with their own relatives. The women, unable to prevent the tragedy, weep. Imagine that you are a well-known stage designer. You have been asked to design a “stage set” for a production of this play. Your set is to be inspired by David’s painting. You will create a three-dimensional model that draws upon the painting.


Figure 15–5 In what ways is this picture like a scene from a play? Are the colors in the work bright or subdued? How do contrasts of light and dark values help emphasize the most important parts of this work? Jacques-Louis David. Oath of the Horatii. 1786. Oil on canvas. 130.2
166.2 cm (511⁄4
65 5⁄8). Toledo Museum of Art, Toledo, Ohio.

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WHAT YOU WILL LEARN You will use direct observation to design and build a model for a stage set in a shoe box. Your model will enlarge the “stage” seen in Figure 15–5. You might, for example, extend the scene by adding more arches. Another option would to be to extend one or more walls. A third would be to design the space behind the arches. You will make and include two pieces of furniture. These will help define the space in your model. Your stage should match the colors, values, textures, and patterns in David’s painting. It must also preserve the work’s feeling and mood.

WHAT YOU WILL NEED ● ● ●

Pencil and sheets of sketch paper Mixing tray and tempera paint Two brushes, one wide and one fine-tipped ● Shoe box and pieces of mat board ● Scissors and white glue

WHAT YOU WILL DO 1. Carefully study the story and action in David’s painting. Then, sketch several ideas for extending the stage. Include windows, doorways, arches, and other features. Be as creative and imaginative as possible. Set your best sketch aside. 2. Mix tempera colors to match the lighted areas of the walls and floor in David’s painting. Mix darker values of the same hue to match the shaded areas. Use the wide brush to paint the back, sides, and bottom of the shoe box. Use the finetipped brush to add the thin lines and textural effects. 3. Refer to your sketch. Using scissors, cut out the doors, arches, and other architectural features you have drawn. Make sure to match the colors, values, textures, and patterns seen in the painting. Try also to capture the same mood or feeling. Glue any other features in place in your model. 4. Make two pieces of furniture, cutting out the pieces for each from mat board. Assemble and paint these furniture pieces. Display your model in class.

STUDIO OPTION Draw and color figures to cut out and use as “actors” for your stage. Glue these figures on pieces of mat board with small props so they will stand. Place them in your model so they appear to be interacting with one another.

Evaluating Your Work ● Describe Do the walls, floor, and other features of your model look real? What features help identify your model as an expansion of David’s painting? ● Analyze Do the colors, values, and textures in your work match those in the painting? How do the furniture and other features help define the space in your model? ● Interpret Does your stage set capture the same feeling or mood shown in David’s painting? What word or words best describe that feeling or mood? ● Judge Is your model successful? Does it succeed because of its realistic appearance, its composition, or its content?


Figure 15–6 Student Artwork. Neoclassic stage.

Visual Art Journal Imagine the words that “actors” on your stage might say. In your visual art journal, write a brief skit of actions and dialogues taking place on your stage. Keep in mind the feeling or mood of the David painting.

Lesson 2 Designing a Neoclassic Stage Set

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LESSON 3

Impressionism One of the great cultural events of the nineteenth century was the Salon (suh-lahn). The Salon was France’s official art exhibition. It was both a social and cultural gathering. Held annually in Paris, the Salon attracted large numbers of high-profile art lovers. Among these were top critics of the day. Artists’ reputations hung on whether their work was selected to be shown at the Salon. How the art critics responded was also extremely important. In 1874, a group of artists rejected by the Salon decided to hold their own exhibition. They hung their pictures in an empty Paris studio and awaited the public’s reaction.


Figure 15–7 Viewed close up, the brushstrokes in this painting appear choppy, making the work look sketchy and unfinished. When viewed from a distance, however, they blend together to better capture the vibrant effects of sunlight. Claude Monet. View of Bordighera. 1884. Oil on canvas. 66
81.8 cm (26
32 3⁄16). The Armand Hammer Collection, UCLA Hammer Museum, Los Angeles, California. © 2003 Artists Rights Society (ARS), New York/ADAGP, Paris.

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It was mixed. Although some people liked the fresh approach, most responded negatively. Some people were confused and others were outraged. Many felt the paintings were more like quick sketches than finished artworks. One critic sneeringly coined the term impressionistic to describe these works. He had borrowed the word from the title of one painting in the show, Impression: Sunrise. The name stuck. Over a century later, the art world still refers to this breakthrough style as Impressionism. The name denotes an art style that attempts to capture the rapidly changing effects of sunlight on objects.

CLAUDE MONET The painting that gave Impressionism its name was by Claude Monet (klohd mohnay). He was one of the movement’s leaders. Monet was one of the first artists to leave his studio and paint outdoors. He looked at the world around him with a fresh eye. He found subjects for art everywhere. He painted landscapes and street scenes, capturing the fleeting experience—the impression—of these places. Imagine yourself looking over Monet’s shoulder as he prepares to create an Impressionistic painting. His subject is the scene in Figure 15–7. Monet notices how the bright sunlight flickers on the gently swaying leaves. He observes how the light blurs the line separating the sea and sky. He sees how it blots out details in the buildings of the town. Taking brush in hand, he applies small

dabs of paint to his canvas. He uses pale pink and tiny patches of brilliant orange to capture what he sees. Monet knows these colors will blend together in the viewer’s eye. He knows too that they will give his painting a warmth and brilliance like the sun’s.

PIERRE-AUGUSTE RENOIR Another important leader of the Impressionist movement was Pierre-Auguste Renoir (pee-ehr oh-goost ren-wahr). He was also among the most productive of the group. He continued painting into his late 70s despite illnesses that left him partially paralyzed. When he could no longer hold his brushes, he had them tied to his wrists. Much of Renoir’s fame rests on the many Impressionist portraits he did. Study his portrait of a young girl in Figure 15–8. Did you notice that much of the painting appears blurred? One detail, however, is in sharp focus. Can you find it? Of course, it’s the child’s eyes! Renoir knew that when we look at a person or object, not all parts appear in focus. The only part seen sharply at a given moment is the one the eye rests upon. Since we notice a person’s eyes first, Renoir painted these in crisp detail.


Figure 15–8 Vibrant colors and loose brushstrokes are characteristic of Impressionistic paintings. What other similarities do you see between this painting and Monet’s work, shown in Figure 15–7? Compare and contrast the use of the art elements and principles in these two artworks. Pierre-Auguste Renoir. Girl with a Hoop. 1885. Oil on canvas. 125.7
76.6 cm (49 1⁄2
30 1⁄8). National Gallery of Art, Washington, D.C. Chester Dale Collection.

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BERTHE MORISOT Another important Impressionist painter was Berthe Morisot (behrt maw-ree-zoh). When seeking subjects for her paintings, Morisot often turned to family members. She painted her daughter and niece from the time they were infants through adolescence.

Figure 15–9 shows her daughter Julie on tiptoe, peering over a garden fence. Morisot’s niece, Jeannie, can be seen playing nearby. With rapidly applied dabs of color, the artist captured a carefree childhood moment on a bright summer afternoon.


Figure 15–9 During her lifetime, Morisot’s skills as an artist were sometimes overlooked because she was a woman. Monet and Renoir, however, felt that her paintings were equal to theirs. Berthe Morisot. La Hotte (The Basket-Chair). 1885. Oil on canvas. 61.3
75.5 cm (24 1⁄8
29 3⁄4). The Museum of Fine Arts, Houston, Texas. Gift of Audrey Jones Beck.

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AUGUSTE RODIN French sculptor Auguste Rodin (oh-goost roh-dan) created artworks similar to those of the Impressionist painters. Instead of paintings, however, he created sculptures. He used bits of clay or wax, much like dabs of color, to build up three-dimensional forms. The work in Figure 15–10 shows the results of this process. Notice the rough, bumpy surface of this portrait in the round. The subject appears as if she is seen in flickering light. This gives the work a sense of movement that adds to its lifelike appearance.

Auguste Rodin Born in 1840, Rodin started drawing when he was ten years old. At 14, he began his art studies at the Petite École. Later, he tried to gain admission to the prestigious École des Beaux-Arts. He was rejected three times, but Rodin never gave up. To support himself, he worked for decorators and ornamentalists during the day. At night, he created his own art. Rodin caught public attention when he exhibited a sculpture at the Salon of 1877. Impressed, the undersecretary of fine arts in France became Rodin’s patron. The French government even provided the artist with a Paris studio. He worked there for the rest of his life. By the time of his death in 1917, Rodin had achieved international fame.

Check Your Understanding 1. What was the Salon? Why was it important to artists? What role did the Salon play in introducing the new style of impressionism? 2. What were some of the ways people reacted to the first showing of Impressionist paintings in 1874? 3. What did the Impressionists try to capture in their pictures? What technique did they use to do this? Where did they go to find subjects for their work? 4. What kind of subject did Renoir and Morisot specialize in? 5. How were Rodin’s sculptures similar to the Impressionist paintings?
Figure 15–10 Notice how this work seems to be “frozen” in a fleeting moment of time. The woman’s expression is captured just as it seems to be changing. In what way is this characteristic similar to effects found in Impressionist paintings? Auguste Rodin. Bust of a Woman. 1875. Terracotta with plaster and paint. 48.9
35.6
26.9 cm (19 1⁄4
14
10 9⁄16). National Gallery of Art, Washington, D.C. Gift of Mrs. John W. Simpson.

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LESSON 4

Painting a Landscape in the Impressionist Style Impressionist artists, you have learned, chose to paint the everyday scenes around them. To artists like Claude Monet, the subject matter was not the most important consideration. The subject might be a haystack, poplar trees, or rowboats on a lake (see Figure 15–11). What mattered most to the Impressionists was how best to show the way sunlight affected those subjects. This, Monet discovered, was best achieved using dabs and dashes of bright color.

WHAT YOU WILL LEARN You will paint a landscape using dabs of tempera. Your goal will be to reproduce the shimmering effect of sunlight. You will achieve this goal using short brushstrokes of unmixed colors placed side by side. These will merge in viewer ’s eyes to create new


Figure 15–11 What objects are painted with the greatest amount of detail? Where are these objects located in the picture? Why do you think the figures are not painted in sharp focus? Claude Monet. Bathers at La Grenouillère. 1869. Oil on canvas. 73
92.1 cm (28 3⁄4
36 1⁄4). The National Gallery, London, England. Bridgeman Art Library. © 2003 Artists Rights Society (ARS), New York/ADAGP, Paris.

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colors. The short brushstrokes will also enable you to create a richly textured surface. Distant objects will be painted in lighter values, have blurred outlines, and exhibit few details. In this way, you will create the illusion of space.

WHAT YOU WILL NEED ● ●

Pencil and sheets of sketch paper Sheet of white drawing paper, 9
12 inches ● Several brushes, tempera paint, and mixing tray

WHAT YOU WILL DO 1. With a group, brainstorm natural and human-made objects that might be found in a landscape. Possibilities include trees,

mountains, rivers, clouds, bridges, and buildings. Use your list to identify objects for several landscape sketches. Draw distant objects smaller than the objects in the foreground. This will give the illusion of space. 2. Choose your best sketch. Using light pencil lines, reproduce the sketch on the sheet of white drawing paper. Fill the entire sheet with your drawing. 3. Select colors for your picture that, when seen from a distance, form a third hue. For example, if there is grass in your picture, select blue and yellow, which make green. Do not mix these colors. Instead, you will allow the viewer’s eye to blend them. 4. Load a medium brush with one of the colors. Apply paint in dabs and dashes to your picture. Add dashes of the second color between and around dabs of the first. Keep the dabs distinct from each other. 5. As you work, step back occasionally to view your picture from a distance. This will help you determine if the colors are blending together as you intended. If they are not, keep making adjustments until you achieve the desired effect. 6. Paint distant objects in lighter values and closer objects in darker values. Give distant objects blurred outlines and eliminate details. This will show that they are bathed in sunlight and located back in space.

Evaluating Your Work ● Describe Identify and name the objects in your painting. Are they easily recognizable? Is your painting realistic? ● Analyze Do the dabs of different colors placed side by side create new colors when viewed from afar? Does the pattern of short brushstrokes add a rich texture to the surface of your picture? What qualities characterize your painting as “impressionistic”? ● Interpret Does your landscape painting capture the shimmering effect of sunlight on a warm, summer day? What mood does your artwork convey? ● Judge Do you consider your painting a success? Is this judgment based on its realistic appearance, the manner in which you used hue, texture, and space, or the pleasant feelings inspired by your scene?


Figure 15–12 Student work. Impressionist landscape.

COMPUTER OPTION Produce electronic media-generated art using a variety of art software tools in experimental ways. Use different airbrush settings to create a grainy, semitransparent effect. Build up layers of color. Your image will be soft and hazy. Using smaller brushes, paint simple objects—trees, plants, or buildings. To emphasize objects, build up heavier layers of color. Title, save, and print your work.

To learn more about Impressionism and other art movements of the 19th century, visit art.glencoe.com. There, you will also find: ● ● ● ●

Artist Profiles Interactive Games Student Art Gallery Web Links

Lesson 4 Painting a Landscape in the Impressionist Style

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LESSON 5

Post-Impressionism Toward the end the nineteenth century, some artists began having second thoughts about Impressionism. The goals of this style, they felt, were too limiting. For them, art needed to do more than capture the changing effects of sunlight on subjects. Their reactions against Impressionism resulted in a new art movement: Post-Impressionism. This is a term used to describe various trends in painting that followed Impressionism.

While the Post-Impressionists agreed there were problems with Impressionism, their solutions differed. Some felt art should be more carefully designed—that composition should not be ignored. Others claimed that feelings and emotions should come first—that content deserved serious consideration. Still others argued that both composition and content should be taken into account.


Figure 15–13 What adjective best describes the form of the mountain in the distance? What technique has the artist used to create that form? How does the technique used to paint the mountain differ from the technique used to paint the trees? Paul Cézanne. Mont Sainte-Victoire Seen from Bibémus Quarry. c. 1897. Oil on canvas. 65.1
80 cm (25 5⁄8
31 1⁄2). The Baltimore Museum of Art, Baltimore, Maryland. The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland.

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PAUL CÉZANNE: COMPOSITION Paul Cézanne (say-zahn) was one of the original members of the Impressionist movement. However, he became increasingly bothered by one result of the Impressionist approach. This was the loss of form and structure that resulted when shapes were blurred. His solution was to create paintings made up of flat patches, not dabs, of color. He carefully joined these together like pieces of a jigsaw puzzle. When painting a rounded

object, for example, he combined color patches to suggest natural curves. In this way, he was able to create solid-looking forms. The painting in Figure 15–13 illustrates Cézanne’s technique. Cézanne’s goal was to reveal how color patches carefully angled in different directions mimicked solid forms. Notice the various colors used to model the mountain, trees, and hills. These combine in the finished painting to yield a richly colored pattern of solid geometric forms.


Figure 15–14 Describe the trees in this picture. Do you think the artist’s only intent was to capture the appearance of these trees? If not, what was his intent? Vincent van Gogh. Cypresses. 1889. Oil on canvas. 93.3
74 cm (36 3⁄4
29 1⁄8). The Metropolitan Museum of Art, New York, New York. Rogers Fund, 1949. (49.30). Photograph by Malcolm Varon, © 1984 The Metropolitan Museum of Art.

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VINCENT

VAN

GOGH: CONTENT

Perhaps the most famous of the PostImpressionists was Vincent van Gogh. Van Gogh did not share the Impressionists’ objective of capturing fleeting moments of light. Instead, he set out to express his deepest feelings about his subjects. In his paintings, he used twisted lines and forms, intense colors, and rich textures to express deep emotions. Near the end of his short life, van Gogh suffered from mental illness. Seeking

treatment, he entered a private hospital where he remained for a year. During that period, he painted the picture of cypress trees seen in Figure 15–14 on page 261. The heavy application of paint and swirling lines are typical of his highly expressive style. The twisting cypress trees are the true focus of this painting. Through them, van Gogh communicates his sensitivity to the forces of nature. At the same time, he expresses his own mental anguish.


Figure 15–15 Compare and contrast the use of art elements and principles in this painting with those used in Figure 15–13. What similarities and differences can you identify? Paul Gauguin. Tahitian Landscape. c. 1891. Oil on canvas. 68
92.7 cm (26 3⁄4
36 1⁄2). Minneapolis Institute of Arts, Minneapolis, Minnesota. The Julius C. Eliel Memorial Fund.

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PAUL GAUGUIN: COMPOSITION AND CONTENT Another important figure in the PostImpressionist movement was Paul Gauguin (goh-ganh). Gauguin did not come to art until his late thirties. By this time, he was a successful banker in Paris. Convinced he was destined for artistic greatness, he abandoned his career and family to devote his life to painting. Throughout his life, Gauguin moved from one place to another. He was searching for a paradise on earth with exotic subjects to paint. The artwork in Figure 15–15 was painted on the South Pacific island of Tahiti. Gauguin felt artists should be free to use color any way they wanted. In this painting, he boldly applied colors to flat shapes. These are combined with curving contour lines to create a painting that is more decorative than realistic. As in all his paintings, Gauguin never ignored the importance of composition. Notice how the curve of the pink path is repeated in the pink mountain and cloud. This helps tie the foreground, middle ground, and background together into a unified whole. At the same time, he captures the bold colors and leisurely lifestyle of a far-off paradise. Look again at Figure 15–15 and consider its content. What ideas, themes, or messages does the artwork communicate to you? Analyze the painting to determine its cultural contexts. What does it tell you about life in Tahiti in the nineteenth century?

Painting a Three-Dimensional Form Make a simple line drawing of an apple, orange, or some other round object from direct observation. Draw this object big enough to fill a sheet of paper. Using a flat brush, paint the object with patches of tempera. Follow Paul Cézanne’s technique. Turn the patches of color in different directions to show the solid rounded form. Do another painting of the same object. This time, vary the value of the hue you are using. To do this, make the patches of color gradually lighter as they turn around the object.

P O R T F O L I O Participate in a peer critique of your paintings. Which students were most successful in showing a threedimensional form in Cézanne’s style and technique? Using feedback from classmates and teachers, revise your paintings for your portfolio.

Check Your Understanding 1. What problem did the Post-Impressionists find with the Impressionist style? 2. What were three different solutions to the problem of Impressionism advanced by the Post-Impressionists? 3. What did Paul Cézanne do to create solidlooking forms in his paintings? 4. What did Vincent van Gogh hope to express in his paintings? 5. How did Paul Gauguin think artists could use color?

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LESSON 6

Crayon Resist in a Post-Impressionist Style Look again at the painting by Paul Gauguin in Figure 15–15 on page 262. Now look at another work by the artist in Figure 15–16 below. Both works are vibrant illustrations of the natural landscapes Gauguin saw in Tahiti. Notice the flat, overlapping shapes of bright color. Observe how these are skillfully used to create visually appealing compositions.

WHAT YOU WILL LEARN You will create a crayon resist of overlapping, imaginary flowers of various sizes and shapes. In this type of artwork, the wax of the crayon “resists” the water-based paint, creating a unique look. You will select and


Figure 15–16 Gauguin took his first voyage to Tahiti in 1891. Several of his paintings portray the landscapes and people he saw there. In this painting, how are the sky and the mountain painted differently from the objects in the middleground and background? Paul Gauguin. Haere Mai. 1891. Oil on burlap. 72.4
91.4 cm (28 1⁄2
36). Solomon R. Guggenheim Museum, New York, New York. Thannhauser Collection. Gift, Justin K. Thannhauser, 1978. © The Solomon R. Guggenheim Foundation.

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use a variety of appropriate art materials and tools to produce your artwork. Your flowers will be colored in bright hues. Varied lines of contrasting thicknesses will be used to further define the flowers and their parts.

WHAT YOU WILL NEED ● ● ● ● ● ●

Pencil and sketch paper Sheet of white paper, 9
12 inches Newspaper Crayons or oil pastels White chalk Watercolor or tempera paint, wide brush, and mixing tray

WHAT YOU WILL DO 1. Imagine visiting a strange planet. Suppose, further, that the planet is home to exotic, brightly colored flowers. Give your imagination free reign as you make several pencil sketches of these flowers. 2. Transfer your best sketch to the sheet of white paper. Fill the entire sheet with flowers and leaves of different sizes and shapes. Make sure that these flowers overlap each other. Increase your drawing’s visual interest by including as many unusual flowers as possible. 3. Draw over the major lines of the flowers in your picture with white chalk. Vary the width of this chalk line from thick to thin. You may decide to use the chalk lines to draw the veins within leaves or to add an unusual pattern to flowers. 4. Use crayons or oil pastels to color the flowers in your drawing. Color up to— but not over—the chalk lines. Use bright hues and apply heavy pressure. Create a thick layer of crayon. Placing several layers of newspaper under your paper will help ensure this effect. Leave some areas of the paper uncrayoned. 5. Paint lightly over your crayon drawing with watercolor or water-diluted tempera. Choose a dark hue that will contrast with the bright hues of your crayon drawing. The crayoned areas will resist the paint but the chalked lines will not.

Evaluating Your Work ● Describe Are the objects in your picture easily identifiable as flowers and leaves? Do these flowers overlap each other? What adjectives would you use to describe the flowers? ● Analyze Did you use a variety of shapes and sizes in your artwork? How did you use color and line weight to give your drawing visual interest? ● Interpret What qualities make the flowers and leaves unusual? Do they look like they come from another world? ● Judge Compare your work with the paintings by Gaugin in Figures 15–15 and 15–16. What similarities can you find? Do you consider your work a success? What aesthetic view did you rely on when forming your judgment?


Figure 15–17 Student work. Crayon resist.

COMPUTER OPTION Experiment with different brushes, textures, and effects on your draw or paint program. Use the appropriate tools to create an electronic media-generated illustration of the unusual flowers found on the imaginary planet. Remember to use flat, overlapping shapes and vibrant colors. Title, save, and print your work. Analyze and compare relationships, such as composition and content, in your personal artwork.

Visual Art Journal Analyze your peers’ artworks to form conclusions about formal properties, historical and cultural contexts, intents, and meanings. For example, did historical and cultural contexts influence their artworks? Summarize your analysis in your journal.

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LESSON 7

American Painting in the 19th Century The nineteenth century was a period of great change and growth in the United States. The country grew in size as waves of pioneers pushed westward. It also grew in wealth as trade and industry boomed. By the century’s end, America had taken its place as a world power. It also emerged as a force to be reckoned with in the world of art. Around this time, many American artists journeyed to the great art centers of Europe to study. Some were

greatly influenced by the art styles they encountered. Others returned home to develop styles that were unmistakably American.

MARY CASSATT Mary Cassatt was a native of Pennsylvania. She studied at the Pennsylvania Academy of Fine Arts before traveling to Paris for further training. There, she met the Impressionists and was greatly influenced by their


Figure 15–18 What ties this painting’s subject and technique to the works of the Impressionists? How are the woman and child emphasized? How would you describe the details in the background? Mary Cassatt. A Woman and a Girl Driving. 1881. Oil on canvas. 89.7
130.5 cm (35 5⁄16
51 3⁄8). Philadelphia Museum of Art, Philadelphia, Pennsylvania. Purchased with the W.P. Wilstach Fund, 1921.

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painting style. Cassatt’s favorite subjects were women and children. She painted these with the fresh colors and the blurred forms favored by the Impressionists. Figure 15–18 shows the artist’s sister Lydia with Edgar Degas’s niece. Degas is the painter credited with introducing Cassatt to the Impressionists. Eventually, Cassatt was invited to exhibit with the Impressionists. She was the only American ever invited to do so. Cassatt’s works were an important contribution in the development of American art in the 1800s.

THOMAS EAKINS Thomas Eakins (ay-kinz) is regarded as one of the greatest painters of his time. He was also one of America’s finest Realist painters. Realism is an art style in which everyday scenes and events are painted as they actually look. This style was first developed in France in the

mid-1800s. Eakins, however, used it to create distinctly American paintings. Eakins was so committed to Realism that he refused to show subjects in a flattering way. As a result, he was scorned throughout his lifetime. His devotion to his style is evident in the painting in Figure 15–19. The subject of the work is clearly a prizefight. However, notice the precise moment Eakins chose to capture. He does not show us an action scene in which two opponents battle it out. Instead, one fighter appears seated in his corner of the ring between rounds. His opponent is not even visible. The picture does not tell an exciting story or hold any suspense. We do not even know if the boxer is winning or losing. Instead, the artist provides a carefully studied, accurate record of the scene exactly as he witnessed it.


Figure 15–19 The boxer is not the largest figure in this composition, and yet he commands the viewer’s attention. What has Eakins done to draw your eyes to the boxer? Thomas Eakins. Between Rounds. c. 1898–99. Oil on canvas. 127.3
101.3 cm (50 1⁄8
39 7⁄8). Philadelphia Museum of Art, Philadelphia, Pennsylvania. Gift of Mrs. Thomas Eakins and Miss Mary Adeline Williams, 1929.

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Figure 15–20 Did you notice the three tiny figures at the top right corner of this painting? How does their size change your estimation of the cliff’s proportions? Winslow Homer. High Cliff, Coast of Maine. 1894. Oil on canvas. 76.5
97 cm (30
38 3⁄16). National Museum of American Art, Smithsonian Institution, Washington, D.C. Art Resource, NY.


Figure 15–21 What mood or feelings does this painting inspire? How does the artist’s use of line and color contribute to the mood? Albert Pinkham Ryder. The Flying Dutchman. c. 1887. Oil on canvas. 36.1
43.8 cm (14 1⁄4
17 1⁄4). National Museum of American Art, Smithsonian Institution, Washington D.C. Art Resource, NY.

WINSLOW HOMER

ALBERT PINKHAM RYDER

Another American artist who sought to paint the world as he saw it was Winslow Homer. However, unlike Eakins, Homer’s pictures often told stories. Many showed people engaged in outdoor activities such as hunting, fishing, or sailing. Late in the 1880s, Homer set up a studio on a rocky stretch of the Maine coast. There, he painted scenes of the sea for the next 30 years. At first, these were action-filled struggles between nature and seafaring people. As time went on, however, the people in his paintings shrank in importance. Instead, his pictures began to focus on the power of the sea in its many moods. Figure 15–20 differs from most of these later paintings in that it shows a struggle. The contest is not, however, between the sea and humans. Rather, it involves a rugged wall of rock challenged by the force of crashing waves. There is no horizon in this painting. There is nothing to divert attention away from the battle between the raging sea and the unyielding cliff.

Albert Pinkham Ryder was a lonely painter who paid little attention to the art of others. His choice of subjects and style were uniquely his own. Often, he focused on dreamlike images borrowed from literature. He painted these with thick layers of pigment in glowing colors. Figure 15–21 is a typical example of Ryder’s style. The painting shows a small boat, damaged and adrift. In the boat are three figures. All shrink in terror at the sight of the legendary Flying Dutchman. This mythological ship was doomed by a mysterious spell to sail the seas forever. The ghostly ship is silhouetted against a dusky sunset. The diagonal thrust of the clouds overhead draws the viewer ’s attention to the small boat. Notice that the boat battles wind-swept waves, carrying captain and crew to an uncertain fate.

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HENRY TANNER Henry Tanner, a former student of Thomas Eakins, was an important African American artist. He studied for a period in Paris. In 1894, one of his paintings was accepted by the Salon—a rare honor for an American. Known mainly for his religious paintings, Tanner also painted portraits and outdoor scenes. Figure 15–22 shows one of his outdoor scenes. Notice the low-intensity hues, contrasting light and dark values, and blurred shapes in this painting. What kind of mood does the work convey?


Figure 15–22 Are the shapes in this painting clearly defined? What time of day is suggested? How does this picture make you feel? Do you think this work’s emotional appeal justifies a positive judgment? Henry Tanner. The Seine. c. 1902. Oil on canvas. 22.8
33 cm (9
13). National Gallery of Art, Washington, D.C. Gift of the Avalon Foundation.

Check Your Understanding 1. What subjects did Mary Cassatt often portray in her artwork? 2. Why did critics reject Thomas Eakins’s paintings during his lifetime? 3. How did Winslow Homer’s paintings differ from Eakins’s? 4. What kind of works did Albert Pinkham Ryder paint? 5. Who was Henry Tanner? What types of paintings did he create?

Capturing a Mood in a Chalk Painting Compare Ryder’s painting (Figure 15–21) with Tanner’s (Figure 15–22). In what ways are these paintings similar? How do they differ? In this activity, you will produce a chalk painting using a variety of art materials and tools in experimental ways. Similar to Ryder’s and Tanner’s paintings, your artwork will capture a mood. Complete a pencil sketch of a sailing ship in a rolling sea at sunrise or sunset. Draw large simple shapes and avoid all unnecessary details. Select several colors of chalk for your picture. Choose the same lowintensity hues and contrasting values noted in the two paintings. Prepare a solution of 1 part sugar and 3 parts water. Soak the chalk sticks in this solution for several minutes. Use the chalk to color your picture, dipping it into the sugarwater solution as needed. Blur the contours of the ship and other objects in your picture as you add color. Focus on capturing a certain mood or feeling rather than on creating a realistic scene.

P O R T F O L I O Place your mood painting on exhibit along with those created by classmates. Do all artworks make use of low-intensity hues, contrasting light and dark values, and blurred contours? Do the works succeed in capturing a mood or feeling? Which were especially successful in this regard? Based on the group critique, revise your painting for your portfolio.

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Social Art& Studies

Nineteenth-Century Arts and Entertainment The performing arts were an important aspect of nineteenth-century society. At the theatre, audiences enjoyed ballets, operas, and plays. These performances provided entertainment as well as a chance for the audience to socialize. The theatre also influenced art in the second half of the nineteenth century.

ARTISTS

AND THE THEATRE

Several artists, including Auguste Renoir and Mary Cassatt, created artworks inspired by the


Figure 15–23 This drawing shows one of Degas’s favorite subjects, ballet dancers. It gives us a glimpse of what a ballet performance in the nineteenth century was like. Edgar Degas. Two Dancers Entering the Stage. c. 1877–78. Pastel over monotype in black ink on white modern laid paper, discolored to tan. 38.1
35 cm (15
133⁄4). Fogg Art Museum, Harvard University, Cambridge, Massachusetts. Courtesy of the Fogg Art Museum, Harvard University Art Museums, Bequest of Grenville L. Winthrop. © 2003 President and Fellows of Harvard College.

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theatre setting. Often, these artworks focused on specific audience members enjoying a performance. One important artist, however, focused more on the performers. His name was Edgar Degas (day-gah). Perhaps best known for his artworks depicting ballet dancers, Degas worked in several media. He created drawings, paintings, and sculptures. Figure 15–23 shows one of his pastel drawings of ballet dancers. This picture captures a moment in a ballet, inviting the viewer to “experience” the elegant performance.

THE ART

OF THEATRE

POSTERS

The emergence of a new art form also helped increase the popularity of the performing arts. This art form was the advertising poster. Originating in the 1870s, poster art advertised many products and events, including theatre performances. One artist who became famous for his theatre posters was Alphonse Mucha. The style of his artworks is known as Art Nouveau, which is French for “new art.” The Art Nouveau style is characterized by curving lines, asymmetry, and ornate decorations.You can see an example of this style in Figure 15–24. This is a theatre poster that Mucha created for a play called Lorenzaccio. The play starred a famous French actress named Sarah Bernhardt.

MAKE THE CONNECTION Take Another Look 1. Examine the drawing shown in Figure 15–23. How does the chosen medium, pastel, contribute to the mood or feeling of the artwork? 2. Study the poster shown in Figure 15–24. What has the artist done to draw your attention? Do you think this is a successful theatre poster? Why or why not?

Art & social studies


Figure 15–24 Mucha used elaborate floral designs to decorate the background. He also integrated text in his design in an artistic manner. These qualities are characteristic of the Art Nouveau style.

Create a poster. Choose a performing-arts event, such as a play or a concert, in your community. Design a poster to advertise the chosen event. Select and use a variety of appropriate art materials and tools. Use the artworks shown in this feature as inspiration for your poster.

Alphonse Mucha. Lorenzaccio. 1896. Color lithograph. 207
77 cm (811⁄2
301⁄3). © 2003 Artists Rights Society (ARS), New York/ADAGP, Paris.

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GIRAUDON/ART RESOURCE, NY

Going against convention to achieve artistic success

FRANCIS G. MAYER/CORBIS

Berthe Morisot. Eugene Manet and His Daughter at Bougival. 1881.

n the nineteenth century, opportunities for women to become professional artists were limited. That didn’t stop Berthe Morisot from pursuing a career in art. Morisot was born to wealthy parents in Bourges, France, in 1841. By age 15, she had decided that she wanted to become a professional artist. An art teacher of Morisot and her sister warned their mother, “[Your daughters] will become painters. In your well-to-do society that would be a revolution, almost a catastrophe.” Despite social pressure against upper-class women becoming professional artists, Morisot became an important member of a group of Impressionist painters. Her critical acclaim and earnings were sometimes larger than those of her famous colleagues, who included Claude Monet and Edgar Degas. Morisot used long fluid brushstrokes and had a tendency to leave parts of her canvas barely covered. Critics said the works looked “unfinished,” but Morisot’s style was deliberate. “I want to paint fleeting moments,” she said, “before they disappear forever.”

TIME TO CONNECT • Learn more about Morisot using art books and your school’s media resource center.

Berthe Morisot. Roses. Date unknown. Morisot’s fluid, rapid strokes animate every inch of her canvas. They also make the background as important as the figures in the foreground.

• Review this article and study her paintings. • Now respond to Morisot’s statement above. What do you think she meant by it? Did she accomplish her goal? Why or why not?

• Share your responses with a partner comparing and contrasting your points of view and reasons for your ideas.

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BUILDING VOCABULARY Number a sheet of paper from 1 to 7. After each number, write the term from the list that best matches each description below. Impressionism landscape Neoclassic Post-Impressionism

Realism Romanticism Salon

1. A term used to describe various trends in painting that followed Impressionism. 2. An art style that borrowed features from the works of ancient Greek and Roman artists. 3. A work of art showing mountains, trees, or other natural scenery. 4. France’s official art exhibition. 5. An art style that attempted to capture the rapidly changing effects of sunlight on objects. 6. An art style that focused on dramatic and exotic subjects. 7. An art style in which everyday scenes and events are painted as they actually look.

13. In general, what was the problem the Post-Impressionists found with the Impressionist style? 14. What was Paul Cézanne’s solution to the problem he saw in Impressionism? 15. What art style influenced the painting style of Mary Cassatt? 16. Which two nineteenth-century American artists painted in the realistic style?

CROSS-CURRICULUM CONNECTIONS 17. Language Arts. Imagine that you are an art critic at the very first Impressionist exhibition. Write a newspaper article describing your response to the paintings. 18. Social Studies. Using library and online resources, make a list of major events in the U.S. during the nineteenth century. How do you think historical events and political issues influenced the art created during this time period?

REVIEWING ART FACTS Number a sheet of paper from 8 to 16. Answer each question in complete sentences. 8. What was happening in France in the late 1700s and early 1800s? How did these events help give rise to a new style of art? What was this style called? 9. What features of the Romantic style can be found in the paintings of Eugène Delacroix? 10. Where did the Impressionists turn to find subjects for their paintings? 11. Whose painting gave Impressionism its name? 12. How did Auguste Rodin’s method of working in sculpture resemble the Impressionists’ method of painting?

The Art Institute of Chicago, Chicago, Illinois Learn more about Impressionism and PostImpressionism at the Art Institute of Chicago! Click on the link at art.glencoe.com to take advantage of the museum’s multimedia Web site. Complete one of the online activities, and explore the art exhibited at the museum. Make a table to record what you learned. Jot down artist names, dates, art styles, and interesting facts. Refer to your chart whenever you need to refresh your knowledge about Impressionistic and PostImpressionistic art.

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Focus On
Figure 16–1 What elements of art attract your attention in this artwork? Why do you think an artwork like this might have upset art critics in the early twentieth century? Henri Matisse. Beasts of the Sea. 1950. Paper on canvas (collage). 295.5
154 cm (116 3⁄8
60 5⁄8). National Gallery of Art, Washington, D.C. Ailsa Mellon Bruce Fund. © 2003 Succession H. Matisse, Paris/Artists Rights Society (ARS), New York.

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Art of the 20th Century I am simply conscious of the forces I am using and I am driven on by an idea that I really only grasp as it grows with the picture.

“

“

—Henri Matisse, French painter (1869–1954)

T

he dawn of the twentieth century brought many changes to the art world. The Salon and its influence were gone. New styles flourished as artists experimented with a variety of techniques and approaches. Some new styles were viewed as continuations of tendencies from the previous century. Others surprised, confused, and even shocked viewers. The artwork in Figure 16–1 is an example that fits the second description. Why do you think critics found this artwork problematic? After completing this chapter, you will be able to: ●

●

● ● ●

Identify the major European art styles of the twentieth century. Describe the art trends in the United States and Mexico in the twentieth century. Use oil pastels to create a still life in the style of Cubism. Create a print showing action and movement. Create a painting in the Surrealist style.

Quick Write Interpreting the Quote Reread the quote by Matisse. What do you think it means? What kinds of “forces” and “ideas” do you see in Figure 16–1?

Key Terms Fauvism Expressionism Cubism nonobjective art The Eight Ashcan School Regionalism muralist Surrealism Abstract Expressionism social protest painting Super-Realism mobile

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Early 20th Century Art in Europe Some new art styles of the early twentieth century borrowed from Post-Impressionism. Paintings done in these styles were difficult for viewers to understand. Critics dismissed many as “assaults to the eye.” Today, the artists behind these works are honored as pioneers. They are credited with carrying art to bold new heights.

FAUVISM In 1905, an exhibition was held that included new works by several French artists. The event caused a minor scandal in the art world. Viewers were stunned by the “loud,” crude colors. They were shocked by the distorted figures and objects in the works.

One outraged critic wrote that the paintings appeared to be done by fauves (fohvs). This term, French for “wild beasts,” gave the art style its name: Fauvism (fohv-iz-uhm). Fauvism is a style of art in which artists use intense, often wild color combinations in their paintings. The Fauves were not interested in creating realistic pictures. Their goal, rather, was to express feelings through sharply contrasting colors, heavy outlines, and abstract forms. The group’s leader was a former law student named Henri Matisse (ahnh-ree mah-tees). Throughout his career, Matisse pushed the boundaries of art. Figure 16–1 on page 274 shows one of his later works. Note the use of flat, two-dimensional shapes and bold colors. Observe how the flowing lines come together to form a rich, decorative design.

EXPRESSIONISM Matisse and the Fauves wanted to show feelings in their art. In Germany, the same goal was shared by another group of artists. They were known as Expressionists (ekspresh-uh-nists). Expressionism is a style of art that emphasized the expression of innermost feelings. Like the Fauves, the Expressionists ignored realism. To make their emotions felt, they frequently distorted and exaggerated shapes and colors.
Figure 16–2 Do you think the people in this painting look alike? Why do you think the artist painted them that way? Compare and contrast the use of art elements and principles in this artwork with those used in Figure 16–1. Ernst Ludwig Kirchner. Street, Berlin. 1913. Oil on canvas. 120.6
91.1 cm (47 1⁄2
35 7⁄8). The Museum of Modern Art, New York, New York. © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.

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Ernst Ludwig Kirchner An early leader of the Expressionist movement was an artist named Ernst Ludwig Kirchner (ehrnst lood-vig keerk-nuhr). Figure 16–2 shows Kirchner ’s view of a Berlin street scene. The work was painted one year before the outbreak of World War I. Notice that the street is crowded with elegantly dressed people. Each is too self-absorbed to notice the world is on the brink of war. Käthe Kollwitz The power of the Expressionist style is obvious in the works of another German artist, Käthe Kollwitz (kay-tuh kohl-vits). Kollwitz, best known for her drawings and prints, worked mainly in black and white. This was at a time when most artists were exploring the possibilities of color. Many of Kollwitz’s works express outrage at the horrors of war. The print in Figure 16–3 is no exception. Notice her use of light to direct attention to the faces of the helpless prisoners. All are crowded together, their arms tied. Their faces reflect their pain and suffering.

CUBISM As you learned in Chapter 15, Paul Cézanne was interested in painting objects as solid-looking forms. He believed all forms in nature are based on the sphere, cone, or cylinder. Cézanne’s idea served as the starting point for two ground-breaking artists. One of them is Pablo Picasso. The other is Georges Braque (zhorzh brahk). Together, the two developed an art style called Cubism. This is a style in which objects and the space around them are broken up into different shapes and then put back together in new relationships. Pablo Picasso Cubist painters tried to show all sides of a three-dimensional object at once. To do this, Picasso first broke up his subjects into small sections. He then reassembled these into complex compositions. In Figure 16–4, the stilllife objects are broken up. Yet, they are still


Figure 16–3 Analyze ways that international, historical, and political issues influenced the art of Käthe Kollwitz. Käthe Kollwitz. The Prisoners (Die Gefangenen), plate 7 from Bauernkrieg. 1908. Etching and soft ground. 32.7
42.2 cm (12 7⁄8
16 5⁄8). Print Collection, Miriam & Ira D. Wallach Division of Art, Prints, and Photographs, The New York Public Library, New York, New York. Astor, Lenox and Tilden Foundations. © 2003 Artists Rights Society (ARS), New York/ VG Bild-Kunst, Bonn.


Figure 16–4 What has Picasso done in this painting to make you look at everyday objects in a new way? Pablo Picasso. Fruit Dish, Bottle, and Violin. About 1914. Oil on canvas. 92
73 cm (36 1⁄4
283⁄4). The National Gallery, London, England. © 2003 Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

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recognizable as a table, tablecloth, newspaper, a bunch of grapes, and a violin. Now reexamine the painting in terms of its use of the elements and principles of art. When you do, you will realize one of the most important ideas underlying Cubist art. Namely, an artwork’s success doesn’t always depend on how well it mirrors reality. Some works can be appreciated for other reasons. Picasso’s painting, for example, can be enjoyed because the colors, lines, shapes, and textures are pleasant to look at. Liubov Popova Russian painters of the era created works in a variety of styles. One who practiced Cubism was Liubov Popova (lee-yoo-bov popoh-vuh). The painting in Figure 16–5 is a Cubist landscape. It was inspired by a summer visit to Birsk, a small mountain town in the artist’s native country. The painting is


Figure 16–5 Which different objects do you recognize in this landscape? What do you find most striking about this painting? Liubov Popova. Birsk. 1916. Oil on canvas. 106
69.5 cm (413⁄4
27 3⁄8). Solomon R. Guggenheim Museum, New York, New York. Gift, George Costakis, 1981.

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similar to the Cubist works of Picasso and Braque in many ways. Yet, it also differs in its use of brilliant color. Although the painting is abstract, the viewer can still identify many of the objects. If you look closely, you will see a curving road and closely-spaced houses surrounded by steep cliffs. Jacques Lipchitz The Cubist style was not limited to painting. It was also used by sculptors like Jacques Lipchitz (lip-shuts), a Lithuanian-born sculptor who studied in Paris. He adopted the Cubist style to create works like the one in Figure 16–6. As the title reveals, the sculpture is of a girl reading a book. The figure has been broken down into fragments, then assembled into a well-designed whole.


Figure 16–6 Do you think variety is demonstrated by the forms used in this sculpture? How is harmony demonstrated? Do you think the combination of variety and harmony give the sculpture unity? Jacques Lipchitz. Reader II. 1919. Bronze. 76.8
26.4
26.7 cm (30 1⁄4
10 3⁄8
10 1⁄2). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966. Photo: Lee Stalsworth.


Figure 16–7 How is movement suggested in this painting? What adjective best describes the colors used? Wassily Kandinsky. Sketch 160 A. 1912. Oil on canvas. 94.9
108 cm (37 3⁄8
42 1⁄2). The Museum of Fine Arts, Houston, Texas. Gift of Audrey Jones Beck. © 2003 Artists Rights Society (ARS), New York/ADAGP, Paris.

NONOBJECTIVE ART One evening in 1910, a weary Russianborn artist returned to his studio after painting outdoors all day. As he opened the door, a surprise awaited him. Perched on his easel was an unfamiliar painting that was unlike anything he had ever seen before. The work was destined to change the course of art history. Its brightly colored shapes and lines seemed to dance and glow in the dim light. Rushing to the canvas, the artist experienced a second surprise: the painting was his own! He had carelessly placed it upside down on the easel that morning. The artist’s name was Wassily Kandinsky (vahs-uh-lee kuhn-dinskee). His experience that day led to the birth of nonobjective art. This consists of artworks in which there is no recognizable subject matter. From that point forward, Kandinsky found that it was unnecessary to include recognizable subjects in his paintings. Instead, he expressed his emotions with colors, shapes, and lines. These art elements could

be arranged in a painting to express a particular mood or feeling. What feeling or emotion do you think Kandinsky illustrates in the work in Figure 16–7?

Check Your Understanding 1. What was the goal of artists painting in the Fauve style? Who was the leader of the Fauves? 2. In what way did the Expressionists ignore accepted rules of art? 3. Define Cubism. Identify the PostImpressionist artist whose ideas influenced the Cubist style. 4. What art style influenced the work of Jacques Lipchitz? 5. How did nonobjective art originate? Who is the artist credited with this discovery?

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LESSON 2

Creating a Cubist Still Life with Oil Pastels As you’ve learned, Georges Braque and Pablo Picasso are the originators of the Cubist style. Many of the paintings Braque created in this style were still lifes. Figure 16–8 shows one such work. Notice how the table, the objects on it, and the background form a flat, decorative design. Every object is interesting to look at but not because it looks realistic. The objects are interesting because of the shapes, colors, lines, and textures used to paint them. Notice too how all these art elements are organized to create a visually interesting whole.


Figure 16–8 How has the artist used color to direct the viewer’s eye to the center of this composition? How many different types of lines can you identify? How do the shapes contrast with one another? Georges Braque. Fruits and Guitar. 1938. Oil on canvas. 81.3
101.1 cm (32
39 4⁄5). The Art Institute of Chicago, Chicago, Illinois. Gift of Mrs. Albert D. Lasker in memory of her husband Albert D. Lasker, 1959.505. © 2003 Artists Rights Society (ARS), New York/ADAGP, Paris. Photograph © 2002, The Art Institute of Chicago, All Rights Reserved.

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WHAT YOU WILL LEARN You will use oil pastels to complete a still life in the style of Cubism. You will use colors, shapes, lines, and texture to create a flat, decorative design. The finished composition will exhibit unity. A warm or cool color scheme will be used to add harmony and express a particular mood or feeling.

WHAT YOU WILL NEED ● ● ● ●

Pencil and sheets of sketch paper Sheet of white paper, 18
24 inches Oil pastels Black marker

WHAT YOU WILL DO 1. Bring to class an object with an interesting shape. Some possibilities include an old musical instrument, an unusual bottle, or a broken toy. Working with three other students, arrange the objects on a tabletop. Each student should have a clear view of the objects. 2. Make several sketches of the still life. Use your imagination to exaggerate or alter in some way the shapes and lines of the objects. Break up the image of each object. Draw part of an object in one place. Place another part of the same object elsewhere in your design. Break up the space around the objects into flat shapes as well. Make certain that all the objects are shown as large, simple, flat shapes. 3. Transfer your best sketch to the sheet of white paper. Fill the entire sheet with your design. 4. Choose four or five oil pastel colors. Your goal is to create either a warm or cool color scheme. Select hues that will communicate a particular mood or feeling. 5. Use the black marker to outline certain shapes and add decorative lines and textures to others. You may choose to vary the thickness of lines for further interest. Color your still life by applying a heavy layer of oil pastel to the shapes. Try not to color over the black lines. If you do, simply go over them again with the marker. Repeat colors throughout your composition to add harmony. Stop occasionally and view your work from a distance. Ask yourself whether all the parts work together to create a unified design.

REFLECTIVE THINKING Critical Evaluation. Hold a class exhibition of your Cubist paintings. Analyze the original artworks by peers as well as the exhibition as a whole. What conclusions can you form about formal properties, historical and cultural contexts, intents, and meanings?

Evaluating Your Work ● Describe Point to and identify the different objects in your design. What adjectives would you use to describe the objects in your artwork? ● Analyze How did you use different shapes, colors, lines, and textures in your work to create visual interest? How did you achieve harmony in your design? ● Interpret Does your color scheme give your work a certain feeling or mood? Describe that feeling or mood. ● Judge Does your work have an overall sense of unity? If so, explain how you achieved that unity.


Figure 16–9 Student work. Cubist still life.

Visual Art Journal Compare and contrast the use of art elements and principles in your still life with Figures 16–4 and 16–8. Does your artwork effectively illustrate the Cubist style? Write your analysis in your journal.

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LESSON 3

Early 20th Century Art in America Early in the twentieth century, the pace of American life quickened. A new fascination with speed seemed to grip the minds of inventors. Travel went from fast to faster with the introduction of the automobile and airplane. The telephone, another new invention, permitted instant communication between people in distant places. In American art, a search for new approaches mirrored the restlessness of the era.

THE ASHCAN SCHOOL At the turn of the century, the important names in American art remained unchanged. Homer, Eakins, and Ryder were still the unchallenged leaders. Then in 1908, a group of eight lesser-known painters suddenly emerged on the scene. The group referred to


Figure 16–10 How does this painting make you feel? What elements of art contribute to this feeling? Analyze this artwork to determine cultural contexts. What does the painting tell you about American cities in the early twentieth century? John Sloan. Sixth Avenue Elevated at Third Street. 1928. Oil on canvas. 76.2
101.6 cm (30
40). Whitney Museum of American Art, New York, New York. Purchase. Photograph © 1998: Whitney Museum of American Art.

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itself simply as The Eight. They were a group of artists who created works of art that reflected the spirit of the times in which they lived. The Eight were all former newspaper cartoonists or magazine illustrators. These experiences influenced their choice of subjects for their paintings. The artists used images from everyday life in the modern American city. Crowded city street scenes were typical subjects. All were done in a realistic style. When the Eight placed their paintings on exhibit, they were greeted with laughter. Some critics labeled these artists the Ashcan School because of their unglamorous subject matter. As with the Impressionists a generation earlier, the label stuck. The Ashcan School became the popular name given to artists who made realistic paintings of working-class America.


Figure 16–11 Analyze this artwork to form conclusions about formal properties and intents. For example, what elements and principles of art are used? What do you think the artist wished to communicate in this painting? George Bellows. A Morning Snow— Hudson River. 1910. Oil on canvas. 115.3
160.7 cm (45 3⁄8
63 1⁄4). Brooklyn Museum of Art, Brooklyn, New York. Gift of Mrs. Daniel Catlin.

Painting John Sloan was one of the best-known members of the Ashcan School. His paintings focused on the human drama of everyday life in New York. In paintings like the one in Figure 16–10, he captured the pulse and pace of the city. Sloan included crowds and traffic, the mood of the season, and the glare of lights. You can almost hear the squealing tires, blaring horns, and laughing girls. An elevated train roaring by overhead adds the finishing touch to this busy scene. George Bellows carried on the artistic tradition of the Ashcan School. Like members of The Eight, he sought to create art based on life. The painting in Figure 16–11 is typical of Bellows’ work. It shows a scene in New York City overlooking the Hudson River. In many ways, it looks like the opening scene of a movie highlighting city life. A man shovels snow as figures stroll through the park. Beyond them, boats plow through the rough waters of the river while workers trudge to their jobs. Sunlight falls on the freshly fallen snow. Smoke and steam seem momentarily frozen in the cold morning air. Photography The city provided subject matter not only for painters of the era. Photographers were also captivated by the hustle and bustle of the city scene. One pioneer who helped promote photography as art was Alfred Stieglitz

(steeg-lits). Look closely at his photograph of New York skyscrapers in Figure 16–12. He shows these newly constructed structures as symbols of the city’s greatness. The photo seems to pay a tribute to the people who built them.


Figure 16–12 How is the viewer’s eye guided into this photograph? What elements of art are responsible for the feeling of deep space noted? How are the principles of harmony and variety used? Alfred Stieglitz. The City of Ambition. 1910. Gelatin silver print. 10.8
8.6 cm (41⁄4
3 3⁄8). Philadelphia Museum of Art, Philadelphia, Pennsylvania. The Alfred Stieglitz Collection. © 2003 The Georgia O’Keefe Foundation/Artists Rights Society (ARS), New York.

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REGIONALISM

ART

After World War I, a different kind of art enjoyed brief popularity in the United States. Called Regionalism (ree-juh-nuh-liz-uhm), it was a style used to record local scenes and events from the artist’s own region, or area, of the country. Regionalist artists had a patriotic desire to create genuinely American art. They did this by making use of genuinely American subjects. Figure 16–13 shows an example of this style. The artist, Grant Wood, illustrates one of America’s best known legends. Can you identify it? Of course, it is the tale of George Washington and the cherry tree. The man shown pulling aside a curtain on the scene is none other than Parson Weems. It was Weems who first popularized this myth in his book, Life of Washington. In Grant Wood’s interpretation of the event, the young Washington is confronted by his father. Notice that Weems points to the scene beyond the curtain. Washington’s father gestures toward his son. Young George points to the tool used to chop down the tree.

The early twentieth century was a period of unrest and revolution in Mexico. Hardworking peasants, treated like slaves by rich landowners, struggled to gain freedom. Several sympathetic artists used their art to show their support. One was Mexico’s most important muralist (myoor-uh-list), Diego Rivera. A muralist is an artist who paints large artworks directly onto walls or ceilings. In the mural shown in Figure 16–14, Rivera shows Emiliano Zapata (zuh-pah-tuh). Zapata was one of the leaders in the revolt for social reform. He is shown striding forward, stepping over a fallen figure symbolizing opposition to reform. He is followed by peasants showing the same grim determination.


Figure 16–13 What cultural ideas relating to social themes can you identify in this artwork? Why do you think the artist felt it was important to create a painting celebrating a popular story that never took place?


Figure 16–14 Analyze this artwork to determine its cultural context. For example, what historical and political issues influenced Diego Rivera and his art?

Grant Wood. Parson Weems’ Fable. 1939. Oil on canvas. 97.5
127.3 cm (38 3⁄8
50 1⁄8). Amon Carter Museum, Fort Worth, Texas. 1970.43. © Estate of Grant Wood/Licensed by VAGA, New York, NY.

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IN

MEXICO

Diego Rivera. Agrarian Leader Zapata. 1930–33. Fresco. 238.3
188 cm (93 3⁄4
74). Museum of Modern Art, New York, New York. Abby Aldrich Rockefeller Fund. © The Museum of Modern Art/Licensed by SCALA/Art Resource , NY.

Diego Rivera (1886–1957)


Figure 16–15 What feelings does this painting convey? What elements of art contribute to these feelings? What is the effect of the bright red shawl against the darker hues of the rest of the painting? Frida Kahlo. Frida and Diego Rivera. 1931. Oil on canvas. 100
78.7 cm (39 3⁄8
31). San Francisco Museum of Art, San Francisco, California. Albert Bender Collection. Gift of Albert M. Bender.

In 1929, Rivera married Frida Kahlo. Many regard her as Mexico’s foremost female artist. Seriously injured in a bus accident as a teen, Kahlo never fully recovered. She lived in pain until her death some thirty years later. While recovering from her accident, she discovered painting. The painting in Figure 16–15 is a wedding portrait Kahlo painted soon after her marriage. Ordinarily, this would be a joyous moment for both the bride and groom. Yet, neither seems particularly happy. Perhaps Kahlo realized that her marriage was destined to be a stormy one.

Diego Rivera was born in Mexico on December 13, 1886. He began taking art classes when he was 10 years old. During his teens, he painted both figures and landscapes. After exhibiting some paintings in Latin America, he traveled to Europe in 1907 to continue his studies. He was influenced by the art of El Greco, Goya, Cézanne, and Picasso. Rivera started to focus on painting murals when he returned to Mexico in 1921. He believed that art on the walls of public buildings belonged to all people. As Figure 16–14 shows, Rivera’s murals depicted the life, history, and social problems of Mexico. As his fame grew, he received many commissions from international cities. After a successful— and sometimes controversial—career, Rivera died in 1957.

Check Your Understanding 1. Who were The Eight? What were their backgrounds as artists? What kinds of paintings did they create? 2. How did the public react to The Eight’s first exhibition? What name did critics use to refer to these artists? 3. How were the paintings of George Bellows similar to those of the Ashcan School painters? 4. What style of art became popular in the United States after World War I? Name an artist who worked in this style. 5. Who was Mexico’s most important muralist? 6. Who was Frida Kahlo, and what was her relationship to Diego Rivera?

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LESSON 4

Making a Print of a Figure in Action Figure 16–16 shows an action scene by George Bellows. This is one of several paintings the artist made on the subject of prizefighting. He also made many prints and drawings of this sporting event. This is not surprising considering Bellows was himself an excellent athlete. In fact, he turned down a promising major league baseball career to become an artist. In his painting, Bellows shows a dramatic moment in a famous prizefight The eventual winner, Jack Dempsey, has been knocked out of the ring by his opponent. Notice the use of diagonal lines to link the fighters and show movement.


Figure 16–16 Beginning with the head in the lower right hand corner of this painting, use your finger to trace your eye movement through this painting. What elements of art carry your eye to the most important parts of the picture? What effect is created by the use of diagonal lines? George Bellows. Dempsey and Firpo. 1924. Oil on canvas. 238.1
188 cm (51
63 1⁄4). Whitney Museum of American Art, New York, New York.

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WHAT YOU WILL LEARN You will create a print of a figure in action. Your composition will emphasize movement. The image of the figure will feature diagonal lines to help suggest action. Repeating and overlapping this figure will indicate movement in a particular direction.

WHAT YOU WILL NEED ● ● ● ● ● ● ●

Pencil and sheets of sketch paper Ballpoint pen and paper towels Polystyrene meat tray Brayer Water-based printing ink and shallow tray Scissors Sheet of drawing paper, 10
12 inches

WHAT YOU WILL DO 1. Take turns with your classmates acting as models. Each model will assume an action pose, such as running, reaching, or pushing. 2. Make several rapid drawings of the models in different poses. Focus on using diagonal lines to suggest movement. (See tips on gesture drawing in the Handbook, page 314). 3. Select your best drawing. Place it on top of the polystyrene meat tray. Transfer the image to the tray by tracing over it firmly with a ballpoint pen. Cut your figure out of the polystyrene tray with scissors. This will be your printing plate. 4. Squeeze a small amount of water-based printing ink into the shallow tray. Roll the brayer back and forth through the ink. When the entire brayer is covered with ink, it is ready. 5. Place the polystyrene figure on a paper towel or section of newspaper. Roll the brayer over the figure. Pick up the figure by the edges. Place it ink-side down on your sheet of drawing paper. Press the back of the figure firmly all over to transfer the inked image. 6. Ink the plate again, and make another print. Overlap the first image. Continue to add images, overlapping them so they appear to move in a particular direction.

Evaluating Your Work ● Describe Identify the action of the figure in your work. What adjectives would you use to describe the figure? ● Analyze Point to the diagonal lines in your drawing. How do these lines contribute to a sense of movement? What other elements in your artwork help create the sense of action? ● Interpret What is the effect of the repeated images in your work? What kind of feeling does your design inspire? ● Judge Do you think that your composition successfully communicates a sense of action and motion? Why or why not?


Figure 16–17 Student work. Figure in action.

COMPUTER OPTION Create a gesture drawing of a figure in action. Select and use a variety of appropriate art materials and tools to interpret this subject when producing your electronic media-generated art. For example, you might use the Pencil or Brush tool to sketch your figure. Experiment by using Select, Copy, and Paste to suggest action and rhythm with overlapping images. Title, save, and print your work.

Visual Art Journal Analyze and compare relationships between formal properties and meanings in your personal artwork. How does your use of the art elements and principles contribute to the mood or “story” of your print? Write your analysis in your journal.

Lesson 4 Making a Print of a Figure in Action

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LESSON 5

European Art Throughout the 20 th Century The Impressionists found ideas for their art in the world around them. The Expressionists, meanwhile, looked to their feelings and emotions for ideas. As the twentieth century progressed, artists explored still another source for art ideas. These artists turned to the inner workings of the mind.


Figure 16–18 Analyze this artwork. What gives this painting its dreamlike appearance? What sounds are suggested by the images? What kinds of feelings does the painting inspire in you? What conclusions can you form about the painting’s meaning? Giorgio de Chirico. The Enigma of a Day. 1914. Oil on canvas. 186.1
139.7 cm (73 1⁄4
55). Museum of Modern Art, New York, New York. James Thrall Soby Bequest. © 2003 Artists Rights Society (ARS), New York/SIAE, Rome.

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SURREALISM One of the most important new styles that drew ideas from the mind was Surrealism (suh-ree-uh-liz-uhm). This was an art style that probed the subconscious world of dreams for ideas. The artist who helped inspire this new style was the Greek-born Italian artist

Giorgio de Chirico (jor-joh duh kir-ih-koh). De Chirico himself was not a member of the movement. Yet, his mysterious pictures combining the familiar with the fantastic inspired the new style. Figure 16–18 shows a dreamlike landscape. The perspective suggests that the viewer is in a narrow alley walking toward an empty plaza. The long, dark shadows and the approaching dusk create a mysterious, almost eerie mood. Except for two figures in the distance, there is no indication of human life. The sculpture and unusual architectural features only pose more questions. Why is the sculpture hidden in the alley? What functions do the buildings serve? Like a dream, the painting raises many questions but provides no answers. An artist who followed de Chirico is the Spanish painter Joan Miró (zhoo-ahn meeroh). Miró is recognized as one of the most important of the Surrealists. He created fantasy worlds that lacked realism and challenged reason. Many of the forms in the painting shown in Figure 16–19 cannot be identified. Those that can be recognized have no apparent meaning.

FANTASY Fantasy and humor are key features in the works of Swiss-born artist Paul Klee (klay). Though not a Surrealist, Klee based his work on images from his mind’s eye. Figure 16–20 shows a strange figure with imaginary beasts floating about within it. Who is this person? What is he doing? Klee offers a clue in the painting’s title. The figure is a ventriloquist, someone who projects his voice without moving his lips. The figure’s raised hands suggest that he is performing. The beasts seen inside the ventriloquist may represent his different voices.


Figure 16–20 What was your first reaction to this work? Did your reaction change as you took into account its possible meaning?
Figure 16–19 How many different images can you identify in this painting? Which of the following adjectives best describes this work: angry, frightening, whimsical, or depressing? Does this painting stir your imagination? Joan Miró. Hirondelle/Amour. 1933–34. Oil on canvas. 199.4
247.7 cm (78 1⁄2
97 1⁄2). Museum of Modern Art, New York, New York. Gift of Nelson A. Rockefeller. © 2003 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris.

Paul Klee. Ventriloquist and Crier in the Moor. 1923. Watercolor and transferred printing ink on paper bordered with ink. 38.7
27.9 cm (15 1⁄4
11). The Metropolitan Museum of Art, New York, New York. The Berggruen Klee Collection, 1984. (1984.315.35). © 2003 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Photograph © 1985 The Metropolitan Museum of Art.

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SCULPTURE


Figure 16–21 Why do you think the artist chose to eliminate the figure’s hands and feet? What cultural ideas related to social or political themes can you identify in this artwork? Marino Marini. Horse and Rider. 1952–53. Bronze. 208.9
119.4
197.5 cm (82 1⁄4
47
77 3⁄4). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph Hirshhorn, 1966. © 2003 Artists Rights Society (ARS), New York/SIAE, Rome.

The search for new ways of expressing ideas and feelings was not limited to painters. Sculptors, too, experimented with new materials and methods during this period. They created sculptures in abstract and nonobjective styles. The works of Marino Marini (muh-reenoh muh-reen-ee), an Italian sculptor, draw on a single haunting image. This image was peasants fleeing their village on horseback during bombing raids. The scene is one the artist witnessed often during World War II. The rider shown in Figure 16–21 lacks hands, feet, and facial features. However, there is no mistaking his anguished plea for help. The English sculptor Henry Moore worked in both abstract and nonobjective styles. Moore is recognized today as one of the greatest sculptors of the twentieth century. In the bronze sculpture shown in Figure 16–22, he focuses on the warm relationship of family members. The figures are heavily stylized. Yet, the viewer can easily identify the father, mother, and child. The parents are linked by the child and the touching knees. A final link is provided by the husband’s hand resting on his wife’s shoulder.


Figure 16–22 Analyze the formal properties of this artwork. Where do the diagonal lines of the husband’s legs direct the viewer’s eye? Do you think this work shows overall unity? If so, how is that unity achieved? Henry Moore. Family Group. 1948–49. Cast 1950. Bronze. 150.5
118.1 cm, base: 114.3
75.9 cm (59 1⁄4
46 1⁄2, base: 45
29 7⁄8). Museum of Modern Art, New York, New York. © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.

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Barbara Hepworth was a friend of Moore’s. Her early sculptures shared some similarities with his. Beginning in the 1930s, both sculptors opened up their sculptural forms. They achieved this effect by hollowing out the works or carving holes through them. Gradually, Hepworth began to eliminate details to simplify her artworks. Soon, her sculptures were entirely nonobjective. Look at Figure 16–23. Notice the gently curving, hollowed-out forms pierced by holes. These features are typical of her best-known works.

Creating a Nonobjective Sculpture Look again at the sculpture in Figure 16–23, noting the curving, hollowed-out forms. Mix a small amount of plaster in a bowl. As soon as the mixture starts to thicken, scoop out a handful. Hold the plaster in both hands, allowing some to flow through your fingers. Hold your hands still for several minutes until the plaster sets. Then open your hands and carefully remove the plaster form. Set it aside to dry. While it is drying, study the form from every angle. Determine what is necessary to make it more visually interesting. When it is completely dry, gently sand the surface with a fine grade of sandpaper. Paint over your sculpture with white liquid shoe polish. Then buff it with a soft cloth.

P O R T F O L I O Give your sculpture a title. Then, in a written paragraph, explain the reason for that title. Take a photograph of your sculpture. Place the photo, along with your written paragraph, in your portfolio.

Check Your Understanding


Figure 16–23 How does the play of shadows within the form add to this sculpture’s effectiveness? Barbara Hepworth. Figure for a Landscape. 1960 (cast 1965). Bronze. 270.5
136.8
72.1 cm (106 1⁄2
53 7⁄8
28 3⁄8). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph Hirshhorn, 1966. Photo: Lee Stalsworth.

1. Where did the Surrealists find ideas for their art? What artist’s works helped inspire the Surrealists in developing their new style? 2. What were the key features in the works of Paul Klee? 3. What images inspired the works of Marino Marini? 4. What features did the sculptures of Henry Moore and Barbara Hepworth have in common?

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LESSON 6

Creating an Artwork in the Surrealist Style Another artist who painted in the Surrealist style was the Belgian painter René Magritte (ren-ay muh-greet). Magritte’s paintings force the viewer to reconsider what is real and what is not. Look at his painting in Figure 16–24. The work seems to show a room with a painting mounted on an easel. A window just behind the easel displays a view of a city. A longer look, however, raises puzzling questions. Is the object on the easel really a painting or the scene behind it? Is the canvas transparent, allowing us to see through it? Why is the shape of the tower identical to that of the street? Magritte offers no answers to


Figure 16–24 What does this painting have in common with the painting by Giorgio de Chirico in Figure 16–18 on page 288? How does the realistic style add to this painting’s effectiveness as a Surrealist artwork? René Magritte. Les Promenades d’Euclide. 1955. Oil on canvas. 162.9
129.9 cm (64 1⁄8
511⁄8). The Minneapolis Institute of Arts, Minneapolis, Minnesota. The William Hood Dunwoody Fund. © 2003 C. Herscovici, Brussels/ Artists Rights Society (ARS), New York.

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these questions. Instead, he leaves us to ponder a picture that makes as much sense as a dream.

WHAT YOU WILL LEARN You will create an artwork integrating themes found through personal experiences and imagination. The twist is that the work will be done in the Surrealist style. Your artwork will combine familiar objects in strange and surprising ways. Objects will be portrayed as realistically as possible. You will accomplish this with a variety of hues, values, and intensities.

WHAT YOU WILL NEED ● ●

Pencil and sheets of sketch paper Sheet of white drawing paper, 10
12 inches ● Your choice of drawing or painting media.

WHAT YOU WILL DO 1. Pick a familiar object to feature in your picture. Sketch this object as accurately as possible. Place it in a setting that makes little or no sense. Use your imagination. You might, for instance, feature a thumbtack as tall as a house. Another possibility is a bed on which eggs are frying. Make your image as unusual and surprising as you can. 2. Transfer your best sketch to the sheet of drawing paper. Make everything in your finished drawing as realistic as possible. Select appropriate art materials and tools to create your work. Add details. Mix and blend hues, values, and intensities to help make your objects look lifelike. 3. Give your work a title unrelated to the objects in it. Write this title on a small identification card. Place your work on display alongside those created by classmates. Place the identification card below your work. Discuss the intents and meanings of the works. Which were especially unique and surprising? Which titles were the most imaginative and misleading?

Evaluating Your Work ● Describe How would you describe the appearance of your artwork? What is happening in your artwork? Does it show familiar objects in surprising ways? ● Analysis What hues, values, and intensities did you use? What is the visual effect of using this variety of hues, values, and intensities? ● Interpret What kind of mood or feeling is conveyed by your artwork? How does the unusual presentation of familiar objects contribute to that mood or feeling? ● Judge Do you think your artwork is a success? Why or why not?


Figure 16–25 Student work. Surrealist artwork.

COMPUTER OPTION Using a scanner or digital camera, import pictures of two dissimilar objects. Use the Resizing tool or menu to change the objects to create an unexpected size relationship. Add shadows, details, and a background to make your artwork visually interesting.Title, save, and print your work.

Visit art.glencoe.com to learn more about the art and artists featured in this chapter. There, you can also explore: ● ● ● ●

Artist Profiles Interactive Games Student Art Gallery Web Links

Lesson 6 Painting in the Surrealist Style

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LESSON 7

American Art Throughout the 20th Century Following World War II, New York became a cultural art center. The search for new ways of expressing ideas and feelings was now a driving force in art. Countless new materials and techniques were brought into play to achieve these ends.

SURREALISM The Surrealist style was well represented in the United States by Kay Sage. Her painting in Figure 16–26 shows a silent, deserted world bathed in a cool, mysterious light.


Figure 16–26 What is the only indication of movement in this painting? How does the direction of that movement differ from the direction of the shadows? Kay Sage. I Saw Three Cities. 1944. Oil on canvas. 91.5
71 cm (36
27 7⁄8). The Art Museum, Princeton University, Princeton, New Jersey. Gift of the Estate of Kay Sage Tanguy.

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Strange architectural forms are scattered about. What purpose do they serve? Who built them? For answers, the viewer is forced to rely his or her own imagination.

ABSTRACT EXPRESSIONISM The first important art style to appear on the New York art scene after World War II was Abstract Expressionism. It was an art style in which paint was freely applied to huge canvases in an effort to show feelings and emotions. Artists working in this style rejected the use of subject matter. They chose instead to drip, spill, and splash color on canvas to create paintings. The act of painting was so tied to their work that Abstract Expressionists were labeled “action painters.”


Figure 16–27 What formal properties attract your attention in this abstract painting? Arshile Gorky. Water of the Flowery Mill. 1944. Oil on canvas. 108
123.8 cm (42 1⁄2
48 3⁄4). The Metropolitan Museum of Art, New York, New York. George A. Hearn Fund, 1956. (56.205.1). © 2003 Estate of Arshile Gorky/Artists Rights Society (ARS), New York. Photograph © 1986 The Metropolitan Museum of Art.


Figure 16–28 Pollock’s paintings were huge. Standing in front of one, viewers feel as if they are surrounded by it and pulled into it. Jackson Pollock. Number 6, 1949. Duco and Aluminum paint on canvas. 112.2
137.2 cm (44 3⁄16
54). The Museum of Fine Arts, Houston, Texas. Gift of D. and J. de Menil. © 2003 Pollock-Krasner Foundation/Artists Rights Society (ARS), New York.

One of the first Abstract Empressionist painters was an Armenian-born artist named Arshile Gorky (ar-sheel gor-kee). Gorky’s early works show strong traces of Surrealism. By the mid-1940s, however, he had developed his personal abstract style. Although difficult to detect, the painting in Figure 16–27 is based on a landscape. Gorky uses the same kind of free-flowing line and organic shapes employed earlier by Joan Miró. Notice the artist’s one-of-a-kind blending of colors, lines, and shapes. One of the best-known Abstract Expressionist painters was Jackson Pollock. Pollock abandoned the traditional method of painting. Instead, he placed huge canvases on the floor and walked onto them, dripping, pouring, and spattering paint. (See Figure 16–28.) Painting this way enabled the artist to physically express his feelings. The act of painting became a medium of expression. You will not find images of crying, shouting, or laughing people in Pollock’s paintings. His paintings were done while he experienced emotions that caused him to cry, shout, or laugh.


Figure 16–29 What adjectives would you use to describe the colors and shapes in this painting? What social themes does this artwork communicate? How did historical and political issues influence Lawrence and his art? Jacob Lawrence. The Migration of the Negro: No. 58, “In the North the Negro had better educational facilities.” 1941. Casein tempera on hardboard. 30.5
45.7 cm (12
18). Museum of Modern Art, New York, New York. © 2003 Gwendolyn Knight Lawrence/Artists Rights Sociey (ARS), New York.

OTHER DIRECTIONS

IN

PAINTING

Not long after Abstract Expressionism appeared, artists with new styles began challenging it. Abstract Expressionism, they argued, was too personal—too much in the mind of the artist. Among the solutions they offered were social protest painting and Super-Realism. ●

Social protest painting. This was an art style concerned with calling attention to the social, economic, and political problems of the day. This style traces its origins to the 1930s. The efforts of several important artists kept this style alive through the 1960s. One of these was Jacob Lawrence, a talented African-American artist. Among his most ambitious projects was his narrative painting series. One of these, The Migration of the Negro, included 60 paintings. Through these paintings, Lawrence depicted the plight of African Americans in the early twentieth century. One of the paintings in this series is shown in Figure 16–29.

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●

Super-Realism. Some American artists chose to use Super-Realism or Photo-Realism. This was a style of art featuring the realistic treatment of ordinary images taken from the modern environment. A painting in this style appears in Figure 16–30. The artist, Richard Estes, presents the viewer with the plate-glass façade of a coffee shop. Every detail is painted with precision. Did you notice the reflection of the scene outside the coffee shop? The painting challenges viewers to take a fresh look at the world around them.

SCULPTURE Like painters, sculptors explored new approaches to self-expression. The efforts of one sculptor, Alexander Calder, resulted in a new art form. That form is the mobile (moh-beel). It is a sculpture made of carefully balanced shapes suspended on wire arms to move freely in space. Most of Calder ’s mobiles, like the one in Figure 16–31, are nonobjective. The enormous sculpture, with its white sheet-metal panels, is exposed to the surrounding air currents. These cause the work to bob and twist in space. Thus, the look of the sculpture is constantly changing.


Figure 16–30 Can you locate the double self-portrait in this painting? What is shown out-of-focus? What adds to the complexity in this painting? What do you think the artist’s intention was? Richard Estes. Double Self-Portrait. 1976. Oil on canvas. 61
91.4 cm (24
36). Museum of Modern Art, New York, New York. Mr. and Mrs. Stuart M. Speiser Fund.


Figure 16–31 How is harmony demonstrated in this work? How is variety shown? How does movement contribute to the visual interest of the artwork? Alexander Calder. Ghost. 1964. Sheet metal with metal rods. 7.3
10.5 m (24
346). Philadelphia Museum of Art, Philadelphia, Pennsylvania. Purchased: New Members Fund. © 2003 Estate of Alexander Calder/Artists Rights Society (ARS), New York.

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Figure 16–32 Notice the organic quality of this sculpture. How does it contribute to a sense of movement? What does the title tell you about the artist’s intents in this artwork? Nancy Graves. Extend-Expand. 1983. Bronze with polychromed patina. 216
129.5
85.4 cm (85
51
335⁄8). Museum of Modern Art, New York, New York. Gift of Anne and Sid Bass. © Nancy Graves Foundation/Licensed by VAGA, New York, NY.

Nancy Graves also assembles colored metal parts to create her nonobjective sculptures. Unlike Calder’s mobiles, the parts in her creations do not move. They just look as though they are moving. Colorful and delicate, they seem to twist and turn upward in space. Look at Figure 16–32. The work resembles a strange plant seeking the rays of the sun. The three-dimensional constructions of Louise Nevelson (nev-uhl-suhn) represent a different approach to abstract sculpture. She assembled her works with found objects and wood scraps. Consider the long, curved forms arranged in Figure 16–33. To some viewers, these suggest the falling streams of water in a waterfall. The organic shapes in the upperright sections resemble leaping fish.


Figure 16–33 How does the artist achieve variety in this artwork despite the fact that it is painted entirely in white? Louise Nevelson. White Vertical Water. 1972. Painted wood. 548.6
274.3 cm (216
108). Solomon R. Guggenheim Museum, New York, New York. Gift, Mr. and Mrs. James J. Shapiro, 1985. © 2003 Estate of Louise Nevelson/Artists Rights Society (ARS), New York.

Check Your Understanding 1. What is Abstract Expressionism? 2. What was so revolutionary about Jackson Pollock’s painting technique? 3. Besides Abstract Expressionism, name two directions painting has taken since World War II. Define each of these different art styles. 4. What new art form did Alexander Calder create? What made this art form unique? 5. What did Louise Nevelson use to construct her sculptures?

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Art&writing Literary and Artistic Innovations In the twentieth century, writers and artists broke away from traditional ways of creating literature and art. They experimented with and developed new styles and techniques. The efforts of these writers and artists broadened the frontiers of literature and art. The works created were often unexpected and challenging.

FREE VERSE POETRY One literary innovation in the twentieth century was a poetic form known as free verse. This is poetry that rejected the conventions of previous centuries. Many poets felt that it was too limiting to use regular patterns of accented and unaccented syllables. Instead, they wanted to write poetry that

was free of such constraints. This bold form of poetry provided the freedom to experiment with different rhythms, line lengths, and arrangements. Well-known poets who used free verse include Ezra Pound, T. S. Eliot, and William Carlos Williams. The following poem was written by William Carlos Williams, a twentieth-century American poet. It is an example of free verse. Notice the unusual line breaks and the irregular rhythm. Each stanza of this poem is composed of a short fragment from a complete sentence. Can you find any other unusual qualities in this poem? What ideas or meanings do you think are suggested by the poem? Though brief and seemingly simplistic, Williams’s poem paints a striking image in our minds.

The Red Wheelbarrow by William Carlos Williams so much depends upon a red wheel barrow glazed with rain water beside the white chickens.

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Figure 16–34 Study this painting. What words would you use to describe it? Why is this artwork considered nonobjective? Mark Rothko. Untitled (Violet, Black, Orange, Yellow on White and Red). 1949. Oil on canvas. 207 x 167.6 cm (81 1⁄2
66). Solomon R. Guggenheim Museum, New York, New York. Gift, Elaine and Werner Dannheisser and The Dannheisser Foundation. © Kate Rothko Prizel and Christopher Rothko/Artists Rights Society (ARS), New York.

ARTISTIC FREEDOM Like writers and poets, artists of the twentieth century sought freedom in creating their work. One artistic innovation that provided such freedom was nonobjective art. As you’ve learned, nonobjective art does not have a subject matter that is easily recognizable. With this art form, artists were no longer limited to portraying people, places, and objects. They could experiment with art elements to create works that communicated intangible feelings and ideas. The pioneers of nonobjective art showed that artworks did not need a recognizable subject matter. A visually interesting composition could be considered art in its own right. Examine the painting in Figure 16–34. It was created by Russian-born artist Mark Rothko. The visually pleasing composition is made up of bold swashes of color. What characteristics of this painting suggest a sense of freedom? What feelings does this artwork inspire in you?

MAKE THE CONNECTION Take Another Look 1. Reread “The Red Wheelbarrow” out loud. What words or phrases in the poem paint visual images in your mind? 2. What elements of art can you identify in Figure 16–34? What principles of art are used to organize the art elements? 3. In what ways is Rothko’s painting similar to Williams’s free verse poem?

Art & writing Create free verse poetry and nonobjective art. Write a free verse poem describing an object or event in everyday life. Experiment with different line lengths, rhythms, and punctuation. Next, apply your design skills to communicate effectively ideas and thoughts in everyday life by creating a nonobjective painting.

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CHRISTIE’S IMAGES/CORBIS

Tastes and styles of art change slowly.

Giovanni Boldini. Portrait of Madame Hugo and Her Son. 1898. ERICH LESSING/ART RESOURCE

ew is not always considered better in the art world. At the beginning of the twentieth century, brash young artists such as Pablo Picasso and Paul Cézanne were not household names. Critics and the public preferred the works of Giovanni Boldini, Anders Zorn, Jan Toorop, and others. Yet, few people recognize these names today. Why were painters like Picasso rejected for such artists as Boldini? In those days, few people liked—or even knew about—modern artists. Instead, “academic” art was wildly popular. In the academic style, the craft or skill of the artist was most valued. Buyers of paintings wanted academic pictures depicting historical scenes, portraits of wealthy people, and scenes from mythology. It took some time before popular opinion favored Modernism—with its abstraction, unrealistic colors, and visible brushwork. Today, exhibitions of formerly unpopular artists like Monet, Picasso, and van Gogh draw huge crowds. Tastes always change over time. So, will the artists popular today be remembered in 100 years —or will their names be forgotten?

TIME TO CONNECT • Look through art magazines for an article about a contemporary artist whose work appeals to you.

• After reading the article, identify what the artist is trying to accomplish. List the technique(s) and materials she or he uses.

• Write a critique of the work. Determine whether it is art that will be recognized as important 50 years from now. Support your opinion with specific references to the artist and the piece itself.

• Have a partner read your article. Revise and strengthen your text based on the feedback. 300

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Vincent van Gogh. Le Père Tanguy. 1887.

BUILDING VOCABULARY

REVIEWING ART FACTS

Number a sheet of paper from 1 to 11. After each number, write the term from the list that matches each description below.

Number a sheet of paper from 12 to 15. Answer each question in complete sentences.

Ashcan School Cubism Expressionism Fauvism mobile muralist

nonobjective art Regionalism social protest painting Super-Realism Surrealism

1. An art style that probed the subconscious world of dreams for ideas. 2. Artwork in which there is no recognizable subject matter. 3. An art style in which artists used intense, often wild color combinations in their paintings. 4. A style in which objects and the space around them are broken up into different shapes and then put back together in new relationships. 5. A style of art that emphasizes the expression of innermost feelings. 6. A style of art used to record local scenes and events from the artist’s own region, or area, of the country. 7. An art style concerned with calling attention to the social, economic, and political problems of the day. 8. A sculpture made of carefully balanced shapes suspended on wire arms so as to move freely in space. 9. The popular name given to artists who made realistic paintings of working-class America. 10. An artist who paints large artworks directly onto walls or ceilings. 11. A style of art featuring the realistic treatment of ordinary images taken from the modern environment.

12. What goal did Matisse and the Fauves share with the Expressionists? 13. In what ways were the photographs of Alfred Stieglitz linked to the work of George Bellows and the Ashcan painters? 14. What sculptor was influenced by the sight of Italian peasants fleeing a bombing raid? 15. How are Nancy Graves’s artworks similar to and different from those of Alexander Calder?

CROSS-CURRICULUM CONNECTIONS 16. Social Studies. Choose an artwork in this chapter that relates to social, political, or environmental themes. What cultural ideas are expressed in the artwork?

San Francisco Museum of Modern Art, San Francisco, California Do you find modern art confusing or difficult? Never fear, the San Francisco Museum of Modern Art can help! Click on the link at art.glencoe.com to take an interactive journey in twentieth century art. Analyze the online exhibition to form conclusions about formal properties, historical and cultural contexts, intents, and meanings. Did the virtual journey help you better understand and appreciate modern art? Write a summary of what you learned.

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Focus On
Figure 17–1 Examine this robot sculpture. What elements and principles of art can you identify in this work? Nam June Paik. Hamlet Robot. 1996. Video installation. 365.8 x 223.5 x 81.3 cm (144 x 88 x 32). The Chrysler Museumn of Art, Norfolk, Virginia. Museum purchase and gift of Joan Dalis Marton, Fran and Lenox Baker, Mr. and Mrs. Macon F. Brock, Jr., Susan and Paul Hirschbiel, Dr. and Mrs. Paul Mansheim, Robert McLanahan Smith III.

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The cathode ray tube will replace the canvas.

“

“

—Nam June Paik, artist (b. 1932)

A

rtists of the last century weren’t content to adopt past materials and methods. Instead, they forged new directions. That restless spirit continues to be the hallmark of art today. New and previously untried art forms are emerging on the scene. New terms such as installation and video art are becoming part of the artists’ vocabulary. What do those terms mean? Which of them do you think describes the artwork in Figure 17–1? What will the art of tomorrow look like? The pages ahead will help you answer some of these questions. After completing this chapter, you will be able to:

Quick Write Interpreting the Quote Reread the quote by Nam June Paik. The cathode ray tube is a device used in most television sets. What do you think the artist meant by this statement? How does his artwork in Figure 17–1 reflect his belief?

Key Terms installation environmental art kinetic art

●

● ● ●

Identify new art trends of the late twentieth and early twenty-first century. Define installation. Explain what is meant by environmental art. Create a photo retrospective of your artwork.

retrospective

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LESSON 1

New Trends in Traditional Art Forms Many traditional art forms still flourish today. These art forms continue to develop as artists experiment with different styles and techniques.

PAINTING Recent trends in painting have included a search for new subjects and new styles. One artist who has been at the forefront in both is American painter Elizabeth Murray. Murray is an abstract painter. Study her work in Figure 17–2. Judging from its shape, you might not recognize this work as a painting, but it is. Like most of Murray’s works, this one is cut from irregular pieces of canvas. Sail Baby invites viewers to reach their own conclusions regarding its meaning. Some see a yellow-orange cup embedded within the

work. Others, drawing upon the title, have suggested the painting depicts a family. What do you see in this work? Chuck Close is a cutting-edge painter and printmaker. The self-portrait in Figure 17–3 is typical of his large close-ups of people’s faces. Notice that the surface is made up diamond shapes. Up close, the painting presents a nonobjective vision of colors and shapes. The intriguing patterns of colors and shapes even have a three-dimensional appearance. When seen from a distance, however, these colors and shapes blend together to form a face.


Figure 17–3 Compare and contrast the use of art elements and principles in this painting with Figure 17–2.
Figure 17–2 Note the rich colors and unusual shapes in this painting. How is this artwork different from most paintings you’ve seen? Elizabeth Murray. Sail Baby. 1983. Oil on canvas. 3.2
3.4 m (10 5
11 3). Walker Art Center, Minneapolis, Minnesota. Walker Special Purchase Fund, 1984.

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Chuck Close. Self-Portrait. 1997. Oil on canvas. Museum of Modern Art, New York, New York. Gift of Agnus Gund, Jo Carole and Ronald S. Lauder, Donald L. Bryant, Jr., Leon Black, Michael and Judy Ovitz, Anna Marie and Robert F. Shapiro, Leila and Melville Strauss, Doris and Donald Fisher, and Purchase. © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.

SCULPTURE

ARCHITECTURE

Imagine turning a corner in your community and seeing the sculpture in Figure 17–4. This artwork is by Claes (klahs) Oldenburg and his wife Coosje van Bruggen (koh-see van broo-guhn). It is one of many larger-than-life creations of everyday objects that the two artists have done. The sculpture gives life and movement to an object no longer used today—a typewriter eraser.

Another way in which artists are breaking new ground is by combining art forms. The unusual building in Figure 17–5, for example, merges architecture and sculpture. This architectural work is by architect Frank O. Gehry. Gehry began his career designing conventional structures. Then he began listening to his inner artistic voice. The result is a work like this one, which the artist describes as “deconstructed” or “exploded.” Do you agree with his choice of terminology?


Figure 17–5 Point to and identify the kinds of shapes you see in this building. What sculptural qualities do you recognize in this architectural work? Frank O. Gehry. Solomon R. Guggenheim Museum Bilbao. Bilbao, Spain. 1993–97.


Figure 17–4 What contributes to the sense of movement in this sculpture? Claes Oldenburg and Coosje van Bruggen. Typewriter Eraser, Scale X. 1999. Stainless steel and cement. National Gallery of Art Sculpture Garden, Washington, D. C. Gift of The Morris and Gwendolyn Cafritz Foundation, 1998.

Check Your Understanding 1. What are two recent trends in painting? 2. Name an aspect of Elizabeth Murray’s paintings that makes them unusual. 3. How does Chuck Close’s self-portrait change as one views it up close and at a distance? 4. What subjects are used in the art of Oldenburg and van Bruggen? How do the artists alter the subjects to make them unexpected? 5. How does Frank Gehry describe his innovative architectural works?

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LESSON 2

New Frontiers in Art Throughout history, artists have sought to find new forms of self-expression. Today, that quest continues. As in previous centuries, some of these new forms have generated as much shock as delight. This lesson will explore some of these new developments.

INSTALLATIONS AND STAGED PHOTOGRAPHY One relatively new art form is the installation. This is an environment constructed in a gallery or museum specifically for a particular exhibition. Installations fill a space that, in many cases, viewers can enter and walk through. Another art form that has gained popularity is staged photography. Influenced by filmmaking, some photographers now stage their photographs similar to how movie directors set up scenes. Look at Figure 17–6. The image was created by Sandy Skoglund,


Figure 17–6 The photographer, Sandy Skoglund, is known for her unique combinations of props. Which props has she used in this work? What do you find unusual about this work? Sandy Skoglund. Raining Popcorn. © 2000 Sandy Skoglund.

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an installation artist who also does staged photography. The fantasy world in which the subjects appear is one where popcorn falls from the sky. The artist has unexpectedly combined both human models and models sculpted from popcorn.

VIDEO ART Look back at the artwork in Figure 17–1 on page 302. This creation is the work of Korean-born artist Nam June Paik. The idea of combining art and video came to him while he was working in Germany. Many of his works use actual television footage, which he edits. The result is unique creations like the Hamlet Robot. The sculpture in Figure 17–1 portrays the title character from William Shakespeare’s play, Hamlet. There are 13 video screens in this sculpture. Each plays endless loops of scenes from stage, screen, and fine art adaptations of the play.

ENVIRONMENTAL ART Many artists have attempted to make outdoor art fit in with its natural surroundings. American artists Christo and JeanneClaude have taken this idea a step further by creating environmental art. This is art in which the environment becomes part of the artwork. Most of Christo and Jeanne-Claude’s works are created on a grand scale, to match that of nature. Figure 17–7 shows Christo’s rendering of a work scheduled to be completed in 2005. Titled The Gates, the work will meander through New York City’s Central Park. The gigantic undertaking will include 23 miles of footpaths in the park. Suspended above the path will be golden free-flowing cloth panels attached to vinyl frames. There will be about 7,500 of these “gates” in all.

KINETIC ART In the past, most art was stationary. No one viewed this as problematic until the twentieth century. It was then that a forwardthinking sculptor named Alexander Calder made the first kinetic artwork. Kinetic art is art in which parts of a work are set into motion by an energy source. In the case of Calder’s hanging “mobiles,” the energy source was the air current. An example of one of Calder’s kinetic sculptures appears in Figure 16–31 on page 296. Since Calder pioneered this art form, many artists have followed his footsteps, creating compelling kinetic art.

THE FUTURE

OF

ART

No one knows in what direction art will move in the future. Continuing advances in technology are likely to bring more sophisticated digital tools. A new era of interactive art is also approaching. Viewers will be encouraged to touch and experience art, not just view it. The works themselves will be in a constant state of flux, or change. As art develops and evolves, viewers will continue to be surprised, impressed, upset, thrilled, and touched. Art will continue to enrich and lend meaning to life as it has done throughout the ages.


Figure 17–7 Like other works Christo and JeanneClaude have done, The Gates will be a temporary exhibit. This artwork will be displayed for 16 days. Then the materials will be taken down and recycled. Map: 165
38 cm (65
15). Drawing in two parts, 2002. 165
106.7 cm (65
42”). Pencil, charcoal, pastel, wax crayon, enamel paint. © Christo.

Chisto and Jeanne-Claude. The Gates. 7500 gates. Height: 4.87 m (16). Width: 1.82–5.48 m. Length: 23 miles. Central Park, New York, New York.

Check Your Understanding 1. What is an installation? 2. What is a staged photograph? Name an artist who creates this form of art. 3. Identify an artist who creates video art. 4. Which husband-and-wife team is known for creating environmental art? 5. How is kinetic art different from traditional art forms such as painting?

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LESSON 3

Creating a Photo Retrospective Professional artists today often hold art shows to gain exposure. These events attract the attention of art critics as well as the public. Critical and public attention can help an artist’s career dramatically. Sometimes, art museums and galleries may hold retrospectives of successful artists who have created a large body of work. A retrospective is a comprehensive exhibition of work created over a period of time. Imagine that you are going to participate in an art show. The show will present a retrospective of your career as an artist in this class. Instead of displaying your actual works, you will make a presentation through photographs. Which works would you show? In what sequence would you present them? In addition to your artworks, what other photographs might you include?


Figure 17–8 Student artwork. Photo retrospective.

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WHAT YOU WILL LEARN In this lesson, you will create a photo retrospective showing your growth as an artist. The retrospective will cover the artworks you’ve created during the course of this class. You will organize your presentation under a central theme or concept. Be creative! Next, you will select and photograph personal artworks that communicate your theme or concept. In addition, you will photograph people, places, and objects that inspired your artworks. Once you develop or print your photographs, you will arrange them in an interesting visual presentation. The completed photo retrospective should illustrate ideas from direct observation, imagination, and personal experiences. You may also wish to illustrate ideas from experiences at school and community events.

WHAT YOU WILL NEED ● ●

Traditional camera or digital camera Roll of 24-exposure film or enough memory to take 24 pictures with the digital camera ● Large black mat board or poster board ● White glue

WHAT YOU WILL DO 1. Review the artworks you have created during the course of this class. Consider which you would like to include in your photo retrospective. 2. Decide upon a theme or concept to organize your presentation. Next, choose a title for your retrospective based on the theme. An exhibition of works representing a variety of media might be titled “Media Adventures.” An exhibition of works showing sketches, drawings, and completed paintings might be titled “Artist’s Progress.” Use your imagination to make your photo retrospective as interesting and unique as possible. 3. Photograph at least 10 artworks to feature in your retrospective. Decide how you want to frame each photo. You might try different camera angles, or take closeups of parts of your artworks. In some cases, you may take several photographs of the same artwork. 4. With the remaining exposures, take photographs of people, places, and/or objects that inspired your artworks. Compose each photograph carefully. You might also ask peers or family members to take photographs of you creating artworks.

STUDIO OPTIONS • Instead of taking photos, use a video camera •

to film your retrospective. Add a narration to complete your film. Use computer software to create a slide show of your photographs. Record a commentary or add music to complement your slide show.

Evaluating Your Work ● Describe What kinds of photographs did you select for your retrospective? What theme or concept did you use to organize your presentation? What did you title your retrospective? ● Analyze What principles of art did you use to organize your layout? Did you organize the photographs in an interesting arrangement? How does the layout help communicate your theme or concept? ● Interpret What does your photo retrospective communicate about you? Does it show your growth as an artist? ● Judge Do you feel that your completed artwork is a successful photo retrospective? Why or why not?

5. Develop the film. If you used a digital camera, print out the photographs. 6. Lay out your photographs and select the most effective ones for your presentation. Apply design skills to lay out your photographs on the mat board in an interesting arrangement. You might apply the principles of variety, harmony, or balance. The layout should help communicate your theme or concept effectively. 7. Glue the photographs in place, and present your retrospective to your class.

Visual Art Journal In your visual art journal, explain how your photo retrospective illustrates ideas from direct observation, imagination, and personal experience. Lesson 3 Creating a Photo Retrospective

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State of the art technology takes movies to new realms.

NEWSCOM

ow do you make a warrior appear to jump up at lightning speed, hang in the air, and then settle down as if landing on a cloud? How can you make someone seem to fly when she’s actually standing still? A variety of technical innovations in the film industry have helped to make what seems impossible look realistic. One such technique, developed by visual-effects supervisor John Gaeta, is known as “bullet-time photography.” Like the name suggests, “bullet-time photography” can speed up action to about 12,000 frames per second. This process can make events look super fast without losing clarity. First, a scene is filmed with a traditional movie camera. Then the images are scanned into a computer, producing a precise map of the movements in the scene. Using this map of where the action will occur, still cameras are placed along the path. The scene is filmed again, with each camera taking one shot of the action so it’s captured step by step. When the photoSpecial effects draw millions of viewers to graphs are scanned through the computer, it movies like Spider-Man. creates the “in between” shots so everything looks connected. Because the sequence was created on the computer, it can be TIME TO CONNECT sped up or slowed down. Unlike Imagine being a scriptwriter for an upcoming • traditional film, the results are movie. Create a description of a specific scene always crystal clear. in which you will include special effects. New technologies are producing Convey the sense of drama as the scene unfolds amazing special effects—and drawshot by shot. ing big audiences to movie theaters. With people like John Gaeta taking • “Sell” your script to a producer, played by a movie magic to new levels, filmclassmate. Did your language effectively “paint” goers have a lot to look forward to. a picture of what your movie scene will look like? If not, revise until you sell the script. 310

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BUILDING VOCABULARY Number a sheet of paper from 1 to 4. After each number, write the term from the list that matches each description below. environmental art installation

kinetic art retrospective

1. Art in which parts of a work are set into motion by an energy source. 2. A comprehensive exhibition of work created over a period of time. 3. An environment constructed in a gallery or museum specifically for a particular exhibition. 4. Art in which the environment becomes part of the artwork.

CROSS-CURRICULUM CONNECTIONS 13. Technology. Review the artworks shown in this chapter. Analyze ways in which electronic media and technologies have influenced art. What new frontiers has art reached as a result of these technologies? 14. Social Studies. Survey and identify career and avocational opportunities or choices in art today. List examples of each and explain why these opportunities or choices are important. How does the field of art contribute to society as a whole?

REVIEWING ART FACTS Number a sheet of paper from 5 to 12. Answer each question in complete sentences. 5. What kind of paintings does Elizabeth Murray create? 6. Identify the two art media that Chuck Close is known for. 7. Give an example of how Claes Oldenburg and Coosje van Bruggen make the ordinary extraordinary. 8. Explain how an installation is different from a sculpture. 9. How have some photographers been influenced by the art of filmmaking? 10. How does Nam June Paik make use of video footage in his Hamlet Robot? 11. Why are many of Christo and JeanneClaude’s environmental artworks created on a grand scale? 12. Why are mobiles considered kinetic art?

Dallas Museum of Art, Dallas, Texas Follow the link at art.glencoe.com to visit the Dallas Museum of Art in Texas. Explore the collections and exhibitions showcased at the museum’s Web site. Select a contemporary artwork and one from an earlier time period. Analyze the purpose of each artwork as well as its use of the art elements and principles. What does each artwork tell you about the historical and cultural context in which it was created? Write a short essay summarizing your analysis.

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Handbook Contents Technique Tips DRAWING TIPS

19. Mixing Plaster. . . . . . . . . . . . . . . . . . 319 20. Working with Papier-Mâché . . . . . . 320 21. Making a Paper Sculpture. . . . . . . . 321

1. Making Gesture Drawings . . . . . . . 314 2. Making Contour Drawings . . . . . . . 314

OTHER TIPS

3. Drawing with Oil Pastels . . . . . . . . 314

22. Measuring Rectangles . . . . . . . . . . . 321

4. Drawing Thin Lines with a Brush . . . . . . . . . . . . . . . . . . . . . . . . 314

23. Making a Mat . . . . . . . . . . . . . . . . . . 322

5. Making a Grid for Enlarging . . . . . 314

24. Mounting a Two-Dimensional Work . . . . . . . . . . . . . . . . . . . . . . . . . . 323

6. Using Shading Techniques . . . . . . . 315

25. Making Rubbings . . . . . . . . . . . . . . 323

7. Using Sighting Techniques . . . . . . . 315

26. Scoring Paper . . . . . . . . . . . . . . . . . . 323

8. Using a Viewing Frame . . . . . . . . . . 316

27. Making a Tissue Paper Collage . . . 324

9. Using a Ruler . . . . . . . . . . . . . . . . . . 316

28. Working with Glue . . . . . . . . . . . . . 324

PAINTING TIPS 10. Cleaning a Paintbrush . . . . . . . . . . . 316

Digital Media Guide

11. Making Natural Earth Pigments. . . 317

Scanners . . . . . . . . . . . . . . . . . . . . . . . . . . 325

12. Mixing Paint to Change the Value of Color . . . . . . . . . . . . . . 317 13. Working with Poster Paints (School Tempera) . . . . . . . . . . . . . . . 318

Digital Cameras. . . . . . . . . . . . . . . . . . . . 326

14. Working with Watercolors. . . . . . . . 318 PRINTMAKING TIP 15. Making a Stamp Printing . . . . . . . . 318 SCULPTING TIPS 16. Working with Clay . . . . . . . . . . . . . . 318 17. Joining Clay . . . . . . . . . . . . . . . . . . . 318 18. Making a Clay Mold for a Plaster Relief . . . . . . . . . . . . . . 319

312

Contents

Graphics Tablets . . . . . . . . . . . . . . . . . . . 327 Paint Software . . . . . . . . . . . . . . . . . . . . 328 Draw Software . . . . . . . . . . . . . . . . . . . . 329 3-D Graphics Software . . . . . . . . . . . . . . 330 Multimedia Presentation Software . . . . 331

Handbook Contents Career Spotlights Architect . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Art Director . . . . . . . . . . . . . . . . . . . . . . . 332 Art Teacher . . . . . . . . . . . . . . . . . . . . . . . . 333 Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Graphic Artist . . . . . . . . . . . . . . . . . . . . . 334 Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . 334 Industrial Designer . . . . . . . . . . . . . . . . . 335 Interior Designer . . . . . . . . . . . . . . . . . . . 335 Landscape Architect . . . . . . . . . . . . . . . . 336 Museum Worker . . . . . . . . . . . . . . . . . . . . 336 Photographer . . . . . . . . . . . . . . . . . . . . . . 337 Web Designer . . . . . . . . . . . . . . . . . . . . . . 337

Contents

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TECHNIQUE TIPS

DRAWING TIPS

1. Making Gesture Drawings Gesture drawing is a way of showing movement in a sketch. Gesture drawings have no outlines or details. You are not expected to draw the figure. Instead, you are expected to draw the movement, or what the figure is doing. Follow these guidelines: • Use the side of the drawing tool. Do not hold the medium as you would if you were writing. • Find the lines of movement that show the direction in which the figure is bending. Draw the main line showing this movement. • Use quickly drawn lines to build up the shape of the person.

2. Making Contour Drawings Contour drawing is a way of capturing the feel of a subject. When doing a contour drawing, remember the following pointers: • If you accidentally pick up your pen or pencil, don’t stop working. Place your pen or pencil back where you stopped. Begin again from that point. • If you have trouble keeping your eyes off the paper, ask a friend to hold a piece of paper between your eyes and your drawing paper. Another trick is to place your drawing paper inside a large paper bag as you work. • Tape your paper to the table, so it will not slide around. With a finger of your free hand, trace an outline of the object. Record the movement with your drawing hand.

• Contour lines show ridges and wrinkles in addition to outlines. Adding these lines gives roundness to the object.

3. Drawing with Oil Pastels Oil pastels are sticks of pigment held together with an oily binder. The colors are brighter than wax crayon colors. If you press heavily, you will make a brilliant-colored line. If you press lightly, you will create a fuzzy line. You can fill in shapes with the brilliant colors. You can blend a variety of color combinations. For example, you can fill a shape with a soft layer of a hue and then color over the hue with a heavy layer of white to create a unique tint of that hue. If you use oil pastels on colored paper, you can put a layer of white under the layer of hue to block the color of the paper.

4. Drawing Thin Lines with a Brush Drawing thin lines with a brush can be learned with a little practice. Just follow these steps: 1. Dip your brush in the ink or paint. Wipe the brush slowly




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Technique Tips

Figure T–1

against the side, twirling it between your fingers until the bristles form a point. 2. Hold the brush at the beginning of the metal band near the tip. Hold the brush straight up and down. 3. Imagine that the brush is a pencil with a very sharp point. Pretend that pressing too hard will break the point. Now touch the paper lightly with the tip of the brush and draw a line. The line should be quite thin. To make a thinner line still, lift up on the brush as you draw. After a while, you will be able to make lines in a variety of thicknesses.

5. Making a Grid for Enlarging Sometimes the need arises to make a bigger version of a small drawing. An example is when you create a mural based on a small sketch. Follow these steps: 1. Using a ruler, draw evenly spaced lines across and up and down your original drawing (Figure T–1). Count

same number to each square on the large grid. Working a square at a time, transfer your image. (See Figure T–2.)

6. Using Shading Techniques When using shading techniques, keep in mind the following: • Lines or dots placed close together create dark values. • Lines or dots placed far apart, on the other hand, create light values. To show a change from light to dark, start with lines or dots far apart and little by little bring them close together. • Use care also to follow the shape of the object when adding lines. Straight lines are used to shade an object with a flat surface. Rounded lines are used to shade an object with a curved surface.

7. Using Sighting Techniques Sighting is a technique that will help you draw objects in proportion. 1. Face the object you plan to draw. Hold a pencil straight up and down at arm’s length. Your thumb should rest against the side of the pencil and be even with the tip. 2. Close one eye. With your other eye, focus on the object. 3. Slide your thumb down the pencil until the exposed part of the pencil matches the object’s height. (See Figure T–3.)







Figure T–2

Figure T–3

4. Now, without moving your thumb or bending you arm, turn the pencil sideways. 5. Focus on the width of the object. If the height is greater, figure out how many “widths” will fit in one “height.” If the width is greater, figure out how many “heights” will fit in one “width.”

Technique Tips

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TECHNIQUE TIPS

the number of squares you made from side to side. Count the number of squares running up and down. 2. Measure the width of the surface to which the drawing is to be transferred. Divide that figure by the number of sideto-side squares. The resulting number will be the horizontal measure of each square. You may work in inches or centimeters. Using a ruler or yardstick, mark off the squares. Draw in light rules. 3. Measure the height of the surface to which the drawing is to be transferred. Divide that figure by the number of up-and-down squares. The resulting number will be the vertical measure of each square. Mark off the squares. Draw in pencil lines. 4. Starting at the upper left, number each square on the original drawing. Give the

TECHNIQUE TIPS

8. Using a Viewing Frame Much in the way a camera is used to focus on one area of a scene, you can better zero in on an object you plan to draw by using a viewing frame (Figure T–4). To make a viewing frame, do the following: 1. Cut a rectangular hole in a piece of paper about 2 inches in from the paper’s edges. 2. Hold the paper at arm’s length and look through the hole at your subject. Imagine that the hole represents your drawing paper. 3. Decide how much of the subject you want to have in your drawing. 4. By moving the frame up, down, sideways, nearer or farther, you can change the focus of your drawing.

9. Using a Ruler There are times when you need to draw a crisp, straight line. By using the following techniques, you will be able to do so. 1. Hold the ruler with one hand and the pencil with the other. 2. Place the ruler where you wish to draw a straight line. 3. Hold the ruler with your thumb and first two fingers. Be careful that your fingers do not stick out beyond the edge of the ruler. 4. Press heavily on the ruler so it will not slide while you’re drawing. 5. Hold the pencil lightly against the ruler. 6. Pull the pencil quickly and lightly along the edge of the ruler. The object is to keep the ruler from moving while the pencil moves along its edge.

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Figure T–4

PAINTING TIPS

10. Cleaning a Paintbrush Cleaning a paint brush properly helps it last a long time. Always: 1. Rinse the thick paint out of the brush under running water. Do not use hot water. 2. Gently paint the brush over a cake of mild soap, or dip it in a mild liquid detergent (Figure T–5).




Figure T–5




12. Mixing Paint to Change the Value of Color

Anywhere there is dirt, clay, or sand, there is natural pigment. To create your own pigments, gather as many different kinds of earth colors as you can. Grind these as finely as possible. (If you can, borrow a mortar and pestle.) (See Figure T–8.) Do not worry if the pigment is slightly gritty.

You can better control the colors in your work when you mix your own paint. In mixing paints, treat opaque paints (for example, tempera) differently from transparent paints (for example, watercolors). • For light values of opaque paints. Mix only a small amount of the hue to white. The color can always be made stronger by adding more of the hue. • For dark values of opaque paints. Add a small amount of black to the hue. Never add the hue to black. • For light values of transparent paints. Thin a shaded area with water (Figure T–9). This allows more of the white of the paper to show through. • For dark values of transparent paints. Carefully add a small amount of black to the hue.

Figure T–6

When it is thoroughly rinsed and excess water has been squeezed from the brush, shape your brush into a point with your fingers (Figure T–7). Place the brush in a container with the bristles up so that it will keep its shape as it dries.




11. Making Natural Earth Pigments

Figure T–7

pestle mortar


Figure T–8

To make the binder, mix equal parts of white glue and water. Place a few spoonfuls of your powdered pigment into a small jar. Add a little of the binder. Experiment with different amounts of each. When you work with natural pigments, remember to always wash the brushes before the paint in them has a chance to dry. The glue from the binder can ruin a brush. As you work, stir the paint every now and then. This will keep the grains of pigment from settling to the bottom of the jar. Make a fresh batch each time you paint.




Figure T–9

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TECHNIQUE TIPS

3. Gently scrub the brush against the palm of your hand to work the soap into the brush. This removes paint you may not have realized was still in the brush. 4. Rinse the brush under running water while you continue to scrub your palm against it (Figure T–6). 5. Repeat steps 2, 3, and 4 as needed.

TECHNIQUE TIPS

13. Working with Tempera When using tempera, remember the following: • Poster paints run when wet. To keep this from happening, make sure one shape is dry before painting a wet color next to it.

14. Working with Watercolors • If you apply wet paint to damp paper, you create lines and shapes with soft edges. • If you apply wet paint to dry paper, you create lines and shapes with sharp, clear edges. • If you dip a dry brush into damp paint and then brush across dry paper, you achieve a fuzzy effect. • School watercolors come in semi-moist cakes. Before you use them, place a drop of water on each cake to let the paint soften. Watercolor paints are transparent. You can see the white paper through the paint. If you want a light value of a hue, dilute the paint with a large amount of water. If you want a bright hue, you must dissolve more pigment by swirling your brush around in the cake of paint until you have dissolved a great deal of paint. The paint you apply to the paper can be as bright as the paint in the cake.

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PRINTMAKING TIP

SCULPTING TIPS

15. Making a Stamp Printing

16. Working with Clay

A stamp print is an easy way to make repetitive designs. The following are a few suggestions for making a stamp and printing with it. You may develop some other ideas after reading these hints. Remember, printing reverses your design, so if you use letters, be certain to cut or carve them backwards. • Cut a simple design into the flat surface of an eraser with a knife that has a fine, precision blade. • Cut a potato, carrot, or turnip in half. Use a paring knife to carve a design into the flat surface of the vegetable. • Glue yarn to a bottle cap or a jar lid. • Glue found objects to a piece of corrugated cardboard. Make a design with paper clips, washers, nuts, leaves, feathers, or anything else you can find. Whatever object you use should have a fairly flat surface. Make a handle for the block with masking tape. • Cut shapes out of a piece of inner tube material. Glue the shapes to a piece of heavy cardboard. There are several ways to apply ink or paint to a stamp: • Roll water-based printing ink on the stamp with a soft brayer. • Roll water-based printing ink on a plate and press the stamp into the ink. • Apply tempera paint or school acrylic to the stamp with a bristle brush.

To make your work with clay go smoothly, always do the following: 1. Dip one or two fingers in water. 2. Spread the moisture from your fingers over your palms. Never dip your hands in water. Too much moisture turns clay into mud.

17. Joining Clay If you are creating a piece of sculpture that requires joining pieces, do the following: 1. Gather the materials you will need. These include clay, slip, (a creamy mixture of clay and water), a paint brush, a scoring tool (perhaps a kitchen fork), and clay tools. 2. Rough up or scratch the two surfaces to be joined (Figure T–10).




Figure T–10




Figure T–11

4. Gently press the two surfaces together so the slip oozes out of the joining seam (Figure T–12).




18. Making a Clay Mold for a Plaster Relief One of the easiest ways to make a plaster relief is with a clay mold. When making a clay mold, remember the following: • Plaster poured into the mold will come out with the opposite image. Design details cut into the mold will appear raised on the relief. Details built up within the mold will appear indented in the relief. • Do not make impressions in your mold that have undercuts (Figure T–14). Undercuts trap plaster, which will break off when the relief is removed. When cutting impressions, keep the deepest parts the narrowest. • In carving a raised area in the mold, take care not to create a reverse undercut (Figure T–15). If you want to change the mold, simply smooth the area with your fingers.

19. Mixing Plaster Mixing plaster requires some technique and a certain amount of caution. It can also be a very simple matter when you are prepared. Always do the following: • Use caution when working with dry plaster. Wear a dust mask or work in a wellventilated room. • Cover your work space to keep the dust from spreading. • Always use a plastic bowl and a stick for mixing. Never use silverware you will later eat from. • Always use plaster that is fine, like sifted flour. Plaster should never be grainy when dry. • Always add water to the bowl first. Sift in the plaster. Stir slowly. • Never pour unused plaster down a drain. Allow it to dry in the bowl. To remove the dried plaster, twist the bowl. Crack the loose plaster into a lined trash can.

Figure T–12

5. Using clay tools and/or your fingers, smooth away the slip that has oozed out of the seam (Figure T–13). You may smooth out the seam as well, or you may leave it for decorative purposes.




Figure T–13




Figure T–14




Figure T–15

Technique Tips

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TECHNIQUE TIPS

3.Apply slip to one of the two surfaces using a paint brush or your fingers (Figure T–11).

TECHNIQUE TIPS

20. Working with Papier-Mâché Papier-mâché (pay-puhr muhshay) is a French term meaning “chewed paper.” It is also the name of several sculpting methods using newspaper and liquid paste. These methods can be used to model tiny pieces of jewelry. They can also be used to create life-size creatures. In creating papier-mâché sculptures, the paper-and-paste mixture is molded over a support. You will learn more about supports shortly. The molded newspaper dries to a hard finish. The following are three methods for working with papier-mâché: • Pulp Method. Shred newspaper, paper towels, or tissue paper into tiny pieces. (Do not use glossy magazine paper: it will not soften.) Soak your paper in water overnight. Press the paper in a kitchen strainer to remove as much moisture as possible. Mix the mashed paper with commercially prepared papier-mâché paste or white glue. The mixture should have the consistency of soft clay. Add a few drops of oil of cloves to keep the mixture from spoiling. A spoonful of linseed oil makes the mixture smoother. (If needed, the mixture can be stored at this point in a plastic bag in the refrigerator.) Use the mixture to model small shapes. When your creations dry, they can be sanded. You will also be able to drill holes in them. • Strip Method. Tear newspaper into strips. Either dip the strips in papier-mâché paste or rub paste on them. Apply the strips to your support (Figure T–16). If you do not want the strips to stick to your support, 320

Technique Tips




Figure T–16

first cover it with plastic wrap. Use wide strips for large shapes. Use thin strips for smaller shapes. If you plan to remove your finished creation from the support, apply five or six layers. (Change directions with each layer so you can keep track of the number.) Otherwise, two or three layers should be enough. After applying the strips to your support, rub your fingers over the surface. As a last layer, use torn paper towels. The brown paper towels that are found in schools produce an uncomplicated surface on which to paint. Make sure no rough edges are sticking up. Store any unused paste mixture in the refrigerator to keep it from spoiling. • Draping Method. Spread papier-mâché paste on newspaper. Lay a second sheet on top of the first. Smooth the layers. Add another layer of paste and another sheet of paper. Repeat until you have four or five layers of paper. Use this method for making drapery on a figure. (See Figure T–17.) If you allow the layers to dry for a day or two, they will become leathery.




Figure T–17

They can then be cut and molded as you like. Newspaper strips dipped in paste can be used to seal cracks. Like papier-mâché, support for papier-mâché creations can be made in several different ways. Dry newspaper may be wadded up and wrapped with string or tape (Figure T–18). Wire coat hangers may be padded with rags. For large figures, a wooden frame covered with chicken wire makes a good support.




Figure T–18




Figure T–19

To create a base for your papier-mâché creations, tape together arrangements of found materials. Some materials you might combine are boxes, tubes, and bowls. (See Figure T–19.) Clay can also be modeled as a base. If clay is used, be sure there are no undercuts that would keep the papier-mâché from lifting off easily when dry. (For an explanation of undercuts, see Technique Tip 18, on page 319.) Always allow time for your papier-mâché creations to dry. The material needs extra drying time when thick layers are used or when the weather is damp. An electric fan blowing air on the material can shorten the drying time.

21. Making a Paper Sculpture Another name for paper sculpture is origami. The process originated in Japan and means “folding paper.” Paper sculpture begins with a flat piece of paper. The paper is then curved or bent to produce more than a flat surface. Here are some ways to experiment with paper.




Figure T–20

OTHER TIPS

22. Measuring Rectangles Do you find it hard to create perfectly formed rectangles? Here is a way of getting the job done: 1. Make a light pencil dot near the long edge of a sheet of paper. With a ruler, measure the exact distance between the dot and the edge. Make three more dots the same distance in from the edge. (See Figure T–21.)




Figure T–21

2. Line a ruler up along the dots. Make a light pencil line running the length of the paper. 3. Turn the paper so that a short side is facing you. Make four pencil dots equally distant from the short edge. Connect these with a light pencil rule. Stop when you reach the first line you drew. (See Figure T–22.) 4. Do the same for the remaining two sides. Erase any lines that may extend beyond the box you have made. 5. Trace over the lines with your ruler and pencil. The box you have created will be a perfectly formed rectangle. Technique Tips

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TECHNIQUE TIPS

• Scoring. Place a square sheet of heavy construction paper, 12 by 12 inches, on a flat surface. Position a ruler on the paper so that it is close to the center and parallel to the sides. Holding the ruler in place, run the point of a knife or a pair of scissors along one of the ruler’s edges. Press down firmly but take care not to cut through the paper. Gently crease the paper along the line you made. Hold your paper with the crease facing upward. • Pleating. Take a piece of paper and fold it one inch from the edge. Then fold the paper in the other direction. Continue folding back and forth. • Curling. Hold one end of a long strip of paper with the thumb and forefinger of one hand. At a point right below where you are holding the strip, grip it lightly between the side of a pencil and the thumb of your other hand. In a quick motion, run the pencil along the strip. This will cause the strip to curl back on itself. Don’t apply too much pressure, or the strip will tear. (See Figure T–20.)

TECHNIQUE TIPS


Figure T–22




window rectangle on the back of the board 21⁄2 inches from the top and left edge of the mat. (See Figure T–23.) Add a 21⁄2 inch border to the right of the window and a 3 inch border to the bottom, lightly drawing cutting guidelines. Note: If you are working with metric measurements, the window should overlap your work by 0.5 cm (centimeters) on all sides. Therefore, if your work measures 24 by 30 cm, the mat window measures 23 cm (24 – [2
0.5]) by 29 cm (30 – [ 2
0.5]).

23. Making a Mat You can add appeal to an artwork by making a mat, using the following steps: 1. Gather the materials you will need. These include a metal rule, a pencil, mat board, cardboard backing, a sheet of heavy cardboard to protect your work surface, a mat knife with a sharp blade, and wide masking tape. 2. Wash you hands. Mat board should be kept very clean. 3. Measure the height and width of the work to be matted. Decide how large a border you want for your work. (A border of approximately 21⁄2 inches on three sides with 3 inches on the bottom is aestheically pleasing.) Your work will be behind the window you will cut. 4. Plan for the opening, or window, to be 1⁄4 inch smaller on all sides than the size of your work. For example, if your work measures 9 by 12 inches, the mat window should measure 81⁄2 inches (9 inches minus 1⁄4 inch times two) by 111⁄2 inches (12 inches minus 1⁄4 inch times two). Using your metal rule and pencil, lightly draw your 322

Technique Tips

Figure T–23

5. Place the sheet of heavy, protective cardboard on your work surface. Place the mat board, pencil marks up, over the cardboard. Holding the metal rule firmly in place, score the first line with your knife. Always place the metal rule so that your blade is away from the frame. (See Figure T–24.) In case you make an error, you will cut into the window hole or the extra mat that is not used for the frame. Do not try to cut through the board with one stroke. By the third or fourth stroke, you should be able to cut through the board easily. 6. Working in the same fashion, score and cut through the board along all the window lines. Be careful not to go beyond the lines. Remove the window. 7. Cut a cardboard backing for your artwork that is slightly smaller than the overall size of your mat. Using a piece of broad masking tape, hinge the back of the mat to the backing. (See Figure T–25.)







Figure T–24

Figure T–25

TECHNIQUE TIPS

Position your artwork between the backing and the mat and attach it with tape. Anchor the frame to the cardboard with a few pieces of rolled tape.

24. Mounting a TwoDimensional Work Mounting pictures that you make gives them a professional look. To mount a work, do the following: 1. Gather the materials you will need. These include a yardstick, a pencil, poster board, a sheet of heavy cardboard, a knife with a very sharp blade, a sheet of newspaper, and rubber cement. 2. Measure the height and width of the work to be mounted. Decide how large a border you want around the work. Plan your mount size using the work’s measurements. To end up with a 3-inch border, for example, make your mount 6 inches wider and higher than your work. Record the measurements for your mount. 3. Using your yardstick and pencil, lightly draw your mount rectangle on the back of the poster board. Measure from the edges of the poster board. If you have a large paper cutter available, you may use it to cut your mount. 4. Place the sheet of heavy cardboard on your work surface. Place the poster board, pencil marks up, over the cardboard. Holding the yardstick firmly in place along one line, score the line with your knife. Do not try to cut through the board with one stroke. By the third try, you should be able to cut through the board.




Figure T–26


5. Place the artwork on the mount. Using the yardstick, center the work. Mark each corner with a dot. (See Figure T–26.) 6. Place the artwork, face down, on a sheet of newspaper. Coat the back of the work with rubber cement. (Safety Note: Always use rubber cement in a room with plenty of ventilation.) If your mount is to be permanent, skip to Step 8. 7. Line up the corners of your work with the dots on the mounting board. Smooth the work into place. Skip to Step 9. 8. After coating the back of your artwork, coat the poster board with rubber cement. Be careful not to add cement to the border area. Have a partner hold your artwork in the air by the two top corners. Once the two glued surfaces meet, you will not be able to change the position of the work. Grasp the lower two corners. Carefully lower the work to the mounting board. Line up the two corners with the bottom dots. Little by little, lower the work into place (Figure T–27). Press it smooth.

Figure T–27

9. To remove any excess cement, create a small ball of nearly dry rubber cement. Use the ball of rubber cement to pick up excess cement.

25. Making Rubbings Rubbings make interesting textures and designs. They may also be used with other media to create mixed-media art. To make a rubbing, place a sheet of thin paper on top of the surface to be rubbed. Hold the paper in place with one hand. With the other hand, rub the paper with the flat side of an unwrapped crayon. Always rub away from the hand holding the paper. Never rub back and forth, since this may cause the paper to slip.

26. Scoring Paper The secret to creating neat, sharp folds in cardboard or paper is a technique called scoring. Here is how it is done: 1. Line up a ruler along the line you want to fold. 2. Lightly run a sharp knife or scissors along the fold line. Press down firmly enough to leave a light crease. Take care not to cut all the way through the paper. (Figure T–28).

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TECHNIQUE TIPS


Figure T–28

3. Gently crease the paper along the line you made. To score curved lines, use the same technique. Make sure your curves are wide enough to ensure a clean fold. Too tight a curve will cause the paper to wrinkle (Figure T–29).




1. Apply a coat of adhesive to the area where you wish to place the tissue. 2. Place the tissue down carefully over the wet area (Figure T–30). Don’t let your fingers get wet. 3. Then add another coat of adhesive over the tissue. If your brush picks up any color from the wet tissue, rinse your brush in water and let it dry before using it again. 4. Experiment by overlapping colors. Allow the tissue to wrinkle to create textures as you apply it. Be sure that all the loose edges of tissue are glued down.

Figure T–29

27. Making a Tissue Paper Collage For your first experience with tissue, make a free design with the tissue colors. Start with the lightest colors of tissue first and save the darkest for last. It is difficult to change the color of dark tissue by overlapping it with other colors. If one area becomes too dark, you might cut out a piece of white paper, glue it over the dark area carefully, and apply new colors over the white area.

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Figure T–30

28. Working with Glue When applying glue, always start at the center of the surface you are coating and work outward. • When gluing papers together, don’t use a lot of glue, just a dot will do. Use dots in the corners and along the edges. Press the two surfaces together. Keep dots at least 1 ⁄2 inch in from the edge of your paper. • Handle a glued surface carefully with only your fingertips. Make sure your hands are clean before pressing the glued surface into place. • Note: The glue should be as thin as possible. Thick or beaded glue will create ridges on your work.

Using Scanners Whether you need to manipulate an artwork or insert a photo into a report, a scanner can be a useful tool. Scanners allow you to convert documents, illustrations, or photographs into digital image files on your computer. Once stored in a computer, these scanned files can be altered in an image-editing program. Scanner Basics Scanners come in a variety of shapes and sizes—from small, handheld devices to fullscaled, professional-quality drum scanners. Flatbed scanners are the most common household or schoolroom models. These machines include a flat, glass panel called the document table glass that is usually large enough to accommodate an 8 1⁄2
11 image. Many scanners also come with film adapters to let you scan slides and negative or positive filmstrips. Although individual makes and models will vary, there are some basic guidelines for using a flatbed scanner:

• Clean the glass to make sure there are no smudges or dirt. • Open a host application on your computer—the program into which you plan to import the scanned image or document. • Place the image facedown on the glass. Align with the appropriate corner markings. • Adjust the settings in your host application program to indicate the document source, image type, destination, resolution, and desired image size. Always read the manual that came with your scanner for specific instructions and troubleshooting information.

Technology Notes Resolution Resolution is the fineness of detail that can be distinguished in an image. A basic rule of thumb is the finer the detail, the better the quality. In a highquality image, even the smallest details can be distinguished. The resolution of a scanned image is measured in dpi (dots per inch). On a computer monitor, these dots are referred to as pixels. The more dots or pixels per inch, the better the quality. The recommended settings of dpi depend on the final output. For an image that will be seen on screen via e-mail or the Web, select a dpi between 72 and 96. For printing, the recommended settings vary depending on the type of image. Below are some typical settings which will vary depending upon the printer: • • • •

Color photo Text Text with images Line art

300 dpi 400 dpi 400 dpi 300 to 3200 dpi

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Scanners

DIGITAL MEDIA GUIDE

Digital Cameras Working with Digital Cameras Digital cameras combine features of the analog, or conventional, camera and the scanner. Like scanners, digital cameras allow you to import images to your computer’s hard drive. Unlike scanners, digital cameras are cordless. They allow you to capture live images. Also, because the images are digital, you never need to buy film. How Digital Cameras Work Taking pictures with a digital camera is simple. If it is set on automatic focus, you just aim at your subject and click the shutter. Once you have taken a picture, you can download it to your computer. There, it can be edited, imported into a document, printed, or e-mailed. Digital cameras vary widely in terms of features. One of the most important features is memory, or storage. The more memory the camera has, the more pictures you can take in a single session. (See “Technology Notes” for more on storage.) Other important features to look for include:

• Software. Most cameras come with software for downloading and manipulating images. Some lower-end cameras may not include software. Also, the quality of this software varies. Make sure the output file format is compatible with imageediting programs already installed on your computer. • Image quality. Think about how you intend to use the camera. If you plan to take high-resolution pictures (pictures with very fine detail), you will need a better camera. For most art tasks and other student needs, medium resolution is usually fine.

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Technology Notes Storage Storage is where your digital camera maintains digitized versions of the pictures you take. The least expensive models of digital cameras come with built-in flash memory. This type of storage cannot be upgraded. Flash memory can hold up to 25 images. These must be downloaded to your computer or erased before you can take more pictures. The next step up in storage solutions is the smart card. A little like a floppy disk, a smart card is a removable flash memory module. The camera comes with one card, but you can buy additional cards as needed. Top-of-the-line cameras have built-in hard disks that hold up to a gigabyte of data. Some newer cameras even come with writable CDs and DVDs.

Graphics Tablets

Tablet Fundamentals Graphics tablets are as easy to install as they are to use. The tablet is plugged into the computer’s USB (universal serial bus) or serial port. There is no need to attach the pen, which is cordless. Once the accompanying software is installed, you are ready to draw. Graphics tablets may be used with all major paint and draw applications. Tablets come in a range of sizes to suit different tasks. The smallest, which measure around 4
5, are often used for sketches or to add objects to larger artworks. The largest tablets, at around 12
18, are the size of a standard sheet of drawing paper. They can be used to create complete artworks. The electronic pen is pressure sensitive. As with a conventional pen or brush, the harder you press, the darker and thicker the line. Some models boast as many as 1,024 levels of pressure sensitivity. Pressure sensitivity not only controls line thickness, but transparency and color as well. The higher the pressure sensitivity, the more natural your pen and tablet will feel.

Technology Notes Ergonomics The term ergonomics refers to the application of science to the design of objects and environments for human use. In recent years, ergonomic engineers have been at work, developing computer tools that reduce the risk of repetitive stress injury. This is a type of injury affecting the nerves in the wrist and forearm. Recent ergonomic developments include the cushioned electronic pen. The cushioned pen has a softer surface and weighs less than earlier pens. These features have been shown to reduce grip effort by up to 40 percent. The cushioned pen, thus, is more comfortable and safer to use.

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Understanding Graphics Tablets A graphics tablet is a high-tech version of drawing paper or a painter’s canvas. Instead of brushes or other conventional media, you draw or “paint” on the tablet with an electronic pen. The image appears simultaneously on the computer screen. If you are unhappy with any pen stroke, you can simply select “Undo” from an on-screen menu. That portion of the painting will disappear without a trace.

DIGITAL MEDIA GUIDE

Paint Software Using Paint Software Paint software programs offer new conveniences and capabilities to artists. Traditional paints require drying time before a painting is finished or can be retouched. Not only is there no drying necessary with digital paints, but paint mixing is a mathematical process. A digital artist has millions of colors in his or her palette. Previously used colors can be duplicated with ease and precision. Also, as with all art software, a painting can be easily erased and altered. Paint Software Basics In digital paint programs, images are created and stored as bitmaps. These are files made up of tiny dots called pixels. Since photographs downloaded to the computer have a similar format, paint programs do double duty as photo editors. A paint program can be used to brighten a dark photo, enhance its contrast, and so forth. The main features of a paint program are:

• A menu bar. The menu bar contains file management commands (such as Open and Save), edit commands (such as Undo and Redo), and view commands (for example, Zoom). • The toolbox. The toolbox contains art tools, such as brushes and pens, and

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image manipulation tools. These allow you to flip or rotate an image among many other options. • Palettes. These are separate windows that allow you to control colors, brush tip sizes, line thickness, and the like. Most paint programs also come with a variety of filters. These add special effects to an image or photo. One example is “feathering,” which gives an image a wispy, cloudlike look.

Technology Notes Bitmap File Formats One important aspect of working with paint programs is understanding file formats. There are many bitmap formats including JPEG, GIF, and PNG. It is worth noting that each of these formats has its own characteristics. JPEG images, for example, are compressed— stored in a smaller size. This means they take up less space on your computer’s hard drive. GIF files are used for onscreen images. This format supports up to 256 colors and is often used for Web graphics. PNG images are increasingly turning up on Web sites and other environments shared by multiple computers and networks.

Examining Draw Software A cousin to paint software, draw software shares many of the same art tools and menus. Although draw programs lack the editing capabilities of paint programs, they are ideal for creating original artworks. They are especially well suited for creating logos, book or CD covers, and other art that combines images and text. Draw Software Fundamentals In draw programs, images are stored as algebraic formulas called vectors. These formulas carry information about the lines and curves that make up a particular drawing. Vector-based formats allow images to be resized—shrunk or enlarged—without distortion. This is one advantage of draw programs over paint programs. Paint programs produce images that cannot easily be resized without some loss of image quality. Every object created by an artist using a draw program contains editable points and handles. By moving or dragging these elements, the artist can alter or smooth out shapes and curves with ease and precision. Digital illustrators often scan and import sketches into draw programs. This allows them to trace over the sketch with a mouse or stylus. They can then refine and color the sketch, creating a digital illustration. In addition to pens and brushes, the toolbox in a typical draw program contains assorted shape tools. Draw programs may also include a selection of vector-based images that can be manipulated and used in other illustrations. Recent draw software enhancements enable artists to work with bitmap images. Some sophisticated programs now come with filters similar to those found in paint programs. These filters can be used for adding special effects to bitmap images.

DIGITAL MEDIA GUIDE

Draw Software

Vector

Bitmap

Technology Notes Color Models Color models are systems for arranging the colors of the visible spectrum so that they appear as the user intended when the image is printed. The most basic printing color model is CYMK. The letters are short for cyan (a greenish blue), yellow, magenta, and black. Most draw software comes preset for CYMK. Some artists prefer instead to work with the RGB (red, green, blue) model. For example, Web designers use the RGB model because their work is viewed on computer monitors. On monitors, all the colors of the spectrum are created with only red, green, and blue.

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3-D Graphics Software Examining 3-D Graphics Software Creating art in three dimensions is nothing new. Creating digital art in three dimensions is relatively new. The ability to give form to computerized objects only became a reality some 15 years ago. That was when the first 3-D modeling programs arrived on the market. Since that time, the capabilities of these programs have been expanded dramatically. Today, digital artists can create entire animated movies using a single 3-D software package. How 3-D Software Works There are many types of 3-D graphics programs. Some are designed specifically for creating and editing 3-D images for use on print materials or on Web sites and CD-ROMS. Other 3-D modeling programs are designed for architects and engineers. These programs are used to create complex digital blueprints for buildings and other structures. Like draw programs, 3-D programs include tools for creating objects. Once created, objects are placed on a stage. The stage is similar to the work area in draw and paint programs. The stage has three surfaces, or planes—one for width (X), height (Y), and depth (Z). Each plane includes grid lines that allow the user to place objects at exact locations in space.

Similar to movies, 3-D programs include lighting and camera controls. Lighting allows the user to adjust the intensity and direction of the light source. The camera control determines the view and angle from which the object is seen.

Technology Notes Rendering When you see a movie on the big screen, you don’t see the lighting, cameras, or film crew. The same is true of art created with 3-D modeling and animation programs. The final product is the rendered scene or movie. Rendering is a process by which the program mathematically assigns shading, texture, and other art features to one or more bitmaps. Behind-the-scenes details do not appear in the rendered scene or movie. Rendering can take anywhere from an hour to a day or more, depending on the resolution. If you are previewing a scene or movie, choose a low resolution. Make sure to allow ample rendering time for the final “cut.”

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Using Multimedia Presentation Software Imagine viewing a private exhibition of your own portfolio. With multimedia presentation software, there is no need to imagine. These remarkable programs allow you to create digital slideshows right on your computer. If you prefer, your presentation can include narration, background music, and special visual effects. Multimedia Presentation Software Basics The chief building block of the multimedia presentation is the slide. This is an individual screen containing a combination of multimedia objects. Objects are digital files that are embedded—contained within—a larger file. Sound, image, and animation files are all potential objects in a presentation.

In some multimedia presentation packages, objects can be added to a slide simply by dragging them from an object bar. In other programs, you use menus to embed objects. Once you have created all the slides for your presentation, you are ready to produce your show. During the production phase, you attend to details such as the following: • Transitions. Transitions are special effects between slides that add visual interest to your show. Known in some packages as “wipes,” transitions include dissolve (one slide fading into another) and explode (a slide appearing to burst apart, revealing the next). • Timing. This is the amount of time any given slide appears on the screen. Timing is one of the most important aspects of a multimedia presentation. If slides change too quickly, your viewers will not have a chance to appreciate each artwork fully. If a slide appears on the screen too long, the presentation may drag.

Technology Notes Executable Files Some multimedia presentation programs allow you to turn your shows into executable files. An executable file is a self-contained program that will open and run when double-clicked. All the icons on your system’s desktop are executable files. Executable files may be emailed or burned onto a CD or other portable medium. This permits viewers to run your slideshow even if they do not have presentation software installed on their computers.

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Multimedia Presentation Software

CAREER SPOTLIGHTS

Architect

Art Director

An architect is an artist who designs buildings and other structures. Your home, school, and local shopping mall were all designed by architects. An architect prepares plans that show both the interior and exterior of a building. These sketches include floor plans that show the placement of rooms, hallways, doors, windows, closets, and other features. They also show the exterior walls on all sides of the building and a top-down drawing of the roof. A building design must be not only visually pleasing but also functional and safe. When planning a building, architects must consider how the structure will be used. For example, the design for a home would be very different from the design for a restaurant or hospital. Architects must also keep in mind the needs of the people who will use the building. This includes such subjects as traffic patterns, living and work areas, and storage space. They must also to know about heating and cooling, ventilation, and plumbing.

Art directors are responsible for the look of the advertisements that you see in newspapers, in magazines, and on television. They are also responsible for the style and design of magazines, and of books like this one. Art directors most often work in the fields of advertising and publishing.

Architects need a college degree in architecture. They take courses in math, engineering, and drafting. Because many architects use computers to produce their designs, they also take courses in computer-aided design. In addition, they must pass an exam to become licensed. 332

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An art director studies the information that needs to be presented. He or she must decide how that information can be shown in a visually appealing way. The art director then works with a design team that includes artists, designers, and copywriters. The art director oversees the team’s work and makes sure that the final printed material is satisfactory. Most art directors have a college education. Courses should provide a well-rounded background in art and design. Art directors study graphic design, drafting, layout, photography, and computer design. Several years of on-the-job training are required before a person can become an art director.

Artist

Art teachers instruct students in the use of various art materials and techniques. They also educate students in the theories and principles of art criticism, aesthetics, and art history. In middle schools, art teachers provide general art instruction. Art teachers in high schools may specialize in a specific area, such as painting, drawing, or crafts. In a classroom, the art teacher helps students create their own artwork. Students are taught how to use a wide variety of media, such as pencils, charcoal, pastels, paints, and clay. The teacher encourages students to analyze their own work as well as the works of master artists.

Artists create works of art. Their work is usually classified as either fine art or applied art. Fine art, such as a painting, is created simply to be viewed and appreciated. Applied art, such as ceramics or other crafts objects, serves a more practical purpose.

Art teachers must have a college degree. Their educational background includes courses in both art and teaching. Many art teachers continue to study and exhibit their own artwork throughout their teaching careers. An essential part of being an art teacher is a love of art and a desire to encourage this appreciation in others.

CAREER SPOTLIGHTS

Art Teacher

The work of an artist may involve a variety of media. The media are the materials used to create the art. A painter, for instance, might use oil, watercolor, or acrylic paint. A sculptor might create art out of stone, clay, or wood. Other artists might create jewelry, pottery, or furniture from such materials as metal, clay, or plastic. Although not all artists have a college education, almost all have had formal art instruction. This training includes studio art classes, such as drawing, painting, and design. It also includes courses in art history. One of the most important requirements for a career as an artist is a natural talent in art. Career Spotlights

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Graphic Artist

Illustrator

Graphic artists design artwork for many types of products. These products might include packaging and promotional displays, brochures, advertisements, magazines, and books like the one you are reading. Graphic artists are often employed in the publishing or advertising fields. However, they may also work in other areas, such as designing the boxes that hold videos and computer games. They frequently work as part of a design team. Most graphic artists use computers to help in the creation of their artwork. Computer technology saves time by performing some of the tasks that artists previously had to do by hand. For example, artists can use computer graphics to easily experiment with a variety of colors, shapes, and designs.

The work of an illustrator revolves around drawing. Illustrators may create many different types of artwork. Most specialize in one field, such as technical illustration. Illustrators often work in the publishing and advertising industries. A technical illustrator specializes in drawing diagrams. These might be included in instructional manuals. They help explain how to use appliances or equipment, such as a computer or VCR. A fashion illustrator draws sketches of clothing and accessories. Fashion illustrations might appear in catalogs, advertisements, or magazines. A medical illustrator prepares detailed drawings of the human body. These drawings are often found in medical textbooks and journals. Most illustrators have a college degree in art. Besides drawing, they learn about design, composition, and perspective. Illustrators who want to concentrate on one area must also take courses related to that subject. For example, a medical illustrator must study biology and medicine.

A career in graphic art generally requires a college education and formal art training. In addition, graphic artists must have an indepth knowledge of computer graphics. Because the computer field changes so rapidly, graphic artists must continually learn about new technology.

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Interior Designer

Have you ever wondered who designed your favorite toys and electronic games? Those are the work of industrial designers. They design manufactured products, such as computers, kitchen appliances, and cars. Industrial designers usually work for large companies, such as toy or equipment manufacturers.

Interior designers plan the interior space of buildings. These buildings might include homes, offices, hotels, or restaurants. Sometimes interior designers plan renovations, or upgrades, to existing buildings. In addition to preparing drawings, interior designers choose furniture, carpeting, and window coverings. They also select lighting and color schemes. Interior designers must make sure that all of these individual parts work together as a whole and are aesthetically pleasing. When planning an interior space, the interior designer must always consider the client’s needs, tastes, and budget. Many designers use computer programs to create several versions of an interior plan. Using a computer also allows the designer to easily make design changes to suit the client’s wishes. To be an interior designer, you need a college education. Courses include drawing, design, and art history. Interior designers also must show creativity, a flair for color, and an eye for detail.

Industrial designers develop new products. They also make improvements to existing products, such as adding new features or changing the design of an automobile. When developing a product, industrial designers first do research. The designers need to know who will use the product and how they will use it. Industrial designers also must evaluate similar products that are already available. Then they combine this knowledge with their artistic ability. Their goal is to create products that will work well and be popular with consumers. A career in industrial design requires a college education. In addition to art courses, industrial designers study computer-aided design. Many designers use computer technology when developing products.

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CAREER SPOTLIGHTS

Industrial Designer

CAREER SPOTLIGHTS

Landscape Architect

Museum Worker

Landscape architects combine their love of nature and the environment with their artistic ability. They design outdoor areas such as those surrounding houses or apartment complexes, shopping centers, and office buildings. Landscape architects choose which types of trees, bushes, and flowers are best suited for the location. Then they draw sketches of how these plants should be arranged. One goal of a landscape architect is to make sure that the design is not only functional but also attractive. Another goal is to make sure that the design works well with the natural environment. As in all design fields, more and more landscape architects are using computers to complete their work more efficiently.

Some people combine their love of art and museums to become museum workers. There are a wide variety of museums across the country. Some showcase artwork, such as paintings, sculpture, or photographs. Others house objects of historical value, such as antique clothing or furniture. Still others display items related to science or natural history, such as dinosaur skeletons. People who work in museums may have several different types of jobs. A curator chooses and obtains the objects that will be displayed in the museum. An assistant curator helps the curator set up the museum exhibits. A conservator cares for and preserves the objects kept in the museum. A tour guide provides information about exhibits to the museum’s visitors and answers their questions. The degree of education required for a museum worker varies depending on the type of work. Most museum workers, however, are highly educated. Many have advanced college degrees and are considered experts in their field.

A career in landscape architecture requires a college education. Courses include landscape design and construction, surveying, and city and regional planning. In addition, landscape architects study science and nature and take studio art courses.

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Web Designer

Photographers are skilled artists who use their cameras to create artwork. Their work varies greatly depending on what type of photographs they take. For example, a catalog photographer works in a studio and takes pictures of objects such as food, clothing, or jewelry. A newspaper or magazine photographer works in the field, taking pictures of people and events in the news.

There are countless numbers of sites on the World Wide Web. These sites may be sponsored by companies, organizations, or individuals. They are most often used to provide information, promote products, and answer questions. Web designers use computer software to create and maintain these sites. The work involves laying out Web pages, designing graphic elements, and creating electronic links to other sites. Web designers may create sites for a large company or organization. They may also work for a design firm that creates sites for many companies. To be a Web designer, a person must have a background in art, with an emphasis on design. A Web designer must also have technical training in computers and computer programming. Keeping current with the latest technology is an important part of the job.

The work of photographers involves more than just taking the pictures. Photographers must first visualize the shot or set it up in an artistic way. After the pictures are taken, many photographers develop their own film in a darkroom. Then they print the slides or photographs. A career as a photographer requires formal training in photography. Many photographers have a college degree in art. Photographers who specialize in certain areas, such as science, may need additional courses in that field. Beginning photographers sometimes receive training on the job by assisting a professional photographer.

Career Spotlights

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Photographer

Performing Arts Handbook

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he following pages of content were excerpted from Artsource®: The Center’s Study Guide to the Performing Arts, developed by the Music Center Education Division, an award-winning arts education program of the Music Center of Los Angeles County. The following artists and groups are featured in the Performing Arts Handbook. Ballet Folklórico de Mexico . . . . . . . . . . . . 339 African American Dance Ensemble . . . . . 340 The Joffrey Ballet of Chicago. . . . . . . . . . . 341

ARTSOURCE

Eugene Friesen . . . . . . . . . . . . . . . . . . . . . . 342 Alvin Ailey American Dance Theater . . . 343 Diavolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 The Chameleons . . . . . . . . . . . . . . . . . . . . . 345 Japanese Festival Sounds. . . . . . . . . . . . . . 346 Donald McKayle . . . . . . . . . . . . . . . . . . . . . 347 Pilobolus Dance Theatre . . . . . . . . . . . . . . 348 Blue Palm . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Kurt Jooss. . . . . . . . . . . . . . . . . . . . . . . . . . . 350 Natividad (Nati) Canto . . . . . . . . . . . . . . . 351 Diana Zaslove . . . . . . . . . . . . . . . . . . . . . . . 352 John Zeretzke . . . . . . . . . . . . . . . . . . . . . . . 353

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Dance

Ballet Folklórico de Mexico or over 25 years, the Ballet Folklórico de Mexico has presented authentic folk dances from different ethnic groups within Mexico. Amalia Hernández, the Artistic Director of the company, creates exciting dances based on ancient traditions. From the time of the Olmec Indians to the birth of modern Mexico, more than 30 distinct cultures have influenced Mexican culture. The dance shown in this photo is called “Los Mitos” and features the pageantry and ritual of these cultures before the arrival of the Spaniards.

Ballet Folklórico de Mexico. “Los Mitos.” Amalia Hernández, Artistic Director. Photo courtesy of Friedson Enterprises.

Discussion Questions 1. Compare the headdress of the dancers to the headdress of the agricultural god shown in the painting on page 101 in this textbook. What similarities do you see in the patterns and symbols? 2. What symbolism do you see in the photo on this page? What characteristics of the symbol can you name? 3. After viewing the video, describe how the dancers used geometric spatial designs.

Creative Expression Activities Dance Stand in an open area with six to eight students and organize yourselves into three different geometric shapes, selecting from a circle, square, triangle, or the letter X. After your designs are organized, choose two that you like and walk or skip from one figure into another using eight counts to travel.

Language Arts Write a personal reflection of your impressions and feelings about either the images you see in the illustration on this page or of the dance in the video.

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Dance

African American Dance Ensemble

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ased on extensive research, the African American Dance Ensemble performances are a blend of traditional African and African American styles. In African cultures, dance is not seen simply as an art form but as an integral part of the economic, political, social, and religious aspects of life. Artistic Director Dr. Chuck Davis and his company use dance and music to bring the message of “peace, love, and respect for everybody.” His dance “Balante” is based on a post-initiation dance of the Jolas of the Casamance region of Senegal. It features the joyous, powerful dancing of young men who have completed their rites of passage, attaining the status of manhood.

The African American Dance Ensemble. “Balante.” Dr. Chuck Davis, Artistic Director. Photo: Courtesy of African American Dance Ensemble.

Discussion Questions 1. Initiates, in many traditional African societies, are expected to attain certain moral, intellectual, and spiritual qualities before they attain manhood. This “rite of passage” period is secret, and the boys and girls are separated from their tribe to undergo these instructions and challenges. Identify and discuss any rituals, activities, or accomplishments in our American society that serve as “rites of passage” for young boys or girls. 2. What dance styles do you think have their roots in traditional African cultures? Give reasons for your answers.

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Creative Expression Activities Language Arts In many African ethnic groups, it is believed that wise people speak in proverbs and that everything has a place in life and a reason for being. Read the following proverbs, and then think of English equivalents: “Rain beats a leopard’s skin, but it does not wash out the spots.” (Ashanti); “When spider webs unite, they can tie up a lion.” (Ethiopia); “Cross the river in a crowd and the crocodile won’t eat you.” (Kenya).

Social Studies Most African groups have ceremonies that celebrate life passages. Create a Naming Ceremony for you and your classmates. Select a name for yourself that tells something of your character, appearance, accomplishments, or history. Include a special song and movements.

Dance

The Joffrey Ballet of Chicago

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Discussion Questions 1. Discuss other stories or fairy tales you know that focus on magical transformation. What do you think the role of magical power is in these tales? What purpose, if any, does it serve in our lives? 2. Have you ever seen a story enacted through dance? What would be the main differences between a story that is presented as a play and one that is presented as a dance? Which might be the more powerful? Give reasons why. Be very specific in your responses.

ARTSOURCE

he Joffrey Ballet of Chicago revives major historical ballets and features new choreography that draws from American life. The Nutcracker, a traditional ballet, is based on the story “The Nutcracker and The King of the Mice” by E. T. A. Hoffmann. The original ballet premiered in St. Petersburg, Russia, in 1892. Begun by Marius Petipa and completed by Lev Ivanov, it was choreographed to a musical score by Peter Tchaikovsky. Set on Christmas Eve, The Nutcracker is a magical story about a young girl named Clara, who receives a nutcracker from her Uncle Drosselmeyer. Fritz, her jealous brother, breaks it. Although angry and sad, she repairs it with her uncle’s help. However, when The Joffrey Ballet of Chicago performs “Waltz of the she checks on her nutcracker during the Flowers,” from The Nutcracker. Gerarld Arpino, Artistic night, she sees him fighting off an attack Director. Photo: Herbert Migdoll. by the Mouse King and his army. Clara helps the nutcracker; he thanks her and then magically turns into a prince. Snow begins to fall and soon they find themselves in “The Land of Sweets,” where she meets the Sugar Plum Fairy and a host of toys, flowers, and dolls. After a delightful experience, she returns from her dream and awakens on Christmas morning.

Creative Expression Activities Language Arts Russian choreographer Michel Fokine said, “Man should and could be expressive from head to foot, yet even the greatest dancer must play his part as one member of a group—the ballet company.” In small groups, discuss this idea and find connections to other group efforts such as sports, band, dance teams, and production crews.

Mime Create a mime or movement study based on toys and how they might move if animated. These might include: yo-yos, kites, balls, plastic clay; different types of dolls, jack-in-the-box, or action figures. Artsource®: Performing Arts Handbook

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Music

Eugene Friesen

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orld-renowned cellist, Eugene Friesen, uses both his cello and his voice to create new music. Eugene began playing the cello in his elementary school orchestra at age eight, pulling it to school in a little red wagon. By the time he got to high school he played in both school and community orchestras and began experimenting with an amplified cello to play rock and blues styles. A graduate of the Yale School of Music, Eugene moved from the traditional classical world of the cello into a creative, expressive one. The photo captures him playing in a solo performance called “Cello Man,” created in collaboration with Faustwork Mask Theater. In this show, Eugene weaves a spellbinding fabric composed of stories, songs, and inventive techniques on both the cello and electric cello. Using masks and costumes, Eugene transforms himself into different characters that integrate with the music he is playing. This use of masks adds a dramatic element to the performance, which includes a duet with the recorded song of a humpback whale.

Discussion Questions 1. Look at the photo and identify the animal depicted by the mask Eugene is wearing. Think of the characteristics of this animal and think about how they would translate into the tempo, quality, and melody of the music he is playing. 2. Do you know how a cello is played? Can you describe the sound a cello makes? How might this differ from the sound of an electric cello? 3. What other instruments can you name that are in the string family?

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Eugene Friesen. “Cello Man.” Photo: Craig Schwartz, © 1998.

Creative Expression Activities Language Arts Write a story that has a musical instrument as a main character. The instrument’s character may be personified so that human traits and emotions are expressed. Think about materials used in making the instrument and how they might help describe the character.

Science Sound is produced by vibrations at different frequencies. Each stringed musical instrument produces different levels and speeds of vibrations that are created by bowing or plucking. Research the differences in the sound qualities and textures of the violin, cello, and bass. What things impact the quality, texture, and pitch of the sound?

Dance

Alvin Ailey American Dance Theater

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he Alvin Ailey American Dance Theater performs classical ballet and modern works by well-known choreographers, but the group is best known for dances drawn from Alvin Ailey’s African American background. These masterpieces capture the essence of his black experience in America and feature musical themes based on African American cultural heritage such as blues, spirituals, and jazz. “Revelations,” the dance shown on this page, has become the “signature piece” for the company because it clearly captures the spirit and aesthetics of the company and its creator. The choreography includes different dances, all of which celebrate the human spirit and its ability to overcome adversity.

Alvin Ailey American Dance Theater. Alvin Ailey, founder and choreographer. “Revelations.” Photo: Bill Hilton.

Discussion Questions 1. The word revelation means something that was unknown and is now revealed. Discuss a revelation a person might have while struggling through a difficult situation. 2. Look at the photo on this page. What images come to mind as you study the positions of the dancers? Discuss how unity and variety are demonstrated. 3. Imagine you are going to create a signature piece to represent yourself. Identify three to five traits that describe different aspects of your personality. Demonstrate these traits with a gesture or expressive movement. Which ones seem appropriate for your signature piece? Why?

Creative Expression Activities Language Arts Think about Discussion Question 1. Write about a time when you or someone you know had a revelation.

Dance/Theatre After discussing Question 3, find gestural movements that can express each of the personal traits you listed. Choose one you like and abstract it in several different ways by exaggerating the size, doing it in slow motion, giving it a rhythmic pattern, adding a turn or change of level, or performing it as you walk. Share ideas with a partner and discuss what worked best.

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Dance / Theatre Diavolo

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arisian-born Jacques Heim is the dynamic creator and director of Diavalo, a dance and physical theatre group that takes a daring, compelling, and uncompromising look at contemporary human life. Heim has studied dance, film, and choreography in France, the United States, and England and has an MFA in Theatre, Dance, and Film from the California Institute of the Arts. He created Diavolo in 1992 after graduating from Cal Arts in California. He states, “I try to convey an appreciation for movement by breaking down barriers to dance via a vocabulary based on everyday activities.” Diavolo is composed of dancers, gymnasts, and actors, who work as teammates. In their collaborations, they work on and around outrageous, surrealistic sets and structures. Everyday items such as benches, doors, and ladders provide the backdrop for dramatic movement. In the dance, “Tête en l’Air,” dancers leap from a staircase and roll down its steps, creating metaphors for the challenges of relationships while maintaining balance.

Discussion Questions 1. Can you think of an everyday object that would lend itself to a dance piece? Give reasons why you think this piece or structure would be interesting to dance with or on. How would you have the dancers interact with the object? What thematic ideas come to mind? 2. This dance takes place on and off a staircase structure. If you were the choreographer, how many different actions can you think of that you could incorporate into the dance movements? See if you can list at least ten.

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Diavolo performs “Tête en l’Air.” Photo: Ed Krieger.

Creative Expression Activities Language Arts The word Diavolo has several possible meanings. A favorite, however, is dia (Spanish for “day”) and volo (Latin for “I will fly”). Write a paragraph titled, “The Day I Will Fly.”

Science A theme in Diavolo’s work is the relationship between gravity and weight. Choose three different objects of varying size and weight; for example, a ball, a book, a feather, or silk scarf. Drop each object from above your head and observe how each falls to the ground. Is the rate of speed at which they fall constant or does it fluctuate? What words would you use to describe the way each object fell in terms of energy qualities such as floating, bouncing, slamming, heavy, forceful, and graceful?

Theatre

The Chameleons

ife Cycle follows the relationship of two characters, one female and one male, from infancy through childhood, adolescence, courtship, marriage, parenthood, middle age, old age, death, and finally rebirth. On a bare stage and without costumes or props, Keith Berger and Sharon Diskin use pantomime and mime techniques to project a variety of human emotions and enact the rituals of friendship, love, and separation. Their work began with a desire to do a story about universal relationships. They began by improvising ways to create age changes by altering their posture, expressions, and attitudes.

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The Chameleons: Keith Berger and Sharon Diskin. Life Cycle. Photo © 1990, Craig Schwartz.

Discussion Questions 1. Why do you think Keith Berger and Sharon Diskin titled their mime piece Life Cycle? What does the term cycle mean, and how does this relate to the stages of life? 2. Study the photo on this page and describe the situation and what you think is being communicated by the two mimes. 3. Identify situations where people use gestures to communicate ideas rather than words. Discuss why this is done in each of the situations.

Creative Expression Activities Pantomime Show the following ideas in mime movement: fishing, writing a letter, stirring cake batter, dealing cards, getting dressed, sewing a button on a shirt, and bowling.

Playwriting Create a mime scenario about a day in the life of a specific character. Then write an outline of the action to use as a mime script.

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Music

Japanese Festival Sounds

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ohnny Mori was fascinated by the Taiko drummer who accompanied the folk dancers at the annual Obon Buddhist Festival in Los Angeles, California. This inspired him to learn to play the drums. Today he blends traditional Taiko drumming with a modern Japanese American style. Taiko drumming originated in ancient India as part of religious ceremonies and celebrations. This form eventually found its way to Korea, China, and Japan. Traditionally, Taiko drums were included in ensembles with other instruments. In some cultures, the drums were also used to perform functional roles, such as announcing the time of day or calling people to special gatherings. Today, Taiko is featured in performances with some ensembles composed solely of various sized drums.

Japanese Festival Sounds. Johnny Mori, Artistic Director. Photo: Craig Schwartz © 1989.

Discussion Questions 1. Where did Taiko drumming originate? To what other countries did it spread? 2. Taiko performers demonstrate great skill and control in movement and drum technique. Their performance skills are a result of many hours of concentrated, vigorous work involving the mind, body, and spirit. Discuss how Taiko drummers are like athletes and dancers. 3. What other cultures place an emphasis on drumming? For what purposes are the drums used?

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Creative Expression Activities Language Arts The technique of learning drum patterns by vocalizing the sounds began in India and was transferred to many Asian cultures. Five basic syllables used in Taiko are: KA; KARA; DON; DOGO; and SU (which means rest). Combine the syllables in different patterns, saying them as you clap or beat out the rhythms. Repeat each pattern several times.

Geography Using a map or globe, trace the geographical and historical route of the Taiko drums from India through Asia to the United States.

Dance

Donald McKayle

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horeographer Donald McKayle is a performing artist who has broken many barriers. He was the first African American male dancer selected to join the famous Martha Graham Dance Company. He also went with the company on its historic tour of Asia in the late 1950s. Among his many dances is a piece called “Rainbow ’Round My Shoulder,” based on prisoners’ dreams of freedom. McKayle focuses on prisoners in the South, who were chained together as they worked. In the dance, he incorporates the strong, repetitive rhythm of work movements and prison songs. He believes that the more truthful artists are, the more their art will communicate to others. His dances, as well as his life, reflect this belief.

Alvin Ailey American Dance Theater. Donald McKayle, choreographer. “Rainbow ‘Round My Shoulder.” Featured dancers: Elizabeth Roxas and Desmond Richardson. Photo by Jack Mitchell.

Discussion Questions 1. Share what you know about the life of prisoners working in a chain gang. What kind of movements would a choreographer use to portray a prisoner’s hard and repetitive life? Explain your choices. 2. Look at the photo of the dancers on this page. What principles of art can you identify in the photo? 3. Why do you think a choreographer would choose the title “Rainbow ’Round My Shoulder” as a title for a dance about prisoners? What does a rainbow symbolize? What symbols would you choose if you were creating a work of art expressing a wish for freedom?

Creative Expression Activities Dance Working with a partner or in small groups, think of movements that suggest actions associated with physical work. You might use such repetitive movements as hauling, dragging, pushing, pulling, lifting, carrying, and breaking rocks. Create several variations for each. Perform the movements for the class.

Language Arts List words that describe the feelings of someone who is imprisoned and longs for freedom. Use your list to write a poem or short story about this person and his or her feelings.

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Dance

Pilobolus Dance Theatre

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ilobolus Dance Theatre, an internationally acclaimed American dance company, was formed at Dartmouth College in 1971. Searching for a new dance style, they created a unique and highly original choreographic process that relied on trust, collaboration, and a weight-sharing approach to partnering. Each new dance project begins with several days of improvisation, where the dancers are called upon to find inventive movement through “creative play.” This process, which has no rules, is guided by one or more of the four artistic directors. Dances that have emerged from this process feature a startling mixture of humor, artistry, and creativity. The name Pilobolus refers to a real-life fungus found in pastures. This small mushroom has an eye that grows or moves in response to light. When ready to reproduce, it can project its spores nearly eight feet into the air. This little organism captures the essence of the way the company works and creates. Now over 30 years old, Pilobolus remains an original, influential, and versatile force in the dance world.

Discussion Questions 1. Discuss how dance can vary so much in purpose and style. Styles include: ceremonial, folk, ballet, jazz, modern, musical theatre, tap, and hip-hop. What do you think is the definition of dance? How many different reasons can you think of for why people dance? 2. Pilobolus’s dancers collaborate to solve problems and find inventive solutions in order to create their work. Give examples of situations where you have improvised to solve a problem, either alone or in a group. How did collaboration help you and the group in this process? Were you inventive? What other organizations or systems use these ideas?

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Pilobolus Dance Theatre performs “The Brass Ring.” Photo: Howard Schatz.

Creative Expression Activities Language Arts/Dance Using verbs and adverbs as starting points for movement, write a selection of these words on cards. Pair each verb with an adverb. Arrange three to five sets in a sequence and design a small group dance study. Improvise the words using elements of dance, such as level, size, direction, energy, and tempo to make the movements interesting. Practice working as a team to find solutions to the problem. Verbs delineate the action sequence, and adverbs tell how the action is to be done, e.g., turning slowly or running hesitantly. Prepositions, such as from and in, can be added to define the relationships between the dancers.

Theatre

Blue Palm

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Discussion Questions 1. This performance examines the magical, yet sometimes complex, process of “growing up.” What do you look forward to as you get older? What are the things that frighten you? What do you think will be your biggest strength? What might be your biggest challenge? 2. One of the characters in the play never grew up because she wanted to keep on playing. Imagine you could stop yourself from growing. Where would you choose to stop and stay? What would the advantages and disadvantages be?

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rior to founding Blue Palm, Tom Crocker and Jackie Planeix, choreographers and performers, toured the world with the internationally renowned Béjart Ballet. Blue Palm creates original pieces focused on human dreams, fears, and flaws. Using a form called interdisciplinary theatre, they blend drama, dance, and humor. Childhood is composed of a series of scenes, each of which gives us a glimpse into the world of children, with its own whimsical logic. Blue Palm holds up a looking glass that Blue Palm: Tom Crocker and Jackie Planeix. “The Lot” from Childhood. lets us see how universal our Photo: Brigitte Meuwissen. feelings and struggles are. “The Lot” shows an adult reencountering a childhood friend who became lost in play and never grew up. The dialogue between them reveals each one’s perspective and how these influenced the choices they made.

Creative Expression Activities Language Arts Recall a scenario from your own childhood that taught you something. Think of the setting you were in, your age, other people who were involved, and the emotions you were feeling. Imagine the beginning, middle, and ending of the scenario and see what happened and how you felt at the end. Was this feeling different than at the beginning or middle? Did you realize something or make a decision about something because of this event? Use your memory to write a short story that captures the scene, defines the characters, and describes the event. Share this with a partner. Did you learn something new in the writing or telling of your story?

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Dance/Theatre

Kur t Jooss

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Green Table,” created by “ T he choreographer Kurt Jooss in 1932,

is a compassionate and powerful dance drama about the horrors of war. It features ten gentlemen in morning coats and spats standing and leaning around a rectangular green table. They posture and disagree until pistols emerge. A shot is fired, and war is declared. After the gun shot, the “Green Table” scene goes black and we see the figure of Death enter. In the scenes that follow, soldiers are called to fight, battles rage, refugees comfort one another, a profit-maker preys on the miseries of his fellow man, and a lone soldier The Joffrey Ballet of Chicago performing “The Green Table.” Kurt Jooss, choreographer. Photo: © Robert Migdoll, 1998. holds watch. Through every scene, Death stalks the stage to find different companions, claiming victim after victim. These characters meet Death in their own ways, some swiftly and some slowly. Because of its universal themes of power, war, and death, “The Green Table” continues to be performed around the world, making it the most performed of all dance works created in the twentieth century.

Discussion Questions 1. What do you think a dance drama is? How might this differ from a dance created to express music? 2. Why do you think the choreographer chose to have masks for the men at the green table? How might it have communicated something different without the masks?

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Creative Expression Activities Language Arts Some people feel that dance can’t tell a dramatic work as well as a play that has the characters use words and dialogue. However, other people feel that emotions can be portrayed even more strongly when words are taken away and the characters communicate primarily through posture and movement. Write a short essay on the topic of war and how diplomats or statesmen make decisions that impact the ordinary citizen as well as soldiers. How would you portray the character of Death and how he claims his victims? What narration or dialogue would you use?

Music

Natividad (Nati) Cano

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Discussion Questions 1. In most instrumental groups, specific instruments, such as drums, constitute the rhythm section. Which instruments in the mariachi ensemble usually provide the basic rhythm? 2. What are the main melodic instruments used in mariachi music? 3. Early mariachi ensembles were string ensembles. In the early thirties, when mariachi radio broadcasts emerged, groups began to add trumpets. Why do you suppose this instrument was added?

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t is not surprising that Natividad (Nati) Cano chose music as a career. Born in Mexico, he grew up in a family of jornaleros (day workers) who considered music a means for earning additional money, as well as a joyous outlet from working the soil. His grandfather played the guitarron, the bass instrument of mariachi ensembles. His father, a versatile musician, played all of the instruments of the mariachi except the trumpet. Cano began to play the vihuela, a large bass guitarlike instrument, at the age of six. At age eight, he began six years of violin Mariachi Los Camperos de Nati Cano. Photo: Craig Schwartz. lessons at the Academia de Musica in Guadalajara. Gradually, Cano’s musical experiences, technical skills, and knowledge broadened as he played locally with his father, in the Academia Chamber Orchestra, and also with two professional mariachi groups. Later, he joined the Tijuana-based Mariachi Aguila, and after becoming its musical director, changed the name to Los Camperos. They are now based in Los Angeles, California, where they are considered the best mariachi group. In recognition of his outstanding musicianship, Nati Cano received a National Heritage fellowship from the National Endowment for the Arts in 1990.

Creative Expression Activities History/Social Studies Two similar holidays, el Dia de los Muertos and Halloween, both occur in the autumn. Research, compare, and contrast the two observances.

Music In Mexico, as in other countries, different types of music developed in the various states and regions within the country. Research the historical, geographical, and cultural/ethnic origins of the following kinds of music: musica huasteca, musica Tejana (or conjunto), musica jarocha, and musica mariachi.

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Music

Diana Zaslove

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iana Zaslove, a lyric soprano, performs popular songs of the sixteenth and seventeenth centuries. The period from the fourteenth to sixteenth centuries, called the Renaissance, was a time of optimism and discovery. During this time, composers began to emphasize the expressiveness of the human voice as a solo instrument. Before this, musical instruments usually played the same part that was sung by a group of singers. Now, individual vocalists would sing the melody while the lute player carried the parts of all the other voices. Optimally, singers aspired to sound like the recorder—clear, melodic, and light. Composers also wrote music for more than one solo voice so that harmony became an increasingly important factor. Up until the Renaissance, most music was written for the Church to express religious or sacred themes. Diana Zaslove, soprano. “Vergene Bella.” Composed by Now, for the first time, music was written to Guillaume Dufay. Photo © 1998 Craig Schwartz Photography. express the human spirit and relationships between people. Poetry and music were combined to express a variety of emotions, especially aspects of love and friendship. The lute, an instrument similar to the guitar, was the most popular and was most often used to accompany singers.

Discussion Questions 1. Look carefully at the photograph of Zaslove in performance. Discuss how the more worldly themes of love and friendship are reflected in her dress and manner. 2. Discuss how the shift from music and songs about the Church to music and songs about people and their emotions encouraged individual voices as well as harmony to be featured.

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Creative Expression Activities Language Arts Select an emotion of love and think of a relationship or a situation that inspires an aspect of this emotion. Write a rhythmical poem or rap that expresses an aspect of love, such as friendship, loss, devotion, or romance. You may wish to give a melody to your poem or set it to music.

Music and Dance History Instrumental music and dance of this period were intimately connected. Many patrons who financially supported composers and dance masters were people of wealth and power. They often commissioned works in specific dance forms for special occasions. Research some dance forms of this period, such as the galliard, pavane, or ronde.

Music

AMAN International Folk Ensemble

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Discussion Questions 1. Name a culture that has influenced Cajun music. 2. List the types of instruments featured in Cajun music. How would you describe the kinds of sounds produced by these instruments? How do you think these instruments contribute to the character of Cajun music?

ARTSOURCE

he AMAN International Folk Ensemble researches, preserves, and presents traditional dance, music, and folklore of the many diverse ethnic groups in America. John Zeretzke served as the Music Director for the AMAN Folk Ensemble for ten years because his talent and expertise were compatible with their international repertoire. As a child, however, he didn’t start out feeling very capable. By third grade, he was unable to keep up with the learning capabilities of his classmates and began to feel like a failure. About this time, a music teacher began an instrumental program at his school. He had an opportunity to join and immediately connected with the violin. Playing the violin made him happy, and this change of attitude and feeling of success dramatically helped him learn other subjects as well. His expertise in violin styles includes Cajun, Greek, Hungarian, Romanian, Appalachian, Eastern European Gypsy, Asian, jazz, classical, and country. Cajun culture, AMAN International Folk Ensemble, John Zeretzke. “A Cajun Medley.” Photo courtesy of AMAN International which has survived for over two hundred Folk Ensemble. years, has French roots and is indigenous to the state of Louisiana. John plays “A Cajun Medley” from the repertoire of the famous Cajun musician, Dewey Balfa. Other instruments featured in Cajun music include: guitar, accordion, triangle, spoons, and washboard.

Creative Expression Activities Geography Trace the journey of the Acadians from their French roots to their Louisiana settlements. Conduct research to discover where Acadia was located, what it is called now (Nova Scotia), when it was settled, why the Acadians left, and when and why they settled in Louisiana.

Social Studies Read Henry Wadsworth Longfellow’s epic poem, Evangeline, a literary resource that chronicles the life of an Acadian woman exiled from her homeland. Compare Evangeline with historical accounts of the period. Artsource®: Performing Arts Handbook

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Artists and Their Works A

Caravaggio, Michelangelo Merisi da, Italian,

c. 1571–1610, painter

Anguhadluq, Luke, Canadian Inuit, c. 1895–1982,

printmaker, sculptor Old Caribou Hunters, 132

The Musicians, 231, Fig. 14–3 Cassatt, Mary, American, 1844–1926, painter

At the Theater, 30, Fig. 3–2 A Woman and a Girl Driving, 266, Fig. 15–18

Anguissola, Sofonisba, Italian, c. 1530–1625, painter

Portrait of the Artist’s Sister, Minerva, 214, Fig. 13–6 Arai, Shozo, Japan, contemporary, master gardener Gardens, 96 Ashevak, Kenojuak, Canadian Inuit, contemporary The Enchanted Owl, 128, Fig. 8–19

Mont Sainte–Victoire Seen from Bibémus Quarry,

260, Fig. 15–13 Chardin, Jean-Baptiste Siméon, French, 1699–1779,

painter The Attentive Nurse, 238, Fig. 14–14 Christo, Bulgarian/American, contemporary,

B Bellows, George, American, 1882–1925, painter,

ARTISTS AND THEIR WORKS

Cézanne, Paul, French, 1839–1906, painter

printmaker Dempsey and Firpo, 286, Fig. 16–16 A Morning Snow–Hudson River, 283, Fig. 16–11 Blake, William, English, 1757–1827, poet, artist Portrait of Shakespeare, 224, Fig. 13–16 Boldini, Giovanni, Italian, 1842–1931, painter Portrait of Madame Hugo and Her Son, 300 Borromini, Francesco, Italian, 1599–1667, architect, sculptor San Carlo alle Quattro Fontane, 230, Fig. 14–2 Botticelli, Sandro, Italian, 1445–1510, painter Young Woman in Mythological Guise, 226 Brancusi, Constantin, Romanian, 1876–1957, sculptor A Muse, 17, Fig. 2–5 Braque, Georges, French, 1882–1963, painter Fruits and Guitar, 280, Fig. 16–8 The Round Table, 16, Fig. 2–4 Bruegel, Pieter (the Elder)

The Wedding Dance, 50, Fig. 4–4 Burchfield, Charles, American, 1893–1967, painter

Noontide in Late May, 14, Fig. 2–2

environmental artist The Gates, 307, Fig. 17–7 Clements, Gabrielle de Veaux, American, 1858–1948, painter, printmaker Mont St. Michel, 33, Fig. 3–7 Close, Chuck, American, b. 1940, painter, printmaker Self-Portrait, 304, Fig. 17–3 Curtis, Edward S., American, 1868–1952, photographer Chief Joseph, Nez Percé, 130, Fig. 8–22

D David, Jacques-Louis, French, 1748–1825, painter

The Death of Socrates, 248, Fig. 15–2 The Oath of the Horatii, 252, Fig. 15–5 da Vinci, Leonardo. See Leonardo da Vinci Davis, Stuart, American, 1894–1964, painter

Place Pasdeloup, 12, Fig. 2–1 de Chirico, Giorgio, Italian, 1888–1978, painter

The Enigma of a Day, 288, Fig. 16–18 Degas, Edgar, French, 1834–1917, painter

Two Dancers Entering the Stage, 270, Fig. 15–23 Delacroix, Eugène, French, 1798–1863, painter

Moroccan Horseman Crossing a Ford, 250, Fig. 15–3

C Calder, Alexander, American, 1898–1976, sculptor

Ghost, 296, Fig. 16–31 Campbell, Kenneth, American, contemporary,

sculptor Bust statue of Pocahontas, 130, Fig. 8–21 Cannon, T. C., Native American, 1946–1978, painter

His Hair Flows like a River, 127, Fig. 8–17

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Artists and Their Works

Delaunay, Sonia Terk, French, 1885–1979, painter,

designer Study for Portugal (detail from), 2, Fig. 1–1 Demuth, Charles Henry, American, 1883–1935, painter Eggplant and Green Pepper, 32, Fig. 3–6 I Saw the Figure 5 in Gold, 24, Fig. 2–12 Derun, Zhu (Chu Te-Jen), Chinese, c. 1270–1368, printmaker Returning from a Visit, 86, Fig. 6–5 Diebenkorn, Richard, American, 1922–1993, painter Girl with Plant, 21, Fig. 2–10

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Helena, Greek, c. fourth century B.C., painter

Eakins, Thomas, American, 1844–1916, painter

Between Rounds, 267, Fig. 15–19 Emmoser, Gerhard, Austrian, sixteenth century,

clockmaker

Battle of Issus (mosaic fragment), 150 Hepworth, Barbara, English, 1903–1997, sculptor

Figure for a Landscape, 291, Fig. 16–23 Hiroshige, Ando– , Japanese, 1797–1858, printmaker

Great Bridge: Sudden Rain at Atake, 4, Fig. 1–2

Celestial Globe with clockwork, 7, Fig. 1–5 Estes, Richard, American, b. 1932, painter

Homer, Winslow, American, 1836–1910, painter

High Cliff, Coast of Maine, 268, Fig. 15–20

Double Self–Portrait, 296, Fig. 16–30

Hong, Yin, Chinese, c. sixteenth century, painter

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Birds and Flowers of Early Spring, 82, Fig. 6–1 Waiting for Dancing Partners, 126, Fig. 8–16

Blue Territory, 18, Fig. 2–6

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J

Gaudí, Antonio, Spanish, 1852–1926, architect

Jeanne-Claude, French/American, contemporary,

environmental artist

Church of the Sacred Family, 39, Fig. 3–14 Gauguin, Paul, French, 1848–1903, painter

Haere Mai, 264, Fig. 15–16 Tahitian Landscape, 262, Fig. 15–15

The Gates, 307, Fig. 17–7 Johnson, William H., African–American, 1901–1970,

painter Man in a Vest, 52, Fig. 4–5

Gehry, Frank, American, b. 1929, architect, sculptor

Solomon R. Guggenheim Museum Bilbao, 305, Fig. 17–5 Gentileschi, Artemisia, Italian, c. 1597–after 1651, painter Self–Portrait as the Allegory of Painting, 228, Fig. 14–1 Gentileschi, Orazio, Italian, c. 1563–1639, painter Saint Cecilia and an Angel, 242, Fig. 14–18 Gheeraerts, Marcus (the Younger), Flemish, c. 1561–1636, painter Queen Elizabeth I, 225, Fig. 13–17 Giotto (di Bondone), Italian, c. 1266–1337, painter The Crib at Greccio, 208 Lamentation, 202, Fig. 12–15 The Mourning of Christ, 208 Gorky, Arshile, Armenian, 1904–1948, painter Water of the Flowery Mill, 294, Fig. 16–27 Goya, Francisco, Spanish, 1887–1828, painter Y No Hay Remedio (And There’s Nothing to Be Done), 239, Fig. 14–15 Graves, Nancy, American, 1940–1995, sculptor Extend-Expand, 297, Fig. 16–32

H Hardouin-Mansart, Jules, French, 1646–1708, architect

Palace of Versailles (France), 236, Fig. 14–11 Hassam, Childe, American, 1859–1935, painter, printmaker Washington Arch, Spring, 46, Fig. 4–1

K Kahlo, Frida, Mexican, 1907–1954, painter

Frida and Diego Rivera, 285, Fig. 16–15 Self-Portrait with Monkey, 10 Still Life with Fruit, 10 Kandinsky, Wassily, Russian, 1866–1944, painter

Sketch 160 A, 279, Fig. 16–7 Kaz, Nathaniel, American, contemporary, sculptor

Cyrano, 38, Fig. 3–13 Kirchner, Ernst Ludwig, German, 1880–1938, painter

Street, Berlin, 276, Fig. 16–2 Klee, Paul, Swiss, 1879–1940, painter

Ventriloquist and Crier in the Moor, 289, Fig. 16–20 Kollwitz, Käthe, German, 1867–1945, painter,

printmaker The Prisoners (Die Gefangenen), 277, Fig. 16–3

L Lanfranco, Giovanni, Italian, c. 1582–1647, painter

Saint Cecilia and an Angel, 242, Fig. 14–18 Lange, Dorothea, American, 1895–1965,

photographer “Thirteen Million Unemployed Fill the Cities in the Early Thirties,” San Francisco, 6, Fig. 1–4 Lawrence, Jacob, African American, 1917, painter The Migration of the Negro: No. 58, 295, Fig. 16–29 Leonardo da Vinci, Italian, 1452–1519, painter, sculptor Ginevra de'Benci, 216, Fig. 13–8 Madonna of the Rocks, 213, Fig. 13–5 Artists and Their Works

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ARTISTS AND THEIR WORKS

Frankenthaler, Helen, American, 1928–, painter

Houser, Allan, Native American, 1914–1994, sculptor

LeQuire, Alan, American, contemporary, sculptor

Mucha, Alphonse, French, 1860–1939, printmaker

Athena Parthenos, 138, Fig. 9–5 Le Vau, Louis, French, 1612–1670, architect

Lorenzaccio, 271, Fig. 15–24 Murray, Elizabeth, American, b. 1940, painter

Palace of Versailles (France), 236, Fig. 14–11 Leyster, Judith, Dutch, 1609–1660, painter

Sail Baby, 304, Fig. 17–2 Musawwir, Abd Allah, Islamic, 16th century,

painter

The Happy Couple, 233, Fig. 14–6

The Meeting of the Theologians, 164, Fig. 10–15

Lipchitz, Jacques, French, 1891–1973, sculptor

Reader II, 278, Fig. 16–6

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N Nevelson, Louise, American, 1900–1988, sculptor

White Vertical Water, 297, Fig. 16–33

Magritte, René, Belgian, 1898–1967, painter

Les Promenades d'Euclide, 292, Fig. 16–24 Malevich, Kasimir, Ukranian, 1878–1935, painter

The Knife Grinder, 22, Fig. 2–11

O Oldenburg, Claes, American, b. 1929, painter,

sculptor Typewriter Eraser, Scale X, 305, Fig. 17–4

Marini, Marino, Italian, 1901–1980, sculptor

Horse and Rider, 290, Fig. 16–21

ARTISTS AND THEIR WORKS

Martinez, Julian, Native American, 1879–1943, potter

Jar, 125, Fig. 8–14 Martinez, Maria, Native American, 1889–1980, potter Jar, 125, Fig. 8–14 Masaccio, Italian, 1401–1428, painter The Holy Trinity, 212, Fig. 13–3 Matisse, Henri, French, 1869–1954, painter Beasts of the Sea, 274, Fig. 16–1 Meissonier, Jean-Louis-Ernest, French, 1815–1891, painter Information (General Desaix and the Peasant), 54, Fig. 4–7 Michelangelo (Buonarroti), Italian, 1475–1564, sculptor, painter Pietà, 215, Fig. 13–7 Millet, Jean-François, French, 1814–1875, painter The Gleaners, 31, Fig. 3–4 The Gleaners (sketch), 31, Fig. 3–3 Miró, Joan, Spanish, 1893–1983, painter Hirondelle/Amour, 289, Fig. 16–19 Mirza’Ali, Persian, c. sixteenth century, manuscript A Princely Hawking Party in the Mountains, 152, Fig. 10–1 Mitchell, Joan, American, 1926–1992, painter August, Rue Daguerre, 49, Fig. 4–3 Monet, Claude, French, 1840–1926, painter Bathers at La Grenouillère, 258, Fig. 15–11 Boulevard des Capucines, 246, Fig. 15–1 View of Bordighera, 254, Fig. 15–7 Moore, Henry, English, 1898–1986, sculptor Family Group, 290, Fig. 16–22 Morisot, Berthe, French, 1941–1995, painter Eugene Manet and his Daughter at Bougival, 272 La Hotte (The Basket–Chair), 256, Fig. 15–9 Roses, 272 356

Artists and Their Works

P Paik, Nam June, Korean/American, contemporary,

video artist Hamlet Robot, 302, Fig. 17–1 Pater, Jean-Baptiste Joseph, French, 1695–1736, painter

Concert Champêtre, 240, Fig. 14–16 Picasso, Pablo, Spanish, 1881–1973, painter, sculptor

Fruit Dish, Bottle, and Violin, 277, Fig. 16–4 Fruit Dish, 58 Studio with Plaster Head, 56, Fig. 4–8 Pollock, Jackson, American, 1912–1956, painter

Number 6, 295, Fig. 16–28 Popova, Liubov, Russian, 1889–1924, painter,

designer Birsk, 278, Fig. 16–5 Puryear, Martin, African American, contemporary, sculptor Brunhilde, 26 Untitled, 26

R Raphael, Italian, 1483–1520, painter

St. George and the Dragon, 210, Fig. 13–1 Rembrandt van Rijn, Dutch, 1606–1669, painter

Aristotle with a Bust of Homer, 233, Fig. 14–7 Renoir, Pierre-Auguste, French, 1841–1919, painter

Girl with a Hoop, 255, Fig. 15–8 Rivera, Diego, Mexican, 1886–1957, painter

Agrarian Leader Zapata, 284, Fig. 16–14 Rodin, Auguste, French, 1840–1917, sculptor

Bust of a Woman, 257, Fig. 15–10 Rothko, Mark, Russian-American, 1903–1970, painter

Untitled (Violet, Black, Orange, Yellow on White and Red), 299, Fig. 16–34

The Meeting of David and Abigail, 232, Fig. 14–5 Russell, Alfred, c. nineteenth to twentieth century,

painter Sacajawea Guiding the Lewis and Clark Expedition, 131, Fig. 8–23 Ruysch, Rachel, Dutch, 1664–1750, painter Flowers in a Vase, 234, Fig. 14–8 Ryder, Albert Pinkham, American, 1847–1917, painter The Flying Dutchman, 268, Fig. 15–21

S

U Utamaro, Kitagawa, Japanese, 1754–1806, printmaker

Reflected Beauty, 91, Fig. 6–12

V van Bruggen, Coosje, Dutch/American,

contemporary, sculptor Typewriter Eraser, Scale X, 305 van der Weyden, Rogier, Flemish, c. 1399–1464, painter

Portrait of a Lady, 220, Fig. 13–12 van Eyck, Jan, Flemish, before 1395–1441, painter

The Annunciation, 219, Fig. 13–11 Giovanni Arnolfini and His Bride, 222, Fig. 13–14

Saar, Betye, African American, contemporary,

assemblage artist Blackbird, 44 Records for Hattie, 44 Sage, Kay, American, 1898–1963, painter I Saw Three Cities, 294, Fig. 16–26 Sanchez, André, French, contemporary, digital artist Didem, 34, Fig. 3–8 Sharaku, To-shu-sai, Japanese, c. eighteenth century, printmaker Portrait of the Actor Ichikawa Ebizo-, 92, Fig. 6–13 Skoglund, Sandy, American, contemporary, photographer, installation artist Raining Popcorn, 306, Fig. 17–6 Sloan, John, American, 1871–1951, painter Sixth Avenue Elevated at Third Street, 282, Fig. 16–10 Sotatsu, Tawaraya, Japanese, c. 1600–1640, painter, printmaker Waves at Matsushima, 90, Fig. 6–11 Stella, Frank, American, contemporary, painter, sculptor La vecchia dell’orto, 42, Fig. 3–19 Stieglitz, Alfred, American, 1864–1946, photographer The City of Ambition, 283, Fig. 16–12

van Gogh, Vincent, Dutch, 1853–1890, painter

Cypresses, 261, Fig. 15–14 Le Père Tanguy, 300 Self–Portrait in Front of the Easel, 28, Fig. 3–1 Velázquez, Diego, Spanish, 1599–1660, painter

The Count–Duke of Olivares on Horseback, 231, Fig. 14–4 Vermeer, Jan, Dutch, 1632–1675, painter Woman with a Balance, 244 Vigée-Lebrun, Marie-Louise-Élisabeth, French, 1755–1842, painter Self-Portrait, 238, Fig. 14–13 ARTISTS AND THEIR WORKS

Rubens, Peter Paul, Flemish, 1577–1640, painter

W Wallick, Phillip, contemporary, digital artist

The Tide of Time, 36, Fig. 3–10 Watteau, Antoine, French, 1684–1721, painter

La Partie Quarrée, 237, Fig. 14–12 Wood, Grant, American, 1892–1942, painter

Parson Weems’ Fable, 284, Fig. 16–13 Wyeth, Andrew, American, 1917– , painter

That Gentleman, 32, Fig. 3–5

T Tailfeathers, Gerald, Native Canadian, 1925–1975,

painter Procession of the Holy Woman, Blood Dance, 127, Fig. 8–18 Tamayo, Rufino, Mexican, 1899–1991, painter Animals, 48, Fig. 4–2 Tanner, Henry O., American, 1859–1937, painter The Seine, 269, Fig. 15–22 Turner, Joseph M. W., English, 1775–1851, painter The Dogana and Santa Maria della Salute, Venice, 250, Fig. 15–4

Artists and Their Works

357

Glossary A

B

Art in which the subject is recognizable but portrayed in an unrealistic manner. (p. 174) Abstract Expressionism An art style in which paint was freely applied to huge canvases in an effort to show feelings and emotions. (p. 294) Adobe (uh-doh-bee) Sun-dried clay used as a building material. (p. 107) Aerial perspective A method of using hue, value, and intensity to show distant objects in landscape paintings. (p. 216) Aesthetic views Ideas or schools of thought on what is most important in judging works of art. (p. 51) Amphora (am-fuh-ruh) A vase with two handles and a narrow neck. (p. 140) Applied art Art that is made to be functional as well as visually pleasing. (p. 7) Aqueduct (ak-wuh-duhkt) Network of channels used to carry water to a city. (p. 142) Arabesques (ar-uh-besks) Decorations composed of intertwined, flowing patterns of flowers, leaves, branches, and scrollwork. (p. 160) Architecture The art form of planning and constructing buildings to meet a variety of human needs. (p. 39) Art Visual work that communicates an idea, expresses a feeling, or presents an interesting design. (p. 4) Art criticism The process of gathering facts and information from works of art in order to make intelligent judgments about them. (p. 48) Art history The study of art from past to present. (p. 54) Artifacts Simple handmade tools or objects. (p. 100) Artisans Artists who specialize in crafts. (p. 106) Ashcan School The popular name given to artists who made realistic paintings of workingclass America. (p. 282) Avocational Not related to a job or career. (p. 9)

Balance

GLOSSARY

Abstract art

358

Glossary

The principle of art concerned with arranging art elements in an artwork so no one part of that work overpowers, or seems heavier than, any other part. (p. 21) Baroque (buh-rohk) An art style that emphasized movement, contrast, and variety. (p. 230) Binder A liquid that holds together the grains of pigment in paint. (p. 31) Buttress (buh-truhs) A brace or support placed on the outside of a building. (p. 201)

C A method of fine handwriting, sometimes done with a brush. (p. 160) Castles Fortlike dwellings with high, thick walls and towers. (p. 194) Cathedral The principle church of a bishop. (p. 200) Cloister A covered walkway around an open court. (p. 195) Coiled pot A pot formed by coiling long ropes of clay in a spiral. (p. 120) Collage An artwork made up of pieces of twodimensional materials pasted onto a background. (p. 164) Color The element of art that is derived from reflected light. (p. 15) Composition The way the art principles are used to organize the art elements. (p. 50) Concrete A hard, strong building material made from a mixture of powdered minerals, gravel, and water. (p. 142) Content The feelings, moods, and ideas expressed by an artwork. (p. 50) Cradle board Harness worn on the shoulders and used to carry a small child. (p. 121) Crafts Everyday objects that are made to be visually pleasing as well as functional. (p. 40) Cubism A style in which objects and the space around them are broken up into different shapes and then put back together in new relationships. (p. 277) Calligraphy

The ideas, beliefs, and living customs of a people. (p. 62)

Culture

E A series of identical prints made from a single plate. (p. 33) Effigies Representations of people or animals. (p. 101) The Eight A group of artists who created works of art that reflected the spirit of the times in which they lived. (p. 282) Emphasis The principle of art concerned with making an element or object in a work stand out. (p. 22) Environmental art Art in which the environment becomes part of the artwork. (p. 307) Etching An intaglio print made by scratching an image into a specially treated copper plate. (p. 239) Expressionism A style of art that emphasized the expression of innermost feelings. (p. 276) Edition

G A projecting ornament on a building carved in the shape of a fantastic animal or grotesque creature. (p. 204) Genre The representation of subjects and scenes from everyday life. (p. 107) Glaze A glasslike finish. (p. 85) Gargoyle

H The principle of art concerned with combining similar art elements to create a pleasing appearance. (p. 22) Headpieces Ornamental or ceremonial coverings worn on the head. (p. 180) Hieroglyphic (hy-ruh-glif-ik) An early form of picture writing. (p. 71) Harmony

I Illuminations

Richly painted book illustrations. (p.

196) An art style that attempts to capture the rapidly changing effects of sunlight on objects. (p. 254) Installation An environment constructed in a gallery or museum specifically for a particular exhibition. (p. 306) Impressionism

Façade (fuh-sahd)

Outside front of the building. (p. 230) Face mask A mask worn to hide the identity of the wearer. (p. 178) Fauvism A style of art in which artists use intense, often wild color combinations in their paintings. (p. 276) Fine art Art that is valued solely for its visual appeal or success in communicating ideas or feelings. (p. 7) Form An object with three dimensions. (p. 17) Formal properties Organization of the elements of art by the principles of art. (p. 51) Freestanding sculpture Sculpture surrounded on all sides by space. (p. 38) Fresco (fres-koh) Painting created when pigment is applied to a section of wall spread with fresh plaster. (p. 203) Frieze A decorative horizontal band running across the upper part of a wall. (p. 136)

K Kachina (kuh-chee-nuh)

A hand-crafted statuette that represents spirits in Pueblo rituals. (p. 124) Kinetic art Art in which parts of a work are set into motion by an energy source. (p. 307) Kiva A ceremonial room. (p. 120)

L A work of art showing mountains, trees, or other natural scenery. (p. 251) Line The element of art that is a continuous mark made on some surface by a moving point. (p. 14) Landscape

Glossary

359

GLOSSARY

F

Linear perspective (lin-ee-uhr puhr-spek-tiv)

A graphic system that showed artists how to create the illusion of depth and volume on a flat surface. (p. 213) Loom A frame or machine that holds a set of threads. (p. 122)

M A material used to create a work of art. (p. 30) Megaliths (meg-uh-liths) Large stone slabs used in or as monuments. (p. 65) Mihrab (mee-ruhb) A highly decorated niche in the wall of a mosque. (p. 160) Mixed media The use of more than one medium in a work of art. (p. 42) Mobile (moh-beel) A sculpture made of carefully balanced shapes suspended on wire arms to move freely in space. (p. 296) Monolith A structure made from a single stone slab. (p. 108) Mosque A Muslim house of worship. (p. 160) Motif Part of a design that is repeated over and over in a pattern or visual rhythm. (p. 104) Movement The principle of art concerned with creating the look and feeling of action to guide a viewer’s eye throughout a work of art. (p. 23) Muralist An artist who paints large artworks directly onto walls or ceilings. (p. 284) Medium of art

GLOSSARY

N Neoclassic (nee-oh-kla-sik)

An art style that borrowed features from the works of ancient Greek and Roman artists. (p. 248) Nonobjective art An artwork in which there is no recognizable subject matter. (p. 279)

O A mixture of pigment, linseed oil, and turpentine. (p. 218)

Oil paint

360

Glossary

P Pagoda (puh-goh-duh)

A tower several stories high with roofs curving slightly upward at the edges. (p. 88) Papier-mâché An art medium made from torn paper and liquid paste. (p. 182) Pattern A two-dimensional decorative effect achieved through the repetition of colors, lines, shapes, and/or textures. (p. 23) Perceive To become aware of aspects of the environment through the senses. (p. 85) Photo-Realism A style of art featuring the realistic treatment of ordinary images taken from the modern environment; also known as Super Realism (p. 296) Pietà A work showing Mary mourning over the body of Christ. (p. 214) Pigment (pig-muhnt) A finely ground, colored powder that gives paint its color. (p. 31) Pixels Tiny individual squares that make up computer images on the monitor. (p. 35) Pointed arch A curved arrangement of stones that meets at a central point at the top. (p. 201) Porcelain (pore-suh-luhn) Fine-grained, high quality type of ceramic. (p. 85) Portfolio A carefully selected collection of an artist’s own works. (p. 9) Post-and-lintel system A method of construction in which a crossbeam is placed across the opening between two uprights. (p. 65) Post-Impressionism A term used to describe various trends in painting that followed Impressionism. (p. 260) Printmaking A technique in which an inked image from a prepared surface is transferred onto another surface. (p. 33) Proportion The principle of art concerned with the relationship of certain elements to the whole and to each other. (p. 23) Pueblos Stacked dwellings made of adobe. (p. 120)

An art style in which everyday scenes and events are painted as they actually look. (p. 267) Regionalism (ree-juh-nuh-liz-uhm) A style used to record local scenes and events from the artist’s own region, or area, of the country. (p. 284) Relic A sacred object associated with a religious leader. (p. 155) Relief sculpture Sculpture that is only partly enclosed by space. (p. 38) Renaissance Period of great awakening. (p. 212) Retrospective A comprehensive exhibition of work created over a period of time. (p. 308) Rhythm The principle of art concerned with repeating an element of art to make a work seem active or to suggest vibration. (p. 23) Rococo (roh-koh-koh) An art style stressing free, graceful movement, a playful use of line, and delicate colors. (p. 236) Romanticism (roh-mant-uh-siz-uhm) A style of art that focused on dramatic and exotic subjects. (p. 249) Round arch Curved arrangement of stones over an open space. (p. 142) Realism

S France’s official art exhibition. (p. 254) Sand painting An image or design made with different colors of powdered rock poured on a flat section of earth. (p. 125) Screen A partition used as a wall to divide a room. (p. 90) Scroll A long roll of illustrated parchment or silk. (p. 84) Shape The art element that refers to an area clearly set off by one or more of the other elements. (p. 16) Shoulder masks Large, carved masks that cover the head and rest on the shoulders of the wearer. (p. 180) Simulated textures Textures suggested by the way the artist has painted certain objects to look rough, smooth, or soft. (p. 222) Sketchbook A pad of drawing paper on which artists sketch, write notes, and refine ideas for their work. (p. 9) Salon

An art style concerned with calling attention to the social, economic, and political problems of the day. (p. 295) Societies Large human groups whose members share a common purpose and similar ideals. (p. 68) Solvent A material used to thin a paint’s binder. (p. 31) Space The element of art that refers to the real or implied distance between, around, above, below, and within objects. (p. 17) Stained glass An artistic arrangement of colored glass pieces held in place with lead strips. (p. 202) Stele (stee-lee) Painted or carved upright stone or wood slab used as a monument. (p. 71) Stupas (stoop-uhs) Small, domed shrines. (p. 155) Style An artist’s personal way of using the elements and principles of art to create artworks. (p. 55) Stylized Simplified or exaggerated to fit a specific set of design rules. (p. 110) Subject The image of people, places, or things viewers can identify in the work. (p. 49) Super Realism A style of art featuring the realistic treatment of ordinary images taken from the modern environment; also known as Photo-Realism. (p. 296) Surrealism (suh-ree-uh-liz-uhm) An art style that probed the subconscious world of dreams for ideas. (p. 288) Symbolism The use of an image to stand for an idea. (p. 218) Social protest painting

T Tepee (tee-pee)

Portable dwelling. (p. 120) Texture The element of art that refers to the way things feel, or look as though they might feel, if touched. (p. 17) Totem pole An upright wood carving of animal symbols. (p. 119) Triumphal (try-uhm-fuhl) arches Arched monuments built to celebrate great military victories. (p. 144)

Glossary

361

GLOSSARY

R

U

W

Ukiyo-e (oo-kee-yoh-ay)

Warp

An art style whose name means “pictures of the floating world.” (p. 90) Unity A look and feel of oneness or completeness in a work of art. (p. 23) Urban planning A plan for arranging the buildings and services of a city to best meet its people’s needs. (p. 76)

Threads that run vertically and are attached to the loom’s frame. (p. 122) Weft Threads passed horizontally over and under the warp threads. (p. 122) Woodblock printing The process of making prints by carving images in blocks of wood, inking the surface of these blocks, and printing. (p. 90)

Y V

Yamato-e (yah-mah-toh-ay)

The lightness or darkness of a color. (p. 15) Variety The principle of art concerned with combining art elements with slight changes to increase visual interest. (p. 22)

An art style whose name means “pictures in the Japanese manner”. (p. 89)

Value

Z Stepped mountain made of brick-covered earth. (p. 77)

GLOSSARY

Ziggurat (zig-uh-rat)

362

Glossary

Glosario Tipo de arte en el que el tema se representa de una manera no realista, pero se puede reconocer. (pág. 174) Abstract Expressionism/Expresionismo abstracto Estilo de arte que consistía en salpicar espontáneamente con pintura grandes lienzos con el propósito de expresar sentimientos y emociones. (pág. 294) Adobe/Adobe Arcilla secada al sol que se usa en la construcción. (pág. 107) Aerial perspective/Perspectiva aérea Método que utiliza tinte, valor e intensidad para representar objetos en la distancia en pinturas de paisajes. (pág. 216) Aesthetic views/Opiniones estéticas Ideas o opiniones sobre lo que es el más importante al juzgar una obra de arte. (pág. 51) Amphora/Ánfora Jarra de cuello estrecho con dos asas. (pág. 140) Applied art/Arte aplicado Arte creada para ser funcional y a la vez agradable a la vista. (pág. 7) Aqueduct/Acueducto Sistema de canales que se usan para transportar agua a una ciudad. (pág. 142) Arabesques/Arabescos Decoraciones compuestas por diseños entrelazados de flores, hojas, ramas y volutas. (pág. 160) Architecture/Arquitectura El arte de planear y construir edificios para satisfacer necesidades humanas. (pág. 39) Art/Arte Obra visual que comunica una idea, expresa un sentimiento o presenta un diseño interesante. (pág. 4) Art criticism/Crítica del arte El proceso de recolectar datos e información de obras de arte a fin de juzgarlas de manera inteligente. (pág. 48) Art history/Historia del arte El estudio del arte desde el pasado hasta el presente. (pág. 54) Artifacts/Artefactos Instrumentos y objetos sencillos, hechos a mano. (pág. 100) Artisans/Artesanos Artistas que se especializan en manualidades. (pág. 106) Abstract art/Arte abstracto

El nombre popular dado al grupo de artistas que pintaron cuadros realistas de la clase obrera estadounidense. (pág. 282) Avocational/No vocacional Que no está relacionado al trabajo o a la carrera. (pág. 9) Ashcan School/Escuela del basurero

B El principio del arte que trata de la disposición de los elementos en una obra de arte de tal manera que ninguna parte de la obra predomine o parezca tener más importancia que otra. (pág. 21) Baroque/Barroco Estilo artístico que enfatiza el movimiento, el contraste y la variedad. (pág. 230) Binder/Aglutinante El líquido que une los gramos de pigmento en la pintura. (pág. 31) Buttress/Contrafuerte Pilar o soporte que se pone en la parte exterior de un edificio. (pág. 201) Balance/Equilibrio

C Método refinado de escritura que a veces se realiza con pincel. (pág. 160) Castles/Castillos Viviendas parecidas a fortalezas con muros espesos y torres. (pág. 194) Cathedral/Catedral La iglesia sede de un obispo. (pág. 200) Cloister/Claustro Paseo cubierto que rodea un patio abierto. (pág. 195) Coiled pot/Vasija enrollada Vasija que se forma colocando largos rollos de arcilla en espiral. (pág. 120) Collage/Collage Obra de arte compuesta por piezas de materiales bidimensionales pegados sobre una superficie. (pág. 164) Color/Color El elemento del arte derivado de luz reflejada. (pág. 15) Composition/Composición La forma en que los principios del arte se usan para organizar los elementos del arte. (pág. 50) Concrete/Concreto Material de construcción duro y fuerte que es una mezcla de minerales pulverizados, grava y agua. (pág. 142) Calligraphy/Caligrafía

Glosario

363

GLOSARIO

A

Los sentimientos, estados de ánimo e ideas expresados por una obra de arte. (pág. 50) Cradle board/Tabla de acunar Armazón que se lleva en los hombros para cargar a un niño pequeño. (pág. 121) Crafts/Artesanía Objetos de uso cotidiano agradables a la vista y funcionales a la vez. (pág. 40) Cubism/Cubismo Estilo artístico en el cual los objetos y el espacio que los rodea se dividen, creando figuras diferentes, para luego reintegrarse formado conjuntos nuevos. (pág. 277) Culture/Cultura Las ideas, creencias y costumbres vivas de un pueblo. (pág. 62) Content/Contenido

E Una serie de grabados idénticos hechos de una misma placa. (pág. 33) Effigies/Efigies Representaciones de personas o animales. (pág. 101) The Eight/Los ocho Un grupo de artistas que crearon obras de arte que reflejaban el espíritu de su época. (pág. 282) Emphasis/Énfasis El principio del arte que trata de la forma en que se puede hacer resaltar un elemento u objeto en una obra de arte. (pág. 22) Environmental art/Arte ambiental Arte en el cual el ambiente llega a integrarse en la obra. (pág. 307) Etching/Aguafuerte Un grabado que se obtiene tallando una imagen en una lámina de cobre que ha sido sometida a un tratamiento especial. (pág. 239) Expressionism/Expresionismo Un estilo artístico que enfatizaba la expresión de los sentimientos íntimos. (pág. 276)

GLOSARIO

Edition/Edición

F El frente de un edificio. (pág. 230) Face mask/Máscara facial Una máscara que se usa para ocultar la identidad de quien la lleva. (pág. 178) Fauvism/Fauvismo Un estilo artístico en el cual el artista usa combinaciones de colores intensas y aun extravagantes en sus pinturas. (pág. 276) Façade/Fachada

364

Glosario

Arte que se valora exclusivamente por su atractivo visual o por la virtud con que comunica ideas o sentimientos. (pág. 7) Form/Forma Objeto de tres dimensiones. (pág. 17) Formal properties/Propiedades formales Organización de los elementos del arte según los principios del arte. (pág. 51) Freestanding sculpture/Escultura de pie Escultura rodeada completamente por espacio vacío. (pág. 38) Fresco/Fresco Pintura creada al aplicar pigmento a una sección de una pared revocada con yeso fresco. (pág. 203) Frieze/Friso Faja decorativa horizontal ubicada a lo largo de la parte superior de una pared. (pág. 136) Fine art/Bellas artes

G Ornamento que sobresale de un edificio en la forma de un animal fantástico o de una criatura grotesca. (pág. 204) Genre/Género La representación de temas y escenas de la vida cotidiana. (pág. 107) Glaze/Vidriado Un acabado de apariencia similar al vidrio. (pág. 85) Gargoyle/Gárgola

H El principio del arte que trata de la combinación de elementos de arte similares para crear una apariencia agradable. (pág. 22) Headpieces/Tocado Prenda ornamental o ceremonial con que se cubre la cabeza. (pág. 180) Hieroglyphic/Jeroglíficos Una forma de escritura antigua que usaba signos ideográficos. (pág. 71) Harmony/Armonía

I Ilustraciones pintadas de manera magnífica en libros. (pág. 196) Impressionism/Impresionismo Estilo artístico que intenta captar los efectos efímeros de la luz sobre los objetos. (pág. 254) Illuminations/Iluminaciones

K Pequeña estatua tallada a mano que representa espíritus en los rituales de la cultura Pueblo. (pág. 124) Kinetic art/Arte cinético Tipo de arte en el cual partes de una obra se mueven por medio de una fuente de energía. (pág. 307) Kiva/Kiva Sala ceremonial. (pág. 120) Kachina/Kachina

L Obra de arte que representa montañas, árboles u otras escenas de la naturaleza. (pág. 251) Line/Línea El elemento del arte que es una marca continua hecha por un punto en movimiento sobre una superficie. (pág. 14) Linear perspective/Perspectiva lineal Sistema gráfico que asistió a los artistas en la creación de la ilusión de profundidad y volumen en una superficie plana. (pág. 213) Loom/Telar Bastidor o máquina que sujeta una serie de hilos. (pág. 122) Landscape/Paisaje

M Material usado para crear una obra de arte. (pág. 30) Megaliths/Megalitos Grandes piedras que se usaban como monumentos o en ellos. (pág. 65) Mihrab/Mihrab Nicho muy decorado en la pared de una mezquita. (pág. 160) Mixed media/Técnica mixta El uso de más de un medio de expresión en una obra de arte. (pág. 42) Mobile/Móvil Escultura hecha con figuras cuidadosamente equilibradas suspendidas de alambres para que se muevan libremente en el espacio. (pág. 296) Monolith/Monolito Estructura construida de un solo pedazo de piedra. (pág. 108) Mosque/Mezquita Edificio religioso musulmán. (pág. 160) Medium of art/Medio de expresión

Parte de un diseño que se repite constantemente en un patrón o ritmo visual. (pág. 104) Movement/Movimiento El principio del arte que trata de la creación de la apariencia y sensación de acción para guiar el ojo del observador de una obra de arte. (pág. 23) Muralist/Muralista Artista que pinta sus obras directamente en paredes o cielo rasos. (pág. 284) Motif/Motivo

N Estilo artístico basado en características de las artes clásicas de Grecia y Roma antiguas. (pág. 248) Nonobjective art/Arte sin objeto Obra de arte en la que no hay un tema identificable. (pág. 279) Neoclassic/Neoclásico

O Mezcla de pigmento, aceite de linaza y trementina. (pág. 218)

Oil paint/Pintura al óleo

P Torre de varios pisos de altura y techos cuyos bordes curvan ligeramente hacia arriba. (pág. 88) Papier-mâché/Papel maché Medio de expresión que consiste en trozos de papel y pegamento líquido. (pág. 182) Pattern/Patrón Efecto decorativo bidimensional que se logra mediante la repetición de colores, líneas, formas y texturas. (pág. 23) Perceive/Percibir Tomar conciencia de aspectos del ambiente mediante los sentidos (pág. 85) Photo-Realism/Fotorrealismo Estilo artístico que se destaca por el tratamiento realista de imágenes comunes del entorno moderno; se conoce además como superrealismo. (pág. 296) Pietà/Piedad Obra que representa a María llorando la muerte de Cristo sobre su cuerpo. (pág. 214) Pigment/Pigmento Polvo molido fino que da el color a la pintura. (pág. 31) Pixels/Pixeles Pequeños cuadrados individuales que forman las imágenes en la pantalla de la computadora. (pág. 35) Pagoda/Pagoda

Glosario

365

GLOSARIO

Ambiente construido especialmente para una exhibición en particular en una galería de arte o museo. (pág. 306)

Installation/Instalación

Construcción curva de piedras que convergen en un punto central en la parte superior. (pág. 201) Porcelain/Porcelana Tipo de cerámica de grano fino de alta calidad. (pág. 85) Portfolio/Carpeta de trabajos Colección cuidadosamente seleccionada de los propios trabajos de un artista. (pág. 9) Pointed arch/Arco ojival

Post-and-lintel system/Sistema de puntal y dintel

Método de construcción en el cual se coloca una viga transversal entre dos postes verticales. (pág. 65) Post-Impressionism/Postimpresionismo Término que se usa para describir varias tendencias artísticas posteriores al impresionismo. (pág. 260) Printmaking/Grabados Técnica que consiste en transferir una imagen cubierta con tinta de una superficie preparada a otra superficie. (pág. 33) Proportion/Proporción El principio del arte que trata de la relación de ciertos elementos entre sí y con el todo. (pág. 23) Pueblos/Pueblos Viviendas de adobe construidas unas sobre otras. (pág. 120)

R Estilo artístico en el cual escenas de la vida diaria se pintan tal como son. (pág. 267) Regionalism/Regionalismo Estilo que se usa para documentar escenas y sucesos locales de la región o área del país del artista. (pág. 284) Relic/Reliquia Objeto sagrado asociado con un líder religioso. (pág. 155) Relief sculpture/Escultura en relieve Escultura que está sólo parcialmente circundada por espacio vacío. (pág. 38) Renaissance/Renacimiento Periodo caracterizado por un despertar intelectual y artístico. (pág. 212) Retrospective/Retrospección Exhibición completa de obras creadas en determinado periodo de tiempo. (pág. 308) Rhythm/Ritmo El principio del arte que trata de la repetición de un elemento con el propósito de crear la sensación de actividad o vibración en una obra de arte. (pág. 23)

GLOSARIO

Realism/Realismo

366

Glosario

Estilo artístico que enfatiza el movimiento airoso y libre, el uso retozón de líneas y colores delicados. (pág. 236) Romanticism/Romanticismo Estilo artístico caracterizado por la representación de temas dramáticos y exóticos. (pág. 249) Round arch/Arco de medio punto Construcción de piedras en forma curva sobre un espacio abierto. (pág. 142) Rococo/Rococó

S Exhibición oficial de arte en Francia. (pág. 254) Sand painting/Pintura de arena Imagen o diseño creado con diferentes colores de roca pulverizada sobre una sección plana de tierra. (pág. 125) Screen/Mampara Cancel movible que se usa a modo de pared para dividir una habitación. (pág. 90) Scroll/Rollo Carrete largo de pergamino o seda con ilustraciones. (pág. 84) Shape/Forma El elemento artístico que se refiere a un área claramente delineada por uno o más de los otros elementos visuales del arte. (pág. 16) Shoulder masks/Máscaras de hombros Grandes máscaras talladas que cubren la cabeza y se apoyan sobre los hombros de quien las lleva. (pág. 180) Simulated textures/Texturas simuladas Texturas sugeridas por la forma en que el artista ha pintado ciertos objetos de manera que luzcan ásperos, lisos o suaves. (pág. 222) Sketchbook/Cuaderno de bocetos Libreta de papel de dibujo en la que el artista dibuja, toma notas y perfecciona las ideas para una obra. (pág. 9) Social protest painting/Pintura de protesta social Estilo artístico que hace hincapié en los problemas sociales, económicos y políticos del momento. (pág. 295) Societies/Sociedades Grandes agrupaciones de personas que comparten un deseo común e ideales similares. (pág. 68) Solvent/Solvente Material que se usa para diluir el aglutinante de una pintura. (pág. 31) Salon/Salón

T Una vivienda portátil. (pág. 120) Texture/Textura El elemento del arte que se refiere a la manera en que las cosas se sienten al tocarlas, o cómo parece que se sentirían al tacto. (pág. 17) Totem pole/Tótem Escultura vertical tallada con símbolos de animales. (pág. 119) Triumphal arches/Arco de triunfo Monumentos en forma de arcos construidos para celebrar grandes victorias militares. (pág. 144) Tepee/Tipi

U Estilo artístico cuyo nombre significa “ilustraciones del mundo flotante”. (pág. 90) Unity/Unidad La apariencia y sensación de unión o totalidad en una obra de arte. (pág. 23) Urban planning/Planificación urbana Plan para la distribución óptima de edificios y servicios de una ciudad a fin de satisfacer las necesidades de sus habitantes. (pág. 76) Ukiyo-e/Grabado en madera

V La claridad u oscuridad de un color. (pág. 15) Variety/Variedad El principio del arte que trata de la combinación de elementos del arte efectuando pequeños cambios para generar interés. (pág. 22) Value/Valor

W Hilos colocados verticalmente en el telar y sujetos al marco. (pág. 122) Weft/Trama Hilos colocados horizontalmente y entrelazados con los hilos de la urdimbre. (pág. 122) Woodblock printing/Grabado en madera Tallar imágenes en bloques de madera, cubrir la superficie tallada de los bloques con tinta y hacer impresiones con ellos. (pág. 90) Warp/Urdimbre

Y Estilo artístico cuyo nombre significa “ilustraciones al estilo japonés”. (pág. 89)

Yamato-e/Estilo japonés

Z Montaña escalonada hecha de tierra cubierta de ladrillos. (pág. 77)

Ziggurat/Zigurat

Glosario

367

GLOSARIO

El elemento del arte que se refiere a la distancia real o implícita entre, alrededor, encima o dentro de los objetos. (pág. 17) Stained glass/Vitral Arreglo artístico creado con trozos de vidrios de colores sujetos con tiras de plomo. (pág. 202) Stele/Estela Pedestal de madera o piedra tallada que se usa como monumento. (pág. 71) Stupas/Stupas Pequeños santuarios terminados en cúpula. (pág. 155) Style/Estilo La manera particular en que un artista utiliza los elementos y principios del arte para crear sus obras. (pág. 55) Stylized/Estilizado Simplificado o exagerado para que se ciña a una serie de reglas de diseño específica. (pág. 110) Subject/Tema Las imágenes de personas, lugares u objetos que el observador puede identificar en una obra de arte. (pág. 49) Super Realism/Superrealismo Estilo artístico que se caracteriza por el tratamiento realista de imágenes comunes del ambiente moderno; se conoce también como fotorrealismo. (pág. 296) Surrealism/Surrealismo Estilo artístico que exploró el mundo subconsciente de los sueños en busca de ideas. (pág. 288) Symbolism/Simbolismo El uso de una imagen para representar una idea. (pág. 218) Space/Espacio

Index A

INDEX

Abstract art, 174 animal masks, 180 Inuit style painting, 128–129, Fig. 8–19 Kota-style figures, 176–177 Senufo carving, 174 Abstract Expressionism, 294–295, Figs. 16–27, 16–28 Academic style, 300 Acropolis, 136 Acrylic, 32 Action painters, 294. See also Abstract Expressionism Adobe, 107 Aerial perspective, 216–217 Aesthetic views, 51, 140 African art abstract figure relief, 176–177, Fig. 11–7 and cultures of Africa, 172 expressive mask design, 181 figure sculptures, 172–175, Figs. 11–3, 11–4, 11–5 cast bronze figures, 174–175, Fig. 11–6 wood carvings, 173, Fig. 11–3 geometric shapes in, 188–189 kente cloth, 189, Fig. 11–24 masks, 178–181 face masks, 178–179, Figs. 11–9, 11–10 headpieces, 180, Fig. 11–11 helmet masks, 5, Fig. 1–3, 182, Fig. 11–14 pendant masks, 170, 171, Fig. 11–1 shoulder masks, 180–181, Fig. 11–12 museum, 191 Nigerian king (sculpture), 190 in Puryear’s work, 26 studio activity, 181 studio lessons abstract figure relief, 176–177 papier-mâché puppet head, 182–183 traditional, 190 wood carvings, 173, Fig. 11–3 Agrarian Leader Zapata, 284, Fig. 16–14 Alberti, Leone Battista, 47 Albright-Knox Art Gallery, 45 Alhambra, 160, 162 American art. See also Mexican art; Native American art Abstract Expressionism, 294–295, Figs. 16–27, 16–28

368

Index

Ashcan School, 282–283, Figs. 16–10, 16–11, 16–12 mood painting, 269 19th century, 266–269 prints of figures in action, 286–287 Realism, 267, 268, Figs. 15–19, 15–20 Regionalism, 284, Fig. 16–13 sculpture, 296–297, Figs. 16–31, 16–32, 16–33 social protest painting, 295, Fig. 16–29 studio activity, 269 studio lesson, 286–287 Super Realism, 296, Fig. 16–30 Surrealism, 294, Fig. 16–26 20th century, 282–285, 294–297 Amphora, 140–141 Analogous color scheme, 15 Analyzing/Analysis in art criticism, 50 in art history, 55 influence of electronic media/ technologies, 29, 34–35, 45, 311 original artworks of others, 30, 32, 33, 38–40, 42, 46, 48–52, 54–56, 60, 63, 64, 66, 69–72, 75, 77–79, 82, 85, 87, 89, 91, 92, 100–104, 106, 108–110, 112, 113, 116, 120–122, 125, 126, 131, 137, 139, 140, 143–145, 149, 152, 155, 158, 161, 169, 173–181, 184–186, 188, 196, 200–202, 204, 205, 207, 210, 212, 213, 215, 216, 219, 220, 222, 225, 228, 230–232, 234, 237–239, 242, 246, 248–250, 252, 255, 257, 258, 260–262, 264, 266–269, 274, 276–280, 283–286, 288–292, 294–297, 302, 304–306, 311 original artworks of peers, 19, 25, 175, 265, 281 original exhibitions of others, 91, 209, 301, 311 original exhibitions of peers, 43, 159, 269, 281, 281, 293 personal artworks, 19, 25, 37, 43, 53, 57, 67, 73, 87, 91, 93, 105, 111, 123, 129, 141, 147, 157, 159, 165, 177, 183, 197, 199, 205, 217, 223, 235, 241, 251, 253, 259, 265, 281, 287, 293, 309 portfolios by peers, 205, 235 portfolios by others, 205, 235 Ancient art. See Art history; specific types, e.g.: Ancient Greek art Ancient Central American art. See Mesoamerican art Ancient Chinese art, 74–75 crafts, 75, Fig. 5–16 and culture, 74 painting, 74 Ancient Egyptian art, 68–73 architecture, 69, Fig. 5–9 creating a writing system, 71

and culture, 68 hieroglyphics, 71 painting, 71, 72, Figs. 5–12, 5–13 picture story in ancient Egyptian style, 72–73 pyramids, 69, 78, 79, Figs. 5–9, 5–20 sculpture, 70, Figs. 5–10, 5–11 stele, 71 studio activity, 71 studio lesson, 72–73 tombs, 80 Ancient Greek art, 136–139 architecture, 136–137, Figs. 9–3, 9–4 crafts, 138 and culture, 136 influence on Roman art, 142 and myths, 148–149 painting, 138 sculpture, 138 studio activity, 139 studio lesson, 140–141 vases, 138–141, Figs. 9–6, 9–7, 9–8 by women artists, 150 Ancient Indian art, 75–76 architecture, 76, Fig. 5–18 and culture, 75 relief sculpture, 75, Fig. 5–17 Ancient Mexican art. See Mesoamerican art Ancient Roman art, 142–145 architecture, 142–145, Figs. 9–11, 9–12, 9–13, 9–14 and culture, 142 designing a victory arch, 145 relief carvings, 146, Figs. 9–16, 9–17 Roman-styled relief, 146–147 sculpture, 145, Fig. 9–15 studio activity, 145 studio lesson, 146–147 Andean art, 106–109 Chavin, 106, Fig. 7–12 Incan, 108–109, Figs. 7–17, 7–18 Mochican, 107, Figs. 7–13, 7–14 studio lesson, 110–111 stylized positive and negative design, 110–111 Tiahuanaco, 108, Figs. 7–15, 7–16 Anguhadluq, Luke, 132 Old Caribou Hunters, 132 Anguissola, Sofonisba, 214 Portrait of the Artist’s Sister, Minerva, 214, Fig. 13–6 Animal figures Animals, 48, Fig. 4–2 in Chinese tombs, 85, Fig. 6–3 for decorative clay vessels, 104–105 in Harappan seals, 75 in Inuit carvings, 128, Fig. 8–19 in Old Stone Age sculpture, 63, Fig. 5–3 in Sumerian sculptures, 77, Fig. 5–19 Animals, 48, Fig. 4–2 Animation, computer, 310

Aristotle with a Bust of Homer, 233, Fig. 14–7 Art, 4 applied, 7 fine, 7 future of, 307 new forms of, 306–307 reasons for studying, 6–7 recent trends in, 304–305 as recreation, 9 types of, 7 Art criticism, 48–51. See also Critique analysis in, 50 of ancient Greek amphora, 140 description in, 49 interpretation in, 50–51 judgment in, 51 steps in, 48–51 Art director, 332 Art elements. See Elements of art Art historians, 54–55 Art history, 54–55. See also specific periods, e.g.: Prehistoric art analysis in, 55 Cubist style, 56–57 description in, 55 interpretation in, 55 judgment in, 55 Moments in, 162, 173, 213, 249 Artifacts Olmec, 100 prehistoric, 63 Art Institute of Chicago, 273 Artisans, 106 Artist, 333 Artistic freedom, 299 Art lessons, 188–189. See also Cross-curriculum connections; Studio lessons math, 112–113, 188–189 reading, 148–149, 166–167 social studies, 78–79, 94–95, 130–131, 206–207, 224–225, 270–271 writing, 242–243, 298–299 Art materials and tools selecting, 18, 28, 37, 44, 45, 92, 95, 104, 122, 146, 167, 215, 287, 293 Art media. See Media/medium Art movements. See also specific movements and periods Abstract Expressionism, 294–295, Figs. 16–27, 16–28 Art Nouveau, 271, Fig. 15–24 Ashcan School, 282–283, Figs. 16–10, 16–11, 16–12 Cubism, 58, 277–278, 280, Figs. 4–8, 16–4, 16–5, 16–6, 16–8 Expressionism, 276–277, Figs. 16–2, 16–3 Fantasy art, 289, Fig. 16–20 Fauvism, 276

Impressionism, 254–258, 266, 272, Figs. 15–7, 15–8, 15–9, 15–10, 15–18 Kinetic art, 296, 307, Fig. 16–31 Neoclassicism, 248–249, 252, Figs. 15–2, 15–5 Post-Impressionism, 260–264, Figs. 15–13, 15–15, 15–16 Realism, 145, 244, 267, 268, Figs. 9–15, 15–19, 15–20 Romanticism, 249–251, 251, Figs. 15–3, 15–4 social protest painting, 295, Fig. 16–29 Super Realism, 296, Fig. 16–30 Surrealism, 288–289, 294, Figs. 16–18, 6–19, 16–20, 16–26 Art Nouveau, 271, Fig. 15–24 Art Online, 37, 57, 67, 105, 129, 165, 183, 205, 223, 241, 259, 293. See also Web Museum Activities Art principles. See Principles of art Art teacher, 8, 333 Ashcan School, 282–283 painting, 283, Figs. 16–10, 16–11 photography, 283, Fig. 16–12 Ashevak, Kenojuak, 128 The Enchanted Owl, 128, Fig. 8–19 Assembling/assemblages, 39, 44 Athena, 136, 138 Athena Parthenos, 138, Fig. 9–5 Athens, 136 Atmospheric perspective, 216 Attentive Nurse, The, 238, 239, Fig. 14–14 At the Theater, 30, 31, Fig. 3–2 August, Rue Daguerre, 48, 49, Fig. 4–3 Australian art, 186 bark painting, 186, Fig. 11–20 and culture, 186 Avocational opportunities, 3, 9, 11, 311 Aztec art, 102–103 Calendar Stone, 113, Fig. 7–22 sculpture, 103, Figs. 7–7, 7–8

B Balance, 24, 111, 176, 177 formal, 21, 104, 105 informal, 21 radial, 21 Bark painting (Australian), 186, Fig. 11–20 Baroque style, 230–233 architecture, 230, Fig. 14–2 music in, 242, Fig. 14–18 painting, 230–233, Figs. 14–3, 14–4, 14–5, 14–6, 14–7 in poetry, 243 still lifes, 234–235 studio lesson, 234–235

Index

369

INDEX

Annunciation, The, 219, Fig. 13–11 Antelope Headpieces (African), 180, Fig. 11–11 Applied art, 7. See also Crafts; Pottery Aqueducts, 141, 142, Fig. 9–12 Arabesques, 160 Arai, Shozo, 96 Gardens, 96 Archaeology, 80 Arches designing victory, 145 pointed, 201, Fig. 12–12 round, 142–144, Fig. 9–12 triumphal, 144, Fig. 9–13 Architect, 8, 332 Architecture. See also specific types, e.g.: Temples ancient Egyptian, 69, Fig. 5–9 ancient Greek, 136–137, Figs. 9–3, 9–4 ancient Indian, 76, 155–156, Figs. 10–3, 10–4 ancient Roman, 142–145, Figs. 9–11, 9–12, 9–13, 9–14 aqueducts, 142, 143, Fig. 9–12 Baroque style, 230, Fig. 14–2 Chavin, 106 18th century, 237 forms in, 17 friezes, 136 Gothic, 200–201, 203, Figs. 12–11, 12–12, 12–13 Incan, 108–109, Fig. 7–17 of India, 20, 21, Fig. 2–9 Islamic, 160, 162, Figs. 10–11, 10–12 Japanese, 88, 89, Figs. 6–8, 6–9 Mayan, 101, Fig. 7–5 media of, 39–40 medieval Persian scrolls, 168 megaliths, 65, Fig. 5–5 Mesopotamian, 76, 77, Fig. 5–18 Mochican, 107 monoliths, 108, Fig. 7–15 mosques, 160, 161, Fig. 10–11 in New Stone Age, 65 of Plains Indians, 120, 121, Fig. 8–7 post-and-lintel system, 65 pyramids. See Pyramids recent trends in, 305 Romanesque period, 194–195, Figs. 12–2, 12–3, 12–4, 12–5, 12–6, 12–7 round arches, 142–144, Fig. 9–12 of Southwest Indians, 120, Fig. 8–5 stupas, 155, Fig. 10–3 Teotihuacán, 101 Tiahuanaco, 108, Fig. 7–15 triumphal arches, 144, Fig. 9–13 urban planning, 76 ziggurat, 77, Fig. 9–13 Arch of Constantine (Rome), 144, Fig. 9–13 Arctic Native American art, 118–119, 128, 132, Figs. 8–3, 8–4, 8–19

INDEX

Bathers at La Grenouillère, 258, Fig. 15–11 Beasts of the Sea, 274, 275, Fig. 16–1 Bellows, George, 283 Dempsey and Firpo, 286, Fig. 16–16 A Morning Snow—Hudson River, 283, Fig. 16–11 Between Rounds, 267, Fig. 15–19 Birds and Flowers of Early Spring, 82, 83, Fig. 6–1 Birsk, 278, Fig. 16–5 Bison Bison (cave painting), 62, Fig. 5–2 Clay Bison (sculpture), 63, Fig. 5–3 Blackbird, 44 Blackfeet, Otter Tepee, 120, Fig. 8–7 Black Figured Panel Amphora (Greece), 140, Fig. 9–8 Blake, William, Portrait of Shakespeare, 224, Fig. 13–16 Blue Period (Picasso), 58 Blue Territory, 18, Fig. 2–6 Boldini, Giovanni, 300 Portrait of Madame Hugo and Her Son, 300 Bonaparte, Napoleon, 248 Book of Hours, Noah’s Art (front cover), 192, 193, Fig. 12–1 Borromini, Francesco, 230 San Carlo alle Quattro Fontane, 230, Fig. 14–2 Botticelli, Sandro, 226 Young Woman in Mythological Guise, 226 Boulevard des Capucines, 246, 247, Fig. 15–1 Brancusi, Constantin, A Muse, 17, Fig. 2–5 Braque, Georges, 58, 277 Fruits and Guitar, 280, Fig. 16–8 The Round Table, 16, 17, Fig. 2–4 British Museum, 151 Brown, J. Carter, 171 Bruegel, Pieter (the Elder), The Wedding Dance, 49, 50, 51, Fig. 4–4 Brunelleschi, Filippo, 212 Brunhilde, 26 Buddha, 88, 89, 155, 157 Buddha of Todai-Ji, 89, Fig. 6–10 Buddhism, 74, 88, 96, 154 Bullet-time photography, 310 Burchfield, Charles, Noontide in Late May, 14, 15, Fig. 2–2 Burial Tomb, 80 Bust of a Woman, 257, Fig. 15–10 Bust statue of Pocahontas, 130, 131, Fig. 8–21

370

Index

Buttresses, 201, Fig. 12–13

C Calder, Alexander, 296, 307 Ghost, 296, 307, Fig. 16–31 Calendars Aztec, 113 Mayan, 112 Calligraphy, 160 Camp, Sokari Douglas, 190 Campbell, Kenneth, Bust statue of Pocahontas, 130, 131, Fig. 8–21 Canada, Bella Coola Tribe, Image of the Sun (Sinxolatla), 117, Fig. 8–1 Cannon, T. C., 126 His Hair Flows like a River, 32, 126, 127, Fig. 8–17 Caravaggio, Michelangelo Merisi da, The Musicians, 231, Fig. 14–3 Career opportunities, 3, 8–9, 311, 332–337 architect, 332 art director, 332 artist, 333 art teacher, 333 graphic artist, 334 illustrator, 334 industrial designer, 335 interior designer, 335 landscape architect, 336 museum worker, 336 photographer, 337 preparing for, 9 web designer, 337 Carpets, Persian, 162–163 Carvings, 39. See also Heads, carved African wood figures, 172–174, Fig. 11–3 Inuit, 128, 132, Fig. 8–19 Old Stone Age, 63, Fig. 5–3 Cassatt, Mary, 30, 266–267 At the Theater, 30, 31, Fig. 3–2 A Woman and a Girl Driving, 266, 267, Fig. 15–18 Cast bronze figures (African), 174–175 Casting, 38, 39, Fig. 3–13 Castles in Middle Ages, 206–207, Fig. 12–18 Romanesque, 194–195, Figs. 12–2, 12–3 Castles: Life in a Knight’s Castle, 206, Fig. 12–18 Cathedrals flying buttresses in, 201, Fig. 12–13 gargoyles on, Fig. 12–16 Gothic, 200–201, Figs. 12–11, 12–12, 12–13 pointed arches on, 201, Fig. 12–12 stained glass in, 202, Fig. 12–14 Cave art Bison painting, 62, Fig. 5–2

Clay Bison (sculpture), 63, Fig. 5–3 Hindu temples, 155–156, Fig. 10–4 media of, 66 prehistoric, 62–63 Celestial Globe with clockwork, 7, Fig. 1–5 Ceramics, 41. See also Pottery decorative clay vessel, 104–105 dish with fish and peppers (Inca), 109, Fig. 7–1 porcelain, 85, Fig. 6–4 studio activities clay pot, 65 vase-shape cutout, 139 studio lesson, 104–105 Cézanne, Paul, 261, 263, 277, 300 Mont Sainte-Victoire Seen from Bibémus Quarry, 260, 261, Fig. 15–13 Chaitya Hall (India), 155, Fig. 10–4 Chalk, 30 Charcoal, 30 Chardin, Jean-Baptiste Siméon, 238, 239 The Attentive Nurse, 238, 239, Fig. 14–14 Chartres Cathedral (France) façade, 200, Fig. 12–11 interior, 201, Fig. 12–12 stained glass detail, 202, Fig. 12–14 Chavin art crafts, 106, Fig. 7–12 and culture, 106 Chavin de Huántar, 106 Chief Joseph, Nez Percé, 130, 131, Fig. 8–22 Chinese art, 84–87. See also Ancient Chinese art crafts, 85, Fig. 6–4 and culture, 74 landscape painting, 84, Fig. 6–2 scroll painting, 84, 86, Fig. 6–5 sculpture, 84–85, Fig. 6–3 with silk, 94–95, Fig. 6–15 vessels, 75, Fig. 5–16 Chiricahua Apache, 126 Christo, 307 The Gates, 307, Fig. 17–7 Churches Baroque, 230, Fig. 14–2 Chartres Cathedral, 200–202, Figs. 12–11, 2–12, 12–14 Church of Santa Maria, 197, Fig. 12–7 Church of the Sacred Family, 39, Fig. 3–14 Gothic, 200–203, Figs. 12–11, 12–12, 12–14 Romanesque, 195, Fig. 12–4 Saint-Etienne Cathedral, 201, Fig. 12–13 San Carlo alle Quattro Fontane, 230, Fig. 14–2

Computer art. See Digital art Computer Options, 53, 73, 111, 165, 259, 265, 287, 293. See also Software Concert Champêtre, 240, Fig. 14–16 Content, 50 content view, 51, 140 in Post-Impressionist painting, 260, 261, 263 Contour drawing, technique tips, 314 Cordoba, mosque at, 161, Fig. 10–11 Corn Goddess (Aztec), 103, Fig. 7–8 Count-Duke of Olivares on Horseback, The, 231, Fig. 14–4 Counter–Reformation, 230 Cradle (Kiowa), 121, Fig. 8–8 Crafts, 40–41. See also specific types, e.g.: Pottery ancient Chinese, 75, Fig. 5–16 ancient Greek, 138, 139, Fig. 9–6 Chavin, 106, Fig. 7–12 Chinese, 85, Fig. 6–4 Gothic, 202, Fig. 12–14 Incan, 109, Fig. 7–18 Islamic, 162–163, Fig. 10–13 media of, 40 Mochican, 107, Figs. 7–13, 7–14 Native American, 124–125, Figs. 8–13, 8–14 in New Stone Age, 64, 65, Fig. 5–4 Plains Indians, 121, Fig. 8–8 Southwest Indians, Fig. 8–6 techniques of, 41 Tiahuanaco, 108, Fig. 7–16 Woodlands Indians, 121, Fig. 8–9 Crayon resist (Post-Impressionist style), 264–265 Creating artworks, 66–67, 104–105, 110–111, 122–123, 140–141, 145, 146–147, 158–159, 163, 181, 187, 189, 197, 222–223, 239, 269 through direct observation, 18–19, 24–25, 56–57, 86–87, 92–93, 157, 204–205, 221, 234–235, 251, 258–259, 263, 286–287, 291, 308–309 through imagination, 18–19, 24–25, 36–37, 42–43, 52–53, 56–57, 128–129, 158–159, 164–165, 176–177, 182–183, 198–199, 204–205, 215, 216–217, 240–241, 252–253, 264–265, 280–281, 292–293, 308–309 through personal experiences, 18–19, 44, 72–73, 158–159, 175, 292–293, 308–309 Creative expression/performance. See Creating artworks; Design skills; specific types, e.g. Drawing Crib at Greccio, The, 208 Critical attributes, 93, 197 Critical evaluation, 25, 93, 141, 281

Critique. See also Art criticism group, 19, 25, 157, 181, 197, 263, 269 individual, 175, 187, 239, 251 Cropping (studio activity), 91 Cross-curriculum connections history, 59, 81 language arts, 11, 27, 45, 59, 97, 115, 151, 191, 209, 227, 245, 273, 311 math, 133, 169 music, 245 science, 27, 45, 81 social studies, 11, 59, 97, 115, 133, 169, 191, 209, 227, 245, 273, 301, 311 Cubism, 277–278 Braque and, 280, Fig. 16–8 Cézanne and, 277 defined, 277 Lipchitz and, 278, Fig. 16–6 Picasso and, 58, 277–278, 280, Figs. 4–8, 16–4 Popova and, 278, Fig. 16–5 studio lessons Cubist still life with oil pastels, 280–281 Cubist style painting, 56–58 Cultural ideas, 84, 117 environmental themes, 84, 90, 113, 115, 301, 311 political themes, 6, 115, 141, 144, 225, 239, 248–249, 284, 290, 295, 301 social themes, 6, 62–65, 77, 84, 102, 107, 113, 115, 136, 141, 157, 160, 169, 173, 175, 178–181, 185, 186, 188–189, 194–197, 201, 207, 223, 225, 239–241, 284, 290, 295, 301, 311 Cultural traditions, 117, 128, 191 Culture(s), 62 African, 172 ancient Chinese, 74 ancient Egyptian, 68 ancient Greek, 136, 148–149 of ancient India, 75 ancient Roman, 142 Arctic and subarctic Native American, 118–119 Australian, 186 Aztec, 102–103 Chavin, 106 Chinese, 74, 94–95 craft item uses in, 40 of France, 236 Incan, 108–109 of India, 154, 166 of Italian Renaissance, 212 Japanese, 88 Mayan, 101 Mesopotamian, 76 Middle Ages, 194, 206–207 Mochican, 107 Native American, 130–131 New Stone Age, 64

Index

371

INDEX

Church of the Sacred Family, 39, Fig. 3–14 Cities. See also specific cities, e.g.: Tenochtitlán urban planning, 76 walled, 195 City of Ambition, The, 283, Fig. 16–12 Civilization, 68 Classical period, 101. See also PreColumbian art Clay. See also Ceramics; Pottery coil pot, 120, Fig. 8–6 pot making, 65 studio activity, 65 studio lesson, 104–105 technique tips, 318–319 vessels, 104–105, Fig. 7–9 Clay Bison, 63, Fig. 5–3 Clements, Gabrielle de Veaux, Mont St. Michel, 33, Fig. 3–7 Cloisters, 195 Poblet Monastery, 196, Fig. 12–6 Close, Chuck, 304 Self-Portrait, 304, Fig. 17–3 Coca Castle (Spain), 194, Fig. 12–2 Coil pot (Pueblo), 120, Fig. 8–6 Colosseum (Rome), 144, 145, Fig. 9–14 Collages, 164 Islamic style, 164–165 recycled materials in, 44 Color as element of art, 15, 36, 37, 42, 43, 52, 53, 56, 57, 67, 122, 123, 129, 182, 183, 240, 241, 252, 253, 258, 259, 264, 265, 280, 281 hue, 15, 18 intensity of, 15, 18 proportions of, 23 schemes, 15 value in, 15, 110, 111, 216, 217, 234, 235, 252, 253, 292, 293 mixing paint to change value of color, 17 wheel, 15, Fig. 2–3 Color schemes, 15 analogous, 15 cool, 15 monochromatic, 15 warm, 15 Column of Trajan (Rome), 146, Figs. 9–16, 9–17 Combination art forms, 305 Communicating ideas/thoughts, 299 Community events, 59, 86, 147, 165, 308–309 Composition, 50 composition view, 51, 140 in Post-Impressionist painting, 260, 261, 263 Computer animation, 310

in 19th century, 270–271 Northwest Coast Indians, 119 Old Stone Age, 62 Olmec, 100 Plains Indians, 120–121 in Renaissance England, 224–225 societies creating, 79 Southwest Indians, 119–120 Sumerian, 76 Tiahuanaco, 108 Woodlands Indians, 121 Curtis, Edward S. Chief Joseph, Nez Percé, 130, 131, Fig. 8–22 CYMK (color model), 329 Cypresses, 261, Fig. 15–14 Cyrano, 38, 39, Fig. 3–13 D Dallas Museum of Art, 311 Dance in art. See Performing Artists and Groups David, Jacques-Louis, 248–249, 252 The Death of Socrates, 248, 251, Fig. 15–2 The Oath of the Horatii, 252, Fig. 15–5 da Vinci, Leonardo. See Leonardo da Vinci Davis, Stuart, Place Pasdeloup, 12, 13, Fig. 2–1

INDEX

Death Mask of Tutankhamen, 60, 61, Fig. 5–1 Death of Socrates, The, 248, 251, Fig. 15–2 de Chirico, Giorgio, 289 The Enigma of a Day, 288, 289, Fig. 16–18 Decorative clay vessels, 104–105, Fig. 7–9 letter, 197, Figs. 12–1, 12–8 Degas, Edgar, 267, 270, 272 Two Dancers Entering the Stage, 270, Fig. 15–23 Delacroix, Eugène, 247, 249 Moroccan Horseman Crossing a Ford, 249, 251, Fig. 15–3 Delaunay, Sonia Terk, Study for Portugal (detail from), 2, 3, Fig. 1–1 Dempsey and Firpo, 286, Fig. 16–16. Demuth, Charles Henry Eggplant and Green Pepper, 32, Fig. 3–6 I Saw the Figure 5 in Gold, 24, Fig. 2–12 Derun, Zhu (Chu Te-Jen), Returning from a Visit, 86, Fig. 6–5 Describing personal artworks, 19, 25, 37, 53, 57, 67, 73, 87, 93, 104, 105, 111, 123, 129, 141, 147, 159, 165, 177,

372

Index

183, 199, 205, 217, 223, 235, 241, 253, 259, 265, 281, 287, 293, 309 Description in art criticism, 49 in art history, 55 Design skills, 24–25, 42–43, 52–53, 56–57, 122–123, 139, 145, 175, 181, 189, 197, 299 Didem, 34, Fig. 3–8 Diebenkorn, Richard, Girl with Plant, 21, Fig. 2–10 Digital art, 34–37. See also Digital Media Guide computer animation, 310 digital landscape painting, 36–37 hardware for, 35 landscape painting, 36–37 software for, 34–35 studio lesson, 36–37 Digital cameras, 35, 326

elements of art, 18–19 Islamic style collage, 164–165 perception based scroll, 86–87 Romanesque–style manuscript page, 198–199 stylized positive and negative design, 110–111 technique tips, 314–316 contour drawing, 314 gesture drawings, 314 grid for enlarging, 314–315 oil pastels, 314 shading techniques, 315 sighting techniques, 315 thin lines with a brush, 314 using a viewing frame, 316 Dryden, John, 243 Duck Vessel (Olmec), 104, Fig. 7–9 Dumas, Alexandre, 249 Dynasties, ancient Chinese, 74

Digital Media Guide, 325–331 digital cameras, 326 draw software, 329 graphics tablets, 327 multimedia presentation software, 331 paint software, 328 scanners, 325 3-D graphics software, 330 Dimensions of form, 17 of shape, 16 Direct observation, 81 creating artworks through, 18–19, 24–25, 56–57, 86–87, 92–93, 157, 204–205, 221, 234–235, 251, 258–259, 263, 286–287, 291, 308–309 illustrating ideas from, 53, 57, 85, 141, 221, 308–309 Djanggawul Sisters, The Mungarawai (Australia), 186, Fig. 11–20 Dogana and Santa Maria della Salute, Venice, The, 250, 251, Fig. 15–4 Double Self-Portrait, 296, Fig. 16–30 Drawing contour drawing, 314 gesture drawings, 314 media of, 30 purpose of, 31 software for, 329 studio activities creating a writing system, 71 cropping, 91 decorative letter, 197 illustrating perspective, 215 perception, 85 sketching details, 221 victory arch, 145 studio lessons cubist still life, 280–281

E Eakins, Thomas, 267, 269 Between Rounds, 267, Fig. 15–19 Earth pigment painting, 66–67 Easter Island heads, 185, Fig. 11–19 Effigies defined, 101 Eggplant and Green Pepper, 32, Fig. 3–6 Egyptian Museum, 81 Eight, The, 282, 283 18th century art, 236–239 Electronic media and technologies, 34 Electronic media-generated art. See Digital art Elements of art, 14–19, 25, 43, 111. See also specific elements in art criticism, 49 color, 15, 36, 37, 42–43, 52, 53, 56, 57,67, 122, 123, 129, 182, 183, 240, 241, 252, 253, 258, 259, 264, 265, 280, 281 color schemes, 15 form, 17, 241 line, 14–15, 33, 56, 57, 129, 141, 264, 265, 280, 281, 286, 287 proportions of, 23 shape, 16, 42, 43, 56, 57, 110, 111, 128, 129, 141, 189, 216, 217, 240, 241, 280, 281 space, 17, 87, 110–111, 147, 216, 217 studio lesson, 18–19 texture, 17, 36, 37, 42, 43, 56, 57, 67, 123, 176, 177, 182, 183, 204, 205, 222, 223, 240, 241, 252, 253, 258, 259, 280, 281 unity, 20, 23 value, 110, 111, 216, 217, 234, 235, 252, 253, 292, 293

F Façade, 195, 196, 200, 230, Figs. 12–5, 12–11, 14–12 Face masks (African), 178–179, Figs. 11–9, 11–10 Family Group, 290, Fig. 16–22 Fantasy art, 289, Fig. 16–20 Fauvism, 276 Female Figure (Micronesia), 184, Fig. 11–17

Fiber arts African, 189, Fig. 11–24 Chinese, 94–95, Fig. 6–15 persian knots, 163 studio activity, 163 studio lessons Islamic style collage, 164–165 weaving, 122–123 Figure for a Landscape, 291, Fig. 16–23 Figure sculptures. See Sculpture(s) Figures in action, 286–287, Fig. 16–16 Film making, 306, 310 Fine art, 7 Fine artist, 8 Flanders, 218, 232 Flowers in a Vase, 234, Fig. 14–8 Flying buttresses, 201, Fig. 12–13 Flying Dutchman, The, 268, 269, Fig. 15–21 Form, 17, 19, 241 Formal balance, 21 Formal properties, 25, 43, 51, 73, 87, 89, 95, 175, 234, 265, 281, 301 Forming conclusions formal properties, 25, 43, 73, 87, 89, 95, 175, 234, 265, 281, 301 historical/cultural contexts, 73, 141, 177, 265, 281, 301, 311 intents, 43, 77, 87, 149, 175, 177, 261, 265, 281, 301 meanings, 43, 77, 149, 175, 177, 265, 281, 301 Fowling in the Marshes, 72, 73, Fig. 5–13 Frankenthaler, Helen, Blue Territory, 18, Fig. 2–6 Free-form shapes, 16 Freestanding sculpture, 38, Fig. 3–13 French art, 236, 248. See also specific art movements Palace of Versailles, 236, 237, Fig. 14–11 prehistoric artifacts in, 63, Fig. 5–3 Rococo style, 237–239, Figs. 14–12, 14–13, 14–14 Romanticism in, 249, Fig. 15–3 The Salon in, 254 Frescoes, 101, 203, Figs. 7–4, 12–15 Frida and Diego Rivera, 285, Fig. 16–15 Frieze, 136, Fig. 9–4 Front façade (Poblet Monastery), 195, 196, Fig. 12–5 Fruit Dish, 58 Fruit Dish, Bottle, and Violin, 277, Fig. 16–4 Fruits and Guitar, 280, Fig. 16–8 G Gaeta, John, 310

Gardens (Japanese), 96 Gargoyles, 204–205 Cathedral of St. Just and St. Pasteur, 204, Fig. 12–16 Gate of the Sun (Tiahuanaco, Bolivia), 108, Fig. 7–15 Gates, The, 307, Fig. 17–7 Gaudí, Antonio, 39 Church of the Sacred Family, 39, Fig. 3–14 Gauguin, Paul, 263 Haere Mai, 264, Fig. 15–16 Tahitian Landscape, 262–264, Fig. 15–15 Gazing at a Waterfall, 84, Fig. 6–2 Gehry, Frank, 305 Solomon R. Guggenheim Museum Bilbao, Fig. 17–5 Gentileschi, Artemisia, Self-Portrait as the Allegory of Painting, 228, 229, Fig. 14–1 Gentileschi, Orazio, 242 Saint Cecilia and an Angel, 242, Fig. 14–18 Geometric shapes, 16 in African art, 188–189, Fig. 11–23 in Cubist style, 58 Gesture drawings, technique tips, 314 Gheeraerts, Marcus (the Younger), Queen Elizabeth I, 225, Fig. 13–17 Ghost, 296, 307, Fig. 16–31 Giant Figures (Easter Island), 185, Fig. 11–19 Ginevra de’Benci, 216, Fig. 13–8 Giotto (di Bondone), 203, 208 The Crib at Greccio, 208 Lamentation, 202, Fig. 12–15 Meet the Artist, 203 The Mourning of Christ, 208 Giovanni Arnolfini and His Bride, 222, Fig. 13–14 Girl with a Hoop, 255, Fig. 15–8 Girl with Plant, 21, Fig. 2–10 Glassmaking, 41, 202 Glaze, 85 Gleaners, The, 31, 32, Figs. 3–3, 3–4 Goddess Holding Flowering Branches (wall mural fragment), 101, Fig. 7–4 Gorky, Arshile, 295 Water of the Flowery Mill, 294, 295, Fig. 16–27 Gothic period, 194, 200–203 architecture, 200–201, 203, Figs. 12–11, 12–12, 12–13 crafts, 202, Fig. 12–14 painting, 203, Fig. 12–15 Goya, Francisco, 238–239 Y No Hay Remedio (And There’s Nothing to Be Done), 239, Fig. 14–15

Index

373

INDEX

Eliot, T. S., 298 Elizabethan Age, 224–225 Elizabeth I, Queen of England, 224 Emmoser, Gerhard, Celestial Globe with clockwork, 7, Fig. 1–5 Emperor’s 12-Symbol Dragon Robe, 94, 95, Fig. 6–15 Emphasis, 22, 158, 159 and proportion, 23 studio lesson, 25 Enchanted Owl, The, 128, Fig. 8–19 English art. See also specific art movements Renaissance, 224–225 Romanticism, 251 Enigma of a Day, The, 288, Fig. 16–18 Environmental art, 307, Fig. 17–7 Environmental themes, 84, 90, 113, 115, 117, 301 Equestrian figure (Senufo people, Africa), 174, 188, Figs. 11–4, 11–23 Estes, Richard, 296 Double Self-Portrait, 296, Fig. 16–30 Etchings, 239, Fig. 14–15. See also Intaglio Eugene Manet and his Daughter at Bougival, 272 European art, 20th century, 276–279, 288–291. See also specific countries fantasy in, 289, Fig. 16–20 sculpture in, 290–291, Figs. 16–21, 16–22, 16–23 Surrealism in, 288–289, Figs. 16–18, 16–19, 16–20 Evaluating your work, 19, 25, 37, 43, 53, 57, 67, 73, 87, 93, 105, 111, 123, 129, 141, 147, 159, 165, 177, 183, 199, 205, 217, 223, 235, 241, 253, 259, 265, 281, 287, 293, 309 Exaggeration in portrait drawing, 52 Expressionism, 276–277, Figs. 16–2, 16–3 Expressive mask design, 181 portraits, 52–53, Fig. 4–5 Extend-Expand, 297, Fig. 16–32

Graphic artist, 334 Graphic designer, 8 Graphics tablets, 35, 327 Graves, Nancy, 297 Extend-Expand, 297, Fig. 16–32 Great Bridge: Sudden Rain at Atake, 4, 5, 7, Fig. 1–2 Great Pyramid of Khafre, 69, Fig. 5–9 Great Stupa, The, 155, Fig. 10–3 Greek myths, 148–149 Greek vase shapes, examples of, 139, Fig. 9–7 Grid, technique tips, 314–315

INDEX

H Haere Mai, 264, Fig. 15–16 Hamlet Robot, 302, 303, 306, Fig. 17–1 Happy Couple, The, 233, Fig. 14–6 Harappa, 75, 76 Hardouin-Mansart, Jules, Palace of Versailles, 237, Fig. 14–11 Harmony, 22, 24, 25, 56, 57, 198, 199, 280, 281 Hassam, Childe, Washington Arch, Spring, 46, 47, Fig. 4–1 Hat (Peru), 108, Fig. 7–16 Hatshepsut Enthroned, 70, Fig. 5–11 Hawass, Zahi, 80 Head of king of Nigeria, 190 Headpieces, African, 180, Fig. 11–11 Heads, carved Easter Island, 185, Fig. 11–19 Olmec, 100–101, 114, Fig. 7–3 Helena, Battle of Issus (mosaic fragment), 150 Helmet Mask Cameroon, Africa, 5, Fig. 1–3 Senufo Tribe, Africa, 182, Fig. 11–14 Hepworth, Barbara, 291 Figure for a Landscape, 291, Fig. 16–23 Heroditus, 61 Hieroglyphics, 71 High Cliff, Coast of Maine, 268, Fig. 15–20 Hinduism, 154, 160 Hirondelle/Amour, 289, Fig. 16–19 –, Great Bridge: Sudden Hiroshige, Ando Rain at Atake, 4, 5, 7, Fig. 1–2 His Hair Flows like a River, 32, 126, 127, Fig. 8–17 Historical/cultural contexts, 6, 39, 115, 141, 177, 227, 265, 301, 311 Historical/cultural heritage, 10, 11 African art, 172–176, 178–181, 188–190 American 19th century, 266–269

374

Index

American 20th century, 282–285, 294–297 ancient Egyptian, 69–73, 78–79, 81 ancient Greek, 136–139, 148–150 ancient Indian art, 75–76 ancient Roman, 142–146 Andes civilizations, 106–109 Baroque style, 234–235, 242–243 Chinese, 74–75, 84–85, 94–95 18th century, 236–239 European 20th century art, 276–280, 288–291 Gothic period, 200–203 Impressionism, 254–258, 272 of India, 154–158, 166–167 Inuit, 132, 133 Islamic, 160–164, 168 Italian Renaissance, 212–215, 226 Japanese, 88–91, 96 Mesoamerican, 100–103 Mesopotamian, 76–77 Middle Ages, 206–209 Modern art, 300 Native American, 118–122, 124–127, 130–132 Neoclassical, 248–249 19th century, 266–269, 270–272 Northern Renaissance, 218–223 Oceanic, 184–187 Post-Impressionism, 260–263 pre-Columbian, 112–114 prehistoric, 62–65 Renaissance in England, 224–225 Romanesque period, 194–197 Romantic, 249–251 17th century, 230–233, 244 20th century art, 276–280, 282–285, 288–291, 294–297 History connections, 59, 81 History of art. See Art history Holland (Baroque painting style in), 232–233 Holy Trinity, The, 212, 213, Fig. 13–3 Homer, Winslow, 268 High Cliff, Coast of Maine, 268, Fig. 15–20 Hong, Yin Birds and Flowers of Early Spring, 82, Fig. 6–1 Horse and Rider, 290, Fig. 16–21 Horses in Chinese tombs, 85, Fig. 6–3 in Old Stone Age sculpture, 63, Fig. 5–3 Horyu-Ji Temple, 88, 89, Fig. 6–9 House (Griha) of Ratnasambhava, 158, Fig. 10–7 Houser, Allan Meet the Artist, 126 Waiting for Dancing Partners, 126, Fig. 8–16 Hue, 15, 18

Humanism, 226 Hu (vessel), 75, Fig. 5–16 I Illuminations, 196, 197, Fig. 12–8 Illustrating ideas from direct observation, 53, 57, 85, 141, 221, 308–309 from imagination, 18–19, 53, 57, 149, 167, 207, 215, 243, 308–309 from personal experience, 53, 57, 72–73, 147, 158–159, 175, 199, 308–309 from school/community events, 57, 86, 140–141, 145, 147, 165, 308–309 Illustrator, 334 Image of the Sun (Sinxolatla), 116, 117, Fig. 8–1 Images formats for, 328 quality of, 326 Imagination creating artworks through, 18–19, 24–25, 36–37, 42–43, 52–53, 56–57, 128–129, 158–159, 164–165, 176–177, 182–183, 198–199, 204–205, 215, 216–217, 240–241, 252–253, 264–265, 280–281, 292–293, 308–309 illustrating ideas from, 18–19, 53, 57, 149, 167, 207, 215, 243, 308–309 Impressionism, 254–258 influence on Mary Cassatt, 266–267 landscape in Impressionist style, 258–259 Monet and, 246, 247, 254, 255, 258, 272, 300, Figs. 15–1, 15–7, 15–11 Morisot and, 256, 272, Fig. 15–9 Renoir and, 255, Fig. 15–8 Rodin and, 257, Fig. 15–10 sculpture, 257, Fig. 15–10 studio lesson, 258–259 Impressionism: Sunrise, 254 Incan art, 108–109 architecture, 108–109, Fig. 7–17 crafts, 109, Fig. 7–18 India, art of, 154–157. See also Ancient Indian art architecture, 20, 21, 155–156, Figs. 2–9, 10–3, 10–4 banner designs, 158–159, Fig. 10–7 and culture, 154, 166–167 and religion, 154 sculpture, 156, 157, Figs. 10–5, 10–6 studio lesson, 158–159 Taj Mahal, 20, 21, Fig. 2–9 Industrial designer, 8, 335 Information (General Desaix and the Peasant), 54, 55, Fig. 4–7 Installations, 306

J J. Paul Getty Museum, 40, Fig. 3–15 Jaguar Temple, 101, 102, Fig. 7–5 Japanese art, 88–91 architecture, 88, 89, Figs. 6–8, 6–9 and culture, 88 gardens, 96 painting, 89–90, Fig. 6–11 printmaking, 90–92, Figs. 6–12, 6–13 sculpture, 89, Fig. 6–10 studio lesson, 92–93 Ukiuo–e style prints, 92–93 woodblock printing, 90–91, Fig. 6–12 Jar (olla) with Feathers and an Avanyu, 125, Fig. 8–14 Jar, with Fish and Seaweed Design, 40, Fig. 3–16 Jeanne-Claude, 307 The Gates, 307, Fig. 17–7

Johnson, William H., Man in a Vest, 52, Fig. 4–5 Joralemon, Peter David, 114 Joseph, Chief of Nez Percé, 130, 131 Joslyn Art Museum, 11 Judging/Judgment in art criticism, 51 in art history, 55 artworks of others, 51 personal artworks, 25, 53, 57, 67, 73, 87, 93, 105, 111, 123, 129, 141, 147, 159, 165, 177, 183, 205, 217, 223, 235, 241, 253, 259, 265, 281, 287, 293, 309 K Kachina (Zuni), 124, Fig. 8–13 Kahlo, Frida, 285 Frida and Diego Rivera, 285, Fig. 16–15 Meet the Artist, 10 Self-Portrait with Monkey, 10 Still Life with Fruit, 10 Kandinski, Wassily, 279 Sketch 160 A, 279, Fig. 16–7 Karli Cave Temple, 155 Kaz, Nathaniel, Cyrano, 38, 39, Fig. 3–13 Kente Cloth (Assante people, Ghana), 189, Fig. 11–24 Kiln, 41 Kinetic art, 296, 307, Fig. 16–31 King David Playing Bells (Paslter), 198, Fig. 12–9 Kirchner, Ernst Ludwig, 277 Street, Berlin, 276, 277, Fig. 16–2 Klee, Paul, 289 Ventriloquist and Crier in the Moor, 289, Fig. 16–20 Knife Grinder, The, 22, Fig. 2–11 Kollwitz, Käthe, 277 The Prisoners (Die Gefangenen), 277, Fig. 16–3 Koran, 160 Kota style (abstract figure relief), 176–177 L La Hotte (The Basket-Chair), 256, Fig. 15–9 Lamentation, 202, Fig. 12–15 Landscape architect, 336 Landscape art (Japanese gardens), 96 Landscape painting aerial perspective in, 216–217, Fig. 13–8 Chinese, 84, Fig. 6–2 digital art, 36–37, Fig. 3–10 in Impressionist style, 258–259 landscape in Impressionist style, 258–259

Romantic, 250, 251, Figs. 15–3, 15–4 studio lesson, 258–259 Lanfranco, Giovanni, 242 Saint Cecilia and an Angel, 242, Fig. 14–18 Lange, Dorothea, 6 Meet the Artist, 6 “Thirteen Million Unemployed Fill the Cities in the Early Thirties,” San Francisco, 6, 7, Fig. 1–4 Language arts connections, 10, 11, 26, 27, 44, 45, 58, 59, 80, 96, 97, 115, 151, 190, 191, 208, 209, 226, 227, 244, 245, 272, 273, 300, 310, 311. See also Reading connections; Writing connections La Partie Quarrée, 237, Fig. 14–12 La vecchia dell’orto, 42, Fig. 3–19 Large Deer, 66, Fig. 5–6 Las Ferras Aqueduct (Spain), 142, 143, Fig. 9–12 Latin America. See Pre-Columbian art Lawrence, Jacob, 295 The Migration of the Negro: No. 58, 295, Fig. 16–29 Lekythos (Oil Jug), 138, 139, Fig. 9–6 Leonardo da Vinci, 3, 213–214, 216 Ginevra de’Benci, 216, Fig. 13–8 Madonna of the Rocks, 213–214, Fig. 13–5 Le Père Tanguy, 300 LeQuire, Alan, Athena Parthenos, 138, Fig. 9–5 Les Promenades d’Euclide, 292, Fig. 16–24 le Vau, Louis, Palace of Versailles, 236, Fig. 14–11 Leyster, Judith, 232 The Happy Couple, 233, Fig. 14–6 Light in Baroque painting, 231, 233 in Impressionist paintings, 255, 258 for realism, 244 Line as element of art, 14–15, 33, 56, 57, 129, 141, 264, 265, 280, 281, 286, 287 imaginary, 232 studio lesson, 19 Linear perspective, 213, Fig. 13–4 Lipchitz, Jacques, 278 Reader II, 278, Fig. 16–6 Lithography, 33 Loom, 41, 122. See also Weaving Lorenzaccio, 271, Fig. 15–24 Louis XIV, King of France, 236 Louvre, The, 245 INDEX

Intaglio, 33, Fig. 3–7. See also Etchings Intensity (color), 15, 18 Intent (of artist), 43, 87, 149, 151, 177, 281 Interior designer, 335 Interior of the Mosque at Cordoba (Spain), 161, Fig. 10–11 Interpreting/Interpretation in art criticism, 50–51 in art history, 55 personal artworks, 53, 67, 73, 87, 93, 105, 111, 123, 129, 141, 147, 159, 165, 177, 183, 199, 205, 217, 223, 235, 241, 253, 259, 265, 281, 287, 293, 309 subjects, 49, 63 Inuit art, 118, 128–129, 132, 133, Figs. 8–3, 8–19 I Saw the Figure 5 in Gold, 24, Fig. 2–12 I Saw Three Cities, 294, Fig. 16–26 Islamic art, 160–163 architecture, 160, 162, Figs. 10–11, 10–12 calligraphy, 161, Fig. 10–10 collage in Islamic style, 164–165 crafts, 162–163, Fig. 10–13 geometric patterns in, 168 painting, 164, Fig. 10–15 persian knots, 163 studio activity, 163 studio lesson, 164–165 Italian art. See also specific art movements Baroque, 230–231, Fig. 14–3 Renaissance, 212–215 and culture, 212 painting, 212–214, Figs. 13–3, 13–5, 13–6 sculpture, 214–215, Fig. 13–7

Index

375

Luther, Martin, 229 Lyre, bull-headed, 77, Fig. 5–19 M

INDEX

Machu-Picchu, 108–109, Fig. 7–17 Madonna of the Rocks, 213–214, Fig. 13–5 Magritte, René, 292 Les Promenades d’Euclide, 292, Fig. 16–24 Make the Connection, 79, 95, 113, 131, 149, 167, 189, 207, 225, 243, 271, 299 Malevich, Kasimir, The Knife Grinder, 22, Fig. 2–11 Man in a Vest, 52, Fig. 4–5 Manuscript pages, 198–199 Map of the Aegean Civilization, 136, Fig. 9–2 of Africa, 172, Fig. 11–2 of Ancient China, India and Mesopotamia, 74, Fig. 5–15 of Ancient Egypt, 68, 69, Fig. 5–8 of Ancient Rome, 142, Fig. 9–10 of the Andes Region, 106, Fig. 7–11 of France, 236, Fig. 14–10 of India, 154, Fig. 10–2 of the Islamic World, c. A.D. 750, 160, Fig. 10–9 of Japan, 88, Fig. 6–7 of Mesoamerica, 100, Fig. 7–2 of Native American Cultures, 118, Fig. 8–2 of northern Europe, 218, Fig. 13–10 of Oceania, 184, Fig. 11–16 of Renaissance Italy, 212, Fig. 13–2 of the Silk Road, 95, Fig. 6–16 Marini, Marino, 290 Horse and Rider, 290, Fig. 16–21 Martinez, Maria and Julian, 125 Jar (olla) with Feathers and an Avanyu, 125, Fig. 8–14 Masaccio, 212–213 The Holy Trinity, 212, 213, Fig. 13–3 Mask (Melanesia, New Ireland), 185, Fig. 11–18 Mask (Moshambwooy) (Kuba people, Africa), 178, Fig. 11–9 Masks African, 5, 170, 171, 178–182, Figs. 1–3, 11–9, 11–10, 11–11, 11–12, 11–14 animated, 187 death, 60, 61, Fig. 5–1 expressive, 181 face, 178–179, Figs. 11–9, 11–10 helmet, 5, 182, Figs. 1–3, 11–14 Melanesian, 185, Fig. 11–18 Native American, 116, 117, 119, Fig. 8–1 pendant, 170, 171, Fig. 11–11

376

Index

shoulder, 180–181, Fig. 11–12 studio activities animated mask, 187 expressive mask design, 181 Mask (Songye people, Africa), 179, Fig. 11–10 Mat (Fulani or Hausa, Africa), 41, Fig. 3–17 Math connections, 112–114, 133, 169, 188–189 Matisse, Henri, 275, 276 Beasts of the Sea, 274, 275, Fig. 16–1 Mayan art, 101–102 architecture, 101, Fig. 7–5 calendars, 112, Fig. 7–21 and culture, 101 pyramids, 78, 79, 101, 102, 112, Figs. 5–21, 7–5, 7–21 sculpture, 102, Fig. 7–6 Meaning (of art), 43, 149, 151, 177, 281 Media/medium, 30 of architecture, 39–40 of cave painting, 66–67 of crafts, 40–41 description of, 49 of drawing, 30 earth pigment painting, 66–67 electronic, 34 oil paint, 218–219 of painting, 31–32 papier-mâché, 182 of printmaking, 33 recycled, 44 of sculpture, 38 Meeting of David and Abigail, The, 232, Fig. 14–5 Meeting of the Theologians, The, 164, Fig. 10–15 Meet the Artist Giotto (di Bondone), 203 Houser, Allan, 126 Lange, Dorothea, 6 Rivera, Diego, 285 Rodin, Auguste, 257 Megaliths, 65 Meissonier, Jean-Louis-Ernest, 55 Information (General Desaix and the Peasant), 54, 55, Fig. 4–7 Melanesian art, 185, Fig. 11–18 Mesoamerican art, 100–103 Aztec, 102–103, 113, Figs. 7–7, 7–8, 7–22 Mayan, 78, 79, 101–102, 112, Figs. 5–21, 7–5, 7–6, 7–21 Olmec, 100–101, 104–105, 114, Fig. 7–3 pyramids, 78, 79, 101, 102, 106, 107, 112, Figs. 5–21, 7–5, 7–21 Teotihuacán, 101 Mesopotamian art, 76–77 architecture, 76, 77, Fig. 5–18

and culture, 76 sculpture, 77, Fig. 5–19 Metropolitan Museum of Art, 59 Mexican art. See also Mesoamerican art early twentieth-century, 284–285 Kahlo and, 10, 285, Fig. 16–15 Rivera and, 10, 284–285, Fig. 16–14 Michelangelo (Buonarroti), 211, 214 Pietà, 214, 215, Fig. 13–7 Micronesian art, 184, Fig. 11–17 Middle Ages, 209. See also Gothic period; Romanesque period culture in, 194, 206–207 Gothic period, 194, 200–203 Romanesque period, 194–197 Migration of the Negro: No. 58, The, 295, Fig. 16–29 Mihrab, 160 Millet, Jean-François The Gleaners, 31, 32, Fig. 3–4 The Gleaners (sketch), 31, Fig. 3–3 Minneapolis Museum of Arts, 133 Miró, Joan, 289 Hirondelle/Amour, 289, Fig. 16–19 Mirza’Ali, A Princely Hawking Party in the Mountains, 152, 153, Fig. 10–1 Mitchell, Joan, August, Rue Daguerre, 48, 49, Fig. 4–3 Mixed media, 42–43 Mobiles, 296, 307, Fig. 16–31 Mochican art crafts, 107, Figs. 7–13, 7–14 and culture, 107 Modernism, 300 Mohenjo-Daro, 76 Moments in Art History African art, 173 Alhambra, 162 Delacroix, Eugène, 249 perspective, 213 Monasteries (Romanesque), 195 Monet, Claude, 255, 258, 272, 300 Bathers at La Grenouillère, 258, Fig. 15–11 Boulevard des Capucines, 246, 247, Fig. 15–1 Impressionism: Sunrise, 254 View of Bordighera, 254, 255, Fig. 15–7 Monochromatic color scheme, 15 Monoliths, 108 Monoprints (studio activity), 251 Mont St. Michel, 33, Fig. 3–7 Mont Sainte-Victoire Seen from Bibémus Quarry, 260, 261, Fig. 15–13 Moore, Henry, 290–291 Family Group, 290, Fig. 16–22

N National Gallery of Art, 227 National Museum of African Art, 191 National Palace Museum, 97 Native American art architecture, 120, 121, Figs. 8–5, 8–7 Arctic and subarctic, 118–119, 128, 132, Figs. 8–3, 8–4, 8–19 crafts, 124–125, Figs. 8–13, 8–14 and historical heritage, 130–131, Figs. 8–21, 8–22, 8–23 Inuit, 118, 128–129, 132, 133, Figs. 8–3, 8–19 modern, 126, Fig. 8–16 Navajo, 122, 125, Figs. 8–10, 8–15 Northwest Coast Indians, 119, Figs. 8–1, 8–4 origins of, 118–121 painting, 126–127, Figs. 8–17, 8–18 painting in abstract Inuit style, 128–129 Plains Indians, 120–121, Figs. 8–7, 8–8 pottery, 125, Fig. 8–14 Pueblo Indians, 119, 120, 124, Figs. 8–5, 8–6 sand painting, 125, Fig. 8–15 sculpture, 126, Fig. 8–16 Southwest Indians, 119–120, Figs. 8–5, 8–6

studio lesson, 128–129 traditional, 124–125 Woodlands Indians, 121, Fig. 8–9 Zuni, 124, Fig. 8–13 Ndop Portrait of King Mishe miShyaang maMbul (Kuba people, Africa), 173, Fig. 11–13 Necipoglu, Gulru, 168 Neoclassical art, 248–249, 252, Figs. 15–2, 15–5 Neolithic period, 64–65. See also New Stone Age art Nevelson, Louise, 297 White Vertical Water, 297, Fig. 16–33 New Stone Age art, 64–65 architecture, 65, Fig. 5–5 crafts in, 64, 65, Fig. 5–4 and culture, 64 pottery, 64, Fig. 5–4 19th century art American painting, 266–269 Art Nouveau, 271 and entertainment, 270–271 Impressionism, 254–258 Neoclassic, 248–249 Post-Impressionism, 260–263 Romantic, 249–251 by women artists, 272 Nonobjective art and artistic freedom, 299 describing, 49 with mixed media, 42–43, Fig. 3–19 sculpture, 291, 297, Figs. 16–23, 16–31, 16–32 studio activity, 291 studio lesson, 18–19 20th century, 279, 299, Figs. 16–7, 16–34 Noontide in Late May, 14, 15, Fig. 2–2 Northern Renaissance art, 218–221, Figs. 13–11, 13–12 Northwest Coast Indian art, 119, Fig. 8–4 Norton Simon Museum, 27 Number 6, 295, Fig. 16–28 O Oath of the Horatii, The, 252, Fig. 15–5 Oceanic art, 184–187 Australian, 186, Fig. 11–20 Melanesian, 185, Fig. 11–18 Micronesian, 184, Fig. 11–17 Polynesian, 185, Fig. 11–19 Oil paints, 31, 32, 218–219 Oil pastels, technique tips, 314 Oldenburg, Claes, 305 Typewriter Eraser, Scale X, 305, Fig. 17–4 Old Caribou Hunters, 132

Old Stone Age art, 62–63 and culture, 62 painting, 62–63, Fig. 5–2 sculpture, 63, Fig. 5–3 Olmec art, 100–101, 104–105 and culture, 100 sculpture, 100–101, 114, Fig. 7–3 stone heads, 100, 114, Fig. 7–3 Otter Tepee (Blackfeet), 120, 121, Fig. 8–7 P Pacific islands. See Oceanic art Page from a Koran (Iran), 161, Fig. 10–10 Pagodas, 88, 89 Paik, Nam June, 303, 306 Hamlet Robot, 302, 303, 306, Fig. 17–1 Paint. See also specific paints acrylic, 32 binder, 31 frescoes, 101, 203, Figs. 7–4, 12–15 ingredients in, 31 oil paint, 31, 32, 218–219 oil pastels, 314 pigments, 317 solvents, 31, 32 technique tips for cleaning a paintbrush, 316–317 making natural earth pigments, 317 mixing paint to change value of color, 317 oil pastels, 314 working with tempera, 318 working with watercolors, 318 tempera, 318 watercolors, 31, 32, 318 Painting. See also specific artists abstract, 128–129 Abstract Expressionist, 294–296, Figs. 16–27, 16–28 academic style, 300 ancient Chinese, 74 ancient Egyptian, 71, 72, Figs. 5–12, 5–13 ancient Greek, 138 Ashcan School, 282–283, Figs. 16–10, 16–11 bark painting, 186, Fig. 11–20 Baroque style, 230–233, Figs. 14–3, 14–4, 14–5, 14–6, 14–7 in Holland, 232–233 in Italy, 230–231, Fig. 14–3 cave art, 62, Fig. 5–2 Chinese landscape painting, 84, Fig. 6–2 scroll painting, 84, 86, Fig. 6–5 Cubist, 58, 277–278, 280, Figs. 4–8, 16–4, 16–5, 16–8 digital, 36–37, Fig. 3–10 earth pigment painting, 66–67 Expressionism, 276–277, Fig. 16–2 fantasy, 289, Fig. 16–20

Index

377

INDEX

Morisot, Berthe, 256, 272 Eugene Manet and his Daughter at Bougival, 272 La Hotte (The Basket-Chair), 256, Fig. 15–9 Roses, 272 Morning Snow—Hudson River, A, 283, Fig. 16–11 Moroccan Horseman Crossing a Ford, 249, 251, Fig. 15–3 Mosques, 160, 161, Fig. 10–11 Motif, 23, 104 Mourning of Christ, The, 208 Movement, 23–25, 286, 287 Mucha, Alphonse, 271 Lorenzaccio, 271, Fig. 15–24 Musicians, The, 231, Fig. 14–3 Multimedia presentation software, 331 Murray, Elizabeth, 304 Sail Baby, 304, Fig. 17–2 Musawwir, Abd Allah, The Meeting of the Theologians, 164, Fig. 10–15 Muse, A, 17, Fig. 2–5 Museum worker, 336 Music connections, 245. See also Performing Artists and Groups Muslims, 160 Mythology, art and, 148–149

INDEX

Fauvism, 276 figure painting, 157 Gothic, 203, Fig. 12–15 Impressionist, 255, 258 Inuit style painting, 128–129, Fig. 8–19 Islamic, 160, 164, Fig. 10–15 Italian Renaissance, 212–214, Figs. 13–3, 13–5, 13–6 Japanese, 89–90, Fig. 6–11 landscape aerial perspective in, 216–217, Fig. 13–8 Chinese, 84, Fig. 6–2 digital art, 36–37, Fig. 3–10 in Impressionist style, 258–259 Romantic, 250, 251, Figs. 15–3, 15–4 media of, 31–32 murals, 284 Native American, 126–127, Figs. 8–17, 8–18 in abstract Inuit style, 128–129 sand painting, 125, Fig. 8–15 19th century American, 266–269 nonobjective, 279 Northern Renaissance, 218–221, Figs. 13–11, 13–12 Old Stone Age, 62–63, Fig. 5–2 Post-Impressionist, 260–264, Figs. 15–13, 15–14, 15–15 recent trends in, 304 Regionalist, 284, Fig. 16–13 relief, 222–223 religious art, 208 Renaissance portraits, 226 Rococo style, 237–239, Figs. 14–12, 14–13, 14–14 Romanesque period, 196, 197, Fig. 12–8 sand painting, 125, Fig. 8–15 of scrolls, 84, 86–87 with simulated textures, 222–223 social protest painting, 295, Fig. 16–29 software for, 328 studio activities extraordinary objects, 239 figure painting, 157 mood chalk painting, 269 three-dimensional form, 263 studio lessons abstract Inuit style, 128–129 ancient Egyptian style, 72–73 banner design, 158–159 Baroque style still life, 234–235 Cubist still life with oil pastels, 280–281 Cubist style painting, 56–58 digital landscape painting, 36–37 earth pigment painting, 66–67 expressive portrait, 52–53 landscape in Impressionist style, 258–259 principles of art, 24–25

378

Index

Romanesque-style manuscript page, 198–199 surrealist style artwork, 292–293 using aerial perspective, 216–217 vase painting, 140–141 Super Realistic, 296, Fig. 16–30 Surrealist, 288–289, 294, Figs. 16–18, 16–19, 16–20, 16–26 technique tips, 316–318 cleaning a paintbrush, 316–317 making natural earth pigments, 317 mixing paint to change value of color, 317 working with tempera, 318 working with watercolors, 318 Teotihuacán, 10 20th century, 288–291, 294–296 Pair of Vases, 85, Fig. 6–4 Palace of Versailles (France), 236, 237, Fig. 14–11 Paleolithic period, 62–63. See also Old Stone Age art Pantheon (Rome), 142, 143, Fig. 9–11 Paper, technique tips for paper sculpture, 321 papier-mâché, 320–321 puppet head, 182–183 scoring paper, 323–324 tissue paper collage, 324 technique tips draping method, 320–321 pulp method, 320 strip method, 320 Paris, 254 Parson Weems’ Fable, 284, Fig. 16–13 Parthenon, Temple of Athena, 136, 137, Fig. 9–3 Pastels, 30 Pater, Jean-Baptiste Joseph, Concert Champêtre, 240, Fig. 14–16 Patio of the Arrayanes, interior of the Alhambra (Spain), 162, Fig. 10–12 Pattern, 23, 25, 41, 104, 105, 110–111, 123, 147, 168 Pen, 30 Pencil, 30 Pendant Mask (Nigeria), 170, 171, Fig. 11–11 People in art. See Portraits Perception, 81, 85, 86–87 Performing Artists and Groups, 339–353 African American Dance Ensemble, 340 Alvin Ailey American Dance Theater, 343 AMAN International Folk Ensemble, 353 Ballet Folklórico de Mexico, 339

Blue Palm, 349 The Chameleons, 345 Diana Zaslove, 352 Diavalo, 344 Donald McKayle, 347 Eugene Friesen, 342 Japanese Festival Sounds, 346 Joffrey Ballet of Chicago, 341 Kurt Jooss, 350 Natividad (Nati) Cano, 351 Pilobolus Dance Theatre, 348 Persian architectural scrolls, 168 carpets, 162–163, Fig. 10–3 knots, 163, Fig. 10–14 Personal experiences creating artworks through, 18–19, 44, 72–73, 158–159, 175, 292–293, 308–309 illustrating ideas from, 53, 57, 72–73, 147, 158–159, 175, 199, 308–309 Perspective aerial, 216–217 atmospheric, 216 linear, 213 studio activity, 215 Pharaoh, 68, 69 Phidias, 138 Photographer, 337 Photography Ashcan School, 283, Fig. 16–12 bullet-time, 310 Lange and, 6, 7, Fig. 1–4 photo retrospective, 308–309 retrospective, 308–309 staged, 306, Fig. 17–6 studio lesson, 308–309 Photo-Realism, 296, Fig. 16–30 Picasso, Pablo, 56, 58, 277–278, 300 Fruit Dish, 58 Fruit Dish, Bottle, and Violin, 277, Fig. 16–4 Studio with Plaster Head, 56, Fig. 4–8 Picture story (ancient Egyptian style), 72–73 Pietà, 214, 215, Fig. 13–7 Pigments, 31, 317 Pixels, 35, 325, 328 Place Pasdeloup, 12, 13, Fig. 2–1 Plains Indian art, 120–121, 127 architecture, 120, 121, Fig. 8–7 crafts, 121, Fig. 8–8 Plaque: Warrior Chief, Warriors, and Attendants (Nigeria), 175, Fig. 11–6 Plaster, technique tips, 319 Plutarch, 13 Pocahontas, 130, 131 Poetry, 26, 243, 298 Pointed arches, 201, Fig. 12–12

Pottery tray, Inca style (Peru), 109, Fig. 7–18 Pound, Ezra, 298 Power Figure (Nkisi Nkondi) (Kongo people, Africa), 174, Fig. 11–5 Pre-Columbian art, 99–114. See also Native American Andean, 106–109, Figs. 7–12, 7–13, 7–14, 7–15, 7–16, 7–17, 7–18 Aztec, 102–103, 113, Figs. 7–7, 7–8, 7–22 calendars, 112–113 Mayan, 78, 79, 101–102, 112, Figs. 5–21, 7–5, 7–6, 7–21 Mesoamerican, 78, 79, 100–107, 112–114, Figs. 5–21, 7–3, 7–5, 7–6, 7–7, 7–8, 7–21, 7–22 Olmec, 100–101, 104–105, 114, Fig. 7–3 studio lesson, 110–111 stylized positive and negative design, 110–111 Prehistoric art, 62–67 New Stone Age, 64–65, Figs. 5–4, 5–5 Old Stone Age, 62–63, Figs. 5–2, 5–3 Princely Hawking Party in the Mountains, A, 152, 153, Fig. 10–1 Principles of art, 20–25, 37, 43, 111 balance, 21, 104, 105, 111, 176, 177 emphasis, 22, 158, 159 harmony, 22, 24, 56, 57, 198, 199, 280, 281 movement, 23, 24, 286, 287 pattern, 23, 41, 104, 105, 110–111, 123, 147 proportion, 23 rhythm, 23, 24 studio lesson, 24–25 and unity, 20, 23, 25, 43, 177, 281 variety, 22, 24, 42, 43, 56, 57, 67, 158, 159, 264, 265 Printmaking. See also Woodblock printing action monoprint, 251 of figures in action, 286–287, Fig. 16–16 Japanese, 90–92, Figs. 6–11, 6–12 media of, 33 methods of, 33 recent trends in, 304 studio activity, 251 studio lessons action figure prints, 286–287 Ukiyo-e style, 92–93 technique tips, 318 Prisoners (Die Gefangenen), The, 277, Fig. 16–3 Problem-solving skills, 9. See also Studio activities; Studio lessons Procession of the Holy Woman, Blood Dance, 127, Fig. 8–18

Programs, computer. See Software Prometheus, 148, 149 Prometheus Giving Fire to Man, 149, Fig. 9–19 Proportion, 23 and emphasis, 23 studio lesson, 25 Protestant Reformation, 229, 230 Pueblo Indians, 119, 120, 124, Figs. 8–5, 8–6 Puryear, Martin, 26 Brunhilde, 26 Untitled, 26 Pyramid of Kukulkan (Mexico), 112, Fig. 7–21 Pyramid of the Sun (Mexico), 78, 79, 101, Fig. 5–21 Pyramids, 78–79 Chavin, 106 Egyptian, 69, 78, Figs. 5–9, 5–20 Mayan, 78, 79, 101, 102, 112, Figs. 5–21, 7–5, 7–21 Mochican, 107 Teotihuacán, 101 Q Queen Elizabeth I, 225, Fig. 13–17 Quick Write, 3, 13, 29, 47, 61, 83, 99, 117, 135, 153, 171, 193, 211, 229, 247, 275, 303 Quilittaq, 119 R Raining Popcorn, 306, Fig. 17–6 Rama Bends His Bow (India), 167, Fig. 10–17 Ramayana, The, 166–167 Raphael, 214 St. George and the Dragon, 210, 211, Fig. 13–1 Reader II, 278, Fig. 16–6 Reading connections, 148–149, 166–167. See also Language arts connections Realism, 145, 244, 267, 268, Figs. 9–15, 15–19, 15–20 Records for Hattie, 44 Recreation (art as), 9 Red, green, blue (color model), 329 Reflected Beauty, 90–92, Fig. 6–12 Reflective thinking, 25, 93, 141, 223, 281 Regionalism, 284, Fig. 16–13 Relics, 155 Relief painting (with simulated textures), 222–223 Relief printing, 33 INDEX

Political themes, 6, 115, 141, 225, 239, 248–249, 284, 290, 295, 301, 311 Pollock, Jackson, 295 Number 6, 295, Fig. 16–28 Polynesian art, 185, Fig. 11–19 Popova, Liubov, 278 Birsk, 278, Fig. 16–5 Porcelain, 85, Fig. 6–4 Portal, Monastery Church of Santa Maria (Spain), 197, Fig. 12–7 Portfolio(s), 43. See also Studio Activities analyzing, 205, 235 organization of, 159 reviewing contents of, 105 selecting items for, 67 tracking artworks in, 19 Portrait of the Artist’s Sister Minerva, 214, Fig. 13–6 Portrait of a Lady, 220, Fig. 13–12 Portrait of Madame Hugo and Her Son, 300 Portrait of Shakespeare, 224, Fig. 13–16 Portrait of the Actor Ichikawa Ebizo-, 92, Fig. 6–13 Portraits Baroque, 231, Fig. 14–4 in Elizabethan Age, 225, Fig. 13–17 expressive, 52–53, Fig. 4–5 Impressionist, 255, Fig. 15–8 Japanese, 92, Fig. 6–13 Northern Renaissance, 220, Fig. 13–12 Renaissance, 224–226, Fig. 13–16 Rococo style, 238, Fig. 14–13 Roman, 134, 135, 145, Figs. 9–1, 9–15 20th century, 300 Portrait Statue of a Roman Prince, 134, 135, Fig. 9–1 Positive and negative design, stylized, 110–111 Post-and-lintel system, 65 Poster paints. See Tempera Post-Impressionism, 260–264, Figs. 15–13, 15–14, 15–15 composition in, 260, 261, 263 content in, 260, 261, 263 Pottery. See also Ceramics; Clay Chavin, 106, Fig. 7–12 coiled pots, 120, Fig. 8–6 decorative clay vessels, 104–105, Fig. 7–9 jar, 64, Fig. 5–4 making, 41 Mochican, 107, Fig. 7–14 Native American, 125, Fig. 8–14 New Stone Age, 64, Fig. 5–4 of New Stone Age, 64 Pottery Jar, 64, Fig. 5–4

Index

379

INDEX

Relief sculptures, 38, 63, Fig. 3–12 ancient Indian, 75, Fig. 5–17 in friezes, 136, Fig. 9–4 Kota-style, 176–177 Mayan, 98, 102, Fig. 7–1 Roman-style, 146–147, Figs. 9–16, 9–17 studio lessons abstract figure relief, 176–177 Roman-styled relief, 146–147 simulated texture relief, 222–223 Tiahuanaco, 108 Religious structures. See specific types, e.g.: Temples Reliquary Figure (Kota People, Gabon, Africa), 176, Fig. 11–7 Rembrandt van Rijn, 233 Aristotle with a Bust of Homer, 233, Fig. 14–7 Renaissance period, 212 in England, 224–225 Italian, 212–215 Northern, 218–221 painting, 212–214, 218–221, Figs. 3–11, 3–12, 13–3, 13–5, 13–6 portraits, 226 sculpture, 214–215, Fig. 13–7 Rendering, 35, 330 Renoir, Pierre-Auguste, 255 Girl with a Hoop, 255, Fig. 15–8 Repetition in creating pattern, 23 for harmony, 22 for rhythm, 23 Retrospective, 308 Returning from a Visit, 86, Fig. 6–5 Rhythm, 23, 24, 25 Rivera, Diego, 10, 284–285 Agrarian Leader Zapata, 284, Fig. 16–14 Meet the Artist, 285 Rococo style, 236–239 creating shoe in, 240–241 painting, 237–239, Figs. 14–12, 14–13, 14–14 Rodin, Auguste, 257 Bust of a Woman, 257, Fig. 15–10 Roman Gentleman, 145, Fig. 9–15 Romanesque church (Spain), 195, Fig. 12–4 Romanesque period, 194–197 architecture, 194–195, Figs. 12–2, 12–3, 12–4, 12–5, 12–6, 12–7 decorative letter, 197 manuscript page, 198–199 manuscript pages, 198, Fig. 12–9 painting, 196, 197, Fig. 12–8 sculpture, 196, 197, Fig. 12–7 studio activity, 197 studio lesson, 198–199 Romanticism, 249–251

380

Index

in England, 251, Fig. 15–4 in France, 249, Fig. 15–3 Roses, 272 Rothko, Mark, Untitled (Violet, Black, Orange, Yellow on White and Red), 299, Fig. 16–34 Round arch, 142–144, Figs. 9–13, 9–14 Round Table, The, 16, 17, Fig. 2–4 Rubbings, technique tips, 323 Rubens, Peter Paul, 232 The Meeting of David and Abigail, 232, Fig. 14–5 Rug (Navajo), 122, Fig. 8–10 Russell, Alfred, Sacajawea Guiding the Lewis and Clark Expedition, 131, Fig. 8–23 Ruysch, Rachel, 234 Flowers in a Vase, 234, Fig. 14–8 Ryder, Albert Pinkham, 268 The Flying Dutchman, 268, 269, Fig. 15–21 S Saadien Tombs mosaic (Morocco), 168 Saar, Betye, 44 Blackbird, 44 Records for Hattie, 44 Sacajawea, 130, 131 Sacajawea Guiding the Lewis and Clark Expedition, 131, Fig. 8–23 Saddle Horse, 85, Fig. 6–3 Sage, Kay, 294 I Saw Three Cities, 294, Fig. 16–26 Sail Baby, 304, Fig. 17–2 Saint Cecilia and an Angel, 242, Fig. 14–18 Saint-Etienne Cathedral, flying buttresses (France), 201, Fig. 12–13 Saint John Writing His Gospel (Germany), 196, 197, Fig. 12–8 Salon, 254, 269 San Antonio Museum of Art, 115 San Carlo alle Quattro Fontane, 230, Fig. 14–2A Sanchez, André, Didem, 34, Fig. 3–8 Sand painting, 125, Fig. 8–15 San Francisco Museum of Modern Art, 301 Scanners, 35, 325 School events, 57, 86, 145, 165, 308–309 School tempera. See Tempera Science connections, 27, 45, 81 Screen painting, 90, Fig. 6–11 Screen printing, 33 Scrolls Chinese, 84, Fig. 6–5

medieval Persian, 168 painting, 86–87, Fig. 6–5 Sculpture(s), 38–39, 89. See also Pottery; Relief sculptures African, 172–175, 188 figure sculptures, 172–175, Figs. 11–3, 11–4, 11–5, 11–6 masks, 5, 170, 171, 178–182, Figs. 1–3, 11–9, 11–10, 11–11, 11–12, 11–14 Nigerian king (sculpture), 190 American, 296–297, Figs. 16–31, 16–32, 16–33 ancient Chinese, 75, Fig. 5–16 ancient Egyptian, 70, Fig. 5–11 ancient Greek, 138 ancient Roman, 145, Fig. 9–15 Chinese, 84–85, Fig. 6–3 Cubist, 278, Fig. 16–6 European, 290–291, Figs. 16–21, 16–22, 16–23 forms in, 17, Fig. 2–5 freestanding, 38, Fig. 3–13 gargoyle, 204–205, Fig. 12–16 Impressionist, 257, Fig. 15–10 of India, 156, 157, Figs. 10–5, 10–6 Italian Renaissance, 214–215, Fig. 13–7 Japanese, 89, Fig. 6–10 media of, 38 Mesopotamian, 77, Fig. 5–19 methods for, 39 Native American, 126, Fig. 8–16 nonobjective, 291, 297, Figs. 16–23, 16–31, 16–32 Old Stone Age, 63, Fig. 5–3 Polynesian, 185, Fig. 11–19 pre-Columbian Aztec, 103, Figs. 7–7, 7–8 Mayan, 102, Fig. 7–6 Olmec, 100–101, 114, Fig. 7–3 of Puryear, 26 recent trends in, 305 relief, 38, 63, Fig. 3–12 ancient Indian, 75, Fig. 5–17 ancient Roman, 146, Figs. 9–16,9–17 Kota style, 176–177 Mayan, 98, 102, Fig. 7–1 Tiahuanaco, 108 Romanesque, 196, 197, Fig. 12–7 in the round, 38, 102, Fig. 7–6 stone heads, 100–101, 114, 185, Figs. 7–3, 11–19 studio activities miniature animated mask, 187 nonobjective sculpture, 291 studio lessons gargoyle sculpture, 204–205 Kota style relief, 176–177 papier-mâché puppet head, 182–183 Roman-styled relief, 146–147 simulated texture relief, 222–223

Sloan, John, 283 Sixth Avenue Elevated at Third Street, 282, 283, Fig. 16–10 Social protest painting, 295, Fig. 16–29 Social studies connections, 11, 59, 78–79, 94–95, 97, 115, 130–133, 150, 168, 169, 191, 206–207, 209, 224–225, 227, 245, 270–271, 273, 301, 311 Social themes, 6, 62–65, 77, 84, 102, 107, 113, 115, 136, 141, 157, 160, 169, 173, 175, 178–181, 185, 186, 188–189, 194–197, 201, 207, 223, 225, 239, 240–241, 284, 290, 295, 301, 311 Societies, 68 cultures created by, 79 in Middle Ages, 207 in Renaissance England, 225 Software. See also Computer Options digital art, 34–35 for digital cameras, 326 draw, 329 multimedia presentation, 331 paint, 328 3-D graphics, 330 Solomon R. Guggenheim Museum Bilbao, 305, Fig. 17–5 Solvents, 31, 32 “Song for St. Cecilia’s Day, 1687,” 243 So-tatsu, Tawaraya, Waves at Matsushima, 90, Fig. 6–11 South Pacific. See Oceanic art Southwest Indian art, 119–120 architecture, 120, Fig. 8–5 crafts, 120, Fig. 8–6 Space, 17, 87, 110–111, 147, 216, 217 creating illusion of, 258 studio lesson, 19 Spanish art Baroque painting style in, 231, Fig. 14–4 prehistoric artifacts, 63 Rococo painting style, 238–239, Fig. 14–15 St. George and the Dragon, 210, 211, Fig. 13–1 Staged photography, 306, Fig. 17–6 Stage set (Neoclassic), 252–253 Stained glass, 202, Fig. 12–14 Standard-Bearer (Aztec), 103, Fig. 7–7 Standing Ruler, 102, Fig. 7–6 State Hermitage Museum, 209 Stele, 71 Stella, Frank La vecchia dell’orto, 42, Fig. 3–19 Step Pyramid of King Zoser, 78, Fig. 5–20 Stele of Aafenmut, 71, Fig. 5–12 Stieglitz, Alfred, 283 The City of Ambition, 283, Fig. 16–12

Still lifes in Baroque style, 234–235, Fig. 14–18 in Cubist style, 280–281, Fig. 16–8 with fruit, 10 Still Life with Fruit, 10 Stirrup Spout Vessels Deer Hunting Scenes, 107, Fig. 7–14 Feline and Cactus Plants, 106, Fig. 7–12 Stonehenge, 64, 65, Fig. 5–5 Storage (digital), 326 Storytelling (in India), 166–167 Street, Berlin, 276, 277, Fig. 16–2 Structures for prayer. See Cathedrals; Churches; Temples “Studies,” drawing, 31 Studio Activities. See also Technique tips action in figure painting, 157 animated mask, 187 clay pot making, 65 creating a writing system, 71 decorative letter, 197 designing a necktie, 175 designing a victory arch, 145 expressive mask design, 181 extraordinary objects, 239 monoprints, 251 mood painting, 269 nonobjective sculpture, 291 painting three-dimensional forms, 263 perception, 85 persian knots, 163 perspective, 215 sketching details, 221 using cropping, 91 vase-shape cutout, 139 Studio lessons. See also Technique tips abstract figure relief, 176–177 aerial perspective, 216–217 banner designs, 158–159 collage in Islamic style, 164–165 crayon resist in Post–Impressionist style, 264–265 Cubist still life with oil pastels, 280–281 Cubist style, 56–57 decorative clay vessels, 104–105 digital landscape painting, 36–37 earth pigment painting, 66–67 elements of art, 18–19 expressive portraits, 52–53 gargoyle sculptures, 204–205 landscape in Impressionist style, 258–259 mixed-media nonobjective composition, 42–43 Neoclassic stage set, 252–253 nonobjective art, 18–19 painting in abstract Inuit style, 128–129 papier-mâché puppet head, 182–183 photo retrospective, 308–309

Index

381

INDEX

technique tips clay mold for plaster relief, 319 joining clay, 318–319 mixing plaster, 319 paper sculpture, 321 papier-mâché, 320–321 working with clay, 318 Seal from the Indus Valley, 75, Fig. 5–17 Seated Buddha (India), 156, 157, Fig. 10–5 Seated Male from a Relief Panel (Mexico), 98, Fig. 7–1 Seattle Art Museum, 169 Section of the Parthenon frieze (Greece), 137, Fig. 9–4 Seine, The, 269, Fig. 15–22 Self-Portrait, Double, 296, Fig. 16–30 Self-Portrait as the Allegory of Painting, 228, 229, Fig. 14–1 Self Portrait (Close), 304, Fig. 17–3 Self-Portrait in Front of the Easel, 28, 29, Fig. 3–1 Self-Portrait (Vigée-Lebrun), 238, Fig. 14–13 Self-Portrait with Monkey, 10 Seneca, Lucius Annaeus, 135 Senufo helmet mask, 182 Serigraphs, 33. See also Screen painting 17th century art, 230–233 Shading techniques, 315 Shadows in Baroque painting, 231 in Japanese art, 91 for realism, 244 Shakespeare, William, 224 Shape, 16, 19, 42, 43, 56, 57, 110, 111, 128, 129, 141, 189, 216, 217, 240, 241, 280, 281 Sharaku, To-shu-sai, Portrait of the Actor Ichikawa Ebizo-, 92, Fig. 6–13 Shoulder bag (Creek), 121, Fig. 8–9 Shoulder Mask (African), 180, 181, Fig. 11–12 Shrines, 155, 168 Shrine of Shah Ne’matollah Vall, 168 Silk, 94–95 Simulated textures, 222–223 Shiva Nataraja (South India), 157, Fig. 10–6 Sixth Avenue Elevated at Third Street, 282, 283, Fig. 16–10 Sketch 160 A, 279, Fig. 16–7 Sketching details (studio activity), 221 Skoglund, Sandy, 306 Raining Popcorn, 306, Fig. 17–6

picture story in ancient Egyptian style, 72–73 principles of art, 24–25 prints of figures in action, 286–287 Rococo shoe, 240–241 Romanesque style manuscript page, 198–199 Roman-styled relief, 146–147 scroll painting, 86–87 simulated texture relief, 222–223 still life in Baroque style, 234–235 stylized positive and negative design, 110–111 Surrealist style artwork, 292–293 Ukiyo-e style prints, 92–93 vase painting, 140–141 weaving, 122–123 Studio Options, 37, 57, 87, 123, 129, 147, 177, 183, 199, 217, 235, 241, 253, 309 Studio with Plaster Head, 56, Fig. 4–8 Study for Portugal, 2, 3, Fig. 1–1 Stupas, 155, Fig. 10–3 Stylized positive and negative design, 110–111 Subarctic Native American art, 118–119, 128, 132, Figs. 8–3, 8–4, 8–19 Subjects, 49, 63 Subject view, 51, 140 Sumerians, 76–77 Super-Realism, 296, Fig. 16–30 Surrealism in America, 294, Fig. 16–26 in Europe, 288–289, Figs. 16–18, 16–19, 16–20 studio lesson, 292–293 Symbolism, 218 in Buddha images, 157 in Chinese art, 85 in Mesopotamian art, 77 in Navajo sand paintings, 125 in Northern Renaissance art, 218 Symbols, 71, 94 Symmetry balance, 21 positive and negative design, 110–111

INDEX

T Tagore, Rubindranath, 153 Tahitian Landscape, 262–264, Fig. 15–15 Tailfeathers, Gerald, 127 Procession of the Holy Woman, Blood Dance, 127, Fig. 8–18 Taj Mahal, 20, 21, Fig. 2–9 Tamayo, Rufino, Animals, 48, Fig. 4–2 Tanner, Henry O., 269 The Seine, 269, Fig. 15–22

382

Index

Tapestries, 194–195, 206 Technique tips, 314–324 drawing, 314–316 contour drawing, 314 gesture drawings, 314 grid for enlarging, 314–315 oil pastels, 314 shading techniques, 315 sighting techniques, 315 thin lines with a brush, 314 using a viewing frame, 316 mats, making, 322–323 measuring rectangles, 321 mounting two-dimensional works, 323 painting, 316–318 cleaning a paintbrush, 316–317 making natural earth pigments, 317 mixing paint to change value of color, 317 working with tempera, 318 working with watercolors, 318 printmaking, 318 rubbings, 323 scoring paper, 323–324 sculpting, 318–319 clay mold for plaster relief, 319 joining clay, 318–319 mixing plaster, 319 paper sculpture, 321 papier-mâché, 320–321 working with clay, 318 tissue paper collage, 324 Technology computer animation, 310 digital art, 34–37 electronic, 34 Tempera, 32, 318 Temple of Ramses II, 69, 70, Fig. 5–10 Temples ancient Egyptian, 69, 70, Fig. 5–10 Buddhist, 88, Figs. 6–8, 6–9 Hindu cave, 155–156, Fig. 10–4 Japanese, 88, Figs. 6–8, 6–9 Mesopotamian, 77, Fig. 5–19 pagodas, 88, 89, Fig. 6–9 Pantheon, 142, 143, Fig. 9–11 Tenochtitlán, 102–103 Teotihuacán art, 101 architecture, 101, Fig. 5–21 painting, 101, Fig. 7–4 Textile Fragment (Peru), 110, Fig. 7–19 Texture, 17, 19, 36, 37, 42, 43, 56, 57, 67, 123, 176, 177, 182, 183, 204, 205, 222–223, 240, 241, 252, 253, 258, 259, 280, 281 That Gentleman, 32, Fig. 3–5 Themes environmental, 90, 113, 115, 117, 301 political, 6, 115, 141, 225, 239, 248–249, 284, 290, 295, 301, 311

social, 6, 62–65, 77, 102, 107, 113, 115, 136, 141, 157, 160, 169, 173, 175, 178–181, 185, 186, 188–189, 194–197, 201, 207, 223, 225, 239, 240–241, 284, 290, 295, 301, 311 “Thirteen Million Unemployed Fill the Cities in the Early Thirties,” San Francisco, 6, 7, Fig. 1–4 Three Apostles, 38, 39, Fig. 3–12 Three-dimensional (3-D) art. See also Crafts; Sculpture(s) graphics software for, 330 Japanese gardens, 96 Mochican pottery, 107, Fig. 7–14 modeling, 35 Tiahuanaco art, 108 architecture, 108, Fig. 7–15 crafts, 108, Fig. 7–16 and culture, 108 Tide of Time, The, 36, Fig. 3–10 Tiffany studios, Daffodil leaded glass and gilt bronze lamp, 41, Fig. 3–18 Time Art Scene African art, 190 Anguhadluq, Luke, 132 computer animations, 310 Egyptian tombs, 80 Giotto (di Bondone), 208 Kahlo, Frida, 10 landscape art, 96 Modern Art, 300 Morisot, Berthe, 272 Olmec artists, 114 persian architectural scroll, 168 Picasso, Pablo, 58 Puryear, Martin, 26 Renaissance portraits, 226 Saar, Betye, 44 Vermeer, Jan, 244 woman artists in ancient Greece, 150 Time to Connect, 10, 26, 44, 58, 80, 96, 114, 132, 150, 168, 190, 208, 226, 244, 272, 300, 310 Todai-Ji Temple (Japan), 88, Fig. 6–8 Tombs ancient Egyptian, 70, 80 Chinese, 84–85 Mochican, 107 pyramids, 69, Fig. 5–9 sculptures in, 70 Toorop, Jan, 300 Totem Pole (Alaska), 119, Fig. 8–4 Tower of Trajan, 146 Tree Carpet, 162, 163, Fig. 10–13 Triumphal arches, 144 Turner, Joseph M. W., 251 The Dogana and Santa Maria della Salute, Venice, 250, 251, Fig. 15–4 20th century art in America, 282–285, 294–297 artistic freedom in, 299

U Ukiyo-e style, 90–93, Fig. 6–12 Unicorn Leaps Across a Stream, The, 207, Fig. 12–19 Unity, 20, 23, 25, 43, 177, 281 Untitled (Puryear), 26 Untitled (Violet, Black, Orange, Yellow on White and Red), 299, Fig. 16–34 Utamaro, Kitagawa, Reflected Beauty, 90–92, Fig. 6–12 V Value, 15, 110, 111, 216, 217, 234, 235, 252, 253, 292, 293 van Bruggen, Coosje, 305 Typewriter Eraser, Scale X, 305 van der Weyden, Rogier, 220–221 Portrait of a Lady, 220, Fig. 13–12 van Eyck, Jan, 219 The Annunciation, 219, Fig. 13–11 Giovanni Arnolfini and His Bride, 222, Fig. 13–14 van Gogh, Vincent, 29, 261, 300 Cypresses, 261, Fig. 15–14 Le Père Tanguy, 300 Self-Portrait in Front of the Easel, 28, 29, Fig. 3–1 Variety, 22, 24, 42, 43, 56, 57, 67, 158, 159, 264, 265 Vase(s) paintings, 138, 140–141, Figs. 9–6, 9–8 pair of, 85, Fig. 6–4 studio activities vase painting, 140–141 vase-shape cutout, 139 Vase-shape cutout (studio activity), 139 Velázquez, Diego, 231 The Count-Duke of Olivares on Horseback, 231, Fig. 14–4 Ventriloquist and Crier in the Moor, 289, Fig. 16–20 Vermeer, Jan, 244 Woman with a Balance, 244 Vessels Chinese, 75, Fig. 5–16 decorative clay vessels, 104–105, Fig. 7–9 duck, 104, Fig. 7–9 stirrup-spout, 106, 107, Figs. 7–12, 7–14

Victory arch (designing), 145 Video art, 306, Fig. 17–1 Viewing frame techniques, 316 View of Bordighera, 254, 255, Fig. 15–7 Vigée-Lebrun, Marie-Louise-Élisabeth, 238 Self-Portrait, 238, Fig. 14–13 Visual Art Journal, 19, 25, 43, 53, 73, 87, 93, 111, 123, 141, 147, 159, 177, 199, 217, 235, 253, 265, 281, 287, 309 W Waiting for Dancing Partners, 126, Fig. 8–16 Walled City of Carassone (France), 195, Fig. 12–3 Wallick, Phillip, The Tide of Time, 36, Fig. 3–10 Wari-Tiahuanaco, Peru Hat, 108, Fig. 7–16 Washington Arch, Spring, 46, 47, Fig. 4–1 Water-based markers, 87 Watercolors, 32 solvent for, 31 technique tips, 318 Water of the Flowery Mill, 294, 295, Fig. 16–27 Watteau, Antoine, 237 La Partie Quarrée, 237, Fig. 14–12 Waves at Matsushima, 90, Fig. 6–11 Weaving, 41 African, 189, Fig. 11–24 hat, 108, Fig. 7–16 in New Stone Age, 64 studio lesson, 122–123 Web designer, 337 Web Museum Activities Albright-Knox Art Gallery, 45 Art Institute of Chicago, 273 British Museum, 151 Dallas Museum of Art, 311 Egyptian Museum, 81 Joslyn Art Museum, 11 The Louvre, 245 Metropolitan Museum of Art, 59 Minneapolis Museum of Arts, 133 National Gallery of Art, 227 National Museum of African Art, 191 National Palace Museum, 97 Norton Simon Museum, 27 San Antonio Museum of Art, 115 San Francisco Museum of Modern Art, 301 Seattle Art Museum, 169 State Hermitage Museum, 209 Wedding Dance, The, 49, 50, 51, Fig. 4–4 Weems, Parson, 284 White Vertical Water, 297, Fig. 16–33

Wholeness, sense of, 23 Wilde, Oscar, 229 Williams, William Carlos, 298 Woman and a Girl Driving, A, 266, 267, Fig. 15–18 Woman with a Balance, 244 Women artists in ancient Greece, 150 in 19th century, 272 Wood, Grant, 284 Parson Weems’ Fable, 284, Fig. 16–13 Woodblock printing Japanese, 90–93, Fig. 6–11 Woodlands Indian art, 121, Fig. 8–9 Writing connections, 242–243, 298–299. See also Language arts connections Wyeth, Andrew That Gentleman, 32, Fig. 3–5 Y Yamato-e style, 89–90 Yin Hong, Birds and Flowers of Early Spring, 83 Y No Hay Remedio (And There’s Nothing to Be Done), 239, Fig. 14–15 Young Woman in Mythological Guise, 226 Z Zen dry rock gardens, 96 Ziggurat at Ur, 76, 77, Fig. 5–18 Zorn, Anders, 300

INDEX

in Europe, 276–279, 288–291 innovations in, 298 sculpture, 290–291 Two Dancers Entering the Stage, 270, Fig. 15–23 Typewriter Eraser, Scale X, 305, Fig. 17–4

Index

383

Credits Cover Art David, Jacques Louis (1748–1825). Bonaparte Crossing the Great Saint Bernard Pass, 1801. Oil on canvas, 260
221 cm. Inv. 49.7.11 Chateaux de Malmaison et Bois-Preau, Rueil-Malmaison, France. Cover Photography Credit Erich Lessing/Art Resource, NY. Photography Credits Archivo Iconografico, S.A./Corbis 89l, 201r; Asian Art & Archaeology, Inc./Corbis 40b; Baldev/Corbis Sygma 155; Bill Ballenberg/National Geographic Society 107t; Paul Barton/Corbis 8; Bettmann/Corbis 206; Jan Butchofsky-Houser/Corbis 102b; Christie's Images/Corbis 41r; Don Cole/UCLA Fowler Museum 189; Corbis 89r, 112, 130l, 130r, 131; Gianni Dagli Orti/Corbis 137b, 149; Digital Images/Getty Images 337r; Tim Fuller Photography. Tucson, AZ 332t, 331l, 333r, 334l, 335b, 336l, 337l; Robert Holmes/Corbis 336r; Wolfgang Kaehler/Corbis 185r; Robert Landau/Corbis 40t; Danny Lehman/Corbis 100, 125; Alan Levenson/Getty Images 334t; Robert Llewellyn/Image State 334r; MPTV Archives. Los Angeles, CA 35; Michael Newman/Photo Edit 325, 326, 331; Richard T.Nowitz/Corbis 305; Charles O'rear/Corbis 137t; Roger Ressmeyer/Corbis 64b; Fulvio Roiter/Corbis 79; Hugh Rooney; Eye Ubiquitous/Corbis 144t, 237t; Galen Rowell/Corbis 20; Sakamoto Photo Research Laboratory/Corbis 88r; Tom Stewart/Corbis 9, 332b; Philip Wallick/Corbis 36; Lee White Photography. Los Angeles, CA 327 and all Student Art; Wolfgang Kaehler/Corbis 60; Michael S.Yamashita/Corbis 76.

384

Credits