Form & Idea

Key terms from text:

Aesthetics: branch of philosophy that deals with the nature, beauty and meaning of art, and our response to it Megalith: a large, massive stone Genre: art that depicts casual moments of everyday life and its surroundings Vanitas: (vanity) eeting nature of earthly life

Constantin Brancusi. Bird in Space, 1928-30. Gelatin Silver Print.

LivingwithArt:Abstrac1on
It allows for universal ideas. It gives the essence or pure form of a concept like: birth, kiss, ight, dream.

LivingwithArt:Abstrac1on
Brancusis studio, as reconstructed 1977-90

TheImpulseforArt
Frank Lloyd Wright, Fallingwater, 1936 Bear Run, PA.

TheImpulseforArt Stemmed Vessel, Chinese,

Neolithic period c. 2000 B.C.E. Black pottery.

TheImpulseforArt
Chauvet cave, Lion panel, c. 25,000-17,000 B.C.E.

Chauvet Cave Drawn by the Discovers

Chauvet. Aurochs and Rhinoceroses: To the left of Panel of the Horses. ca. 30,000 B.C.E.

Chauvet Cave, France. Horse and Two Superimposed Mammoths. ca. 30,000 B.C.E. Material: engraving

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Lascaux, Dordogne, France. Chinese Horse, detail of mural from Lascaux. ca. 15,000-13,000 B.C.E. paint on limestone

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Flying Horse, 2nd Cent. C.E., Chinese, Han Dynasty bronze sculpture.

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Spotted horses and negative hand prints; mural painting on limestone formation from the cave at Pech-Merle, FR ca. 16,000-13,000 B.C.E.

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TheImpulseforArt
Megalith: Massive stones
Stonehenge, ca. 2,800-1,550 B.C.E., Salisbury Plain, England; concentric circles of megaliths

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Stonehenge Salisbury Plain, England. Pointer stone. Photo: Catherine Weed Barnes Ward, ca. 1892. Negative, Gelatin on glass.

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Stonehenge, Salisbury Plain, England. Neolithic style period: 2800-1550 B.C.E. Photo courtesy Susan Pierce.

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Stonehenge, Salisbury Plain, England. Image courtesy Magnum Photos, 2004.

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Stonehenge, Salisbury Plain, England. Image courtesy Magnum Photos, 2004.

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WhatDoAr1stsDo?
The Need for Art:
To create places for human purpose To create extra-ordinary versions of ordinary objects To record and commemorate To give tangible form to the unknown To give tangible form to feelings and ideas To refresh our vision and see the world in a new way
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WhatDoAr1stsDo?
Maya Lin, Vietnam Veterans Memorial, 1982. Washington, D.C.

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Asante. Kente cloth. Ghana, mid-20th century.

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Manohar, Jahangir Receives a Cup from Khusrau, 1605-06. Opaque watercolor on paper.

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Shiva Nataraja. Made by an anonymous artist. India, 10th century C.E. Bronze Statuette.

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Vincent van Gogh. Starry Night, 1889. Oil on canvas.

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Ernst Haas, Peeling Paint on Iron Bench, Kyoto. 1981.

rtists Do?

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Traits which lend themselves to artistic Crea1ng&Crea1vity production:

1.Sensitivity: heightened awareness 2.Flexibility: adapt to new possibilities 3.Originality: problem solve creatively 4.Playfulness: humor & experimentation 5.Productivity: ability to generate ideas 6.Fluency: free ow of ideas 7.Analytical skill: exploring problems and nding how things work 8.Organizational skill: putting things together in a coherent order

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Tim Hawkinson, Emoter, 2002. Mixed media.

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Juan de Valds Leal, Vanitas, 1660. Oil on canvas.

Audrey Flack, Wheel of Fortune (Vanitas), 1977-78. Oil over acrylic on canvas.

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ChapterOne

LivingwithArt Key terms from the text:

Aesthetics: branch of philosophy that deals with the nature, beauty and meaning of art, and our response to it Megalith: a large, massive stone Genre: art that depicts casual moments of everyday life and its surroundings Vanitas: (vanity) eeting nature of earthly life

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Key Terms
Outsider/Folk Art: Artwork by nonprofessionals Representational (Naturalistic, trompe loeil) Abstracted (Stylized) Nonrepresentational/Nonobjective or ABSTRACT Form: Media, Style, Composition Content: Subject matter, Message, Iconography Context: Knowledge of artist, time & culture Aesthetics: Philosophy of meaning & nature of art Installation: Work created for a specic space
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Andy Warhol. Thirty Are Better than One, 1936. silkscreen ink, acrylic paint on canvas.

Leonardo da Vinci. Mona Lisa, c. 1503-05. oil on canvas. Louvre Museum.

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Andrea del Verrocchio. David, Dasavanta, Shravana, and Madhava Khurd 1465. Bronze with gold details. (attr.), Badiuzzaman Fights Iraj to a Draw, 1567-72. opaque watercolor on cotton.

2010, The McGraw-Hill Companies, Inc. All Rights Reserved.

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Hampton, Throne of the Third Heaven of the Nations Millenium General Assembly, 1950-64. gold and silver aluminum foil, colored kraft paper and plastic sheets over wood, paperboard, and glass.

Claude Monet. Fishermans Cottage on the Cliffs at Varengeville, 1882. oil on canvas.

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Aesthetics: A philosophy of the nature and meaning of beauty, as it pertains to art

Edward Weston, Cabbage Leaf, 1931. Gelatin silver print.

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Art and Beauty

Aesthetics: A philosophy of the nature and meaning of beauty, as it pertains to art

Figure 2.10 Bellini, Pieta, c. 1500-05.

Figure 2.11 Goya, Chronos Devouring One of His Children, 1820-22.

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Art and Appearances

Representational and Abstracted
Representational (Realism, naturalistic): Resembles forms in the natural world; window on the world
Pablo Picasso, First Communion, 1895-96. oil on canvas. Pablo Picasso, Les Demoiselles dAvignon, 1907. oil on canvas.

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Art and Appearances

Representational and Abstract
Abstract: Distorts, exaggerates, or simplies the natural world to provide essence or universality
Louise Bourgeois, Woman with Packages, 1949. wood, paint, nails (mixed media) Duane Hanson, Housepainter III, 1984/1988. mixed media (latex)

2010, The McGraw-Hill Companies, Inc. All Rights Reserved.

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Art and Appearances

Representational and Abstract
Head of a King, from Ife, Yoruba, c. 13th century. Bronze casting. Seated Couple, Dogon. Wood carving.

2010, The McGraw-Hill Companies, Inc. All Rights Reserved.

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Art and Appearances

Stylized
Detail, tomb of Sety I, c. 1300 B.C.E. painted relief carving.

2010, The McGraw-Hill Companies, Inc. All Rights Reserved.

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Art and Appearances

Nonrepresentational or Abstract
Nonrepresentational (Nonobjective): Contains no reference to the natural world as we see it
Kandinsky, Swinging, 1925.

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Style
Figure 2.23 Susan Rothenberg, Figure 2.21 Utamaro, Figure 2.22 Degas, Nude Woman Hairdressing, 1798-99. Having her Hair Combed, c. 1886-88. Maggies Ponytail, 1993-4.

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Form and Content

Matisse, Music Lesson, 1917. oil on canvas.

Form: The way a work looks, including: Media: materials used Style: constant, recurring or coherent traits Composition: the organization of design elements & principles

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Form and Content

Matisse, Music Lesson, 1917. oil on canvas.

Content: What the work says, including: Subject matter (general) Message (more specic) Iconography (on next slide)

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Form and Content

Jan van Eyck, Betrothal of the Arnolni, 1434. oil on canvas.

Iconography (the story including symbols or references, people, events, etc.) requires knowledge of a specic time, beliefs or culture.

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Art and Objects

Aesthetics: nature and meaning of beauty & art
Navajo man creating a sand painting. 1939.

Context: knowledge of the artist and his/her audience

Olmec, Standing gure holding supernatural efgy, 800-500 B.C.E. Jade.

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Art and Objects

Installa1on:a space presented as a work of art to be entered, explored, experienced, and reected upon
Ann Hamilton, Mantle, 1998. Installation at Miami Art Museum.

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Review
Outsider/Folk Art: Artwork by nonprofessionals Representational (Naturalistic, trompe loeil) Abstracted (Stylized) Nonrepresentational/Nonobjective (abstract) Form: Media, Style, Composition Content: Subject matter, Message, Iconography Context: Knowledge of artist, time & culture Aesthetics: Philosophy of meaning & nature of art Installation: Work created for a specic space
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