principles of design some. week of march 18-29, 2013 two week lesson i can: understand the...

Principles of Design

Some

Week of March 18-29, 2013Two Week lesson

I Can:Understand the Principles of

Design in ART!!!!

PRINCIPLES OF DESIGN

REPETITION VARIATIONCONTRASTBALANCE – symmetry/asymmetryEMPHASIS - accentECONOMY PROPORTION SCALE

Some

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Repetition in ArtCreates visual rhythm

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and patterns

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Andy Warhol, Orange Disaster

No. 5, 1963

Eadweard Muybridge, photographer

Some repetition in music

PHILIP GLASS

EINSTEIN ON THE BEACH

(an opera)

Monet Poplars . . .

Monet Poplars . . .

Monet Poplars . . .

Charles Demuth, The Figure 5 in Gold, 1928

Cimabue, Madonna

Enthroned, 1280-90

TEXTBOOK p. 185

VARIATION:the alliance between repetition and surprise

The extensive poem, moreover, satisfies another two-fold requirement, one that is closely related to the rule of variety within unity: repetition and surprise. Repetition is a cardinal principal in poetry. Meter and its accents, rhyme, the epithets in Homer and other poets, phrases and incidents that recur like musical motifs and serve as signs to emphasize continuity. At the other extreme are breaks, changes, inventions - in a word, the unexpected. What we call development is merely the alliance between repetition and surprise, recurrence and invention, continuity and interruption.

Octavio Paz, “Telling and Singing” in The Other Voice

dancers

CAILLEBOTTE, GustaveParis: A Rainy D ay, 1877, Oil on canvas, 83 1/2 x 108 3/4"

CONTRAST

Night Attack on the Sanjo Palace (detail)Japan, Kamakura period, second half of the 13th CenturyHandscroll; ink and color on paper

16 1/4 x 275 1/2 in.

David Hockney, Portrait of an Artist (Pool with Two Figures), 1971

Contrasts & Oppositions in Hockney’s Portrait of an Artist

• Diagonal/horizontal• Straight/curved lines• Air/water/Earth fire?• Natural/artificial• Clothed/(nearly) naked• Tint/shade

(light/shadow)• colors

What is the psychological relationship between the two men? Which of them is the “artist” in the title? Is it two

sides of one person, the “artist”?

Degas Waiting

Contrasts in Degas’s Waiting (1882, pastel)

WHITE – BLACK

COLOR – NO COLOR

OPEN – CLOSED

YOUNG – OLD

PERFORMER – SUPPORTER

BUSY – EMPTY

INWARD GAZE – OUTWARD GAZE

TWO GIRLS FISHINGJohn Singer Sargent, 1912 (American, b.1856, d.1925) 22 x 28 1/4 in. (55.9 x 71.8 cm) 

organizational contrast – just variation?

organizational contrast

A and Not A

EMOTIONAL CONTRAST

A in tension with Not AA in conflict and struggle with Not AA completed by Not AA united with Not AA in harmony with Not A

Rogier van der WeydenNetherlandish, 1399/1400 - 1464Portrait of a Lady, c. 1460oil on panel, painted surface: 34 x 25.5 cm (13 3/8 x 10 1/16 in.) panel: 37 x 27 cm (14 1/16 x 10 5/8 in.)

Broad, plain areas contrast with tangle of fingers

Winslow HomerAmerican, 1836 - 1910Right and Left, 1909oil on canvas, 71.8 x 122.9 cm (28 1/4 x 48 3/8 in.)

James McNeill WhistlerAmerican, 1834 - 1903Symphony in White, No. 1: The White Girl 1862oil on canvas, 213 x 107.9 cm (83 7/8 x 42 1/2 in.)

White-on-white,but what animal nature lurks?

John Singer SargentAmerican, 1856 - 1925Nonchaloir (Repose), 1911oil on canvas, 63.8 x 76.2 cm (25 1/8 x 30 in.)

Appropriate clothes?

Gilbert StuartAmerican, 1755 - 1828The Skater (Portrait of William Grant), 1782oil on canvas, 245.5 x 147.4 cm (96 1/4 x 58 in.)

Stately, stable figure – on skates!

BALANCE

symmetry

E Q U I L I B R I U M

Shiva, bronze temple sculpture, Chola Era (9th-13th C.), South India

DurerDancing Peasants1514

Master of the Saint Lucy LegendBruges, active c. 1480 - c. 1510Mary, Queen of Heaven, c. 1485/1500oil on panel, painted surface: 199.2 x 161.8 cm (78 7/16 x 63 3/4 in.)

Frida Kahlo, The Two Fridas, 1939

Alfred Sisley, The Chemin de By through Woods at Roches-Courtaut, St. Martin's Summer, 1880

Assymetical balance?

Assymetical balance?

H. H. Richardson 1880-1883Crane Memorial Public LibraryQuincy, Massachusetts

EMPHASIS

accent

David Hockney, Portrait of an Artist (Pool with Two Figures), 1971

Andy Warhol, Orange Disaster

No. 5, 1963

not a good example of EMPHASIS

PROPORTION

PROPORTION

PROPORTION

Leonardo: The Last Supper, 1498

Diego Rivera, The Flower Carrier, 1935, 48x48 in.

Joseph Mallord William TurnerBritish, 1775–1851. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840

Oil on canvas, 35 3/4 x 48 1/4 in.

Shahn, Ben, Vacant Lot, 1939Watercolor and gouache on paper mounted on plywood panel, 19 x 23 in

Carlo CrivelliVenetian, c. 1430/1435 - 1495Madonna and Child Enthroned with Donor, 1470tempera on panel, painted surface: 125.3 x 50.7 cm (49 5/16 x 19 15/16 in.) including unpainted margins: 129.5 x 54.4 cm (51 x 21 7/16 in.)

donor

SCALE

SCALE - the size of a work compared to the environment: miniature, human, monumental. The term can also apply to musical works, although it has an entirely different meaning than “musical scale.” (“A symphony is a large-scale musical work when compared to a song.”)

Claes Oldenburg, Knife Ship I, 1985

Vinyl-covered wood, steel, and aluminum with motors, dimensions variable, maximum height 31 feet 8 inches x 40 feet 5 inches x 31 feet 6 inches.

Miniature

Leaf from Futuh al-Haramain (Description of the Two Holy Cities of Mecca and Medina), mid-16th century; Ottoman, 8x5 in.

a bit bigger . . .

Some examples of time scales in music

Less than a minute - Miniatures – Chopin, Webern, Schoenberg

Pop songs – 3-6 minutes

Early symphonies – 25-35 minutes

Later symphonies – 45 min - 1 hr

Longest – Mahler – 1 ½ hrs

Short opera – 2 hours

Average opera – 3-4 hours (including intermissions)

Long opera – 5 hours

Longest traditional opera – Wagner’s RING – 18 hours

Robert Motherwell, Elegy for the Spanish Revolution No. 34, 1953-54

Georgia O’Keefe on scale & flowers:

Nobody sees a flower—really—it is so small—we haven’t time—and to see it takes time, like to have a friend takes time. . . . So I said to myself—I’ll paint what I see—what the flower is to me—but I’ll paint it big. . . . I will make even busy New Yorkers take time to see what I see of flowers.

Geogia O'KeeffeAmerican, 1887–1986, White Rose with Larkspur, No. 2, 1927, Oil on canvas;

40 x 30 in.

Geogia O'KeeffeJimson Weed 70x84 in

Scale has to do with the size of the work itself

PRINCIPLES OF DESIGN

REPETITION VARIATIONCONTRASTBALANCE – symmetry/asymmetryEMPHASIS - accentECONOMY PROPORTION SCALE

Some