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
