functional line in painting

7/26/2019 Functional Line in Painting

1/116


2/116


3/116

751

BJlf

65-04217

Berkiaan

Tue

functional

line

In

painting


4/116

3

1148

00512

7444

.JI,

and

sweep the deft nuance of the

rn rtnlDlC

rich of texture and the masterful

technllQue

ll

aU

combine to compose

into

a graciously

d e ~ ; 2 I l e d linear poem

on

a theme

of bird

life.

China.

Dynasty 960-1280.

The tradition of the Oriental line established

centu-

ries ago has persisted the

ages

This

painting reveals the masterful of the Chi-

nese artist. How these lines

express

the

superior

knowledge

graciousness

refinement and

del.

icate sensibility which characterize the Oriental cul

ture.

China.

vIars; ene e tion

scroll ink on paper. i\ttributed to Shen Chou 14

2

7-

159

a u 1 L of linear

movements

of varied

strength

.l:....JL, - J:\,.JL;II. lJI,

and

sweep the deft nuance of the

rn rWIDIC

rich of texture

and

the masterful

technllque

aU combine to compose into a graciously

d e ~ ; l g I l e d

l inear poem on

a

theme of bird

life.


46/116

Japan.

Book

illustration,

One

Hundred

Women

in

Japan.

(Moronobu,

162^-94.)

Observe

with what

economy

the

artist

selected

only

those

lines

which

suggest

the

volume

of

the

figures.

This

one

line,

through

its

variations

and

handling,

expresses

form,

texture,

character,

and

placement

all

knit

into a

perfectly

composed spacial

design.

Japan. ook

illustration

ne

undred Women in Japan

Moronobu

1625 94.

Observe with what

economy

the artist selected only those l ines

which

suggest the

volume of the figures.

This one line through

it s

variations

and

handling

expresses

form

texture character

and placement -a ll knit

into a

perfectly composed spacial design.

Japan. ook

illustration

ne

undred Women in Japan

Moronobu

1625 94.

Observe with

what economy the artist

selected only those l ines

which

suggest the

volume

of the figures. This one line through

its

variations

and

handling

expresses

form

texture character

and placement -a ll knit

into a

perfectly composed spacial design.


47/116

Persia.

Manuscript

illustration,

Anushirwan Marries

the

Daugh

ter

of

the

Khaquan

of

China.

(From manuscript

of

Shah-namah

by

Firdausi,

dated

1605-08.)

The

Persian

lines

sweep

in

big

rhythms

throughout

the

picture.

At the

same

time

they

become involved

with the most elaborate

detail

and texture.

The

lines

shape

out

a most

luxuriant

feast

for

the

eyes.

Note

how

they

structure

the

picture

into

a

framework

of

progressively

balanced

rectangles

which,

in

their

own

way,

are

as

pure

as the most modern

functional

design.

Observe

also

how

the

lines

variously express

rocks,

foliage,

grass,

and

sky.

This

pic

ture

must

be

studied

minutely

for

its

subtle delicacies

and

Ori

ental

splendor.

Persia.

illustration et nushirtl an Marries the

teT the China

of

~ \ T i l ( l n T I , U U U J n ,

Firdausi dated 1605-08.

Persian

lines

sweep

in t

picture.

At the same

time become involved

with most elaborate

detail

and texture. lines out

a

most luxuriant

feast

for

the eyes. Note how structure the in to a

framework

of progressively balanced in their

own

way are

as

pure

as tbe

most modern

functional

Observe also

how

the

lines

and This

pic-

turemust and Ori

ental splendor

Persia. illustration et nushirtl an Marries the

teT the China of 3nlan nl1 ml1ln

Firdausi dated 1605-08.

Persian

lines

sweepin t

picture.

At

the same time become involved

with most

elaborate

detail

and

texture. lines out

a

most luxuriant

feast

for

the eyes. Note

how structure the

in to a

framework

of progressively balanced in their own way are

as

pure

as tbe

most modern functional Observe also how

the lines and This pic-

turemust

and Ori

ental splendor


48/116

China.

Family

portrait.

(Painting

on silk.

Unidentified

artist,

Ming Dynasty,

1368-1644.)

The

lines

in

this

family

portrait

cut

out flat

planes

for

pattern

design.

These

lines are

controlled

with

masterful

draftsmanship.

China.

amily portrait Painting

on

silk. Unidentified

artist

Ming

Dynasty

1368 1644.

The lines in. this family port ra it cut out

flat

planes.

for pattern

design. These

lines

are controlled with

masterful draftsmanship.

China. amily

portrait Painting

on

silk.

Unidentified artist

Ming Dynasty 1368 1644.

The lines in. this family port ra it cut out

flat

planes. for pattern

design.

These lines are

controlled with

masterful draftsmanship.


49/116

Tibet.

Sand-dui

and

Consort,

Tibetan

painting

was

a

performance

of the most

exacting

reli

gious

ritual,

prayer,

and

ceremony.

The

artists

in

most

cases

were

anonymous

and

of the

priesthood

(lamas).

Upon

completion,

die

picture

(called

a

banner

or

tanka)

went

through

a

process

of

con

secration

through

which

it

assumed the divine essence

of the

deity

it

represented.

It

then

became

endowed

with

magical

pow

ers

for

the salvation

of

the

souls

of

those

who

contemplated

it

devoutly.

The rich

cosmogony

of Buddhistic

theology

is

thus

re

lated

in

these

lines,

which

embody

the

very

spirit

of

Buddhism.

Tibet. and dui and onsort

Tibetan painting was a of the

most

r e l i ~

gious

ritual

prayer

and

ceremony.

The

artists

in

most were

anonymous and

of

the

priesthood

completion

the

a

banner or

went

a process of con

secration which

it

assumed

t he divine essence of the

deity it represented. then became endowed

with m.agical

pow

ers for the salvation

of the

souls

of

those

who

contemplated

it

devoutly.

The rich of Buddhistic theology is

thus

re-

lated .in these lines the very of

J : S u : a C J l u ~ m

Tibet. and dui and onsort

Tibetan

painting was a of the

most

gi U

ritual

prayer

and

ceremony.

The

artists

in

most were

anonymous and of the priesthood completion the

a

banner or

went

a process of con-

secration which

it

assumed

the

divine essence

of the

deity it represented.

then

became

endowed with

m agical

pow-

ers for the salvation of the

souls

of those who contemplated it

devoutly.

The

rich

of Buddhistic theology is thus re

lated in these lines the very of

J S U d d h u ~ m


50/116

THE RHYTHMIC

CONTOUR

AS

WESTERN

ART

EVOLVED THROUGH

THE

CENTURIES

IT

TOOK

ON

MORE

sophisticated

guises

and the

flat

picture

plane

gradually

disappeared.

With

the

emergence

of

three-dimensional

painting

during

the

Renais

sance,

the

line

also

disappeared.

During

these

great

centuries of

art

the

painters

became

involved with

considerations

other than

decora

tion and the

delineation

of

ideas,

for which the line is

a

basic instru

ment.

The Renaissance

artists tried

to

emulate

sculpture.

They

conceived

their

subjects

as

three-dimensional forms

existing

in

space.

They

became

more

and

more

concerned with

the

visual

aspect

of

things.

They gradually

developed

the

concept

of

chiaroscuro

(light

and

shade),

and

painted

their

forms in

light

and dark

masses.

The line

therefore

disappeared

as

a

technical

device

until the

twentieth

century

and

was

henceforth

used

only

for

drawings

and

studies,

and

for the

marking

out

of

preliminary

layouts

for

paintings.

2

TH

RHYTHMI ONTOUR

o s WESTERN RT EVOLVED THROUGH THE ENTURIES IT TOOK ON MORE

sophisticated guises and the flat picture plane gradually disappeared.

With the emergence of three-dimensional painting during the Renais

sance, the line also disappeared.

During

these great centuries of

art

the painters became involved 1vith considerations other than decora

tion and the delineation of ideas, for which the line is

basic instru

ment.

The Renaissance artists tried to emulate sculpture. They conceived

their subjects

as

three-dimensional forms existing in space.

They

became more and more concerned with the visu l spe t of things

They gradually

developed

the

concept

of

chiaroscuro

light

and shade ,

and painted their

fOT ns

in light and dark masses.

The

line therefore

disappeared as a technical device

until

the twentieth century and was

henceforth used only for drawings and studies, and for the marking

out

of

preliminary layouts for paintings.

2

TH RHYTHMI ONTOUR

o s WESTERN RT EVOLVED THROUGH THE ENTURIES IT

TOOK

ON MORE

sophisticated guises and the flat picture plane gradually disappeared.

With the emergence of three-dimensional

painting during

the Renais

sance, the line also disappeared. During these great centuries of

art

the painters became involved 1vith considerations other

than

decora

tion and the delineation of ideas, for which the line is a basic instru

ment.

The Renaissance artists

tried

to emulate sculpture. They conceived

their

subjects

as

three-dimensional forms existing in space.

They

became more and more concerned with the visu l spe t of things

They gradually developed the concept of chiaroscuro light and shade ,

and

painted their fOT ns in

light

and

dark masses.

The

line therefore

disappeared as a technical device until the twentieth century and was

henceforth used only for drawings and studies, and for the

marking

out

of

preliminary layouts for paintings.


51/116

45

THE FUNCTIONAL LINE IN

PAINTING

that

had

a

function

In

its

own domain. It

may

be

said of this

period

that

the line

evaporated

into

the

rhythmic

contour,

the

modulated

edge.

The

line

existed

only

through

implication,

by

the

way

the

con

tour

of

the

form

was

modulated,

and linear

accents

were

implied

by

lost

and

found

rhythms,

as

the

edges

of

the

form

disappeared

into

the

background

and

then

appeared

again

in

rhythmic

accents.

The

modulated

edge

became the

technical

absorption

of

the

great

masters

of

Baroque

painting.

It

sweeps

in

expanding

rhythms

to

en

close

the

grand

styles

of

Rubens,

Rembrandt,

and

the

Baroque

school.

In

the works of

Velazquez

and

Vermeer lost

and found

edges

convey

the

rhythmic

cadence

of

light

and

shade,

to

the

glorification

of

light

and

the visual

experience.

We

must

await

the

advent

of

the

nineteenth

century

for

the line

to

make

a

semblance

of

appearance

again

in

art,

disguised

as

it

may

be in

the

neo-classical

painting

of

Ingres.

In

Ingres*

paintings

the

pure

and

chaste

forms turn

to

a

very

concise

edge,

with the

contour

modu

lated

into as

close

an

approximation

to the linear as

volume

painting

could attain.

But

Ingres

was

indeed

a

linear-conscious

artist. The

im

plied

line

in

his

paintings

chisels

nicely along

the

forms,

and

sweeps

in

broad

rhythmic

accents

which

belie the

cold

and academic

aspect

of

the

modeling.

Ingres'

rendering

of

the

chastely modeled

form

with

a

minimum

of

chiaroscuro,

and

with

an

insistence

upon

a

sweeping

linear

contour,

places

him

directly

as

one

of

the forerunners of

the

neo-classical

school

of

modern

art.

He

was

rooted

in

a

lineage

which

links

directly

with

such

divergent

painters

as

Picasso

and

Stuart

Davis.

4.3

that had

a

function in

that

the

line

The line existed

tour

of the

form

,, as

I.J.A I J lwL

...... .ll.Gllll....... 1

lost

and

found

..h ' r , .+h ,

......... . .

h . . . . i , , . , ~ , ....... T llri and

then

'_ 1o ' )oT O,rt :

The modulated

masters

of

J 4 JU

II I.,P -i .....

l

close the

styles

of .JL - -,

........ -, ......

. l L . J l J . i l . u tA..ll..I. - .

In

the ,vorks of

the cadence

o

and

the visual

exp,erience

,\Ve must

a,vait the

advent of

the

nineteenth

century

for the line

to make a semblance of appearance in art, as it may

be

in

the

neo-classical of In

the

pure

and chaste

fonns

turn to a very

concise

1Nith

the contour modu-

lated into

as

close

an approximation to the linear

as

volume i J Q . J L 4 ..L.L .....Fi,

could attain.

But

Ingres \ laS indeed

a linear-conscious

artist..

The

im

plied

line

in

his chisels the o r s ~

and sl\Teeps

in

broad rhythmic accents

\v hich

belie the cold and academic

of

the

m ) a ~ ~ l 1 1 t 1 g

Ingres

rendering

of

the

chastely

modeled form

lvith

a

minimum

of

chiaroscuro, and

\vith

an

insistence

up,on a

linear

contour,

places him

directly

as one of the forerunners

of

the neo-classical school

of modern

art

He

t\J

1

as rooted in a which links \vith

such

divergent painters as

Picasso

and Stuart Davis

43

THE Ft.::SCT10SAL

L1:SE IS PAI:STI:SG

that

had a

function in

its

own

domain. may

be said

of this period

that the

line evaporated

into

the rhythmic con ou

r

the modulated

edge

The line existed only through

implication.

by the way the con

tour of the form was

modulated

and

linear

accents were

implied

by

lost

and

found

rhythms

as

the

edges

of

the

form disappeared

into

the

background and then appeared

again

in rhythmic accents.

The

modulated edge became the technical absorption of the

great

masters of Baroque

painting. It

sweeps in expanding rhythms to en

close

the grand

styles

of Rubens Rembrandt

and the

Baroque

school.

In

the works of Velazquez and Vermeer lost and found edges

convey

the

rhythmic

cadence of light and shade

to

the glorification of

light

and

the

visual experience.

\Ve must await the

advent

of the nineteenth

century

for the line

to

make a

semblance

of

appearance again

in

art

disguised as it may

be

in

the neo classical painting of

Ingres. In Ingres

paintings the pure

and

chaste forms

turn to a

very

concise edge with

the

contour modu

la ted in to as close an approximation

to

the linear as volume painting

could attain. But Ingres was

indeed

a linear-conscious artist. The im

plied

line in his paintings

chisels

nicely along

the forms

and sweeps

in

broad

rhythmic accents

which

belie the cold

and

academic

aspect

of

the modeling.

Ingres

rendering

of

the

chastely

modeled

form with

a

minimum

of chiaroscuro and

with

an

insistence upon a sweeping linear

contour

places him directly as one of the forerunners of

the

neo classical school

of modern

art.

He

was rooted

in a lineage

which

links

directly with

such divergent

painters as Picasso

and Stuar t

Davis.


52/116

Diego

Rodriguez

de Silva

y Velazquez.

Menippo.

(Oil

on

canvas,

.

1639-40.)

With the

advent

of

naturalism

in

painting,

the

line

finally

dis

appears,

to

be

enveloped

within the

accents

of the

rhythmic

con

tour.

For

example,

observe

how

the

contour

of the

hat

stands

out

in

the

light

and

disappears

in

the shadow.

These

lost

and

found

edges

sweep

in

rhythmic

accents

to enclose

the

grand

style

of

Baroque

painting.

Diego

Rodriguez de

Silva y

Velazquez. enippo

Oil

on canvas,

39-4

With t he advent of

naturalism

in

pa int ing , the l ine

f in lly dis-

appears,

to be enveloped within the

ents

of the

rhythmic on-

tour.

For

example,

observe how the contour the hat

stands out

in the

light

and disappears in

the

shadow. These lost and

ound edges sweep in rhythmic ents to en lose the

grand

style of Baroque painting.

Diego Rodriguez de Silva

y

Velazquez. enippo Oil on canvas,

39-4

With

th e advent of na turalism in painting, the line f in lly dis-

appears, to

be

enveloped within the ents of the rhythmic on-

tour.

For example, observe how the contour the hat stands out

in

the

light

and disappears in

the

shadow. These lost

and

ound edges sweep

in rhythmic

ents to en lose the

grand

style of Baroque

painting.


53/116

Jean Auguste

Dominique

Ingres.

Countess

d'Haussonville.

(Oil

on

canvas,

c.

1842-45.)

The

forms in

this

painting

sharpen

to a

concise

edge,

which

re

veals

Ingres'

awareness

of

linear

rhythms.

Observe

the

chaste

modeling

of

the head

and

arms,

which

design

beautifully

as

vol

umes

(in

direct

contrast

to

the

over-detailed

objects

on the

table).

It

is

the

over-elaborated

details

which

the

academic

followers of

Ingres

Imitated;

but

it is the

chastely

modeled

geometric

forms,

with

their

sweeping, rhythmic,

implied

lines,

that

the

moderns

have so

learned to

admire in

Ingres'

work.

umes

It is

Jean Auguste U,()m:lnlQu.e Ingres. Countess d Hawsonvilie

on

canvas

c

The

forms in this paJtntln2

veals awareness

linear

m ) 1 f ~ l l I J l g of

the

head

and

arms which

direct contrast

to

the

over 'UC:: la. l CU

over elaborated

details which

the

a C c l a ~ m I C

imitated;

but

it

is

the

modeled ge

OIII etrlc

their lines

have

so work

Jean Auguste

Dominique

lngres.

Countess d Haussonville Oi l

on

canvas

1842-45.

T he forms in

this

painting sharpen to a concise edge

which

re

veals

Ingres

awareness

of

linear

rhythms.

Observe the chaste

modeling of the head and

a rm s, w hi ch d esig n

beautifully as vol

u mes in direct contrast to the over-detailed objects

on the

table .

I t

the

over-elaborated details which the academic

followers

of

Ingres

imitated;

but it

is

th e

chastely

modeled geometric

forms

w ith th eir sweeping

rhythmic,

implied lines that the moderns

have so learned to a dm ire in

Ingres

work.


54/116

REMBRANDT'S

LINE

While

Rembrandt's

paintings

reveal

no interest

in

line,

because

the

forms

were

conceived

as

masses

and

were

rendered

in

chiaroscuro,

his

drawings

are

masterpieces

of

linear art. These

drawings,

jotted

down

as notes

and

sketches

for ideas

of

compositions,

have remained

through

the centuries as

demonstrations of

the

workings

of the mind

of

a

great

artist in its

purest

state

of

creativity.

For

each

drawing

is

es

sentially

perfect

in

the

fact

that it is

complete

as

a

composition

and

contains the essential

core

of

a

finished work

of

art. It

is

rendered

with a

freshness,

directness,

and

clarity

of

statement

not

too

often

found

in

many

of the

paintings

attributed to

him.

Rembrandt's

drawings

warrant close

examination

and

study,

for

they

are

rich with

the

fullness of

life.

Their

sketchiness is

deceptive,

and is

due to the fact

that

they

were rendered

with the

easy

virtu

osity

of

a

great

master of

his

craft.

A

close

study

of

almost

any

line

in

any

of

the hundreds

of

drawings

that

he

left

for

posterity

holds

one

captive

with

the

richness

of its

content,

its

flow,

and the

rhythmic

sweep

of

its rendition.

Let

us

for

a

moment

examine

the

drawing

reproduced

on

page

50.

Observe

the

big

sweeping

lines

with

which

Rembrandt

structured

the

space

of the

composition,

and

the

abstracted

lines which

capture

the

fragile

character

of

the

trees on

the

left

in

contrast

to the

weighty

stone

building,

whose

arch flows

upward,

framing

the

doorway

and

the

stone

steps.

How

magical

is the

expressiveness

of

these

lines,

enclosing

space.

Then we

come to

the

figures,

and

study

the

boy.

His

posture

is

one

of

departure,

with

each

line

expressing

the

fact that

he

is

turning

back

for

a

final

blessing

before

setting

out

upon

his

journey.

We

then

observe

the gesture of

blessing

in

the

rnarvelously

fore

shortened

hand and

arm

which

reaches

from

the

boy's

head back to

R E MB R N D T S

LINE

\Vhile Rembrandt s

paintings

reveal no interest in line, because

the

forms

v r

conceived

as masses

and

v ere

rendered

in

chiaroscuro,

llis d ral\ring s are masterpieces of linear art. These dra,vings, jotted

down as notes and

sketches for ideas

of

compositions,

have

remained

through the centuries

as demonstrations

of the workings of the mind

of

a

great

artist

in its

purest

state of creativity. For each drawing

is

-

sentially perfect in the

fact that it

is

complete

as a composition

and

contains

the essential core

of a finished work of art. It is

rendered

with a freshness directness, and clarity of s tatement not too often

found

in many of

the paintings

attributed

to

him.

Rembrandt s drawings ,varrant

close

examination and study,

for

they are

rich \vith

the

fullness

of life.

Their

sketchiness is

deceptive,

and is due to the fact that they were

rendered

with

the easy

virtu-

osity

of a great

master of

his

craft.

A close study

of almost

any

line

in

any

of the hundreds

of

drawings that he

left

for

posterity

holds

one captive with

the richness of

its content, its flow and the rhythmic

sweep of its rendition.

Let us

for

a moment examine the drawing reproduced

on

page 50.

Observe

the

big

sweeping lines

with

which

Rembrandt structured

the

space of

the composition,

and

the

abstracted

lines which capture the

fragile

character of the trees on the left

in

contrast

to the weighty stone

building

,vhose arch flo\vs

up\vard,

framing the door1vay and the stone

steps. How magical is the

expressiveness

of these

lines,

enclosing space.

Then

we come to the

figures

and

study

the

boy.

His posture

is one

of departure,

with

each line expressing the fact that he

is

turning back

for a

final blessing

before

setting

out

upon his

journey.

e

then

observe

the

gesture

of

blessing

in

the

marvelously

fore-

shortened hand and arm

which

reaches

from

the b ay s head

back

to

REMBRANDT S

LINE

\Vhile Rembrandt s

paintings

reveal no interest in line, because

the

forms

v r

conceived

as masses

and

v ere

rendered

in

chiaroscuro,

llis dral\ring s

are masterpieces of linear art. These dra,vings,

jotted

down

as notes

and

sketches for ideas

of

compositions,

have

remained

through the centuries as demonstrations of the

workings

of the

mind

of a great art ist

in its

purest

state

of creativity.

For each

drawing

is

-

sentially perfect in the fact that it is complete as a composition and

contains the

essential core

of a finished work of art. It is

rendered

with

a freshness directness,

and

clarity

of s tatement

not too

often

found

in

many

of the paintings

attributed

to him.

Rembrandt s drawings ,varrant

close

examination

and

study,

for

they are rich ,vith the

fullness

of life.

Their

sketchiness is

deceptive,

and is

due

to the fact that

they

were

rendered

with

the easy

virtu-

osity

of

a great master of his

craft.

A close study of almost any line

in any of the

hundreds

of drawings that he

left

for pos ter ity

holds

one

captive

with the richness of

its content,

its

flow and the rhythmic

sweep of its rendition.

Let us for

a

moment examine the drawing

reproduced

on page

50.

Observe

the

big

sweeping lines

with

which

Rembrandt

structured

the

space

of the composition, and the

abstracted

lines which capture the

fragile

character

of

the trees on the left in

contrast

to the weighty stone

building

,vhose arch flo\vs

up\vard,

framing the door1vay and the stone

steps.

How magical

is the

expressiveness of these lines, enclosing

space.

Then we come to

the

figures and study the boy. His posture is

one

of departure, with each line expressing the

fact

tha t he is

turning back

for a

final blessing before setting

out

upon his

journey.

e

then

observe

the

gesture

of

blessing

in

the

marvelously

fore-

shortened hand and

arm

which

reaches

from the b ay s

head

back to


55/116

49

THE

FUNCTIONAL

LINE IN FAINTING

upon

his

feet;

and

yet

with

what

solid

dignity

does

this

old

patriarch

stand

Finally

we

come

to

the

woman

with

her

gesture

of

weeping,

where

the

lines

express

the

essence

of

her

subtle and

transitional

movement,

the

material

of

her

vestments,

and

the

depth

of

her

grief.

This

drawing

is

profound

as

a

psychological

presentation

of

hu

man

drama

caught

at

its

most

climactic

moment,

and

composed

in such

a

way

that it

sustains

In

its

summations the

full

import

of

the

event.

Our effort here is

to

highlight

some of

its

wonders.

But

words

at

best

can

only

point

a

way,

and

I

would

now

leave the

reader alone so

that

he

may

study

this

drawing

at

his own

convenience,

and

discover

for

himself the

rhythm,

movement, accent,

and

character

of these beauti

fully

expressive

lines.

Fl.::SCTIONAL

upon

his feet;

and yet

stand

conle

the

\V )nlan

the

l ines express

the essence her

the mater ia l of her

vestments,

and

the

This is

as

a of

nlan drama at

its

climactic

in

such

a ,ray that

it sustains in

it s summations the the

event.

U

effort here

is

to

some its

\\ onders. But

l\ ords at

best

can

a

lvay, and

I nOlV' leave

the

reader alone

so that

he may

this at his o w n convenience,

and discover

himself

the movement,

accent, and

character of

these beauti-

expressive

lines.

Fl.::SCTIONAL

upon

his feet;

and yet

stand

conle the

\ l n l an

the l ines express the

essence

her

the material of her

vestments,

and

the

This is

as

a

of

nlan drama at

its

climactic

in

such

a ray that it sustains

in

it s

summations the the event.

U

effort here is to some

it s

\\ onders. But

l\ ords

at best

can

a

lvay

and I

lVQuld

nOlV' leave the reader alone

so

that

he may this

at his o w n convenience,

and discover

for

himself

the movement,

accent, and

character of these beauti-

expressive

lines.


56/116

Rembrandt.

Drawing.

Rembrandt's

lines

penetrate

deeply

into

psychological

motiva

tion. In

bold,

deft

strokes

they

define the

significant gesture,

character, volume,

and

rhythm

of form. The lines also construct

into

a

beautifully

balanced

composition,

very

much

like a

stage

set.

This

type

of

pictorial

design

reflects

the humanistic-scientific

insistence

upon

a

reconstruction of visual

reality

based

upon

the

perspective

principle.

By way

of

contrast,

it

may

be

well to

com

pare

this

with

the Oriental

principle

of

designing

the

forms

upon

the

flat format of

the

picture

plane.

These

two

approaches

to

spacial design gauge

the

differences

between

the

Eastern and the

Western

philosophies

of

picture-making.

Rembrandt. rawing

Rembrandt s

lines penetrate

deeply

into

psychological motiva-

tion. In bold deft strokes they define th e significant gesture

character volume

and

r hy th m of form. The lines also construct

into

a beautifully

balanced

composition very

much

like a stage

set. This type

of

pictorial design reflects th e humanistic scientific

insistence upon a

reconstruction

of visual

reality

based

upon

the

perspective principle. way of contrast it ma y be well to com-

pare

this

w it h t he O ri en ta l p ri nc ip le o f

designing

th e

forms

upon

the

fiat format

of

th e

picture plane.

These

two approaches to


th e

differences between th e Eastern

and

th e

Western philosophies

of

picture making.

Rembrandt. rawing

Rembrandt s lines penetrate deeply into psychological motiva-

tion. In

bold

deft strokes they define the significant gesture

character volume

and r hy th m of

form. T he lines also

construct

into

a beautifully balanced composition very

much

like a stage

set. This type

of

pictorial design reflects the humanistic scientific

insistence upon a reconstruction of visual reality based upon th e

perspective principle.

way

of

contrast

it

ma y be well to com-

pare

this

with

t he Ori ental pri nciple of

designing

th e

forms

upon

th e

fiat format

of the picture

plane.

These two approaches to


th e

differences

between

th e Eastern

and the

Western philosophies

of

picture making.


57/116

3

THE

BREAK

WITH

THE

PAST

DURING

THE LATTER FART OF THE NINETEENTH

CENTURY

THERE

WAS SHOWN

in

Paris the

exhibition of

Japanese prints

already

mentioned.

In Its

own

quiet

way,

and

certainly

unintentionally,

this

exhibition

shook

the art

world

at

Its

very

roots,

for

It

may

be

said that from that time

the

suspicion

grew

that

the Renaissance

and

Baroque

heritage

may

have

terminated

In

a

blind

alley,

and

that

art

was

ripe

for

new

ad

venture

and

explorations

In

pictorial techniques

and esthetics.

The

earlier

nineteenth-century

painters

attempted

to

Instill

life

Into

art

by

traditional

revivals,

which

they

transformed

to

fit

their

current

needs.

Delacroix,

Courbet,

and

Manet,

for

example,

made

pas

sionate

attempts

to

revive the

techniques,

and

paint

In

the

spirit

of

Rembrandt, Rubens,

Hals,

or

Goya.

These Frenchmen

were

very

talented

and

gifted

artists.

But their

major

contributions

were

mainly

polemical,

a

verbal

shifting

for

position

and

place

upon

the

bandwagon

of

tradition.

Basically

their

art

w

T

as more

traditional

than

revolution

TH

B RE K

W T

TH P ST

DURING THE

LATIER

P ART OF THE N I X T ~ T CE: \TURY THERE WAS SHOWN

in

Paris

the exhibit ion of Japanese prints mentioned.

In

its

o\vn

quiet

,ray, and certainly

this

exhibition shook

the art vlorld at its very roots for

it

may

be

said

that

from that

time

the

suspicion

gre \T that

the

Renaissance and Baroque may

have

te rminated in

a

blind

and

that

art

for ne v ad

venture and explorations in

pictorial

and esthetics.

The earlier nineteenth eentury

painters

attem pted to instill

life

into

art y

traditional revivals,

1vhich they

transformed

to fit

their

current needs Delacroix

Courbet

and Manet for example made pas-

sionate attempts to revive the

te,chniques,

and paint

in

the sp irit of

Rembrandt Rubens

Hals or Coya. These

Frenchmen

were

very

talented and gifted

artists But the ir

major

contributions were

mainly

polemical

a verbal shifting for

position

and place upon

the

band vagon

of tradition.

Basically their art was

more

traditional than revolution-

TH

B RE K

W T TH

P ST

DURING

THE

LATIER

P ART OF THE

N I X T ~ T CE: \TURY THERE

WAS

SHOWN

in Paris

the

exhibition

of Japanese prints

mentioned. In its

o\vn quiet ,ray, and

certainly this

exhibition shook

the

art

vlorld at its very roots

for

it may be said that from that time

the suspicion gre \T that the Renaissance

and

Baroque may

have

terminated in

a

blind

and

that

art

for ne v ad

venture and explorations

in

pictorial and esthetics.

The earlier

nineteenth eentury painters attem pted to instill

life

into

art y

traditional

revivals, 1vhich they

transformed

to fit their

current

needs

Delacroix

Courbet and Manet

for

example made pas-

sionate attempts to revive the te,chniques, and paint in

the spirit of

Rembrandt

Rubens Hals or Coya. These Frenchmen were very

talented

and gifted

artists

But the ir major contr ibutions were

mainly

polemical a verbal shifting for position and place upon the band vagon

of tradition. Basically their art was more tradi tional than revolution-


58/116

THE

FUNCTIONAL

LINE

IN PAINTING

52

of

search

for

validity

and truth

in

art,

which

kept

burning

throughout

the

nineteenth

century.

However,

the

new

techniques

which

were

to

transform

the whole

aspect

of art

into

a

new

philosophical

and

esthetic

exposition

of

experience

were still

to

appear

upon

the

horizon.

It

was

the

Oriental

example which

first

showed

the

way

out

of

the

traditional

impasse.

Thus the

bondage

to the

past

was

broken,

for

there now

appeared upon

the

horizon

new

vistas

of

great

art,

which

existed

beyond

the

boundaries

of the

Renaissance

and

Baroque

do

main.

Japanese

art

had

left

its

imprint

upon

such

divergent

painters

as

Monet,

Degas,

and

Whistler. But these

men were

still

too

steeped

in

the

Western tradition

(Whistler

and

Degas

with

tonality

and

Monet

with

Impressionism)

to

step

outside the

technique

of

mass

painting

into a new

system

of

esthetics and

techniques,

based

upon

the

emanci

pated

use

of

the

expressive

line.

It remained

for

Gauguin,

Van

Gogh,

and Cezanne to

strike

out

upon

the

new

paths

which revived

the

line as

a

functional

element in

painting.

It

is

therefore

with

these men

that

we will

now

deal,

for it

is due

to

their

daring

innovations that the

new

techniques

were

finally

devised

which

established the

language

of

twentieth-century

art

and

transformed

its

entire

facade.

T FUNCTIONAL

LINE

IN PAINT ING

52

of search for

validity

an d tru th

in art, ,v hich

kept burning

throughout

t he n inet eenth century_ Ho,vever, the ne,v techniques ,vhich v

ere

to

transform

the

1\?hole aspect of art into a ne w

philosophical

and esthetic

exposi tion of exper ience

\tere

still to appear

upon

the horizon.

It

vilas

the Oriental

example

\Thich

first

sho,ved

the

,vay

out

of

the

traditional

impasse.

Thus the bondage to the past ,vas broken,

for

there

no appeared upon the horizon

n v

vistas of great art, ,vhich

existed

beyond

the

boundaries of

the Renaissance

and

Baroque do

main. Japanese art

had

left it s imprint

upon

such divergent painters

as Monet,

Degas,

and

Vhistler.

But these men \Tere

still too

steeped

in the esterntradition ( Vhistler and Degas \Tith tonality and Monet

\vith

Impressionism) to step outside the

technique

of

ss

painting

into a new system of

esthetics

and techniques , based upon

the

emanci

pated

use

of the

expressive line.

I t

remained

for

Gauguin, Van

Gogh, and Cezanne

to

strike out

upon the

new paths which

revived

the line as a functional e lement in

painting. I t is therefore with these men that we

will

now deal, for it

is due

to

their daring innovations that the new techn iques

were

finally

devised which established

the

language

of twentieth-century art and

transformed

its

entire f ~ d e

T FUNCTIONAL

L IN E IN PAINTING

52

of

search fo r validity an d tru th

in art,

v hich kept burning

throughout

the

nineteenth century_ Ho\vever, the ne,v techn iques ,vh ich

v ere

to

transform

the

1\?hole aspect of art

into

a ne w philosophical and esthetic

exposition

of

experience

\tere

still to

appear upon the

horizon.

It

vilas

th e Orienta l

example

,vhich

first

sho,ved

the

,vay

out

of

the

traditional

impasse.

Thus the bondage to the past ,vas broken, for

there

no appeared upon

the

horizon

n v

vistas of great art, ,vhich

existed

beyond the boundaries of the Renaissance and Baroque do

main. Japanese art had left

it s

imprint upon

such

divergent painters

as Monet, Degas, and Vhistler.

But

these men ,vere still

too

steeped

in

the estern

tradition ( Vhistler and

Degas

,vith

tonality and Monet

\vith

Impressionism)

to

step

outside th e technique of

ss

painting

into a

new

system of esthetics

and techniques , based upon

the emanci

pated

use

of the

expressive line.

I t remained for Gauguin , Van Gogh, and

Cezanne

to strike out

upon the

new paths which

revived the line as a

functional e lement in

painting.

I t is therefore with these men

that

we will

now

deal, for it

is

due to their

daring

innovations

that

the new techn iques were

finally

devised which established

the language

of twentieth-century

art

and

transformed

its

entire f ~ d e


59/116

GAUGUIN

AND

THE

DECORATIVE

LINE

In

modern

painting

it

was

Gauguin

who

first

reaffirmed

the

prin

ciple

of

the

picture

plane

as a

surface

to

be

respected.

This

fact

is

so

fundamental

that

it

functioned

naturally

and

perhaps

unconsciously

in

art

from the

remote

times

of

prehistory

down

through

the centuries

to

the

quarttrocento

painters

and

Giotto,

until

it became lost

from

sight,

with

the

emergence

of

three-dimensional

painting

and

the

advent

of

realism.

But with

the

principle

of

the

flat

plane

of

the

picture

once

re

established,

Gauguin

advanced

further

by

declaring

that

the funda

mental

nature

of art

demanded

that a

picture

should

also

be

essentially

decorative.

This

meant

not

only

that

the

flat

plane

of the

picture

should

never

be

ignored

or

violated

but also that

the

picture

should

be

designed

as

beautifully

as

possible

for

decoration.

In

search

for

precedent

to

arrive

at

this basic

principle

of

pictorial

design,

Gauguin

circumvented

the

whole

cycle

of

painting

encom

passing

the

Renaissance

and

the

Baroque,

and

tried

to

start

all over

again

with

primitive

painting.

Thus

reoriented,

the

line

is

again

dis

covered as

a

fundamental

pictorial

element

of

prime importance.

The lines

in

Gauguin's

paintings

are

mainly

decorative.

They

cut

out

patterned

shapes

around

the

forms

which

they

delineate.

Their

precedent

may

be

found

in

the

art

of

Giotto

and

the

primitives.

The

decorative

line is

an

essential

attribute

to

mural

decoration,

for it tends

to

negate

the third-dimensional

modeling

of

forms*

which

prevailed

throughout

Western

art,

and

reaffirms the

premise

that

art

must search for

the

beauty

of

design

rather

than

attempt

to

reproduce

nature.

It

also

re-establishes

the

concept

of art as

a

pictorial

language

for

the

expression

of

ideas of

life

and

beauty.

Its

statement

therefore

forms

the roots of

modern

painting,

where the

line

finally

becomes

the

vehicle

for

journeys

into

new fields

of

exploration.

Without

it

much

G

U U I N

~

THE

DECORATI\TE LINE

first reaffirmed

the

r e ~ i P < : : ~ c t 4 e a

This

fact is so

In modern T \ ~ I : I I \ ~ . I r r t

of

the II \ 1IIf t lI 1 1l-JQ;AL

L ~ : s

lines

we ve

into

a

palt1 r aIIla

partmentaHzes

human action

images

of

mystic The

the whole

manly

motivated gesture each

chamber of destiny Thus does

action

and emotion in

a citadel

a boundless and timeless space

~ r Tobey konen

ark

Tobey>s

lines

we ve into

a

palt1 r aIIla

partmentaHzes human action

images

of

mystic The

the

whole

manly motivated gesture each

chamber of destiny Thus does

action and emotion in a citadel

a boundless and timeless space


106/116


107/116

CREDITS

An

Oiran in

night

attire.

Courtesy

the

Metropolitan

Museum

of

Art

A

Lua

Matiriri.

Courtesy

the

American

Museum of

Natural

History

Arunta

tribesmen

making

up

for

Corroberee.

Courtesy

the American

Mu

seum

of

Natural

History

Yukeghir

birch

bark

picture.

Courtesy

the American

Museum

of

Natural

History

Rain

ceremony,

Rmawi

Valley.

Courtesy

the

Frobenius

Institute,

Frank

fort,

Germany

Rain

ceremony,

South

Rhodesia.

Courtesy

the Frobenius

Institute,

Frank

fort,

Germany

Painting,

Motoko

cave.

Courtesy

the Frobenius

Institute,

Frankfort,

Ger

many

Family

tree

of

ancient

Mexicans.

Courtesy

the

American

Museum

of

Natu

RE ITS

n Oiran in night attire Courtesy the ~ u s e u m of

l \rt

A

ua Matiriri Courtesy the American Museum of Natural

J runta tribesmen Corroberee.. the

American ~ u

seum of Natural History

}: ukeghir birch bark Courtesy the American 1\fuseum of

Natural

History

Rain ceremony Rusawi Courtesy the Frobenius Frank

fort Germany

Rain

ceremony South Rhod esia Courtesy

the

robenius Institute Frank.

fort Gennany

ainting

lYfotoko cave

Courtesy the Frobenius Institute Ger

many

amily

tree

of

ancient

i\fexicans

Courtesy

t

American

~ f u s e u m

of

Natu-

RE ITS

n

Oiran in

night

attire

Courtesy

the ~ u s e u m of

l \rt

A

ua

Matiriri Courtesy the American

Museum

of Natural

J runta tribesmen Corroberee..

the

American ~ u

seum of Natural History

}: ukeghir birch

bark Courtesy

the

American 1\fuseum of Natural

History

Rain ceremony Rusawi

Courtesy

the

Frobenius Frank

fort Germany

Rain ceremony South Rhod esia Courtesy the robenius Institute Frank.

fort

Gennany

ainting

lYfotoko cave

Courtesy

the Frobenius Institute Ger

many

amily

tree

of

ancient

i\fexicans

Courtesy

t

American

~ f u s e u m

of

Natu-


108/116

THE

FUNCTIONAL

LINE IN

PAINTING

102

Painting

from

the

facade

of

a

Men's

House,

New

Guinea.

Courtesy

the

American Museum

of

Natural

History

Mural,

Menena's ancient

tomb

at

Thebes.

Courtesy

the

Metropolitan

Mu

seum of

Art

Drawing

of

Osiris. In

the

Brooklyn

Museum Collection

Temple

relief from

Armant. In

the

Brooklyn

Museum

Collection

Egyptian

family

stele.

In

the

Brooklyn

Museum

Collection.

Gathering

of

Philosophers. Courtesy

the

Metropolitan

Museum

of

Art

Marsh Scene

with

Birds.

Courtesy

the

Metropolitan

Museum of

Art

Book

illustration,

One

Hundred

Women

in

Japan,

Courtesy

the

Metropoli

tan

Museum

of

Art

Manuscript

illustration,,

Anushirwan Marries

the

Daughter

of

the

Khaquan

of

China.

Cochran

Collection,

Courtesy

the

Metropolitan

Museum

of

Art

Family

portrait,

China.

Courtesy

the

Metropolitan

Museum

of

Art

Sand-dui

and

Consort.

Courtesy

the

American

Museum

of Natural

History

Menippo

(Velazquez).

The

Prado,

Madrid

Countess

d'Haussoiwille

(Ingres). Courtesy

the

Frick

Collection

Drawing

(Rembrandt).

The British

Museum.

Two

Takitian

Women

(Gauguin).

Courtesy

the

Metropolitan

Museum

of

Art

Madonna

and Child

(Crivelli).

The

Jules

Bache

Collection,

Courtesy

the

-Metropolitan

Museum

of

Art

Birth

of

Venus

(Botticelli).

The

Uffizi

Gallery,

Florence.

Christ

Mocked

(Giotto).

The

Arena

Chapel,

Padua

Nude

(Modigliani).

Courtesy

the

Solomon

R.

Guggenheim

Museum

The

Bedroom

at

Aries

(Van

Gogh).

Courtesy

the

Art

Institute of

Chicago

Bibemus

Quarry

(Cezanne).

Collection

S.

Kramarsky

Mont

Saint

Victoire

(Cezanne).

The

George

W.

Elkins

Collection,

Courtesy

the

Philadelphia

Museum

of

Art

Tunk

Mountain

Series

No.

j

(Marin).

Courtesy

the

Downtown

Gallery

Luneberg

II

(Feininger).

Courtesy

the

Solomon

R.

Guggenheim

Museum

Accordionist

(Picasso).

Courtesy

the

Solomon

R.

Guggenheim

Museum

Woman

with

Mandolin

(Picasso).

Private

collection,

New

York

Three

Dancers

Resting

(Picasso).

Private

collection,

New

York

Mandolin

and

Guitar

(Picasso).

Courtesy

the

Solomon

R.

Guggenheim

Museum

Still

Life:

Le

Jour

(Braque).

Courtesy

the

National

Gallery

of

Art,

Chester

Dale

Collection

THE

F U ~ T I O N L LINE IN P A I ~ T I \ G

102

the

fU ,_ I , ~ I u s e u m Collection

In the :\1

useum Collection

In

the ~ I u s e u m Collection.

the

~ f useum of

-\rt

J.\fa Tsh Scene 11 ith Birds. Courtesy the ~ f t r o p o l i t n l\fuseunl of \ rt

Book

One Hu ndred ll omen in Courtesy

the

:Lvfetropoli

tan

l\v useum

of

~ - \ r t

Ji nllShirwan

Afarries

the the Khaquan

of

China.

Cochran

Courtesy

the ~ f e t r o p o l i t a n

l\tluseum

of

Art

China Courtesy

the

1\Ietropolitan lYluseum of A rt

Sand dui and Consort. Courtesy

the

American 1\fuseum of Natural History

e13.ZQ1Llel: . The Prado rvIadrid

Countess d Haussontn:lle

Ingres . Courtesy

the Frick

Collection

Drazving Rembrandt .

The British

Museum.

Two Tahitian

IVomen

Gauguin . Courtesy

the ~ f t r o p o l i t n Museum of

Art

i \Iadonna and Child Crivelli . The Jules

Bache

Collection, Courtesy

the

Metropolitan ~ { u s e u m of .o\rt

Birth of enus Botticelli . The Uffizi Gallery,

Florence.

Christ Afocked

Giotto .

The Arena Chapel, Padua

.l.Vude A-fodigliani . Courtesy

the

Solomon

R. Guggenheim ~ f u s e u n l

The Bedroom at Aries

Van Gogh . Courtesy

the

Art

Institute of

Chicago

Bibemus Quarry Cezanne . Collection

S

Kramarsky

font

Saint

Victoire Cezanne .

The

George \V. Elkins Collection, Courtesy

the Philadelphia

Museum of

Art

Tunk Mountain Series

1\/0

l\farin . Courtesy the

Downtown

Gallery

Luneberg

II

Feininger . Courtesy

the

Solomon R.

Guggenheim lVIuseunl

Accordionist Picasso . Courtesy

the

Solomon

R. Guggenheim lvluseum

Woman

with

iWandolin

Picasso .

Private

collection,

New

York

Three Dancers

Resting Picasso .

Private

collection,

New

York

l\ fandolin

and

uitar Picasso . Courtesy the Solomon R. Guggenheim

Museum

Still Life:

Le

Jour

Braque . Courtesy the National Gallery of Art, Chester

Dale Collection Loan

THE

F U ~ T I O N L LINE

IN

P A I ~ T I \ G

102

the

the l\le:troIDOntaln J\Iu-

~

useum Collection

In

the

:\1useum Collection

In

the ~ I u s e u m Collection.

the ~ f

useum of

-\rt

J.\fa Tsh Scene 11 ith Birds. Courtesy

the

~ f e t r o p o l i t n l\fuseunl of \ rt

Book One Hundred

ll omen

in Courtesy

the :Lvfetropoli

tan l\v

useum of

~ - \ r t

n1lf l l I t I l 9


109/116

103

Painting

No.

259

(Kandinsky).

Courtesy

the

Solomon

R.

Guggenheim

Museum

Reisse

Skizze

(Klee).

Courtesy

the

Saldenberg

Gallery

No.

12

(Pollock).

Courtesy

the

Sidney

Janls

Gallery

Wounded

Scoter^

No

2

(Graves).

Courtesy

of

the

Cleveland

M

useiim

of

Art,

Gift of

Gamblers

in

Modern

Art

Ikonen

(Tobey).

Courtesy

the

Willard

Gallery,

Lelie

\VittIes

Collection

Essay

(Ernst).

Courtesy

the

Grace

Borgenicht

Gallen

3

CREDiTS

Painting So

:; 59 Kandinsky . Courtesy the Solomon R. Guggenheim

;\Iuseum

Reisse Ski e Klee . Courtesy the Saidenberg Gallery

NO 1:;

Pollock . Courtesy the Sidney

janis

Gallery

Wounded

Scoter So 2 Graves . Courtesy of the Cleveland ;\luseum of Art,

Gift of Gamblers in Modern rt

lkonen Tobey . Courtesy the illard Gallery, Lelie \nttles Collection

ssay Ernst . Courtesy the Grace Borgenicht GalleT


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112/116


113/116


114/116


115/116


116/116

j

j

j

j

functional line in painting

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