Art 211 Art Appreciation
Chapter 5 Evaluating Art
What is a critique? How do you evaluate art?
A critique is an oral or written discussion strategy used to analyze, describe, and interpret works of art.
Four major areas of art criticism: description, analysis, interpretation, and judgment.
Step 1 - Description - DESCRIBE the artwork in terms of its literal content and artistic elements. Describe it as though you are talking to a blind person. Be specific. Tell me what you see.
Design elements should be noted – LINE, TEXTURE, SHAPE, COLOR, VALUE, SPACE, PATTERN
Media, materials or techniques used for expression in the work need to be noted – paint, clay, metal, paper, oil on canvas, watercolor, photography, etc
What is the name of the artist who created the artwork? What are the title, date, and size of the art?
What kind of an artwork is it? What is the subject or theme? Is it a historical event, a portrait, a still life, a landscape, an animal, a medical illustration, architectural, fantasy, political commentary, a religious work etc? What is happening in the art work?
What is the most important idea or experience in this art work? What is the artist trying to say?
List the literal objects in the painting (trees, people, animals, mountains, rivers, etc.). Does the imagery such as the clothing, architecture, describe the time and place? What about the traditions or customs of the day or the type of people portrayed in the art work?
Does the work show emotions? Is it mysterious, tell a story, legend or myth? What is the mood of the artwork? Describe the technical qualities of the work (brushstrokes, controlled, spontaneous, etc). What materials were used (watercolor, clay, oils, etc)? What type of art work is the final product (drawing, painting, print, sculpture, ceramic, textile, collage, illustration, etc.)? How do the materials used convey the ideas or feelings the artist intended?
Descriptive, qualitative words should be used to describe what is going on in the work of art. Words such as explosive, jerky, fluid, massive etc are descriptive words used in observation of art. Description, along with analysis accomplishes several important functions encouraging a complete examination of the art work. Description helps to avoid the viewer’s tendency to jump to conclusions, builds observational skills and helps to establish a consensus for purposes of discussion.
Step 2 - Analysis - ANALYZE the artwork in terms of how the artist used the principles of design to manipulate the content to provoke meaning.
Describe how the work is organized as a complete composition.
Design Principles are noted - Consider the most significant art principles that were used in the artwork. The principles are – BALANCE, CONTRAST, EMPHASIS, HARMONY, VARIETY, UNITY, MOVEMENT, REPETITION/RHYTHM, PROPORTION, DEPTH, and COMPOSITION. Describe how the artist used them to organize the elements.
Identify some of the similarities throughout the work (i.e., repetition). Identify some of the points of emphasis in the work (i.e., specific scene, figure, movement). If the work has subjects or characters, what are the relationships between or among them? Balance – radial, symmetrical or asymmetrical? Lines – curved, straight, diagonal, etc? Shape – organic or inorganic? Are the colors bright, dull, warm, or cool? Do the shapes come forward or recede due to their color? How as the artist used color to create feelings or mood? What is the main color of the art? Are the values dark or light?
How is space achieved – foreground, middle ground, background? Overlapping? Perspective? Texture – implied, real, rough, smooth, soft, etc? Is there movement and how is it achieved? Variety of elements used? Focal point? Eye tracks – what do you see first, then next, etc?
Analysis is a continuation of description, but instead of talking about separate parts, the focus shifts to the way the part work together as a whole. A good way to begin an analysis is the look at the pervasive qualities of the work of art. The large, overall characteristics of feelings and moods projected by the work of art.
Step 3 - Interpretation - INTERPRET the work on the basis of what has already been discovered about the work in the first two steps. Consider not only the literal descriptions but also the emotional content and the use of symbols and allegories to arrive at the message or meaning in the work.
Based upon description and analysis, what is the artist communicating? Is the work a story, myth or legend? Based on what you have learned so far about the artwork, what do you think the artist was trying to say? Why did the artist create this artwork? What do you think it means?
What feelings do you have when looking at this artwork? Why? Do you think there are items in the artwork that represent other things or have other meaning or symbols? Describe how the work makes you think or feel.
Describe the expressive qualities you find in the work. What expressive language would you use to describe the qualities (i.e., tragic, ugly, funny, beautiful)? Is the art work timeless? Does the work remind you of other things you have experienced (i.e., analogy or metaphor)? How does the work relate to other ideas or events in the world and/or in your other studies? Does the title of this art reflect the work itself?
Interpretation is an effort to find meaning in the art work. It is one of the most important components of the art criticism process. It can be the most creative and thought provoking process. Ask yourself these questions – “What does the art work mean to me?” or “What is the message of the artwork?”. Remember, there is no “right” interpretation. Interpretations should be insightful, interesting, informative, and reasonable.
Step 4 - Judgment - JUDGMENT about the work's worth based on the information gathered about the work. Judgments must be supported by what was learned through the "reading" process.
The judgment is based upon the description, analysis, and interpretation from the previous steps.
Personal philosophies, background, and feelings are not taken into account.
Do you like this artwork? Why or why not? Be specific and use art terms. Merely stating, “I like it” or “I don’t like it” is not enough. Does the art work convincingly express the subject or idea it was based on? How original is the artwork? What degree of uniqueness and imagination has the artist displayed in the artwork? After forming a final judgment of the art, would you buy this art work? Would you keep it in your home or donate it to a museum?
Judgment is an act that involves you in deciding on the value and significance of the art work.
Justify your opinion. Explain why you feel the way you do about this artwork based on what you have learned about it.
Showing posts with label art 211. Show all posts
Showing posts with label art 211. Show all posts
Friday, December 5, 2008
Chap 4 notes
Chapter 4 – Principles of Design
7 key principles of design –
Unity/Harmony and Variety -
- Unity is the appearance or condition of oneness. The design has the feeling of working together, creating a whole.
- Variety provides diversity to counter unity. Unity can be boring and variety can be chaotic, so a balance between them creates life.
- Pattern refers to repetitive ordering of design elements.
Balance – equal
- Symmetrical balance – near or exact matching of left and right sides of a 3D form or 2D composition. Permanence and poise, motionless and stable, formal and rigid
- Asymmetrical balance – left and right sides are not the same.
- Visual weight
- Radial balance – overall design in a circle
Movement creates the look and feel of action to guide the viewer’s eyes through the work of art. This can either be actual motion or it can be implied — the arrangement of the parts of an image to create a sense of motion by using lines, shapes, forms, and textures that cause the eye to move over the work.
Pattern - A two-dimensional decorative effect achieved through the repetition of colors, lines, shapes, and/or textures. Pattern is created by a regular or expected repetition. Patterns tend to have a flattening effect, which makes the space hard to read. The patterns clamor for attention, and almost seem to blend together.
Emphasis –
- Emphasis is used to draw our attention to an area. if that area is a specific spot or figure it is call the focal point. Position, contrast, color intensity, and size can all be used to create emphasis.
Focal point – draws the eye into the work of art – the first thing you see
Directional emphasis - are paths that lead the eye around the work of art by actual or implied lines. Implied directional lines may be suggested by a form’s axis, by imagined connections between similar or adjacent forms, or by the implied continuation of actual lines.
- Horizontal, vertical, diagonal, circular
- Eye tracks
Contrast – the juxtaposition of strongly dissimilar elements. Dramatic effects can be produced when dark is set against light, large against small, bright against dull, rough against smooth.
Repetition and Rhythm –
- Repetition of visual elements gives a composition unity, continuity, flow and emphasis.
- Rhythm is created through a regular recurrence of elements with related variations.
Scale and Proportion –
- Scale is the size relative of one object to another.
- Proportion is the size relations of the parts to the whole.
Composition is the arrangement or organization of the visual elements; compositions can be symmetrical, pyramidal, heraldic, etc.
Two Dimensional – 2D
Painting
Drawing
Graphic Arts
Printmaking
Photography
Three Dimensional – 3D
Sculpture
Architecture
7 key principles of design –
Unity/Harmony and Variety -
- Unity is the appearance or condition of oneness. The design has the feeling of working together, creating a whole.
- Variety provides diversity to counter unity. Unity can be boring and variety can be chaotic, so a balance between them creates life.
- Pattern refers to repetitive ordering of design elements.
Balance – equal
- Symmetrical balance – near or exact matching of left and right sides of a 3D form or 2D composition. Permanence and poise, motionless and stable, formal and rigid
- Asymmetrical balance – left and right sides are not the same.
- Visual weight
- Radial balance – overall design in a circle
Movement creates the look and feel of action to guide the viewer’s eyes through the work of art. This can either be actual motion or it can be implied — the arrangement of the parts of an image to create a sense of motion by using lines, shapes, forms, and textures that cause the eye to move over the work.
Pattern - A two-dimensional decorative effect achieved through the repetition of colors, lines, shapes, and/or textures. Pattern is created by a regular or expected repetition. Patterns tend to have a flattening effect, which makes the space hard to read. The patterns clamor for attention, and almost seem to blend together.
Emphasis –
- Emphasis is used to draw our attention to an area. if that area is a specific spot or figure it is call the focal point. Position, contrast, color intensity, and size can all be used to create emphasis.
Focal point – draws the eye into the work of art – the first thing you see
Directional emphasis - are paths that lead the eye around the work of art by actual or implied lines. Implied directional lines may be suggested by a form’s axis, by imagined connections between similar or adjacent forms, or by the implied continuation of actual lines.
- Horizontal, vertical, diagonal, circular
- Eye tracks
Contrast – the juxtaposition of strongly dissimilar elements. Dramatic effects can be produced when dark is set against light, large against small, bright against dull, rough against smooth.
Repetition and Rhythm –
- Repetition of visual elements gives a composition unity, continuity, flow and emphasis.
- Rhythm is created through a regular recurrence of elements with related variations.
Scale and Proportion –
- Scale is the size relative of one object to another.
- Proportion is the size relations of the parts to the whole.
Composition is the arrangement or organization of the visual elements; compositions can be symmetrical, pyramidal, heraldic, etc.
Two Dimensional – 2D
Painting
Drawing
Graphic Arts
Printmaking
Photography
Three Dimensional – 3D
Sculpture
Architecture
Chap 3 notes
Art 211 Art Appreciation
Chapter 3 notes
Chapter 3 – Visual Elements
Visual elements –
- Picture plane – 2 dimensional (2D) surface (flat), can be covered with lines, shapes, textures, and other elements
- Sculpture – 3 dimensional (3D) using the same elements in 3D
Line – paths of action
- Characteristics of line –
Active, static, aggressive, or passive, sensual or mechanical
Indicate directions, define boundaries of shape and space, imply volume or solid mass, suggest motion or emotion, light and shadow, form patterns and textures
- Implied line – suggests visual connections
Shape – 2D, expanse within an outline when drawing
Geometric shapes – circles, triangles, squares
Organic shapes – irregular, curving, rounded, relaxed, informal, nature
- Positive/figure shapes - subject or dominant shapes on the picture plane
- Negative/ground shapes – background areas
- Figure-ground reversal
- Foreground – objects closest to the bottom of the picture plane
- Middle ground – objects in the middle of the picture plane
- Back ground – objects at the back of the picture plane
Mass/Form – 3D, physical bulk of a solid body of materials
- Volume – mass enclosing space
- Closed form – a form that does not interact with the space around it
- Open form – interacts with the surrounding space
Space – continuous, infinite, and ever present – visual arts are spatial, organized in space
- 3D space – our relationship to objects in space
- 2D space – is defined by height and width, implied
Implied depth on a 2D surface
- Overlapping – one shape in front of another
- Diminishing size – shapes get small farther back in space
- Vertical placement – objects low on the picture plane are larger, high or further back are smaller
Linear perspective – the way objects appear in space to the eye
- Vanishing point – converging points on the horizon
- Horizon line – your eye level as you look at a scene
- Eye level – imaginary plane parallel with the ground plane extending to the horizon
- Vantage point – single fixed position
- One point perspective – all lines are parallel but visually appear to converge at a single point
- Two point perspective – 2 sets of parallel lines appear to converge at two points on the horizon line
Atmospheric perspective – nonlinear means giving the illusion of depth created by color, value, and detail
Implied motion – to create a sense of movement
Light – everything we see is made visible by light – light dramatically changes the way we perceive things
- Chiaroscuro - use of graduations of light and shade, forms are revealed by subtle shifting from light to dark areas, no sharp outlines – Caravaggio
Color - a component of light affects our thoughts, moods, actions, and health
- Achromatic – means without the property of hue/color – black, white, and gray – neutral color
- Hue – is interchangeable with the word color,
- Value – lightness or darkness of a color, white added to a hue makes a lighter color, black added to a hue makes a darker color
- Shade – black added to a hue
- Tint – white added to a hue
- Intensity or Saturation – is the purity of a hue. A pure hue is the most intense form of a color at its highest or brightest saturation. With color when another color is added to a pure hue, the color is dulled.
- Primary colors – red, blue, and yellow – cannot be produced by intermixing any other colors
- Secondary colors – orange, green, and violet – are mixed from a combination of 2 primary colors to produce a secondary color.
Red + blue = violet, red + yellow = orange, blue + yellow = green
- Tertiary or intermediate colors – red-orange, yellow–orange, yellow-green, blue-green, blue- violet, and red-violet
- Warm colors – red, yellow, orange side of color wheel
- Cool colors – blue, green, violet side of the color wheel
Color schemes – color groupings that create distinct color harmony
- Monochromatic – one color plus black and white
- Analogous – 3 – 5 colors next to each other on the color wheel
- Complementary – 2 colors directly opposite each other on the color wheel
Texture – tactile qualities – touch, feel
- Actual textures – feel by touching
- Implied textures – created to look like something on a flat surface
Chapter 3 notes
Chapter 3 – Visual Elements
Visual elements –
- Picture plane – 2 dimensional (2D) surface (flat), can be covered with lines, shapes, textures, and other elements
- Sculpture – 3 dimensional (3D) using the same elements in 3D
Line – paths of action
- Characteristics of line –
Active, static, aggressive, or passive, sensual or mechanical
Indicate directions, define boundaries of shape and space, imply volume or solid mass, suggest motion or emotion, light and shadow, form patterns and textures
- Implied line – suggests visual connections
Shape – 2D, expanse within an outline when drawing
Geometric shapes – circles, triangles, squares
Organic shapes – irregular, curving, rounded, relaxed, informal, nature
- Positive/figure shapes - subject or dominant shapes on the picture plane
- Negative/ground shapes – background areas
- Figure-ground reversal
- Foreground – objects closest to the bottom of the picture plane
- Middle ground – objects in the middle of the picture plane
- Back ground – objects at the back of the picture plane
Mass/Form – 3D, physical bulk of a solid body of materials
- Volume – mass enclosing space
- Closed form – a form that does not interact with the space around it
- Open form – interacts with the surrounding space
Space – continuous, infinite, and ever present – visual arts are spatial, organized in space
- 3D space – our relationship to objects in space
- 2D space – is defined by height and width, implied
Implied depth on a 2D surface
- Overlapping – one shape in front of another
- Diminishing size – shapes get small farther back in space
- Vertical placement – objects low on the picture plane are larger, high or further back are smaller
Linear perspective – the way objects appear in space to the eye
- Vanishing point – converging points on the horizon
- Horizon line – your eye level as you look at a scene
- Eye level – imaginary plane parallel with the ground plane extending to the horizon
- Vantage point – single fixed position
- One point perspective – all lines are parallel but visually appear to converge at a single point
- Two point perspective – 2 sets of parallel lines appear to converge at two points on the horizon line
Atmospheric perspective – nonlinear means giving the illusion of depth created by color, value, and detail
Implied motion – to create a sense of movement
Light – everything we see is made visible by light – light dramatically changes the way we perceive things
- Chiaroscuro - use of graduations of light and shade, forms are revealed by subtle shifting from light to dark areas, no sharp outlines – Caravaggio
Color - a component of light affects our thoughts, moods, actions, and health
- Achromatic – means without the property of hue/color – black, white, and gray – neutral color
- Hue – is interchangeable with the word color,
- Value – lightness or darkness of a color, white added to a hue makes a lighter color, black added to a hue makes a darker color
- Shade – black added to a hue
- Tint – white added to a hue
- Intensity or Saturation – is the purity of a hue. A pure hue is the most intense form of a color at its highest or brightest saturation. With color when another color is added to a pure hue, the color is dulled.
- Primary colors – red, blue, and yellow – cannot be produced by intermixing any other colors
- Secondary colors – orange, green, and violet – are mixed from a combination of 2 primary colors to produce a secondary color.
Red + blue = violet, red + yellow = orange, blue + yellow = green
- Tertiary or intermediate colors – red-orange, yellow–orange, yellow-green, blue-green, blue- violet, and red-violet
- Warm colors – red, yellow, orange side of color wheel
- Cool colors – blue, green, violet side of the color wheel
Color schemes – color groupings that create distinct color harmony
- Monochromatic – one color plus black and white
- Analogous – 3 – 5 colors next to each other on the color wheel
- Complementary – 2 colors directly opposite each other on the color wheel
Texture – tactile qualities – touch, feel
- Actual textures – feel by touching
- Implied textures – created to look like something on a flat surface
Chap 1 and 2 homework
5 pts
Chapter 1 and 2 - Read pages 22 - 23 in your textbook
Please respond with your opinion to this reading with a few brief paragraphs.
Due at the beginning of the next class.
Chapter 1 and 2 - Read pages 22 - 23 in your textbook
Please respond with your opinion to this reading with a few brief paragraphs.
Due at the beginning of the next class.
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