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Unformatted text preview: Mideast Peace Talks Associated Press Wire Image, Sept, 2010: left to right, President H.
Mubarak of Egypt, Prime Minister B. Netanyahu of Israel, U.S. president Obama, President M. Abbas of the Palestinian Authority and King Abdullah II of Jordan Mideast Peace talks photos Screenshot from AlAhram state-run newspaper website, Cairo, Egypt. Altered image as reported on by an Egyptian blogger. Mideast Peace talks at the White House: Associated Press photo, Sept 22, 2010 San Vitale, Justinianic mosaic San Vitale: Emperor Justinian with General Belissarios and other Courtiers San Vitale, det Justinian, Bel & Maximian & Meeks and Clinton Charlie Riedel, Oiled Laughing Gull at East Grande Terre Island, Louisiana, 2010, Associated Press Wire Photo Bulgari, Inc. Advertising Campaign, 2010 Jean-Auguste-Dominique Ingres, The Grand Odalisque, 1814, oil on canvas Additional Bulgari ad vs. Velasquez, The Toilet of Venus (The Rokeby Venus), 1647-1651, oil on canvas; Ingres, Odalisque with a Slave, 1839, oil on canvas Drawing Ingres, The Grand Odalisque: painting and pencil study Raphael,Studies for the Alba Madonna, c1511. Left: Red Chalk, right: red chalk and pen and ink Raphael, The Alba Madonna, c1511, oil on canvas Leonardo da Vinci, Cartoon for Madonna and Child with St. Anne and Infant St. John the Baptist, c1505-07 Cartoon: from Italian for paper (‘cartone’): fullsize preparatory drawing for a painting or other work; used in transferring/creating an image on a canvas or frescoed wall Kathe Kollwitz, Self-Portrait, 1933, Charcoal on Paper Georges Seurat, Café Concert, Conté crayon with white highlighting on paper Edgar Degas, After the Bath, Woman Drying Herself, 1889-90, Pastel on Paper L: Jean Dubuffet, Corps du Dame (Body of a Woman), JuneDec, 1950, Pen and ink; R: Liang Kai, The Poet Li Bo Walking and Chanting a Poem, c1200, Ink on Paper (hanging scroll) Marjane Satrapi, Pages from Persepolis. Ink on Paper PRINTMAKING Frontispiece from the 18-foot-long handscroll of the Diamond Sutra (Buddhist text) Dunhuang, China Printed 868 CE. Intended for mass distribution. Ink on paper, woodblock print Relief Processes: Image to be printed is raised off the background, in reverse as it will appear in the final image. One cuts away the background, leaving the areas deisred as foreground. Woodcut, wood engraving, linocut. L: Emile Nolde, Prophet, Woodcut, 1912; R: Kitagawa Utamaro, The Fickle Type from the series Ten Physiognomies of Women, Woodcut, c1793. Intaglio Processes: areas to be printed are below the surface of the plate. “Intaglio” is Italian for ‘engraving’. Cutting into a plate in areas one wishes to see the image. Engraving, etching, lithography Albrecht Durer, Adam and Eve, 1504 Engraving Artists’ Proofs -- First and Second States Honoré Daumier, Rue Transnonian, April 15, 1834, 1834. Lithograph Lithography Gaz Cuit-Chauffe-Glace (Gas, It Cooks, Heats, Cools) Francis Bernard (French, 1900-1979) Printer: Paul Martail, Paris. 1928. Lithograph, 63 x 47 1/4" (160 x 120 cm). http://www.moma.org/interactives/exh ibitions/2010/counter_space Painting: pigments in a medium -- a liquid substance that carries the dry color powder -- applied to a prepared surface
Encaustic: pigment in hot wax applied (usually) to wood panel. Associated with later Greek and Roman period, especially Egypt in the 1-3rd centuries CE Tempera: pigment combined in water and a tacky/sticky material, most often egg yolk. Most often used in the medieval and Renaissance periods in western Europe Fresco: pigment mixed into a layer of fine, wet plaster (can also be on dry plaster occasionally, though this will be of inferior quality). Used to cover large expanses of wall. Oil Painting: pigments suspended in linseed oil (slow-drying). Can be used in thick consistency, creating imposto (a three-dimensional, textured application of the paint) or thinned with turpentine, creating thin, almost transparent layers that can be built up and blended; reflects light off opaque layers Watercolor: pigment in water and gum arabic. Light washes of color, expressive Synthetics: acrylic, polymers, etc (modern periods) Encaustic: pigment in hot wax Portrait of a Boy, Roman period, 2nd century Egyptian, Encaustic on wood; mummy with portrait in place Fresco : pigment mixed into a layer of fine, wet plaster (can also be on dry plaster occasionally, though this will be of inferior quality). Used to cover large expanses of wall. Giornata --‘daily work’ Giotto, interior of the Arena Chapel in Padua, Italy. Painted c1305. Frescoes: Giotto, The Lamentation, from the Arena Chapel (the giornate can be seen) and Mayan fresco of musical procession at Bonampak, Mexico, 790 CE (no seams in the plaster -painted on dry plaster) Tempera: pigment combined in water and a tacky/sticky material, most often egg yolk. Most often used in the medieval and Renaissance periods in western Europe Giotto, Madonna and Child Enthroned, c1310. Carlo Crivelli, Pieta, 1476: detail of tempera and tooled gold Andrew Wyeth, Braids, 1979, Tempera on canvas Oil Painting: pigments suspended in linseed oil (slow-drying). Can be used in thick consistency, creating imposto (a three-dimensional, textured application of the paint) or thinned with turpentine, creating thin, almost transparent layers that can be built up and blended; reflects light off opaque layers Jan de Heem, Still Life with Lobster, late 1640s. Oil on canvas. Gerhard Richter, Woman Descending the Staircase (Frau die Treppe herabgehend), 1965. Oil on canvas. (Art Institute Chicago) Winslow Homer, A Wall, Nassau (Bahamas), 1898. Watercolor: pigment in water and gum arabic. Light washes of color, expressive Robert Rauschenberg, Monogram, 1955-59. Mixed Media: Oil, fabric, wood on canvas and wood, rubber heel, tennis ball, metal plaque, hardware, stuffed Angora goat, rubber tire, all mounted on four wheels Mixed Media: any combination of materials Collage: combined flat materials on twodimensional support Hannah Höch, Cut with the Kitchen Knife Dada…1919. Collage. Mosaic Justinian at Ravenna Mosaic: Emperor Justinian with General Belissarios, Bishops and other Courtiers, Church of San Vitale, Ravenna, Italy, 5468 CE Photography: mechanical image making on glass/paper/film that is treated with chemicals to make it light sensitive. Image will be captured either on the plate itself (Photogenic drawings, Daguerreotypes), meaning that only one image can be made or image is made on a ‘negative’ that requires a positive print to be made from it (Calotypes, collodion plates and albumen or silver prints. These can thus be reproduced numerous times. Types: Photogenic drawing, Daguerreotype, salt prints/calotype, Albumen negative & Silver Print Camera Obscure Photogenic Print: L: William Henry Fox Talbot, Mimosoidea Suchas Acacia, c1839. R: Man Ray, Rayograph, 1922. Daguerreotype: Louis J. M. Daguerre, La Boulevard du Temple, 1839; Richard Beard, Maria Edgeworth, 1841 Caloptype: William Henry Fox Talbot, The Open Door, 1843 Timothy O’Sullivan, Harvest of Death Gettysburg, PA, 1863. Collodion print Sally Mann, Fallen Child, 1989, Silver Print, taken with an 8 x 10 camera (but high speed film) Roger Fenton, Valley of the Shadow of Death, 1855 (Crimean War photo) Fenton, earlier image, 1855: shows the later one -- reproduced around the world, one of the first photographic images of war seen world-wide -- was partially faked to heighten its drama. Canon balls were moved onto the road and ditch to create sense of the great battle which had taken place in this location in the Crimea. Andreas Gursky, 99 Cent, 1999, print mounted on plexiglass. Very large scale image. Jeff Wall, A Sudden Gust of Wind (after Hokusai), 1993. Digital photographic transparency mounted on plexiglass in a lightbox. 2.5m x 4 m. Tate Gallery, London. (large scale) Jeff Wall details Katsushika Hokusai, 'Ejiri in Suruga Province' (Sunsh Ejiri), color woodblock print, Japan, 1830-33. From the series ‘Thirty-Six Views of Mt. Fuji’. Wall vs. Kokusaii ...
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This note was uploaded on 11/22/2010 for the course AH 100 taught by Professor Staff during the Spring '08 term at Ill. Chicago.
- Spring '08