This preview shows page 1. Sign up to view the full content.
Unformatted text preview: would incorporate color theory Warm and Cool Colors
Warm and Cool Colors Red is an example of a “warm” color
Blue is an example of a “cold” color
Optically, warm colors seem to advance, while cool colors seem to recede Warm and Cool Colors
Warm and Cool Colors
Thomas Gainsborough, The Blue Boy, oil on canvas, ca. 1770 Portrait is supposed to have been conceived as a demonstration piece for the Royal Academy (GB); controversy that pitched Gainsborough against the president of the RA, Joshua Reynolds Reynolds had maintained in his 8th lecture before the Academy that, in a successful picture, warm colors (red, yellow, ochre, etc.) should dominate the foreground and that they should define the object in the viewer’s attention Cool colors (blue, grey, green, etc.) should recede into the background Here, Gainsborough breaks all these rules by deliberately pushing intensely blue hues in the foreground Cézanne:
A New View of the Natural World
Paul Cézanne, The Bay at L’Estaque, oil on canvas, ca. 1886 Cézanne was a trailblazer of modern art, but also a rebel and a recluse, whose groundbreaking formal innovations were only appreciated in the early 20th century Remarkably, in this picture he deliberately put warm colors in the foreground and cold colors in the background Works on Paper
Works on Paper Drawings Collages Cut and glued pieces of paper (French “coller” = to glue) Prints See above Engravings, Etchings, Lithographs, Silkscreen prints, etc. Most prints from photographic negatives/digital prints Collages
Collages Pablo Picasso, Bottle of Suze, 1912, pasted papers, gouache, charcoal on paper Romare Bearden, Rocket to the Moon, collage on board, 1971 Multiples
Multiples Distinct from original (oneofakind) works of art
By definition, multiples are artworks that exist in multiple, identical copies, executed in media that lend themselves to reproduction: Cast sculpture (bronzes, etc.)
Photographs, etc. Examples of denotations found on multiples: 2/15, E. A., H. C. Printmaking Techniques
Printmaking Techniques Basic Distinction: Relief processes (left) Printing occurs with the raised parts of the plate; those parts that have not been cut away
Examples: linoleum cuts (linocuts), woodcuts (or woodengravings) Intaglio techniques (from Italian intagliare = to cut into, right) The opposite is true for intaglio techniques: crevices in the plate (engraved or etched with acid) hold the ink; the untouched part of the plate is wiped and does not hold ink
Examples: engravings and etchings Relief vs. Intaglio
Relief vs. Intaglio Elizabeth Catlett, Sharecropper, Albrecht Dürer, The Knight, 1970, color linocut on cream Death, and the Devil, 1513, Japanese paper
engraving Intaglio: Engraving and Etching
Intaglio: Albrecht Dürer, The Knight, Death, and the Devil, 1513, engraving Rembrandt van Rijn, Christ Preaching, ca. 1652, etching Lithography and Photography
Lithography and Photography Both techniques were invented in the 19th century (N.B.: 19th century=18011900) as commercial processes; lithography in the 1800s and photography in the lat...
View Full Document
This note was uploaded on 02/12/2013 for the course ART 1001 taught by Professor Zucker during the Spring '07 term at LSU.
- Spring '07