Wood plant fibre western grasslands cameroon fowler

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Essentials of Business Communication
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Chapter 3 / Exercise 7
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Wood plant fibre. Height 16-1/2". Western Grasslands, Cameroon. Fowler Museum at UCLA. Photograph by Don Cole. [Fig. 1-13]
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Essentials of Business Communication
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Chapter 3 / Exercise 7
Essentials of Business Communication
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Theo van Doesburg (born C. E. M. Küpper). Composition (The Cow) from Abstraction of a Cow . c. 1917. Pencil on paper. 4-5/8" × 6-1/4". Museum of Modern Art (MoMA) Purchase 227.1948.1. © 2013 Digital image, The Museum of Modern Art, New York/Scala, Florence. [Fig. 1-14a]
Theo van Doesburg (born C. E. M. Küpper). Composition (The Cow) from Abstraction of a Cow . c. 1917. Pencil on paper. 4-5/8" × 6-1/4". Museum of Modern Art (MoMA) Purchase 227.1948.6. © 2013 Digital image, The Museum of Modern Art, New York/Scala, Florence. [Fig. 1-14b]
Theo van Doesburg (born C. E. M. Küpper). Composition (The Cow) from Abstraction of a Cow . c. 1917. Tempera, oil, and charcoal on paper. 15-5/8" × 22-3/4". Museum of Modern Art (MoMA) Purchase 226.1948. © 2013 Digital image, The Museum of Modern Art, New York/Scala, Florence. [Fig. 1-14c]
Theo van Doesburg (born C. E. M. Küpper). Composition VIII (The Cow) from Abstraction of a Cow . c. 1918. Oil on canvas. 14-1/4" × 25". Museum of Modern Art (MoMA) Purchase 225.1948. © 2013 Digital image, The Museum of Modern Art, New York/Scala, Florence. [Fig. 1-14d]
Form and Content Seeing and responding to form The artist is the sender of the work's message. The viewer must receive and experience the work. Learning to respond to form Subject matter can interfere with perception of form.
Form and Content Seeing and responding to form Look at pictures upside down. Unfamiliar becomes fresh Georgia O'Keeffe's Jack-in-the-Pulpit Enlarged to 4 feet in height Focusing on only the flower Viewer takes time to observe an object that would normally be too small or be passed over
Georgia O'Keeffe. Jack-in-the-Pulpit No. V . 1930. Oil on canvas. 48" × 30". Alfred Stieglitz Collection, Bequest of Georgia O'Keeffe, National Gallery of Art, Washington, D.C. 1987.58.4. Photograph: Malcolm Varon © 2013 Georgia O'Keeffe Museum/Artists Rights Society (ARS), New York. [Fig. 1-20]
Looking and Seeing Looking Implies taking in what is before us in a mechanical or goal-oriented way Seeing More open, receptive, and focused "Looking" with memories, imaginations, and feelings attached Appreciation of a form beyond function
Form: The total effects of the combined visual qualities within an artwork, including such components as material, color, shape, design elements and principles Composition: The organization of the visual elements in a work of art. Meanings: Expressive content of an artwork and the artwork’s inferred implications. Content: The meaning or message communicated by a work of art, including emotional, intellectual, symbolic, thematic and narrative connotations 68
Form and Content Contrasting Rodin's The Kiss and Brancusi's The Kiss Rodin's work representational of Western ideals Highly-charged moment of lovers embracing Brancusi's manipulation of a solid block of stone to represent lasting love Symbolic concept of two becoming one
Auguste Rodin. The Kiss . 1886.

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