TheElementsofArtTheBuildingBlocksofCompositioninArt

Information&imagesadaptedfromartfactory.com

ElementsofArt

•Line•Shape•Tone•Color•Pattern•Texture•Form

Thesearethebuildingblocksofcompositioninart.Whenweanalyzeanydrawing,painting,sculptureordesign,weexaminethesecomponentpartstoseehowtheycombinetocreatetheoveralleffectoftheartwork.Eachoftheelementsmayalsobeusedindividuallytostresstheirownparticularcharacterinanartwork.Differentelementscanexpressqualitiessuchasmovementandrhythm,spaceanddepth,growthandstructure,harmonyandcontrast,noiseandcalmandawiderangeofemotionsthatmakeupthesubjectsofgreatart.

Line•Lineisthefoundationofalldrawing.Itisthefirstandmostversatileofthevisualelementsofart.Lineinanartworkcanbeusedinmanydifferentways.Itcanbeusedtosuggestshape,pattern,form,structure,growth,depth,distance,rhythm,movementandarangeofemotions.

LEONARDODAVINCI(14521519)AStudyforanEquestrianMonument,1488(metalpointonbluepaper)

LineWehaveapsychologicalresponsetodifferenttypesoflines:•Curvedlinessuggestcomfortandease•Horizontallinessuggestdistanceandcalm•Verticallinessuggestheightandstrength•Jaggedlinessuggestturmoilandanxiety

Thewaywedrawalinecanconveydifferentexpressivequalities:•Freehandlinescanexpressthepersonalenergyandmoodoftheartist

•Mechanicallinescanexpressarigidcontrol•Continuouslinescanleadtheeyeincertaindirections•Brokenlinescanexpresstheephemeralortheinsubstantial•Thicklinescanexpressstrength•Thinlinescanexpressdelicacy

LineasTone&Form•Mooreusesscribblesandhatchedlines.

•Hisswirlingscribblescorrespondperfectlytothebouncytextureofafleece.

•Hegraduallybuildsupthedensityoflinetorenderthedarkerareasoftoneandreducesittosuggestthelighter.

•Inthebackgroundoftheworkheuseshatchedlinestodrawtherowoftreesandthegatebutanyinconsistencyintheirstyleisimmediatelyconcealedinahazeofscribbles.

•Inthisetchingasingularstyleoflinemultitaskstoexpressform,toneandtexturewithsuchempathyforthesubjectthatyoualmostfeelyoucouldpullontheendofalinetounraveltheentiredrawinglikeaballofwool.

HENRYMOORE(18981986)Sheep,1972(intaglioprintonpaper

LineasTexture

PETERDOIG(1959)TheArchitectsHomeInTheRavine,1991(oiloncanvas,200x275cm.)

•Postmodernlandscape•Thepaintingisasmuchaboutsurfaceasitisaboutdepth,recallingthewoodlandscenesofPaulCézanneandGustaveKlimpt;itisasmuchaboutabstractionasitisaboutrepresentation,evokingboththedensedribbleandspatterofaJacksonPollockandtheisolationandemptinessofanEdwardHopper;anditisasmuchabouttherelationshipbetweenmanandhisenvironment,withnaturereclaimingitsownhabitatasthearchitectureismenacinglyencircledbytheencroachingforest.

•Aweaveoffrostedbrancheshanglikeaveil;hislinespullyoureyetothesurfaceofthework.

•Hethenbeginstoexploretheexpanseofthatsurfacebypaintingbetweenthebranchestodeveloparichpatchworkofcolorandtexturethatfocusesontheabstractandexpressivequalitiesofthemedium.

LineasStructure

ROBERTDELAUNEY(18851941)EiffelTower,1910(oiloncanvas)

•Linecanbeusedtogeneratethefundamentalforcesinthecompositionofanartwork.

•Delaunayusesrhythmiclinesofitsstructuretosuggestitsstaggeringpowerasitascendsintotheskies.

•ThecontrastingcurvesofthecloudsdoubleupasbillowingdustasthiscolossalconstructionburststhroughthemunicipalbuildingstobecometheglobalsymbolofmodernityattheonsetoftheModernistage.

LineasMovement

KATSUSHIKAHOKUSAI(c.17601849)TheGreatWaveoffKanagawa,1823–29(woodblockprintfrom'36ViewsofMountFuji')

•AllthelinesinHokusai'swoodcutsweepwithtremendousforce,risingtoacrescendoonthecrestofthe'GreatWave'.

•Theswellofeachwaveisreinforcedbythecontourlinesthatdescribethedensityofitswall,whilethebreakingsurfclawstheairtomaintainitsseismicenergy.

•Thepowerofthismovementisfurtheramplifiedbythehelplessboats,castadriftonthemercilesssea.Toheightenthedrama,Hokusaifreezestheactionjustatthecriticalpointwherethe'GreatWave'breaks,threateningtoengulfthedistantpeakofMountFuji.

LineasEmotion

PABLOPICASSO(18811973)WeepingWoman,1937(oiloncanvas)

•Picassocombinesasyntheticcubiststylewithastainedglasslikestructure.

•Jaggedlines,fracturedshapesandacidcolorssetthedespairingtoneofthework.Thedesolatewoman'storturedemotionsareheightenedbytheartist'scarefulbalanceofboldlines,exaggeratedcolorandsimplifieddrawing.

•Picassousesstrongdarklinestopullthefragmentedimagetogetherandtosubduetheopticalshockofoppositecolors(red/green,yellow/purple,blue/orange).Despitethis,hisheavilyladenpigmentscanstillgenerateenoughchromaticintensitytoprovokeastateofalarm.Thewoman'seyesarelikeshatteredheadlights,piercedbythefracturedshardsofthehandkerchief;herchatteringteethgnawconvulsivelyonitscloth.Thesecombineinapaleaqueousblueadramaticcontrastofmonochromeagainstcolor.Hercoatisacloakofthornsandallissharpandangularinthisvisualdefinitionofdespair.

LineasFormALEXANDERCALDER(18981976)EdgarVarèseandUnknownMan,192930(wiresculpture

•Caldercreatedfigurativeworkswithwireandpliers.Hewouldbend,twistandcrimpwiretoformthreedimensionalportraitsthathadallthevitalityandspontaneityofalinedrawinginspace.

•Theseworkshadanelementofcaricatureaboutthembuttheystillretainedaremarkablelikenesstotheirsubjects.Calderwouldsuspendthese'portraits'fromtwinewhichallowedthemtorotateslowly,revealingasurprisingimpressionofvolumeforsuchlimitedmeansanddemonstratingthatuniquecontroloflinethatissooftenseeninthedrawingsofsculptors.

LineasAbstractionPABLOPICASSO(18811973)Bullplate11,January171946(lithograph)

•Thisdrawingisthelastinaseriesofelevenstudiesthatleadyouthroughaprocessofabstraction,refiningform,toneandtexturetoextracttheessenceofthe'Bull'inasingleline.

Shape

•Shapecanbenaturalormanmade,regularorirregular,flat(2dimensional)orsolid(3dimensional),representationalorabstract,geometricororganic,transparentoropaque,positiveornegative,decorativeorsymbolic,colored,patternedortextured.

•ThePerspectiveofShapes:Theanglesandcurvesofshapesappeartochangedependingonourviewpoint.Thetechniqueweusetodescribethischangeiscalledperspectivedrawing.

Shape•TheBehaviorofShapes:Shapescanbeusedtocontrolyourfeelingsinthecompositionofanartwork:

•SquaresandRectanglescanportraystrengthandstability

•CirclesandEllipsescanrepresentcontinuousmovement

•Trianglescanleadtheeyeinanupwardmovement

•InvertedTrianglescancreateasenseofimbalanceandtension

TwoDimensional•Mostoftheartweseeistwodimensional:a

drawing,apainting,aprintoraphotographwhichisusuallyviewedasaflatsurface.Mosttwodimensionalarttriestocreatetheillusionofthreedimensionsbycombiningthevisualelementstoagreaterorlesserdegree.

•InEscher'slithograph,theartistisplayingwiththeillusionoftwoandthreedimensionsinthesameimage.

•Fromaninterlockingpatterndrawnonapageofhissketchbook,theflatoutlinedshapesofthereptilesarebroughttolifebytheadditionoftone.

•Theystepoutoftheirtwodimensionalworldintoathreedimensionallandscapeofsolidlyrenderedobjectsthathavebeenselectedfortheirvarietyofshapesandtextures.

•Afterashortjourneyexploringthisnewenvironmenttheyreturntotheiroriginalformatbylosingtheirtoneandadoptingtheirformerpositionwithinthedesignareturntripbetweentwoandthreedimensions.

MAXESCHER(18981972)Reptiles,1943(lithograph)

ThreeDimensional•Youcanwalkaroundandbetweenthesethreedimensionalabstractformstointeractwiththechangingrelationshipsoftheirdelicatelybalancedstructures.

•Althoughthissculptureisconstructedfromheavygaugesteelandprobablyweighsaboutthesameasanaveragefamilycar,itseemstodefygravity.Theopenarrangementofitscompositionandthecarefulbalanceofitscomponentpartscollaboratetoliftthissculpturefromthedeadweightofitsmaterialstoitselevatedstatusasanartwork.

ANTHONYCARO(19242013)Paul'sTurn,1971(cortenstee

Representational•Representationalartistheblankettermweusetodescribeanyartworkwhoseshapesaredrawnwithsomedegreeofvisualaccuracy.Realism,however,isnotthesoleobjectiveofrepresentationalart.Itcanbestylizedwithvariouslevelsofdetail,fromasimplemonochromeoutlinetoafullyrenderedformwithcolor,tone,patternandtexture.

•Eachobjecthasauniquesymbolicmeaningandworkstogethertocreateamoralnarrativewithinthegroup.

•Usesaccuraterepresentationalshapeswhichplayamajorroleinthecompositionoftheworkbutthebalanceoftheothervisualelementsisalteredforcreativeeffect:toneandtexturearesuppressedtoallowtheexpressivequalitiesofshape,colorandpatterntoflourish.

HARMENSTEENWYCK(16121656)'StillLife:AnAllegoryoftheVanitiesofHumanLife',1640(oilonoakpanel)

Abstract•PaulCézannebegantodistorttheperspectiveofrepresentationalshapesinhispaintings.

•Cézannetiltstheperspectiveoftheplatetowardsthepictureplane.Thishastheeffectofflatteningthecompositionandemphasizingtheabstractoutlineofitsshapes.Theflatnessofthepaintingisfurtherenhancedbythediamondshapedmoldingandthecircularhandleofthecupboardinthebackground.

•Defineddepthandformwiththenaturalpropertiesofcolor,wherewarmcolorsappeartoadvancewhilecoolcolorsrecede.

•Adaptedhispaintingtechniquebyusingregulatedbrushstrokestoemphasizetheunityofsurfaceinhiswork.

PAULCÉZANNE(18811973)StillLifewithaPeachandTwoGreenPears,188387(oiloncanvas)

Abstract•MajorartistoftheDeStijlmovement

•Hereducedthevisualelementsofhispaintingstohorizontals,verticals,rectanglesandprimarycolorswithblack,whiteandgrey.PIETMONDRIAN(18721944)

BroadwayBoogieWoogie,194243(oiloncanvas)

Geometric•Geometricshapestendtobeusedtoconveytheideaofrigidity,structure,pattern,perspectiveand3dimensionalform.

•HeldquotedinTimeMagazineassaying,“We’renotgoingtogetridofchaosandcomplexity,butwecanfindawaytolivewiththem.”

•Multipleperspectives,differentscales,transparencyandopacity,consistencyandcontradiction,allreflectthechaoticnatureofourmindsandourworld.Thewayhecomposesthepaintingbycroppingtheactivityattheedgessuggeststhatthisisbutadetailofourinfinite'chaosandcomplexity'.

•Withinthemazeoftheirillusionisticgeometrythereisenoughevidenceofcontinuityoflineandshapetokeepusengagedinoursearchforareassuringvisualintegrity.

ALHELD(19282005)"SE"1979(84"x84",acryliconcanvas)

Organic

•OrganicShapesareusuallynatural,irregularandfreeformincharacter.Youcanseetheminthepatternsofgrowthanddecayinnature;intheshapesofseeds,plants,leaves,flowers,fruit,trees,branches;andintheephemeralformsofcloudsandwater.Theyarealsoassociatedwithanatomicalformssuchasheartandkidneyshapes.

•Organicshapescanconveyasenseofformationanddevelopment,andsuggestqualitiessuchassoftness,sensuality,flexibilityandfluidity.

•Twoancienttrees,oneahollowedouttrunk,theotherabentandtwistedbough,communeinthechoreographedlanguageofabstractforms.Theyoungermembersofthewoodlandsurroundthesetwoelderslikeanattentiveaudienceabsorbingtheirwisdomandexperience.Thecloudsaddasympatheticbackdropwhilethegardenwallactslikeageometriccounterpointtothisorganicdrama.

GRAHAMSUTHERLAND(19031980)Pastoral,1930(etching)

Perspective(Shapes)

•PerspectiveDrawingisthetechniquethatartistsusetocalculatetheanglesofathreedimensionalshapewhendrawingitonatwodimensionalsurface.

•Itillustratestwocakes:oneinthecenterofthepainting;theothercutintoeightequalslices,eachonitsownidenticalplateandarrangedinacircularorderlikethenumbersonaclock.Toevokeasenseoftimeandmotion,eachsliceofthecakehasbeenrotatedby45°astheyadvancearoundtheclock.

WAYNETHIEBAUD(1920)AroundtheCake,1962(oiloncanvas)

Tone•Definesthelightnessordarknessofacolor.•Thetonalvaluesofanartworkcanbeadjustedtoalteritsexpressivecharacter.

Tonecanbeused:•tocreateacontrastoflightanddark.•tocreatetheillusionofform.•tocreateadramaticortranquilatmosphere.•tocreateasenseofdepthanddistance.•tocreatearhythmorpatternwithinacomposition.

Contrast

CARAVAGGIO(c.15271610)BasketofFruit,159596(oiloncanvas)

•Appearsdarkagainstalightbackground.

•Caravaggiodemonstratesoutstandingskillinthewayhecapturesthedelicatevariationsinthecolorsandtexturesoftheproduce.

•Thefruitinthepaintingisoverripeshowingsignsofdecaywiththeleavesshrivelingastheybegintodryout.Therealsubjectofthework,however,isitsundertonesasthefruitenterstheinitialstagesofdecompositionwithitsdarksilhouetteeclipsedbythesymbolicluminosityofitsbackground.

ToneasForm

STANLEYSPENCER(18911959)SelfPortrait,1914(oiloncanvas

•Englishartistwhomastered'chiaroscuro‘.

•Combinesintensivepersonalscrutiny,theaccuracyandexpressivevitalityofhisbrushworkinthepaintingofhisfacialmusculature,andtheextremesoftonewhichholdtheformtogetherwithsuchdramatictension.

ToneasFormGEORGESSEURAT(18591891)SeatedBoywithaStrawHat,1883(contécrayononpaper)

•PostImpressionist,inventedPointillism&devisedadrawingtechniquethatfocusedexclusivelyontoneanditsabilitytorenderform.

•Thisstudywasdonebyusingtheflatedgeofcontécrayonstocreatebroadareasoftoneonaheavilytexturedpaper.Whenyoudrawinthismanner,the'tooth'ofthetexturedpaperholdsthepigmentwhilethe'valleys'remainwhitegivingyouadarktonethatisspeckledwithlight.Youcanthenadjustthedensityofthedarkbybuildingupthetoneinlayers.

•The'lines'inSeurat'sdrawingsarereallyedgeswhichareformedwhenadjacentdarkandlighttonesmeet.

ToneasDramaPABLOPICASSO(18811973)Guernica,1937(oiloncanvas)

•DepictionofPicasso'shorroratthebombingofthesmallBasquevillageduringtheSpanishcivilwar.

•Paintedintonesofblackandwhitewithoutanyhintofcolor.Picassodeliberatelyavoidsusingcolorduetoitsemotionalimportwhichwoulddetractfromthedarkdespairofthesubject.Heturnstotheblackandwhitetonalityofnewspaperstoreinforcetherealityofhisstylizeddramaandtopresentthebrutalityoftheatrocityasauthoritativefact.Toemphasizethisrelationshiphestipplesthehaironthebodyofthedyinghorsewithlinesreminiscentofnewsprint.TheabsenceofcolorintheworkalsolendsanoteofrespectfortheinnocentvictimsofGuernica.

ToneasRhythm/Pattern

KAZIMIRMALEVICH(18791935)TheKnifeGrinder,1912(oiloncanvas)

•'CuboFuturist‘•Createsacomplexcompositionofpatchworktones.

•HetakestheprismaticpatternoftheCubist'svisionandcombinesitwiththerhythmandspeedoftheFuturist'stocreateastopmotionabstractionoftheknifegrinderatwork.

Color•Colorhasthestrongesteffectonouremotions.Itistheelementweusetocreatethemoodoratmosphereofanartwork.

Therearemanydifferentapproachestotheuseofcolorinart:•Coloraslight•Colorastone•Coloraspattern•Colorasform•Colorassymbol•Colorasmovement•Colorasharmony•Colorascontrast•Colorasmood

ColorasLight

GIACOMOBALLA(18711958)StreetLight,1909(oiloncanvas)

•Futurist•Representsthephysicalpropertiesoflight.Itsradiantglowdissolvesinconcentricwaves,eachofwhichdiminishinintensityandchangecolortosuggestthedifferentwavelengthsofthespectrum.

ColorasLight

RENÉMAGRITTE(18981967)EmpireofLight,1954(oiloncanvas)

•Imageofsuburbansilencewithasurrealistictwist:thesceneissetatmidnightbuttheskyisfixedatmidday.

•Thissubversiveimageholdstogetheraconflictofoppositeswithinitsunifiedstructure:daymeetsnight,darkmeetslightandrealitymeetstheimagination.

•Theconvincingtechniquethatheusestopaintthepicturepersuadestheviewertoengagewiththeimpossiblesearchforarationalmeaning,therebydrawingthemintotheirrationalrealmofSurrealism.

ColorasToneEMILENOLDE(18671956)LakeLucerne,1930(watercoloronvellum)

•Expressionistpaintingwasmoreaboutusingcolorandthephysicalqualitiesofamediumtoexpressyourfeelingsaboutthesubject.

•Usesthenaturalfluidityofwatercolortomirrorthechangingmoodofthelandscape.

•Buildsuptheshapesofthemountainswithwashesindifferenttonesofblue,moreintenseintheforegroundbecomingpalerinthebackground.

•Createsanimpressionofaerialperspectiveasthetonesofthecolorsappeartofadeintothedistantlandscape.Hecontinuesusinga'wetonwet'techniquetoformtheephemerallayersofcloudsandthewateryreflectionsinthelake.Finally,heappliesaspotofyellowwhichbleedsoverthedampsurfacetocreatetheglowofthesettingsunwhichhethenrepeatsonthelaketocreateitsreflection.

ColorasPattern

JUANGRIS(18871927)ViolinandCheckerboard,1913(oiloncanvas)

•Cubist•Assigneddifferentcolorstoparticularshapeswhichcreateanasymmetricalpatternofformsarrangedaroundthewhiteclothatthecenterofthepainting.

•Thispatternofcolorsleadstheviewer'seyeinaclockwisemotionaroundthepicture.

•Colordistributedasirregularpatternisoftenusedasunifyingelementinthecompositionofartworks.

ColorasForm

ANDRÉDERAIN(18801954)PortraitofMatisse,1905(oiloncanvas)

•Fauvismvaluedintensecolorforitsemotionalimpactmorethanforitsabilitytorenderform.

•DerainsimplifieshisdrawingofMatisseintoangularplanes.

•Next,heselectscolorswhicharesensitivelybalanced,payingsomerespecttotheirtonalvaluesbutpitchedattheirmaximumintensity.

•Finallythecolorsareappliedinslabsofexpressivebrushworkwithoutanysubtleblending.Colorandformnowcoexistasequalsinhispainting.

ColorasHarmony

EDGARDEGAS(18341917)BlueDancers,1899(pastels)

•Harmonyisthecompatibility,balanceorprogressionofsimilarelements.

•Theshapeofthepaintingissquarewhiletherotationalmovementofthefiguresiscomposedwithinadiamondformingaharmonyofrectangularshapes

•Thedecorativefrillsaroundthebodicesofthedressesformasubtleharmonyofcurves.

•Thepointedprojectionsofarms,elbowsandwristscreatearhythmicharmonyofangles.

•Thewarmochresofthebackgroundshouldclashwiththecoolbluedressesintheforegroundastheyareoppositecolors.HoweverDegasreconcilestheiroppositionwithacleverharmonyoftheircolors.Hescumblestracesofblueoverthewarmochrebackgroundwhichiscounterbalancedbytheochreunderpaintingthatbeatsbeneaththebluedresses.Thishastheeffectofharmonizingtheforegroundwiththebackgroundbutstillretainingenoughcontrasttostimulateourinterest.

ColorasContrastJOSEPHMALLORDWILLIAMTURNER(17751851)TheBurningoftheHousesofLordsandCommons,1835(oiloncanvas)

•Thevisualelementsofthepaintingarefueledbyacollisionoftheclassicalelementsofearth,air,fireandwater.

•Onthelefttheblazingorangesandyellowsoftheburningbuildingsaresetinoppositiontothecoldbluesandlilacsofthesky.Thehotcolorsoftheflamesandtheirreflections(fireandwater)areintensifiedbythecoldcolorsoftheskyandbridge(earthandair).AsimilartensionisestablishedbythetonalcontrastofthedarkcrowdagainstthelightriverwhichiscounterbalancedbythelightsandstoneofWestminsterBridgeagainstthedarkeningsky.Thispaintingisacleverlyarrangedcontrastofoppositecolors,tonesandclassicalelementswhichTurnerhasdevisedtoheightentheimpactofeach.

ColorasMovement

VICTORVASARELY(19061997)VonalKSZ,1968(silkscreenprint)SeparationofColorProgressionsinVonalKSZ,1968(silkscreenprint)

•Whenyoulookatanabstractartworkyourbraininstinctivelysearchesforsignsofrhythmandordertotrytomakespatialsenseoftheimage.

•VictorVasarelymakesuseofthisimpulsetocreateanimpressionofmovementbycombininggraduatedsquaresandsequentialcolors.

•Theseleadtheeyeintoandthroughtheimagewithincreasinganddecreasingacceleration.

•Thesquares,whichgraduatefromlargetosmall,arealignedontheirhorizontalaxesbutarestaggeredontheirverticalaxestocreatetheillusionofatunnelwhosedizzyingperspectiveunfoldsastheytraveltowardsthevanishingpointatitscenter.

ColorasSymbolVINCENTVANGOGH(18531890)ThePotatoEaters,1885(oiloncanvas)

•ThisisVanGogh'smasterpiecefromthefirstperiodofhisworkbeforehemovedtoParisin1886.'ThePotatoEaters'areapoorDutchpeasantfamilysittingdowntosharetheirfrugaleveningmeal.TheyareagriculturallaborersandtheearthygreensandbrownsthatVanGoghusestopaintthemsymbolizetheirclosenesstoanddependenceonthelandfortheirsurvival.Thereisaunityofcolorandtexturebetweenthehandsandfacesofthepeasantsandthepotatoesandcoffeetheyaresharing.Thedarksombertonesoftheworksympatheticallyreflecttheirhumbleexistenceandtheartist'srespectforthequietdignityoftheirlabor.

ColorasMood

VINCENTVANGOGH(18531890)Sunflowers,1888(oiloncanvas)

•ForVanGogh,yellowwasthecolorofjoyandfriendship.

•Thecompositionoftheworkissimplicityitself:fifteensunflowerssitinavaseonatable;theyarearrangedsymmetricallyandfillthecanvas;thevase,flowers,tableandbackgroundarepredominatelyyellowandcastnoshadows.Itisthisabsenceofcomplicationinboththedrawingandarrangementoftheworkthatliberatesitscolortocommunicatewithagreaterintensitythanyouwouldexpect.'Sunflowers'radiatescolorratherthanusingitasadescriptiveelement.

ColorasMoodGINOSEVERINI(18831966)TheDanceofthePanPanattheMonico,19091911/19591960(240cmx400cm,oiloncanvas)

•TheFuturistsembracedthenoise,energyandintensityofmoderncitylife.Theraucousnightlifeofthecabaretwithitsvibrantfashionsandrisquédancingtoragtimerhythms,allilluminatedbymodernelectriclighting,wastheperfectsettingforavisionofFuturistfun.

•SeverinismashesthisimageintocountlessfragmentswhichhereassemblesinadynamiccompositionthatcapturesthecollectiveconsciousnessofFuturism.Contrastsofoppositecolorscollideinashatterproofstructurethatframesthefun,frolics,noiseandexcitementofmodernentertainment.

Pattern•Patternisconstructedbyrepeatingorechoingtheelementsofanartworktocommunicateasenseofbalance,harmony,contrast,rhythmormovement.

•NaturalPattern:Patterninartisoftenbasedontheinspirationwegetfromobservingthenaturalpatternsthatoccurinnature.Wecanseetheseintheshapeofaleafandthebranchesofatree,thestructureofacrystal,thespiralofashell,thesymmetryofasnowflakeandthecamouflageandsignalingpatternsonanimals,fishandinsects.

•ManMadePattern:Patterninartisusedforbothstructuralanddecorativepurposes.Forexample,anartistmayplanthebasicstructureofanartworkbycreatingacompositionalpatternoflinesandshapes.Withinthatcompositionhe/shemaydevelopitsvisualelementstocreateamoredecorativepatternofcolor,toneandtextureacrossthework.

NaturalPattern

RORYMCEWEN(19321982)KensingtonGardens1,1979(watercoloronvellum)

•Asyouaredrawnmoreintothedetailoftheimage,thispatterntakesonafractalnaturewhereyounoticethesamenaturalformationondifferentscales.

•Hisworktranscendsmereillustrationandraisesourperceptiveawarenesstoalevelwhereweexperiencetheintensityofhisuniquevision.Heslowsusdownandshowsustheexquisitebeautythatwemissbynotreallylookingatwhatwesee.

ManMadePatternWILLIAMMORRIS(18341896)PencilandWatercolorSketchforAcanthusWallpaperPattern,187475

•TheAncientGreekswerethefirsttousetheacanthusascarveddecorationinCorinthiancapitalsandithasbeenfrequentlyrevivedasadecorativeornamentinByzantine,Romanesque,GothicandRenaissancearts,craftsandarchitecture.

•Morrisusesthetwistingformsoftheacanthusleaftocreatearepeatpatternunitforawallpaperdesign.Hecleverlyarrangesitsorganicshapestohidethegeometricstructureofitspatterninordertoproduceanaturalwallofleafyforms.TheideawastointroduceNature,astheexpressionofGod'sdesign,intothehomeasanantidotetothegracelessproductionoftheIndustrialRevolution.

PatternasLandscape

PIETMONDRIAN(18721944)FarmNearDuivendrecht,1907(oiloncanvas)

•Mondrianadaptsthenaturalpatternsofthebranchesonthetreestoenhancetheiraestheticappealandusesthetreetrunksandtheirreflectionstoformastructuralbackboneforthecomposition.

•Thepatternofthebranches,whichwouldnaturallyhavearandomdistribution,isrestructuredtoformabalancedinterplaybetweentheirshapesandthespacesbetweenthem.

•Mondrian'simpulsetobalanceopposingelementslikehorizontalsandverticalsorpositiveandnegativeformsisakeytounderstandinghiswork.

•Hedoesitagainbybalancingtheimagewithitsreflection,aninterplaybetweenlandandwater,wheretheverticalsofthetreescrossthehorizontaldivideoftheriver.

•Inthisinteractionyoucanbegintoseetheemergenceofthe'grid'inMondrian'swork.

PatternasEnvironmentalism

ANDREWGOLDSWORTHY(b.1956)RowanLeavesLaidAroundHole,YorkshireSculpturePark,25October1987(photograph)

•Goldsworthyisanenvironmentalartistwhousestherawmaterialsofthelandscape(leafsandpetals,twigsandthorns,snowandice,mudandrocks)andsympatheticallymanipulatesthemtocreateanunexpectedsenseoforderwithintheunrestrictedgrowthofthenaturalenvironment.

•Usesthechangingpigmentationofautumnleavestocreateacircularpatternofcolors.

•Itradiatesenergyinasunburstofvibrantyellows,throughflamingredstoadeeppurplethatsubtlyblendsintothebrownsandblacksoftheearth.Atitscenterliestheinvisiblesourceofitspowerablackholebeyondtheblackofanypigmentation.

PatternasContrast

M.C.ESCHER(18981972)DayandNight,1938(woodcut)

•Escherusesaconventionalperspectiveforthegroundplanewhichstretchestothehigheyelevelonthedistanthorizon.Thishigheyelevelplacestheviewerinanelevatedpositionlookingdownonthelandscape.Hethensuperimposesthegraduatingpatternoftheflyinggeeseontothepictureplanewhichjoinsseamlesslywiththefieldatthebottomofthegroundplain.Itisthemisdirectionofthisseamlessjointhatconvincesuswearelookingatoneimageratherthantwo(apatternoverlappingalandscape).Escheralsointroducescontrastingpatternstodirectourattentionawayfromthestructuraldesignoftheimage.Thecontrastsofpositiveandnegative,blackandwhite,dayandnightincombinationwiththehigheyelevelpullourattentiontotheupperhalfoftheworkandinitiatealeftrightdialoguebetweenbothsidesofthismirrorimage.ItisinterestingtoanalyzeEscher'sillusionin'DayandNight'butitismorefuntobetrickedintobelievingit.

PatternasRepetition

ANDYWARHOL(19281987)Marilyn,1967(aportfoliooftensilkscreenprints)

•WarholusedanassemblylineofsilkscreenedimagesofMarilynMonroeasametaphorforthelossof'self'inthevicariousworldofcelebrity.

•Marilynnolongerhasheruniqueidentityasanindividual;shehasbeenrebrandedasanadaptablecommoditytomeetthevoraciousappetiteoftheconsumerculture.

PatternasDecoration

GUSTAVKLIMT(18621918)PortraitofAdeleBlochBauer1,1907(oilandgoldleafonpanel)

•Adeleisdressedinaflowinggownandseatedonachair.Hervisiblefleshispaintednaturalisticallywhilehergown,chairandbackgroundareoutlinedasseparateflatareas,eachdecoratedwithgoldleafinadazzlingarrayofexquisitepatterns.Thechairandrobesofthegowndisplayabejeweledarrayofgoldandcoloredovals,squares,trianglesandspiralsthatreferenceJapanese,JugendstilandMycenaeandesignswhereasthebackgroundisamottledpatinaofgoldleafwiththeoddfloatingsquaretoregisteritsdepth.ThedressinAdele'scostumereflectsastrongEgyptianinfluenceasitsbodilyformisflattenedandpatternedwitheyes.ManysourcesalsosuggestthatKlimt'suseofeyesasadecorativepatternonherbodyisevidenceofagreaterintimacyintherelationshipbetweentheartistandhismodel.

Texture•Texturedefinesthesurfacequalityofanartworktheroughnessorsmoothnessofthematerialfromwhichitismade.

•OpticalTexture:Anartistmayusehis/herskillfulpaintingtechniquetocreatetheillusionoftexture.

•PhysicalTexture:Anartistmaypaintwithexpressivebrushstrokeswhosetextureconveysthephysicalandemotionalenergyofboththeartistandhis/hersubject.Theymayalsousethenaturaltextureoftheirmaterialstosuggesttheirownuniquequalitiessuchasthegrainofwood,thegrittinessofsand,theflakingofrust,thecoarsenessofclothandthesmearofpaint.

•EphemeralTexture:Thisisathirdcategoryoftextureswhosefleetingformsaresubjecttochangelikeclouds,smoke,flames,bubblesandliquids.

OpticalTexture

JANVANHUYSUM(16821747)BouquetofFlowersinanUrn,1724(oiloncanvas)

•Dutchstilllife;Baroque/Rococo•Outstandingabilitytopainttherealistictexturesofpetals,stems,leaves,dropletsofmoisture,ahordeofinsectsandthedistinctivesurfacesofterracottavasesandmarblepedestalswasasecrettechnique.

OpticalTexture

LUCIANFREUD(19222011)JohnMinton,1952(oiloncanvas)

•Paintedinfinedetailwithsoftsablebrushestorenderthesubtlevariationsofthetoneandtextureoftheeyes,skinandhair.

•Freud'sunrelentingfocusoneachandeverysquarecentimeterofMinton'sheadplotsamapofmicroexpressionsthatrevealsastateofuneaseinthesitter.

•Variegatedtexturescombinetocommunicatethisunderlyingsenseofdisquiet:thetussledlayersofhishair,thewaterinessofhiseyes,theoilinessofhisskin,hisloosemouthandthemuscularityofhislips,andallinconcertwiththetiltandelongationofhishead.

•Thisisameticulouslyobservedportraitwhosesurfacetexturesworktogethertoreflectthepsychologicalstateoftheirsubject.

OpticalTexture DUANEHANSON(19251996)ManonaBench,1977(vinyl,polychromedinoil,withaccessories)

•Ultimatelevelofrealism;lifesizesculptureofa'ManonaBench'.

•Castthisdejectedfigurefromlife,heighteningitsaccuracywithsubtlypaintedveinsshiningthroughitstranslucentwrinkledskin.Theadditionoffastidiousdetailslikenaturalisticeyes,lashesandstubblyeyebrows,thinninggreyhair,sociallydefiningandageappropriateclothesliftstheworktoanuncannylevelofdeception.

OpticalTexture

DAVIDHOCKNEY(b.1937)ABiggerSplash,1967(acryliconcanvas)

•Representingtheephemeraltextureofwater

•The'splash'ispaintedfromaphotographicsourcefoundinamagazineaboutswimmingpoolswhiletherestoftheimageisbasedonhisdrawingsofCalifornianbuildings.Theephemeraltextureofthe'splash'onlybecomesvisibletothenakedeyewhenitisfrozeninaphotograph.

PhysicalTexture

VINCENTVANGOGH(18531890)SelfPortrait,1889(oiloncanvas)

•Usesthephysicaltextureofpaintnotonlytofashionhisownlikenessbutalsotorevealhispsychologicaldisposition.

•Theplanesofhisfaceandtextureofhishairareboldlyhatchedincontoursofexpressivebrushstrokeswhich,despitetheirfeverishenergy,holdtogetherasatightlydrawnportrait.

•Thepsychologicalintensityoftheimageunwindsfromhiseyeslikeawavedischargingitsenergythroughtheswirlingstrokesofhisjacketandintotheturbulentflowofthebackground.

•Todayweseethispaintingasoneofthemostpowerfulpsychologicalportraitsinthehistoryofart.

PhysicalTexture

KARLSCHMIDTROTTLUFF(18841976)SelfPortrait,1906(oiloncanvas)

•InfluencedbyVanGogh;Expressionist

•Developednewexpressivepossibilitiesforcolorandtexturewithhisenergeticimpastobrushwork.

PhysicalTexture

JOANEARDLEY(19211963)SeededGrassesandDaisies,September,1960(oilonboardwithgrassesandseedheads)

•Hertotalimmersioninthesubjectledhertoincorporatestalksofmeadowgrassandflowersinordertogroundtheabstracttextureoftheworkinreality.

•Here,theimageanditsmediumliterallybecomeoneandthesame.

Form•Formrelatestothephysicalvolumeofashapeandthespacethatitoccupies.

•Formcanberepresentationalorabstract.•Formgenerallyreferstosculpture,3Ddesignandarchitecturebutmayalsorelatetotheillusionof3Dona2Dsurface.

FormasCarving•Carvingisaprocessofsubtractingformfromasolidblockofmaterialbythetechniquesofcutting,chiselingorfiling.Stoneandwoodaretheprincipalmaterialsusedforcarving,eachofwhichhasitsownqualities,strengthsandweaknessesasamedium.

Stone

AGESANDER,POLYDORUS,andATHENODORUS(1stCenturyB.C.)LaocoönandhisSons,circa4220B.C.(marble)

•Marble;Neptune;HellenisticBaroque

•ItwasconsideredbyPlinytheElderinhis'HistoriaNaturalis',theearliestsurvivingbookonthehistoryofart.

•Duetoitscomplexform,thesculpturehasbeenbuiltfromseveninterlockingsectionsmakingitdifficulttoidentifytheindividualcontributionofeachartist.

Stone

MICHELANGELOBUONARROTI(14751564)Pietà,149899(marble)

•BytheageoftwentythreeMichelangelohadalreadydemonstratedhissublimeskillinthecarvingofthe'Pietà',asculpturethatcouldmatchthenaturalismandemotionalexpressionofthegreatHellenisticmasters.

•Carvedfromasingleblockofmarble.

Wood

SENUFOMASK(CarvedWood)Africa

•Maskimagerywasoftenmultilayered,combininghumanandanimalfeaturesinonedesigntosymbolizeanecologicalbalance.Maskswerealsoavigorousstatementaboutexperience,morethantheywerearesponsetowhattheartisthadobserved.Modernartistsrecognizedthecreativepotentialinthisconceptualapproachandwereeagertoexploreitintheirownwork.

•Tribalmasksweremostlyusedinceremonialdancesasachannelofcommunicationbetweenthenaturalandsupernaturalworlds.Wood,themostcommonmaterialusedformakingmasks,waschosennotonlyforitsabundanceintheforestbutalsoforitsqualityasaspiritualmedium.

WoodHENRYMOORE(18981986)RecliningFigure,1936(elmwood)

•Linksthe'classical'withthe'primitive'andthefigurewiththelandscapeinanambiguousrelationshipofformandspace.

•AsyouwalkaroundMoore's'RecliningFigure'youregisteranimpressionofthesensualcurvesofthefemaleform:theangleofashoulderasitbalancesabovethepropofanelbow,thelineofabackwhichglidesintotheswellofahipandthebulgeofathighwhichflexesatabulbousknee.Onthesamewalkaroundthework,theambiguityoftheseundulatingformsmayassumeageologicalmetaphorwherethefigureadoptsanNeolithicquality,likeastonethathasbeenwornsmoothandhollowedoutbycenturiesoferosion.Withanotherperceptualshiftyoumaydiscerntheconfigurationofalandscapewheretheformofthesculpturetakesonthenatureofhills,valleys,canyons,cliffsandcaves.ThissynthesisoffigureandlandscapeisoneofthemajorthemesofHenryMoore'swork.

BronzeALBERTOGIACOMETTI(19011966)GrandeTêteMince(Headoftheartist'sbrother,DiegoGiacometti),195455(castbronze

•Workingfrombothlifeandfrommemory,turnedtheexpressivenessofsculptureupanotchbytirelesslymodellingandremodelinghissubjectinanattempttoshapetheessenceofafigureinasingleform.

KineticMovementALEXANDERCALDER(18981976)SixDotsoveraMountain,1956(paintedsteel)

•CalderbroughtasenseofhumorandplayfulnesstoartinAmericawiththeintroductionofhisconstructivistinfluenced'mobiles'paintedmetalsculptureswithmovingpartsthatwereincorporatedaselementsoftheirconstructionandcomposition.

•AsthecomponentsofaCalder'mobile'easeintoaction,thechangingrelationshipsoftheircolors,shapesandformechothegracefulandfluctuatingdynamicsofnaturalmotion.HisinspirationfortheircolorsandshapesevolvedfromawittycombinationofMondrian'spureabstractionwiththebiomorphicformsofJoanMiró.

FormasLandArtROBERTSMITHSON(19381973)TheSpiralJetty,1970(6650tonsofmud,saltcrystalsandblackbasaltrocks)

•Probablythemostfamousandmostinfluentialearthworkinmodernart.

•Itis15feetwideandprojects1500feetintotheGreatSaltLakeinUtah.Smithsonbuiltthisstructureinthreeweeksusingabulldozeranddumptrucks.Hechosethesiteforitsmagicalambienceasthelakechangescolorfromapinktolilactoredduetothebuildupofbetacaroteneinthehighsalinityofitsshallowwater.