Space. Shape and Mass Three-Dimensional Space Two-Dimensional Space Linear Perspective

Transcription

1 Chapter 5 Space

2 Space

3 Space Shape and Mass Three-Dimensional Space Two-Dimensional Space Linear Perspective

4 Space The Unlimited expanse in which everything is located A set of elements or points satisfying specified geometric postulates: non-euclidean space. The infinite extension of the threedimensional region in which all matter exists. The expanse in which the solar system, stars, and galaxies exist; the universe.b The region of this expanse beyond Earth's atmosphere. An extent or expanse of a surface or three-dimensional area: Water covered a large space at the end of the valley. A blank or empty area: the spaces between words. An area provided for a particular purpose: a parking space. A period or interval of time.b A little while: Let's rest for a space. Sufficient freedom from external pressure to develop or explore one's needs, interests, and individuality Music. One of the intervals between the lines of a staff. Printing. One of the blank pieces of type or other means used for separating words or characters.

5 Shape FLAT A shape is in a 2-D area with boundaries that can be measured in terms of HEIGHT and WIDTH. HXW

6 The 3 Basic Shapes Square Circle Triangle

7 When an artist draws a simple shape on paper a square, a circle, any shape they create two things: the shape, and the space that surrounds it. Usually, the space surrounding a shape becomes the background and pushes the shape into the foreground When an artist begins to draw larger shapes on the same paper, these new shapes appear closer (see Donald Sultan s Lemons). If shapes overlap one another, then the artist is working with illusory space. Methods for creating this sense of depth, or space, include the overlapping altering an object s size, rendering detail, or altering color intensity

8 Donald Sultan. Lemons, May 16, Latex, tar on vinyl tile over wood /2 in. Virginia Museum of Fine Arts, Richmond. Gift of The Sydney and Frances Lewis Foundation. Photograph: Katherine Wetzel, Virginia Museum of Fine Arts. [Fig. 5-2]

9 Mass SOLID Occupies a 3-D volume. Measured in terms of height, width, and depth. HXWXD

10 Shapes with Mass Cube Sphere Pyramid/Cone

11 Martin Puryear. Self Polychromed red cedar and mahogany in. Joslyn Art Museum, Omaha, Nebraska. [Fig. 5-4]

12 Feast-making spoon (Wunkirmian), Liberia/Ivory Coast, Dan. 20th century. Wood and iron. height 24-1/4 in. The Seattle Art Museum. Gift of Katherine C. White and the Boeing Company, abm - archives barbier-mueller-studio Ferrazzini-Bouchet, Geneve. [Fig. 5-6]

13 Birth of Venus in Mass Botticelli, The Birth of Venus, 1483

14 Birth of Venus in Shape

15 Figure Ground Reversal Term used to describe a 2-D work in which the relationship between a form or figure and its background is reversed so that what was figure becomes background and what background becomes figure.

16 Rubin vase. Line art. [Fig. 5-3]

17 Three-Dimensional Space Any space that contains Height-Width-and Depth

18 Nave, Reims Cathedral. View to the west. begun 1211; nave c Courtesty Getty Research Institute. [Fig. 5-7]

19 Negative Space 3-D EMPTY SPACES. Empty space surrounded and shaped so that it acquires a sense of form or volume. Henry Moore, Recumbent Figure 1938

20 Two-Dimensional Space It is flat. I possesses height and width but no depth- It does however contain a SENSE of depth. This is accomplished by means of artist illusion: shading, perspective, scale, figure ground interaction, and foreshortening. Frank Lobdell, Untitled 1966

21 Scale and Overlap

22 Steve DiBenedetto. Deliverance Colored pencil on paper. 30-1/8 22-1/2 in. Courtesy of David Nolan Gallery, New York, Private Collection, New York. [Fig. 5-9]

23 Linear Perspective One-Point Horizon Line Vanishing point

24 One-point linear perspective. Left: frontal recession, street level. Right: diagonal recession, elevated position. Line art. [Fig. 5-13]

25 Vantage Point Frontal Recession Vantage Point: When the vanishing point is directly in front of the viewer. Diagonal Recession Vantage Point: When the vanishing point is to either side. Frontal

26 Duccio. Annunciation of the Death of the Virgin, from the Maestà Altarpiece (perspective analysis) Tempera on panel. 16-3/8 21-1/4 in. Canali Photobank, Milan, Italy. [Fig. 5-14]

27 Leonardo da Vinci. The Last Supper. c Mural (oil and tempera on plaster). 15 ft. 1-1/8 in. 28 ft. 10-1/2 in. Refectory, Monastery of Santa Maria delle Grazie, Milan, Italy. Index Ricerca Iconografica. Photo: Ghigo Roli. [Fig. 5-15]

28 Leonardo da Vinci. Perspective analysis of Leonardo da Vinci, The Last Supper. c Mural (oil and tempera on plaster). 16 ft. 1-1/8 in. 28 ft. 10-1/2 in. Refectory, Monastery of Santa Maria delle Grazie, Milan, Italy. Index Ricerca Iconografica. Photo: Ghigo Roli. [Fig. 5-16]

29 Linear Perspective Two-Point

30 Two-point linear perspective. Line art. [Fig. 5-17]

31 Gustave Caillebotte. Place de l Europe on a Rainy Day Oil on canvas. 83-1/ /4 in. Charles H. and Mary F. S. Worcester Collection, The Art Institute of Chicago. Photography The Art Institute of Chicago. [Fig. 5-18]

32 Gustave Caillebotte. Perspective analysis of Gustave Caillebotte, Place de l Europe on a Rainy Day Oil on canvas. 83-1/ /4 in. Charles H. and Mary F. S. Worcester Collection, The Art Institute of Chicago. Photography The Art Institute of Chicago. [Fig. 5-19]

33 Oblique Projections Oblique Projection is a two-dimensional view of an object with 'forced depth'. In a composition the front of the object is parallel to the picture plane and the sides are neither perpendicular nor parallel to a given line or surface in reality; slanting ; sloping.

34 The Three Sacred Shrines at Kumano: Kumano Mandala. Kamakura period, c Hanging scroll, ink and color on silk. 52-1/4 24-1/4 in. The Cleveland Museum of Art. John L. Severance Fund, [Fig. 5-20]

35 Axonometric Projections A technique for depicting space, often employed by architects, in which all lines remain parallel rather than receding to a common vanishing point. Shackleton Library at Cambridge University, England

36 Theo van Doesburg and Cornelius van Eesteren. Contra-Construction Project, Axonometric, Project for a private house Gouache and ink on paper, sheet. 22-1/2 22-1/2 in. Digital Image The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Gift of Edgar Kaufmann, Jr., ( ). The Museum of Modern Art, New York, NY, U.S.A. [Fig. 5-21]

37 How does oblique projection differ from axonometric projection? In both oblique and axonometric projection, the sides of an object are represented as parallel. In oblique projection, one face is parallel to the picture plane as well, while in axonometric projection, all sides of an object are at an angle to the picture plane.

38 Distortions of Space Foreshortening Foreshortening is the modification of perspective to a figure in order to decrease distortion resulting from the apparent visual contraction of an object or figure as it extends backwards from the picture plane (surface of 2-D object).

39 Photographer unknown. Man with Big Shoes. c Photograph. Courtesy of the Library of Congress. [Fig. 5-22]

40 Foreshortening Examples

41 Andrea Mantegna, The Dead Christ, 1501

42 Stan Lee (originator), Spider Man

43 Questioning Reality The artist seeks to draw attention to the act of the imagination rather than the composition s verisimilitude: the apparent truth of reality. Henri Matisse, Harmony in Red,

44 Umbo (Otto Umbehr). Weird Street (Unheimliche Straße) Gelatin silver print. 11-7/16 9-1/4 in. Metropolitan Museum of Art, New York. Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 ( ). Galerie Rudolf Kicken, Cologne and Phyllis Umbehr, Frankfurt/M. [Fig. 5-27]

45 Paul Strand. Abstraction, Porch Shadows Silver platinum print /16 9-1/8 in. Réunion des Musées Nationaux / Art Resource, NY. Aperture Foundation. [Fig. 5-28]

46 Why have modern artists challenged the means of representing three dimensions on two-dimensional surfaces? Modern artists have consistently challenged the utility of perspective and other techniques used to create the illusion of three dimensions on twodimensional surfaces. Often it is precisely the disorienting and chaotic that defines the modern to many artists, and systems such as perspective seem, to them, to present a false sense of order. How have photographers challenged the viewer s recognition of the world? In Harmony in Red (The Red Room), how does Henri Matisse nearly eliminate any illusion of three-dimensionality? How can the illusion of digital space be created?

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