Terms used to discuss Painting

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1 Chapter 11 Painting Before Renaissance, painting is seen as a mechanical skill and not an intellectual pursuit Historically, used to imitate nature; a painting s aesthetic value would be measured according to how well it did so When people think of art they most often think of painting The nature of painting- immediacy, uniqueness and auratic (there is an infinite # of possibilities)

2 Chapter 11 Painting The primary visual element in painting is color the medium of painting offers artists the use of color in a way that other mediums do not colors in a painting can appear more intense, saturated and wide ranging

3 Terms used to discuss Painting Support- the structure and surface of the painting Ground or prime- layer of white paint covering the tooth of the canvas or other surface to be painted upon Three components of paint materials Pigment Binder Solvent or vehicle

4 Painting Materials Oldest; most traditional materials Encaustic Fresco Tempera Oil Watercolor/gouache More recently used by artists Synthetic media (acrylic) Mixed media

5 La Pittura- an image emerging during 15 th c. that personified painting Title: The Art of Painting Artist: Giorgio Vasari Date: 1542 Source/Museum: Vault of the Main Room, Arezzo, Casa Vasari. Canali Photobank, Capriolo, Italy. Medium: Fresco Size: n/a

Encaustic Wax is used as the binder Prevents the artist from working in large areas of the painting at one time Must use a rigid support Surface quality of the painting reveals wax Title:

6 Encaustic Wax is used as the binder Prevents the artist from working in large areas of the painting at one time Must use a rigid support Surface quality of the painting reveals wax Title: Mummy Portrait of a Man Artist: n/a Date: c CE. Source/Museum: Albright-Knox Art Gallery, Buffalo, New York. Charles Clifton Fund, Medium: Encaustic on wood Size: 14 x 18 in.

Encaustic Title: Three Flags Artist: Jasper Johns Date: 1958 Source/Museum: Collection of Whitney Museum of American Art, New York. 50th Anniversary Gift of the Gilman Foundation, Inc.

7 Encaustic Title: Three Flags Artist: Jasper Johns Date: 1958 Source/Museum: Collection of Whitney Museum of American Art, New York. 50th Anniversary Gift of the Gilman Foundation, Inc., The Lauder Foundation, A. Alfred Taubman, an anonymous donor, and purchase Photo: Geoffrey Clements. Jasper Johns/Licensed by VAGA, New York, NY. Medium: Encaustic on canvas Size: 30 ⅞. X 45 ½ x 5 in.

8 Fresco (buon or secco) Title: Still Life with Eggs and Thrushes Artist: n/a Date: Before 79 CE. Source/Museum: Villa of Julia Felix, Pompeii, National Museum, Naples. Scala/Art Resource, New York. Medium: Fresco Size: 35 x 48 in.

Buon fresco or true fresco lime plaster of the wall serves as the binder Creates highly durable surface, but overall color is changed by the plaster

9 Buon fresco or true fresco lime plaster of the wall serves as the binder Creates highly durable surface, but overall color is changed by the plaster Title: Lamentation Artist: Giotto Date: c Source/Museum: Arena Chapel, Padua, Italy. Scala/Art Resource, New York. Medium: Fresco Size: Approx. 70 x 78 in.

10 Fresco secco - does not use lime plaster of wall as the binder Title: The Last Supper Artist: Leonardo da Vinci Date: c Source/Museum: Refectory, Monastery of Santa Maria delle Grazie, Milan. A.K.G., Berlin/SuperStock. Medium: Mural (oil and tempera on plaster) Size: 15 ft. 1 1/8 in. x 28 ft. 10 ½ in.

Because frescoes use walls as their support, artists often incorporate existing architectural elements into their image Title: The Glorification of Saint

11 Because frescoes use walls as their support, artists often incorporate existing architectural elements into their image Title: The Glorification of Saint Ignatius Artist: Fra Andrea Pozzo Date: Source/Museum: Nave of Sant' Ignazio, Rome. Scala/Art Resource, New York. Medium: Ceiling fresco Size: n/a

Fresco paintings require planning Cartoons serve as preliminary drawings and offer a means to transfer a drawn image to the surface of the wall Title: Study for the Libyan Sibyl Artist: Michelangelo

12 Fresco paintings require planning Cartoons serve as preliminary drawings and offer a means to transfer a drawn image to the surface of the wall Title: Study for the Libyan Sibyl Artist: Michelangelo Buonarroti Date: c Source/Museum: Metropolitan Museum of Art, New York. Purchase, Joseph Pulitzer Bequest, 1924 ( ). Photo 1995 Metropolitan Museum of Art. Medium: Red chalk on paper Size: 11 3/8 x 8 7/16 in.

Title: The Libyan Sibyl Artist: Michelangelo Buonarroti Date: 1511-1512 Source/Museum: Detail of the

13 Title: The Libyan Sibyl Artist: Michelangelo Buonarroti Date: Source/Museum: Detail of the Sistine Ceiling, Sistine Chapel, Vatican City. Canali Photobank, Capriolo, Italy. Medium: Fresco Size: n/a

Tempera dries fast and is highly durable Changing the pigment to binder ratio creates veiled effects Title: Primavera Artist: Sandro Botticelli Date: c.

14 Tempera dries fast and is highly durable Changing the pigment to binder ratio creates veiled effects Title: Primavera Artist: Sandro Botticelli Date: c Source/Museum: Galleria degli Uffizi, Florence. Scala/Art Resource, New York. Medium: Tempera on gesso ground on poplar panel Size: 80 x 123 ¼ in.

15 Tempera uses egg as a binder allows for a high degree of detailed visual texture Title: Braids Artist: Andrew Wyeth Date: 1979 Source/Museum: Private collection Leonard E. B. Andrews. Photo courtesy of Ann Kendall Richards, Inc., New York. Medium: Egg tempera on canvas Size: 16 ½ x 20 ½ in.

Oil Painting Oil is used as the binder Not water soluble- must use solvent that dissolves and mixes with oil Highly luminous images Easy to achieve high degree of visual texture, implied light and

16 Oil Painting Oil is used as the binder Not water soluble- must use solvent that dissolves and mixes with oil Highly luminous images Easy to achieve high degree of visual texture, implied light and images that feel photographic Title: The Madonna of Chancellor Rolin Artist: Jan van Eyck Date: c Source/Museum: Musée du Louvre, Paris. Scala/Art Resource, New York. Medium: Oil on panel Size: 26 x 24 ¾ in.

The technique of glazing allows for high degree of realism The slow drying time conceals the hand of the artist Title: Still Life with Lobster Artist: Jan de Heem Date: Late

17 The technique of glazing allows for high degree of realism The slow drying time conceals the hand of the artist Title: Still Life with Lobster Artist: Jan de Heem Date: Late 1640's Source/Museum: Toledo Museum of Art, Toledo, Ohio. Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libby. Medium: Oil on canvas Size: 25 1/8 x 33 ¼ in.

18 Oil Paint Diagram of a section of a fifteenth-century oil painting demonstrating the luminosity of the medium.

19 Title: Betty Artist: Gerhard Richter Date: 1988 Source/Museum: The St. Louis Art Museum, St. Louis, Missouri Medium: Oil on canvas Size: 40 1/8 x 23 3/8 in.

Oil can be used in a very spontaneous, direct manner- ala prima technique The material can maintain its wet appearance even after drying This often reveals the hand of the artist Title: Biker Artist:

20 Oil can be used in a very spontaneous, direct manner- ala prima technique The material can maintain its wet appearance even after drying This often reveals the hand of the artist Title: Biker Artist: Susan Rothenberg Date: 1985 Source/Museum: Museum of Modern Art, New York. Fractional gift of Paine Webber Group, Inc., Susan Rothenberg/Artists Rights Society (ARS), New York. Medium: Oil on canvas Size: 74 x 69 ½ in.

21 Impasto technique allows artist to build actual texture with material Title: Dancing Shoes Artist: Pat Passlof Date: 1998 Source/Museum: Courtesy of the artist and Elizabeth Harris Gallery, New York Medium: Oil on linen Size: 80 x 132 in.

22 Title: Door to the River Artist: Willem de Kooning Date: 1960 Source/Museum: Whitney Museum of American Art, New York. Purchased with funds from the Friends of the Whitney Museum of American Art (60.63) Willem de Kooning Foundation/Artists Rights Society (ARS), New York. Medium: Oil on canvas Size: 80 x 70 in.

23 Watercolor Title: A Wall, Nassau Artist: Winslow Homer Date: 1898 Source/Museum: Metropolitan Museum of Art, New York. Amelia B. Lazarus Fund, 1910 ( ). Photo 1995 Metropolitan Museum of Art. Medium: Watercolor and pencil on paper Size: 14 ¾ x 21 ½ in.

Mixing watercolor with drawing materials Title: Untitled Artist: George Baselitz Date: 1981 Source/Museum: Courtesy of The Fogg Art Museum, Harvard University Art Museums, Cambridge,

24 Mixing watercolor with drawing materials Title: Untitled Artist: George Baselitz Date: 1981 Source/Museum: Courtesy of The Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts. Acquired through the Deknatal Purchase Fund. Photo President and Fellows of Harvard College, Harvard University, Medium: Watercolor and chalk pastel on white paper Size: 23 ¾ x 16 ¾ in.

Gouache- very similar to watercolor Title: You can buy bootleg whiskey for twenty-five cents a quart Artist: Jacob Lawrence Date: 1942-1943 Source/Museum: From the Harlem Series,

25 Gouache- very similar to watercolor Title: You can buy bootleg whiskey for twenty-five cents a quart Artist: Jacob Lawrence Date: Source/Museum: From the Harlem Series, Portland Art Museum; Portland, Oregon. Helen Thurston Ay Fund. Artwork Gwendolyn Knight Lawrence, courtesy of the Jacob and Gwendolyn Lawrence Foundation. Medium: Gouache on paper

26 Gouache- greater opacity than watercolor Title: Untitled Artist: Laylah Ali Date: 2000 Source/Museum: Courtesy the artist Medium: Gouache on paper Size: 13 x 19 in.

27 Synthetic media Title: Flood Artist: Helen Frankenthaler Date: 1967 Source/Museum: Whitney Museum of American Art, New York. Purchased with funds from the Friends of the Whitney Museum of American Art, Medium: Synthetic polymer on canvas Size: 124 x 140 in.

28 mixed media Title: The Table Artist: Juan Gris Date: 1914 Source/Museum: Philadelphia Museum of Art. A. E. Gallatin Collection. Photo: Lynn Rosenthal, Artists Rights Society (ARS), New York. Medium: Colored papers, printed matter, charcoal on paper mounted in canvas Size: 23 ½ x 17 ½ in.

29 Pablo Picasso collage

30 Photo collage Title: The Dove Artist: Romare Bearden Date: 1964 Source/Museum: Museum of Modern Art, New York. Blanchette Rockefeller Fund. Romare Bearden Foundation/VAGA, New York. Medium: Cut-and-pasted paper, gouache, pencil, and colored pencil on cardboard Size: 13 3/8 x 18 ¾ in.

Combine paintings Title: Monogram Artist: Robert Rauschenberg Date: 1955 1959 Source/Museum: 1996 Robert Rauschenberg/Licensed by VAGA, New York.

31 Combine paintings Title: Monogram Artist: Robert Rauschenberg Date: Source/Museum: 1996 Robert Rauschenberg/Licensed by VAGA, New York. Medium: Freestanding combine: oil, fabric, wood, on canvas and wood, rubber heel, tennis ball, metal plaque, hardware, stuffed Angora goat, rubber tire, mounted on four wheels Size: 42 x 63 ¼ x 64 ½ in.

32 Title: Monogram, 1st State Artist: Robert Rauschenberg Date: n/a Source/Museum: Robert Rauschenberg/Licensed by VAGA, New York. Photo: Harry Shunk. Medium: n/a Size: n/a

33 Combining painting with the medium of sculpture Title: Monogram, 2nd State Artist: Robert Rauschenberg Date: n/a Source/Museum: Robert Rauschenberg/Licensed by VAGA, New York. Photo: Rudolph Burckhardt. Medium: n/a Size: n/a

2D MEDIA. A Brief Overview of Drawing and Painting

2D MEDIA. A Brief Overview of Drawing and Painting 2D MEDIA A Brief Overview of Drawing and Painting DRAWING Bull from the Hall of Bulls, Lascaux Cave, France, ca. 15,000 13,000 BCE Drawing is the result of running a marking tool over a surface to leave