Part Two: The Formal Elements Chapter 4 Line

Transcription

1 Part Two: The Formal Elements Chapter 4 Line What is a contour line? What are some of the functions and qualities of line? How do arrangements that stress horizontal and vertical lines tend to differ form those defined by expressive lines?

2 Paul Cézanne. The Basket of Apples. c Oil on canvas. 21-7/ /2 in. Helen Birch Bartlett Memorial Collection The Art Institute of Chicago. Photography The Art Institute of Chicago. [Fig. 4-1]

3 Line

4 The Definition of LINE If we think of a point as having no dimensions (neither height nor width), and then we set that point in motion, we create the first dimension: LINE! Richard Long. A Line Made by Walking Photograph and pencil on board. 14-1/2 12-3/4 in. Tate London [Fig. 4-2]

5 More simply: A line is a path of a moving point.

6 The Definition of LINE In theory, line consists only of the dimension of its length, but, in terms of art and design, line can have varying width and conceptual meaning as well. Francis Alÿs. The Green Line (Sometimes doing something poetic can become political and sometimes doing something political can become poetic) Video projection, 2 hard drives, touch screen, 5 mdf tables, 10 lamps, framed map, works on paper, photocollages, 1 painting, 1 wood gun sculpture. Courtesy David Zwirner Gallery New York. [Fig. 4-4]

7 Variety of Line There are many variations of a line. Some variations imply direction or movement while others create shape or form. Andy Goldsworthy. Hazel Leaves (each stitched to next with grass stalks/gently pulled by the river/out of a rock pool/floating downstream/low water). 6/5/1991. Scaur Water, Dumfriesshire. Andy Goldsworthy, courtesy Galerie Lelong, New York. [Fig. 4-3]

8 Types of Line Actual Implied Psychic

9 Actual Line A line or group of lines, each having variety and differing quality Implied Line The points in an implied line are automatically connected by the eye. Psychic Line When one object points to another, the eye connects the two in a psychic line

10 Varieties of Straight Line Horizontal Or Landscape Vertical Or Portrait Diagonal

11 Varieties of Curved Lines Curvilinear/Circle Curvilinear/Oval Arch/Circular Segment Curvilinear-Freeform

12 Varieties of Line that Indicate the Edge of a Shape or Form Line is important to the artist because it can describe SHAPE and by shape we recognize objects. This is called OUTLINE. M.C. Escher Drawing Hands Lithograph When Line is used to follow the edge of FORMS to describe their outline, this is called CONTOUR.

13 Outline indicates a 2-Dimensional Shape Contour indicates a 3-Dimensional Form

14 Outline Jaune Quick-to-See Smith. House Acrylic and mixed media on canvas. 6 ft. 8 in. 5 ft. Courtesy of Jaune Quick-to-See Smith. [Fig. 4-5]

15 Countour Henri Gaudier-Brzeska. Female Nude, Back View. c Drawing, pen and blue ink on paper. 14-5/8 10 in. Princeton University Art Museum. Bequest of Dan Fellows Platt, Class of x [Fig. 4-6]

16 Implied Line Implied line is a function of line of sight. It is the direction the figures in a given composition are looking. Alberto Giacometti. Man Pointing Bronze. 70-1/2 40-3/4 16-3/8 in. Digital Image The Museum of Modern Art/Licensed by SCALA / Art Resource, NY Succession Giacometti/ Artists Rights Society (ARS), New York/ADAGP, Paris. Gift of Mrs. John D. Rockefeller 3rd. ( ) The Museum of Modern Art, New York, NY, U.S.A. [Fig. 4-7]

17 Implied Line Titian. Line analysis of Titian, Assumption and Consecration of the Virgin. c Oil on wood. 22-1/2 11-4/5 ft. Scala / Art Resource, NY. [Fig. 4-9]

18 Line to create dimension/contour Cross-hatching Hatching

19 Line to create dimension/contour Shading Stippling (implied line)

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21 M.C. Escher, Liberation, Lithograph

22 Kathe Kollwitz Self-Portrait 1923 Woodcut

23 Quality of Line Pat Steir. Drawing Lesson, Part I, Line # Drypoint with aquatint, from a portfolio of seven etchings. each in., edition of 25. Published by Crown Point Press, San Francisco. [Fig. 4-11] Line possesses certain intellectual, emotional, and expressive qualities The linear quality the artist chooses can ultimately effect the viewer to reinforce the intent of the subject matter being addressed in an artist s composition

24 Pat Steir. Drawing Lesson, Part I, Line # Drypoint with aquatint, from a portfolio of seven etchings. each in., edition of 25. Published by Crown Point Press, San Francisco. [Fig. 4-13]

25 Qualities of Line Thick Thin Short Long

26 Qualities of Line Curved Straight Zig-Zag

27 Qualities of Line Wave Broken Kinetic

28 Qualities of Line Some types of line have been denoted in formal terms of art. These terms group both quality and variation according to the type of emotion or concept fundamentally derived from the line.

29 Expressive Line Rembrandt van Rijn. The Three Crosses Etching. 15-1/4 17-3/4 in. The Trustees of the British Museum / Art Resource, NY. [Fig. 4-12] This type of line is associated with powerful emotions attempting to be displayed in a work of art. This type of line is usually represented with loose, gestural, or energetic qualitiesepitomized by curvilinear forms and shapes.

30

31 Vincent van Gogh. The Starry Night Oil on canvas /4 in. Digital Image The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Acquired through the Lillie P. Bliss Bequest. ( ). The Museum of Modern Art, New York, NY, U.S.A. [Fig. 4-14]

32 Vincent van Gogh. Letter to John Peter Russell. June 17, Ink on laid paper /4 in. Solomon R. Guggenheim Museum, New York. Thannhauser Collection, Gift, Justin K. Thannhauser, Photograph by Robert E. Mates. The Solomon R. Guggenheim Foundation, New York. [Fig. 4-15]

33 Vincent van Gogh. The Sower Oil on canvas. 25-1/4 31-3/4 in. Collection: Kroller-Muller Museum, Otterlo, The Netherlands. [Fig. 4-16]

34 Vincent van Gogh. The Sower Drawing. Pencil, reed pen, and brown and black ink on wove paper. 9-5/8 12-1/2 in. Amsterdam, Van Gogh Museum (Vincent van Gogh Foundation). [Fig. 4-17]

35 Analytical/Classical Line A line that is mathematically precise and rationally organized The line is usually deliberate, cold, and precise Sol LeWitt. Wall Drawing No. 681 C, A wall divided vertically into four equal squares separated and bordered by black bands. Within each square, bands in one of four directions, each with color ink washes superimposed Colored ink washes. image: in. Photograph Board of Trustees, National Gallery of Art, Washington, D.C. Photo: Philip A. Charles. Dorothy and Herbert Vogel Collection [Fig. 4-18]

36 Sol LeWitt. Installation of Wall Drawing No. 681 C (top view). 8/25/1993. Colored ink washes. image: in. Photograph Board of Trustees, National Gallery of Art, Washington, D.C. [Fig. 4-19a]

37 Sol LeWitt. Installation of Wall Drawing No. 681 C (bottom view). 8/25/1993. Colored ink washes. image: in. Photograph Board of Trustees, National Gallery of Art, Washington, D.C. [Fig. 4-19b]

38 The Grid and Orientation of Line Jasper Johns. Numbers in Color Encaustic and collage on canvas /2 in. Albright-Knox Art Gallery / Art Resource, NY. Albright-Knox Art Gallery, Buffalo, New York. Gift of Seymour H. Knox, Jr., Art Jasper Johns/Licensed by VAGA, New York, NY. [Fig. 4-20]

39 Jacques-Louis David. Study for the Death of Socrates Charcoal heightened in white on gray-brown paper. 20 1/2 17 in. Giraudon/Art Resource, NY. [Fig. 4-26]

40 Jacques-Louis David. The Death of Socrates Oil on canvas /4 in. Image copyright The Metropolitan Museum of Art. Image source: Art Resource, NY. The Metropolitan Museum of Art, New York, NY, U.S.A., Catharine Lorillard Wolfe Collection, Wolfe Fund, 1931 (31.45). [Fig. 4-25]

41 Not all orientation of line follows the grid Eugène Delacroix. Study for The Death of Sardanapalus Pen, watercolor, and pencil. 10-1/4 12-1/2 in. Réunion des Musées Nationaux / Art Resource, NY. [Fig. 4-28]

42 Eugène Delacroix. The Death of Sardanapalus Oil on canvas. 12 ft. 1-1/2 in. 16 ft. 2-7/8 in. ( m). Réunion des Musées Nationaux / Art Resource, NY. [Fig. 4-27]