DOCSLIB.ORG

Visual Arts 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Visual Arts 1 Visual Arts 1 ART-102 Introduction to Computer for Fine Art 1 Visual Arts Visual Arts Electives 6 Visual Arts Core Credits 37 AFA Visual Arts Total Credits 60 The Visual Arts program offers students a solid foundation for advanced study in the areas of Studio Art (Drawing, Painting, Faculty Sculpture, Ceramics), Art Education, Art History and Art Therapy. Nieves Gruneiro-Roadcap Students develop an understanding of the visual arts through the Chairperson, Art and Design intensive study of technique, history, theory, concept and hands- Associate Professor, Art and Design on approaches in studio work, and may take studio electives in a M.F.A., Mason Gross School of the Arts, Rutgers University variety of media. The Visual Arts curriculum is designed for transfer B.F.A., New Jersey City University into BFA and B.A. degree programs in Fine Arts, Art Education, Art EH 101 973-328-5435 [email protected] Therapy, Art History, Photography, Design and Graphic Design at four-year colleges, universities, schools of design and institutes of Keith Smith art. Special Projects, Visual Arts Professor, Art and Design If you are considering a career in teaching, please read about M.F.A., B.F.A., California College of the Arts, San Francisco the Teacher Education Specialization in Visual Arts (https:// EH 130 973-328-5779 [email protected] www.ccm.edu/academics/divdep/liberal-arts/department-of-art-and- design/visual-arts-education-specialization/) at CCM. Clayton Allen Associate Professor, Art and Design For more information, visit the Visual Arts (http://www.ccm.edu/ M.F.A., B.A., City College of New York academics/divdep/department-of-art-and-design/visual-arts/) EH 111 973-328-5444 [email protected] website. Todd Doney Degrees Associate Professor, Art and Design MFA, New Jersey City University AFA Visual Arts B.A., Thomas Edison State College A.A., American Academy of Art (P4140) A.A., Harper College General Education Foundation EH 134 973-328-5446 [email protected] Communication 6 Dr. Brian Sahotsky ENG-111 English Composition I Assistant Professor, Art and Design ENG-112 English Composition II Ph.D., University of California or COM-109Speech Fundamentals M.A., University of Colorado B.S., University of Wisconsin Math-Science-Technology 8 EH 107 973-328-5436 [email protected] MAT-120 Mathematics for Liberal Arts Laboratory Science Elective (4 CR) Courses Social Science or Humanities 3 ART-102. Introduction to Computer for Fine Art. 1 Credit. PSY-113 General Psychology LECT 1 hr or SOC-120Principles of Sociology This 7-week, 1-credit introductory course will teach Fine Art General Education Courses 6 Students the essential elements of the Photoshop interface. ART-133 Art History I Students will learn basic retouching as well as photo editing, including how to correct, enhance, and distort digital images of their ART-134 Art History II art work, and prepare those images for use in print and on the web. General Education Foundation Credits 23 ART-114. Contemporary Art. 3 Credits. Visual Arts Core LECT 3 hrs ART-122 Drawing I 3 Contemporary Art launches with a review of 19th and 20th century ART-123 Drawing II 3 art and then brings students to the here and now, the art and the ART-124 Figure Drawing 3 artists of today. In lectures, multimedia presentations and field ART-130 Two Dimensional Design 3 experiences, students are exposed to the pluralism of the new global art world. ART-131 Color Theory 3 ART-132 Three Dimensional Design 3 ART-219 Painting I 3 ART-228 Sculpture I 3 ART-241 Ceramics I 3 ART-230 Portfolio and Presentation 3 2 Visual Arts ART-116. American Art. 3 Credits. ART-131. Color Theory. 3 Credits. LECT 3 hrs LECT 2 hrs, LAB 3 hrs A survey and overview of the development of visual art traditions In Color Theory students learn, through lectures, multimedia in America beginning with the colonization of the Americas and presentations and assigned projects using a variety of art mediums, continuing through the Modern and Post-Modern periods. Arts, how color affects the human eye, mind, body and spirit. Students crafts and architecture are examined as well as Native American, who successfully complete this course will add a strong body of African American, Hispanic and other cultural influences contributing artwork that exhibits a working knowledge of color theory and its to the development of a uniquely American experience and vision. application in the visual arts, adding to the initial portfolio of artwork ART-122. Drawing I. 3 Credits. created in Drawing I and Two Dimensional Design. LECT 2 hrs, LAB 3 hrs Prerequisites: ART-122 and ART-130 or DSN-108. In Drawing I, beginning art students learn the methods, materials Additional Fees: Course fee applies. and visual information needed to draw what we see. In small steps, ART-132. Three Dimensional Design. 3 Credits. students are led through a series of simple exercises designed to LECT 2 hrs, LAB 3 hrs build competence and confidence. The diversity and complexity of In Three Dimensional Design, students, through lectures, multimedia the subjects drawn gradually grows along with students' drawing and presentations and assigned projects using a variety of materials visual skills. Students create a sketch book and a portfolio including and the basic aspects of planning, sketching and modeling,learn to still life drawings, landscape drawings, perspective drawings and understand and control the visual and physical forces inherent in the portraiture. Materials used include pencil,charcoal, conte crayon and creation of three-dimensional objects. Students who successfully ink. complete this course will add a body of three-dimensional art work Additional Fees: Course fee applies. to their portfolios. Student artists will also possess the fundamental ART-123. Drawing II. 3 Credits. knowledge and basic skills needed to pursue further studies in LECT 2 hrs, LAB 3 hrs sculpture, ceramics, design (product, industrial, interior, fashion) and Drawing II is an intermediate-level drawing course designed for architecture. students who wish to build upon the skills and knowledge acquired Prerequisites: ART-122 and ART-130 or DSN-108 in ART-122 Drawing I. Students explore a wide range of tools, Additional Fees: Course fee applies. mediums and surfaces. Larger scale drawings, the introduction of ART-133. Art History I. 3 Credits. color in drawing and experimentation with subjects and visual space LECT 3 hrs are encouraged. Drawing II also includes a study of basic anatomy Art History I is a global survey of the major developments in for artists and an introduction to drawing from live nude models, painting, sculpture and architecture from the cave art of prehistory both male and female. By semester end, successful students will through the art of Africa, the Near East, South and South East have created a sketch book and diverse portfolio of competent and Asia, Korea, China, Japan, Egypt, Greece and Rome, through the expressive drawings that complement student portfolios begun in Gothic in Europe. Students explore, through lectures, multimedia ART-122 Drawing I. presentations and a field experience at major art museums, the Prerequisites: ART-122 social, technological and spiritual changes that influenced the Additional Fees: Course fee applies. evolution of subjects, styles and ideas expressed in early art. ART-124. Figure Drawing. 3 Credits. ART-134. Art History II. 3 Credits. LECT 2 hrs, LAB 3 hrs LECT 3 hrs In Figure Drawing, student artists draw from live nude models, both Art History II explores the significant developments in painting, male and female, study in-depth anatomy for artists and explore a sculpture and architecture from the High Renaissance to the art variety of methods and materials to create expressive drawings of of the late 20th century, and the art of Africa and the Americas. the human figure. By the end of the semester, successful students Political, religious, scientific, industrial and technological revolutions will have created a wide selection of figure drawings to support the are mirrored in the powerful and dramatic changes that take place drawing portfolio begun in Drawing I and continued in Drawing II. in the art world. Through lecture, visual presentations and a field Prerequisites: ART-122, ART-123 experience, students discover important stylistic movements of the Additional Fees: Course fee applies. last half-millennium from around the world. ART-130. Two Dimensional Design. 3 Credits. ART-135. Art Appreciation. 3 Credits. LECT 2 hrs, LAB 3 hrs LECT 3 hrs In Two Dimensional Design, students learn, through lectures, Art Appreciation will introduce students to the creative processes multimedia presentations, and simple drawing, painting and collage and techniques used in the diverse media of the visual arts. Through projects, how to control and compose visual elements on a two- the study and analysis of artworks, students are introduced to visual dimensional plane. These visual elements include line, shape, literacy principles to examine and understand historical, global, light, texture, scale and a brief introduction to color applied on two- economic, cultural and conceptual contexts. Students will correlate dimensional surfaces such as paper, board and canvas-board. the arts with a general history of culture, develop a multicultural Student artists who successfully complete this course will have a perspective of the arts, and learn to understand its application to our solid initial portfolio and the fundamental knowledge and basic skills contemporary visual culture and its uses. Students will discover the needed to create better, more effective photographs, drawings, human impulse to create art, and how artistic expression addresses paintings, prints, illustrations, designs and graphic designs. universal humanistic themes. Additional Fees: Course fee applies. Visual Arts 3 ART-219. Painting I. 3 Credits. ART-234.
Load more

Recommended publications
  • Philosophy in the Artworld: Some Recent Theories of Contemporary Art
    philosophies Article Philosophy in the Artworld: Some Recent Theories of Contemporary Art Terry Smith Department of the History of Art and Architecture, the University of Pittsburgh, Pittsburgh, PA 15213, USA; [email protected] Received: 17 June 2019; Accepted: 8 July 2019; Published: 12 July 2019 Abstract: “The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything.
    [Show full text]
  • The Conceptual Art Game a Coloring Game Inspired by the Ideas of Postmodern Artist Sol Lewitt
    Copyright © 2020 Blick Art Materials All rights reserved 800-447-8192 DickBlick.com The Conceptual Art Game A coloring game inspired by the ideas of postmodern artist Sol LeWitt. Solomon (Sol) LeWitt (1928-2007), one of the key pioneers of conceptual art, noted that, “Each person draws a line differently and each person understands words differently.” When he was working for architect I.M. Pei, LeWitt noted that an architect Materials (required) doesn't build his own design, yet he is still Graph or Grid paper, recommend considered an artist. A composer requires choice of: musicians to make his creation a reality. Koala Sketchbook, Circular Grid, He deduced that art happens before it 8.5" x 8.5", 30 sheets (13848- becomes something viewable, when it is 1085); share two across class conceived in the mind of the artist. Canson Foundation Graph Pad, 8" x 8" grid, 8.5" x 11" pad, 40 He said, “When an artist uses a conceptual sheets, (10636-2885); share two form of art, it means that all of the planning across class and decisions are made beforehand and Choice of color materials, the execution is a perfunctory affair. The recommend: idea becomes a machine that makes the Blick Studio Artists' Colored art.” Pencils, set of 12 (22063-0129); Over the course of his career, LeWitt share one set between two students produced approximately 1,350 designs known as “Wall Drawings” to be completed at specific sites. Faber-Castell DuoTip Washable Markers, set of 12 (22314-0129); The unusual thing is that he rarely painted one share one set between two himself.
    [Show full text]
  • Visual Arts – Specific Rules/Guidelines
    Visual Arts – Specific Rules/Guidelines VISUAL ARTS include many art forms that are visual in nature. The artist (student submitting entry) is a person who captures their own thoughts and ideas to create a visual piece of art. Accepted forms of visual art include: Collages, photographic collages (multiple photos cut/pasted), computer-generated image, design, drawing, painting, and printmaking. Non-accepted forms of visual art include: 3D artwork (artwork that is not flat on the surface). Reproductions or enlargements of another artwork. Reflect on the 2020-2021 Theme: I Matter Because… An explanation of the art form might be a useful addition to the artist statement. Whether an entry displays use of formal technique or a simple approach, it will be judged primarily on how well the student uses his or her artistic vision to portray the theme, originality and creativity. Copyright: Use of copyrighted material, including any copyrighted cartoon characters or likeness thereof, is not acceptable in any visual arts submission, with the following exceptions: • Visual artwork may include public places, well-known products, trademarks or certain other copyrighted material as long as that copyrighted material is incidental to the subject matter of the piece and/or is a smaller element of a whole. The resulting work cannot try to establish an association between the student and the trademark/business/material, or influence the purchase/non-purchase of the trademarked good. • Visual arts collages may include portions of existing copyrighted works, such as photographs, magazine clippings, internet images and type cut out of a newspaper, as long as those portions of copyrighted works are used to create a completely new and different work of art.
    [Show full text]
  • 4 Year Degree Schedule – Painting/Drawing/Printmaking
    SUU Department of Art & Design 2020 – 2021 Catalog Minimum University Requirements Total Credits 120 Art History Credits 9 General Education Core Credits 30 – 35 Art Foundation Credits 28 Art Area Credits 54 University Electives 3 - 14 4 Year Degree Schedule – Painting/Drawing/Printmaking First Year Fall Semester Credits Notes Spring Semester Credits Notes Foundation Foundation ART 1110: Drawing I 3 ART 1130: 3-D Design 3 Course Course Foundation Foundation ART 1120: 2-D Design 3 ART 2110: Drawing II 3 Course Course ART 1050: Intro to Foundation Foundation 3 ART 2210: Digital Tools 3 Photography Course Course Foundation ARTH 2710: Art History Foundation ART 3000: Art Insights .5 3 Course Survey I Course Foundation Gen Ed Core Requirement 3 Gen Ed Course ART 3000: Art Insights .5 Course Gen Ed Knowledge 3 Gen Ed Course Gen Ed Core Requirement 3 Gen Ed Course Requirement Total Credits: 15.5 Total Credits: 15.5 Second Year Fall Semester Credits Notes Spring Semester Credits Notes Art Area ART 3450: Portrait & ART 2410: Painting I 3 3 Art Area Course Course Figure Painting ART 3310: Art Area 3 ART 4410: Painting II 3 Art Area Course Intaglio/Lithography Course ART 3110: Life Drawing & Art Area ART 4310: Advanced 3 3 Art Area Course Anatomy Course Printmaking Foundation ARTH 2720: Art History Foundation ART 3000: Art Insights .5 3 Course Survey II Course Foundation Gen Ed Core Requirement 3 Gen Ed Course Art 3000: Art Insights .5 Course Gen Ed Knowledge 3 Gen Ed Course Gen Ed Core Requirement 3 Gen Ed Course Requirement Total Credits: 15.5
    [Show full text]
  • Mural Installation Guide City of Frankfort, Kentucky
    Mural Installation Guide City of Frankfort, Kentucky This guide is intended to provide answers to basic questions anyone must answer about creating a mural, from how to prepare a wall surface, to what kind of approvals you will need, to appropriate materials to use. The information here has been culled from best practices that have been documented by artists and mural organizations throughout the country. While this guide provides a roadmap, every project will have its own unique circumstances. Anyone taking on a mural project should look for guidance from artists, curators, arts organizations or others who are experienced with the details of mural production. At the end of this publication there is a Resource Guide that provides additional information and tips about where to find help. In This Guide… Part One – Evaluating a Wall I Page 2 Part Two – Approvals and Permissions I Page 4 Part Three – Creating a Design I Page 5 Part Four – Prep Work I Page 6 Part Five – Paint and Supplies I Page 9 Part Six – Maintenance, Repair, Conservation I Page 11 Part Seven – Checklist of Commonly Used Items I Page 12 Part Eight – Resource Guide I Page 13 Part One – Evaluating a Wall The best type of surface to receive paint is one that is a raw, unpainted brick, concrete or stone material that is free of the defects described below. However, keep in mind that the unpainted masonry requires special approval from the Architectural Review Board. Painting unpainted masonry in the historic district is generally not permitted. Wood, metal and other materials that are in new or good condition can also be satisfactory if properly prepared and sealed.
    [Show full text]
  • Dolan Middle School Visual Art Course Syllabus 6
    DOLAN MIDDLE SCHOOL VISUAL ART COURSE SYLLABUS 6TH through 8th Grade Teacher: Mrs. Marchetti Course title: Visual Arts Course Description: 6th and 7th Grade: Students will spend the semester completing art projects designed to develop the student’s individual ideas and talents as an artist. The students will explore concepts that will increase their knowledge about art materials and use, art equipment, art history, and the application of it. 8th Grade: Students will further explore the many venues of art education. Students will focus on higher order thinking skills while concentrating on specific applications of the given media. Students will use their skills in various relevant and rigorous projects. Scope and Sequence: The Visual Art Curriculum is divided into the 6 major aspects of art creation. These will serve as a solid foundation for High School and beyond. Projects that cover each of the following aspects will be divided equally over the course of the semester. 1. Drawing: Foundation skill that is taught in many different ways throughout the semester. These may include pencil, charcoal, pastels, pen & ink, and colored pencil. 2. Painting: This are will explore two primary media techniques, watercolor and acrylic. 3. Sculpture: This area exposes students to the unique characteristics of creating in 3 dimensions and usually includes wire and plastering. 4. Printmaking: This area examines the creation process through the lens of producing repeated images. This is usually done through block and plate printing. 5. New Media: This area looks at Contemporary Design, illustration, and photography within the context of computer-based and digital media.
    [Show full text]
  • Grade by Grade Fine Arts Content Standards
    Montgomery County Public Schools Pre-k–12 Visual Art Curriculum Framework Standard I: Students will demonstrate the ability to perceive, interpret, and respond to ideas, experiences, and the environment through visual art. Indicator 1: Identify and describe observed form By the end of the following grades, students will know and be able to do everything in the previous grade and the following content: Pre-K Kindergarten Grade 1 Grade 2 I.1.PK.a. I.1.K.a. I.1.1.a. I.1.2.a. Identify colors, lines, shapes, and Describe colors, lines, shapes, and Describe colors, lines, shapes, textures, Describe colors, lines, shapes, textures, textures that are found in the textures found in the environment. and forms found in observed objects forms, and space found in observed environment. and the environment. objects and the environment. I.1.K.b. I.1.1.b. I.1.2.b. I.1.PK.b. Represent observed form by combining Represent observed physical qualities Represent observed physical qualities Use colors, lines, shapes, and textures colors, lines, shapes, and textures. of people, animals, and objects in the of people, animals, and objects in the to communicate observed form. environment using color, line, shape, environment using color, line, shape, texture, and form. texture, form, and space. Clarifying Example: Clarifying Example: Clarifying Example: Clarifying Example: Given examples of lines, the student Take a walk around the school property. The student describes colors, lines, Given examples of assemblage, the identifies lines found in the trunk and Find and describe colors, lines, shapes, shapes, textures, and forms observed in a student describes colors, lines, shapes, branches of a tree.
    [Show full text]
  • Visual Arts Curriculum Guide
    Visual Arts Madison Public Schools Madison, Connecticut Dear Interested Reader: The following document is the Madison Public Schools’ Visual Arts Curriculum Guide If you plan to use the whole or any parts of this document, it would be appreciated if you credit the Madison Public Schools, Madison, Connecticut for the work. Thank you in advance. Table of Contents Foreword Program Overview Program Components and Framework · Program Components and Framework · Program Philosophy · Grouping Statement · Classroom Environment Statement · Arts Goals Learner Outcomes (K - 12) Scope and Sequence · Student Outcomes and Assessments - Grades K - 4 · Student Outcomes and Assessments - Grades 5 - 8 · Student Outcomes and Assessments / Course Descriptions - Grades 9 - 12 · Program Support / Celebration Statement Program Implementation: Guidelines and Strategies · Time Allotments · Implementation Assessment Guidelines and Procedures · Evaluation Resources Materials · Resources / Materials · National Standards · State Standards Foreword The art curriculum has been developed for the Madison school system and is based on the newly published national Standards for Arts Education, which are defined as Dance, Music, Theater, and Visual Arts. The national standards for the Visual Arts were developed by the National Art Education Association Art Standard Committee to reflect a national consensus of the views of organizations and individuals representing educators, parents, artists, professional associations in education and in the arts, public and private educational institutions, philanthropic organizations, and leaders from government, labor, and business. The Visual Arts Curriculum for the Madison School System will provide assistance and support to Madison visual arts teachers and administrators in the implementation of a comprehensive K - 12 visual arts program. The material described in this guide will assist visual arts teachers in designing visual arts lesson plans that will give each student the chance to meet the content and performance, or achievement, standards in visual arts.
    [Show full text]
  • Drawing and Painting Course Syllabus CHS Art Department Contact Information
    Drawing and Painting Course Syllabus CHS Art Department Contact Information: Parents may contact me by phone, email or visiting the school. Teacher: Lori Dana Email Address: [email protected] or [email protected] Phone Number: (740) 702-2287 ext. 16241 Online: http://www.ccsd.us/1/Home CHS Vision Statement: Our vision is to be a caring learning center respected for its comprehensive excellence. CHS Mission Statement: Our mission is to prepare our students to serve their communities and to commit to life-long learning Course Description and Prerequisite(s) from Course Handbook: This is a second level art course focusing on 2 dimensional media. Students will continue to explore the elements and principles of art, current and past practicing artists, technique, and concept as it pertains to art making. A variety of 2 dimensional media will be explored including but not limited to, pencil, charcoal, pastels, acrylics, watercolors, etc. There is a $20 fee for this course. Learning Targets per Unit: Defined below for clarity are the Unit Titles, Big Ideas of every Unit taught during this course, and the Essential Questions to be answered to better understand the Big Ideas. A student’s ability to grasp and answer the Essential Questions will define whether or not he or she adequately learns and can apply the skills found in Big Ideas. This will ultimately define whether or not a student scores well on assessments given for this course. The Common Core Standards can be found at http://www.corestandards.org/the-standards. (Teacher Note: The Ainsworth Model suggests 1-3 Big Ideas for each Unit and 1-3 essential questions per Big Idea.
    [Show full text]
  • Conceptual Art: a Critical Anthology
    Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Introducing the Master Artist: Slideshow Guide
    MARY CASSATT – AGES 10 – ADULT | ONLINE EDITION Step 1 - Introducing the Master Artist: Slideshow Guide MOTIVATION BEGIN READING HERE I want you to put yourself in the place of our artist for today. She is a young woman who very nervously approaches her father with news of an important decision she has made. She has been putting off this conversation for a very long time, because she is afraid of her father’s reaction. But she has finally gathered her nerve and carefully watches his face as she reveals her news. Have you ever experienced something like that with your parents? Do you remember a good reaction? Did you receive a negative reaction? Let me finish my story about our artist’s predicament. With trepidation she awaited her father’s answer. With disbelief she heard him blurt out, “I would almost rather see you dead!” What did she tell him to get such an unbelievably harsh response? She told him she wanted to become a professional artist! To understand this situation at all, we have to put ourselves in the time and place of our master artist, Mary Cassatt. Mary was born into a wealthy family in the United States, where she first started her art education. In the late 1800’s all women were expected to be wives and mothers, but not professional artists. Art was a man’s world, but Mary had decided it was time to move to Europe to further her studies and career as an artist. Mary was sure of her decision and stuck to it.
    [Show full text]