DOCSLIB.ORG

Paint, Draw, Bend, Sketch, Transform, Alter, Digitize, Glaze, Manipulate, Shoot, Metal-Smith, Fire, Arrange, Compose, Forge

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Paint, Draw, Bend, Sketch, Transform, Alter, Digitize, Glaze, Manipulate, Shoot, Metal-Smith, Fire, Arrange, Compose, Forge Paint, draw, bend, sketch, transform, alter, digitize, glaze, manipulate, shoot, metal-smith, fi re, arrange, compose, forge, look, poke, diagram, learn, change, play, grow, think, perform, teach, communicate, enjoy. Spring Session March 24–June 1, 2014 Evanston Art Center’s 22nd Evanston + Vicinity Biennial June 8 – July 20, 2014 Jurors: Allison Peters Quinn and Sergio Gomez Submissions due March 16, 2014 Our Biennial is one of the Midwest’s largest and most prestigious juried exhibitions, offering artists an opportunity to have their work viewed by two talented curators; Allison Peters Quinn, Director of Exhibitions at the Hyde Park Art Center and Sergio Gomez, Owner/ Director of 33 Contemporary Gallery and Curator/Director of Exhibitions at the Zhou B. Art Center. Our Biennial will be promoted and viewed by hundreds of visitors, including gallerists, curators and collectors. All mediums accepted. $30 entry fee. Cash and cash equivalent awards will be given. Jurors will select 3 artists to receive a solo show at the Evanston Art Center in 2015 – 2016 timeframe. Calendar March 16 Artist Submission Deadline, All entries due by midnight on 3/16 By April 19 Notifi cation of acceptance Week of May 26 Accepted artworks delivered to Evanston Art Center June 1 – June 6 Installation June 8, 1 – 4pm Opening and Artists’ Reception July 20 Biennial Exhibition closes July 21 – 27 Deinstall and pick up artworks For further entry details please visit our web site at evantsonartcenter.org and go to the EV + Vicinity Biennial link under Exhibitions tab. Please call the Evanston Art Center at (847) 475-5300 with any additional questions. Save the Date Evanston Art Center Spring Benefi t Saturday, May 17, 2014 Join us under the tent for cocktails and a live auction 6:30 pm ~ Silent Auction 8 pm ~ Live Auction Exhibition of art for auction and advance bidding opens April 27 $100 per person, $75 (35 years old and under) Please RSVP by May 14 to 847.475.5300 Proceeds from the auction will benefi t the Art Center’s exhibition, scholarship and youth outreach programs. DEAR STUDENTS, FACULTY, AND COMMUNITY MEMBERS, MISSION The Evanston Art Center is dedicated to fostering the appreciation and expression of the arts among diverse audiences. The Art For far too long the visual arts has been reduced to a luxury— Center offers extensive and innovative instruction in broad areas something one does when one has free time and extra money for of artistic endeavor through classes, exhibitions, interactive arts hobbies. It is often discussed like “entertainment”—commonly uttered activities, and community outreach initiatives. in the same breathe as going to the movies or seeing a concert. Pursuing the visual arts as a fi eld of study has long been deemed ENGAGEMENT self-serving, fi nancially risky, too leisurely, and not rigorous. Analogies The establishment of the Evanston Art Center in 1929 was a direct result of civic and cultural leaders working together to realize the surround art, from becoming a star athlete to being Hollywood celebrity. goal of a community center where the arts could be experienced, All this is our culture’s way of diminishing art’s role in society, making appreciated, discussed, and practiced. The Art Center has it seem success in art unrealistic, and to discourage anyone brave continued to be a vital part of the community for over 80 years, enough to be an artist. serving artists, teachers, students of all ages, curators, collectors and connoisseurs, philanthropists, volunteers, work-study students, schools, art galleries, cultural institutions, and nonprofi ts. For us, art is a reason to wake up and begin the day. Visual art, when it Our community outreach and scholarship programs help us reach grips you, becomes a life need no different from air, water, food, shelter, underserved audiences. We continue to offer our constituents electricity, or clothing. In the last year the Evanston Art Center has new and meaningful ways to engage in the arts. The Evanston Art Center has always been connected to its community roots and this taken stock of all of the negative human events around the globe. Like bond will remain a guiding force for the Art Center well into the 21st many of you, we have followed some of the tragedies in our community century. and beyond. One of the many things that lifts our spirits and gives us comfort is the unwavering passion people continually demonstrate to IMPORTANT DATES us. From the artists that show work with us to our committed students Spring dates March 24 – June 1, 2014 and faculty who continue to explore, teach, and learn about visual art; Drop-off and mail-in Ongoing we cannot thank you enough. We continue to push ourselves and our Phone-in and walk-in Begins February 24, 2014 public programming so that we may contribute to what we view as an Make-up week June 2 – 8, 2014 unmeasurable life essential. Classes without minimum enrollment are cancelled 3 days before fi rst class. Something drives us to be here and to do this thing we call art. This tells me that we have all experienced that important moment of CONTENTS aesthetic joy or strange discomfort. What we love about art is that Workshops & Spring Tryouts p 4 gnawing pain mixed with massive excitement alongside a crushing wave of melancholy one gets while looking at or making art. In 1934 art Ceramics p 7 educator John Dewey published “Art as Experience.” Dewey described Design p 8 all aspects of visual art is like having an experience. In the community Digital Media & Photography p 8 art center, we choose to achieve and share this understanding with Drawing & Painting p 9 one another. The classrooms here at the Evanston Art Center teach us Figure Sculpture p 12 that art is not entertainment—it is a way of seeing, thinking, being, and Jewelry & Metalsmithing p 12 experiencing our world. The art center sees no division between art and Metal Sculpture p 14 life. Around here, art is life and that is the way we like it. Printmaking p 15 Youth and Teen Classes p 16 Sincerely, Spring Break Camp p 16 W. Keith Brown, Director of Education Support Our Annual Fund The Evanston Art Center’s classes, exhibitions and community engagement programs serve individuals of all ages from over 80 zip codes. Your generous donation to our Annual Fund will ensure that EAC continues the breadth and depth of its arts programming and will allow for new EAC community initiatives, that will positively impact thousands of people, such as our Art Van, “ArtVanGo” that will offer pop-up art activities in diverse neighborhoods, a Design Department, professional development opportunities for teachers, and special IPad classes. Please consider giving to the Evanston Art Center today and help EAC continue to touch the lives of artists, students and community partners with exceptional arts experiences. Workshops NEW SPRING TRY OUTS 1-Day Open Workshops Come explore the visual arts and Evanston Art Center studios in some of these one-time hands-on courses. Enjoy instruction by our gifted faculty and make something new! 6011 1-DAY DRAWING THE FIGURE (4/12) Sarah Kaiser 1-4pm EAC Member $75/Non-member $90 6012 1-DAY PAINTING THE FIGURE (4/19) Jill King 1-4pm EAC Member $75/Non-member $90 6351 1-DAY JEWELRY (4/26) Noel Yovovich 1-4pm Love jewelry? Love tools? Come check out the Art The School at Evanston Art Center Center’s jewelry studio, and create a unique silver ring for your own (or someone else’s) fi nger. EAC Member $65/Non-member $80 Here at the Evanston Art Center we pride ourselves on offering art classes taught by highly qualifi ed teaching artists 9168 2-DAY NAKED COLOR THEORY that are inviting and inspiring. We promote friendly small Nina Weiss Saturday 3/8, 10 -4pm class-sizes where students are given individual attention Sunday 3/9, 1-4pm 2North and the freedom to explore multiple media and styles of art Strip away the mysteries of color theory! Through visuals, discussion, experimentation, making. Class descriptions are often the vision of our art and the application of theory, students gain an understanding of color in art. Psychological and school and faculty, but remain fl exible when students enter scientifi c theories will be used to teach color relationships and mixtures. Students create the classroom. If you want to try something new, our staff compositions using colored paper, collage will work with you to achieve your goals. materials, and water-based paints. Skill-Level All Levels Ages 15+ EAC Member $170/Non-member $185 To learn more about our dynamic faculty please visit our faculty bios page on the EAC website: 9403 1-DAY FAST & FURIOUS SILKSCREEN www.evanstonartcenter.org/school/faculty Maggie Weiss Saturday 3/8, 10am-4pm 2North The Evanston Art Center offers year-round workshops and classes to Not quite a car chase but just as exciting! Create youth, teens, adults, and seniors. We have been serving individuals and a silkscreen in a matter of seconds using retro technology! Check out this intriguing method and communities around Chicago for over 80 years. you’ll be hooked. Students bring a black and white high contrast image to class for creating a screen and printing with paint and other mediums. One To schedule a time to discuss course offerings with the Director of large (7” x 9”) thermofax silkscreen is included in Education, please call the Evanston Art Center at 847.475.5300 your class fee; more may be purchased. This fun Monday through Friday from 11am-4pm.
Load more

Recommended publications
  • 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]
  • Edgar Degas: a Strange New Beauty, Cited on P
    Degas A Strange New Beauty Jodi Hauptman With essays by Carol Armstrong, Jonas Beyer, Kathryn Brown, Karl Buchberg and Laura Neufeld, Hollis Clayson, Jill DeVonyar, Samantha Friedman, Richard Kendall, Stephanie O’Rourke, Raisa Rexer, and Kimberly Schenck The Museum of Modern Art, New York Contents Published in conjunction with the exhibition Copyright credits for certain illustrations are 6 Foreword Edgar Degas: A Strange New Beauty, cited on p. 239. All rights reserved at The Museum of Modern Art, New York, 7 Acknowledgments March 26–July 24, 2016, Library of Congress Control Number: organized by Jodi Hauptman, Senior Curator, 2015960601 Department of Drawings and Prints, with ISBN: 978-1-63345-005-9 12 Introduction Richard Kendall Jodi Hauptman Published by The Museum of Modern Art Lead sponsor of the exhibition is 11 West 53 Street 20 An Anarchist in Art: Degas and the Monotype The Philip and Janice Levin Foundation. New York, New York 10019 www.moma.org Richard Kendall Major support is provided by the Robert Lehman Foundation and by Distributed in the United States and Canada 36 Degas in the Dark Sue and Edgar Wachenheim III. by ARTBOOK | D.A.P., New York 155 Sixth Avenue, 2nd floor, New York, NY Carol Armstrong Generous funding is provided by 10013 Dian Woodner. www.artbook.com 46 Indelible Ink: Degas’s Methods and Materials This exhibition is supported by an indemnity Distributed outside the United States and Karl Buchberg and Laura Neufeld from the Federal Council on the Arts and the Canada by Thames & Hudson ltd Humanities. 181A High Holborn, London WC1V 7QX 54 Plates www.thamesandhudson.com Additional support is provided by the MoMA Annual Exhibition Fund.
    [Show full text]
  • Ballet Dancers Rehearsing (P. 23), Edgar Germain Hilaire Degas Ballet Dancers Rehearsing
    Performing Arts in Art Information and Questions for Teaching Ballet Dancers Rehearsing (p. 23), Edgar Germain Hilaire Degas Ballet Dancers Rehearsing Page 23 from An album of Pencil Sketches Edgar Germain Hilaire Degas French, about 1877 Graphite, 9 3/4 x 13 in. 95.GD.35.12 Background Information In the 1870s Edgar Degas became fascinated with ballet dancers, paying frequent visits to the classes where the Paris Opera’s ballet master trained groups of young girls, the so-called petits rats (little rats). Here, seven young dancers fill the page with their pliés, lunges, and kicks. Often Degas did not even bother to sketch the girls’ heads, focusing instead on their bodies’ contortions and outstretched arms and legs. A flurry of lines captures their fluttering skirts and short, pulled-back hair. The writer Edmond de Goncourt wrote in his journal in 1873: Yesterday I spent the afternoon in the studio of a painter named Degas. After many attempts, many bearings being taken in every direction, he has fallen in love with the modern and, in the modern, he has cast his choice upon laundresses and dancers. And right before us, seized upon the spot, is the graceful twisting of movements and gestures of the little monkey-girls. He is the man I have seen up to now who has best captured, in reproducing modern life, the soul of this life. About the Artist Edgar Germain Hilaire Degas (French, 1834–1917) No art was ever less spontaneous than mine. What I do is the result of reflection and study of the great masters; of inspiration, spontaneity, temperament .
    [Show full text]
  • I the Art of Basic Drawing
    I The Art of Basic Drawing \ M i '\ f f \ ABOUT THE ARTISTS Having worked as an illustrator in the entertainment industry for many years, Michael Butkus has worked on more than 2,500 films in the areas of advertising, movie poster art, set design, and character design. Michael also invented and illustrated hun­ dreds of characters for Lucas Films' Shadow oj the Empire. Walter T. Foster was born in Woodland Park, Colorado, in 1891. He began writing self-help art instruction books in the 1920s and produced them in his home in Laguna Beach, California, where he wrote, illustrated, and printed them himself. Michele Maltseff received her B.FA. and M.FA. in Painting and Drawing from the Academy of Art College in San Francisco, California. An avid horse lover, Michele has illustrated several books on the sub­ ject, and she has won many awards for her work. An internationally recognized artist and one of America's foremost colorists, William F. Powell has been professionally involved in fine art, commercial art, and technical illustration for more than 35 years. Bill holds awards for his technical art, which has been used for major projects, such as space programs and environmental stud­ ies. Carol Rosinski has worked exclusively with graphite pencil since 1985, and she has had more than 20 years of experience as an artist and teacher. Mia Tavonatti moved from Michigan to California to attend art school at California State University, Long Beach, where she earned her B.FA. and M.FA. in Illustration. She has illustrated 20 books, and her work can be seen on more than 60 book covers and in various magazines.
    [Show full text]
  • Edgar Degas the Private Impressionist Works on Paper by the Artist and His Circle Edgar Degas: the Private Impressionist Works on Paper by the Artist and His Circle
    Edgar Degas The Private Impressionist Works on Paper by the Artist and His Circle Edgar degas: The Private Impressionist Works on Paper by the Artist and His Circle he great French artist Edgar Degas (1834–1917) once said, “I would like to be illustrious and un- Tknown.” To a large degree, his wish has been granted. By the time of Degas’ death, more than ninety years ago, his art had become famous; his reputation since then has only grown. Yet the indi- vidual who was so accomplished in many artistic endeavors—from drawing, painting, and printmaking to sculpture and photography—has remained elusive. Unjustly labeled a misogynist because of his frank depiction of women, and a cynic because of his biting wit, Degas was, rather, arguably the keenest artistic observer of human nature since Rembrandt. And, although often aloof to strangers, Degas shared warmth and loyalty with his family as well as with a wide circle of friends, which included some of the greatest writers and artists of the epoch. The works by Degas in this exhibition consist of twenty-four drawings, twenty prints, eight photo- graphs, three monotypes, one sculpture, and a letter, all from a single private collection. The collec- tion endeavors to illuminate the background and personality of Edgar Degas the man, as well as to present his genius as an artist. The subject matter of these works by Degas is often quite personal. In addition to three rare self-portraits, the collection includes depictions of his father, his brother Achille, an Italian niece, his loyal housekeeper Sabine Neyt, and the wife of a patron, Madame Ernest May; three portraits of Édouard Manet and two of Mary Cassatt; and drawings after antique sculpture and Old Masters such as Mantegna and Michelangelo.
    [Show full text]
  • Research About Sketch Performance Method with a Hierarchical Sketch Texture Zhang Baifeng Linyi University 276400
    5th International Conference on Social Science, Education and Humanities Research (SSEHR 2016) Research about Sketch performance method with a hierarchical sketch texture Zhang Baifeng Linyi University 276400 Keywords：Sketch; monochrome; lines; shading; texture; emotional integration Abstract. Sketch is an art which uses monochromatic lines and block surface to shape the image of an object ,and it is the basis of all creative arts and plastic arts, drawing an irreplaceable position in the visual field. As a monochrome , sketch is very expressive. In the Sketches,artists put their own creativity and real emotion into images of the shape, structure, space, depth, dynamic, giving the unique charm and great value to the sketch. Through the understanding and analysis of sketches and sketch performance methods,we expoud the flexible lines, distinctive light and shade used in the creation of sketch,combined with dynamic and varied texture performance, the artists’ inner feelings poured into the sketch ,thus forming a method with artistic expression of a sketch with a hierarchical sketch texture. Sketch is the oldest way of painting, humans learned painting from the beginning of the sketch, sketches are almost the same age as the human. Ancient ancestors show what they see and think used graphical symbols,taking it as a sketch, sketch essentially is the "shape" of creation. Later, in the long historical development, the "shape" of art exists and develops as the form of rock paintings, sculpture, murals and others, which all belong to sketch processing. In the European Renaissance,people begin to pay attention to sketch,which becomes a "sketch" in the true sense, and painting explorers such as Leonardo da Vinci think about sketch deeply,use the anatomy, perspective and composition in the sketch, making it became an independent and unique charm of the art form.
    [Show full text]
  • Drawings of Leonardo Da Vinci [By Charles Lewis Hind]
    HANDBOUND AT THE UNIVERSITY OF TORONTO PRESS DRAWINGS OF LEONARDO DA VINCI DRAWINGS OF THE GREAT MASTERS DR/WINGS OF LEONARDO DA VINCI LONDON.GEORGE NEWNES LIMITED SOUTHAMPTON STREET. STRANDw.c NfiW YORK.CHARLES SCRIBNEKS SONS IMC. \\(f> THK BALLANTYNE PKKSS TAVISTOCK ST.. LONDON LIST OF ILLUSTRATIONS PLATE PROFILE OF A WARRIOR . Frontispiece PORTRAIT OF ISABELLA D'ESTE i STUDY OF AN OLD MAN n STUDY OF DRAPERIES FOR KNEELING FIGURES . in STUDY OF A BACCHUS iv HEAD OF A MAN v BATTLE BETWEEN HORSEMEN AND MONSTERS . vi WOMAN SEATED ON GROUND AND CHILD KNEELING vn STUDIES OF HEADS vm YOUTH ON HORSEBACK ix STUDIES FOR THE EQUESTRIAN STATUE OF FRANCESCO SFORZA x }^THE VIRGIN, ST. ANNE AND INFANT ... xi STUDIES OF CHILDREN xii , THE COMBAT xm STUDY FOR A MADONNA xiv STUDIES FOR "THE HOLY FAMILY" ... xv STUDIES FOR "THE LAST SUPPER" .... xvi COURTYARD OF A CANNON-FOUNDRY . xvn STUDY OF THE HEAD OF AN APOSTLE . xvm STUDY FOR BACKGROUND OF "THE ADORATION OF THE MAGI" xix STUDY OF LANDSCAPE xx STUDY OF A TREE xxi TWO HEADS. CARICATURES xxn ST. JOHN THE BAPTIST xxm THE HEAD OF CHRIST xxiv CARICATURES xxv HEAD OF AN ANGEL xxvi STUDY OF A MAN'S HEAD xxvn LIST OF ILLUSTRATIONS PLATE STUDIES OF HANDS .... xxvm DRAGON FIGHTING WITH A LION .... xxix MAN KNEELING xxx PORTRAIT STUDY xxxi STUDIES OF ANIMALS xxxn PORTRAIT OF LEONARDO, BY HIMSELF . xxxni SIX HEADS OF MEN AND A BUST OF A WOMAN xxxiv STUDY OF A HEAD xxxv THE ST. ANNE CARTOON xxxvi STUDIES OF HORSES xxxvn HEADS OF A WOMAN AND A CHILD .
    [Show full text]
  • Lesson Leonardo Da Vinci/Sketches and Inventions 7 Kimball Art Center & Park City Ed
    LESSON 7 Leonardo da Vinci Sketches and Inventions Verbal Directions LESSON LEONARDO DA VINCI/SKETCHES AND INVENTIONS 7 KIMBALL ART CENTER & PARK CITY ED. FOUNDATION LESSON OVERVIEW SUPPLIES Leonardo da Vinci (1452-1519) was a painter, architect, inventor and • Images of da Vinci’s artwork student of all things scientific. He was well-known for his sketchbook and sketches. collection. Students will become observers, explorers and inventors as • Samples of detailed they take apart clocks, calculators, live flowers and fruit in order to sketch sketches . the details they discover. Students will also study their own hands and • Sketching/Drawing Paper. then come up with an invention of their own to sketch. • Charcoal Pencils. INSTRUCTIONAL OBJECTIVES • Pencils. • Erasers. • Learn about Leonardo da Vinci. • Rulers. • Learn about sketching from observation and looking closely at objects to • Objects to Study. find out how they work. • Black construction paper for • Discuss creativity and inventions. matting artwork. • Draft an idea for a new object. LEONARDO DA VINCI Leonardo da Vinci (1452-1519) was an Italian painter, draftsman, sculptor, architect, and engineer. His Last Supper (1495–98) and Mona Lisa (c. 1503–19) are among the most widely popular and influential paintings of the Renaissance. His notebooks reveal a spirit of scientific inquiry and a mechanical inventiveness that were centuries ahead of their time. Da Vinci sketched prolifically, planning inventions, exploring human anatomy, drawing landscapes, and blocking out plans for paintings. LESSON LEONARDO DA VINCI/SKETCHES AND INVENTIONS 7 KIMBALL ART CENTER & PARK CITY ED. FOUNDATION LESSON PLAN 1. Introduce students to Leonardo da Vinci. As an artist he always carried around a notebook/journal where he recorded the things he saw.
    [Show full text]
  • Designers Who Don't Draw: an Investigation Into Sketch Inhibition
    Designers Who Don’t Draw: An Investigation into Sketch Inhibition among Undergraduate Designers by Lisa Thurlow Thesis submitted in partial fulfilment of the degree of Doctor of Philosophy De Montfort University, Leicester April 2019 Table of contents ACKNOWLEDGEMENTS ....................................................................................................................... VII ABSTRACT .......................................................................................................................................... VIII CHAPTER 1: INTRODUCTION ................................................................................................................. 1 1.1. THE CONTEXT OF THE STUDY .............................................................................................................. 1 1.2. THE THEORY ................................................................................................................................... 3 1.3. THE AIM ........................................................................................................................................ 9 1.4. A DISCIPLINE NON-SPECIFIC APPROACH ............................................................................................... 11 1.5. TERMINOLOGY .............................................................................................................................. 13 1.6. A RESEARCH PARADOX: GROUNDED THEORY VERSUS THE PHD ............................................................... 13 1.7. THE INTENDED CONTRIBUTIONS
    [Show full text]
  • Drawing with Charcoal
    This book contains all the information required The step-by-step exercises explain how to ap- to begin drawing with different media: charcoal proach drawing a model, and presenting and and its derivatives, sanguine crayon, chalk, dry evaluating the different media, while imparting a pastel, graphite, colored pencils, and oil-based basic understanding of color theory. crayons and pastels. All the media discussed can The fact that so many different media are be used for drawing lines, shading (in the cases of covered does not mean that this book is unfo- charcoal and graphite), and coloring. They are cused. To the contrary, it provides an overview applied to a support, usually paper, following a of all that is essential for making progress in series of procedures that are referred to as dry drawing and painting. Basing lessons on the ob- techniques. And although they possess similar servation of a model, this book analyzes each characteristics, their differences require different drawing and the light that illuminates it, teaching techniques and render results that are very differ- the reader to mentally situate the areas of light ent as well. The various media and effects, com- and shadow and to apply a range of tonal values bined with the personal working style of each art- and colors necessary for modeling the volumes. ist, all contribute to the wide range of expressive Dry media are ideal for realistic representations possibilities. All the dry media will be covered in because during the learning phase the applica- this book, each one requiring the development of tions and techniques emphasize depth.
    [Show full text]
  • Step 1 - Introducing the Edgar Degas Slideshow Guide
    EDGAR DEGAS – AGES 10 – ADULT | ONLINE EDITION Step 1 - Introducing the Edgar Degas Slideshow Guide MOTIVATION BEGIN READING HERE I’ve brought my camera today and I want to take some photographs (PANTOMIME ACTION). I need a model (or models) to pose for me. For your first photo I want a formal, posed picture, with everything balanced. Good, I’ll snap your photo. Next, please arrange yourself so the picture will not be balanced, and it looks very casual and unposed. Does it look like you don’t know your picture is being taken? (YES) Thank you! Now I want you to think about those two pictures I just took. Which one do you think will be more interesting when it’s developed? (UNPOSED) Do you prefer the formal, posed, balanced pictures? Or do you prefer the casual, unposed, unbalanced picture? (ANSWERS WILL VARY) If you chose the casual, unposed picture then you are like artist Edgar Degas. He took many ideas from the art of photography, which was new in his time. He liked to paint scenes that looked as if the people in them were unaware they were being watched. So when we see his paintings, we feel as though we just happened to look in at an unexpected moment. Before we peek in on some of those scenes, let’s peek in on Edgar Degas and see what he looked like. Click Start Lesson To Begin 1. SELF-PORTRAIT From this self-portrait by Degas, can you tell what kind of person the artist was, friendly, easygoing, modest? (NO - UNFRIENDLY, SHY, CONCEITED) By the age of twenty- three, Degas had developed a reputation for being difficult and stuck-up.
    [Show full text]
  • Drawing Is Seeing ______
    Drawing Is Seeing ________________________________________________________________________________________________ FOR CONTEMPORARY ARTISTS, DRAWING IS A PROCESS Drawing reaches back further, of course. It more than a medium. Traditionally defined in represents the most primal and elemental form terms of graphite or ink on paper with the aim of expression: drawing was the first means of of producing an image, drawing has become a expression for prehistoric humans and continues metaphor for experimentation and innovation to be the first means of expression for children. that defies any strict definition. The results of With surrealism, drawing, long recognized as the drawing can be as loose as a sketch or as fixed medium of exploration and innovation for its use as a mechanical rendering. A drawing can be in studies and preparatory sketches, was set free created with a stylus on an iPad or with a from its associations with other media, notably performer’s body tracing a line through space. painting, and valued for its intrinsic qualities of It can be assembled from found imagery or immediacy and spontaneity. executed on canvas. Drawing Surrealism is the first large-scale The roots of these relatively recent expansive exhibition to explore the significance of draw- and liberating notions of drawing extend back ing and works on paper to surrealist innovation. to surrealism, and drawing was central to Although launched initially as a literary move- surrealism from its very beginnings. LACMA’s ment with the publication of André Breton’s special exhibition Drawing Surrealism (October Manifesto of Surrealism in 1924, surrealism quickly 21, 2012—January 6, 2013) focuses on how became a cultural phenomenon in which the drawing, previously considered a minor visual arts were central to envisioning the world medium, became a predominant means of of dreams and the unconscious.
    [Show full text]