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Creatinc Art: Media and Processes

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Creatinc Art: Media and Processes 3 Creating art: media and Processes ave you ever created a picture using chalk or charcoal? What kinds H of pictures have you taken with a camera? What do you think of when you have a piece of clay in your hands? An artist can choose from a great many different kinds of materials. The artist’s decision about which materials, or which medium, to use will have a dramatic impact on the appearance of the finished work. The different processes, or ways in which artists use that medium, can produce strikingly different results. Read to Find Out As you read this chapter, compare and contrast the materials and processes of works created in the same art form. Compare the two drawings on page 52. How are they the same? How are they different? Compare the two photographs on page 63. What is similar? What is different? Focus Activity Draw two overlapping circles to create a Venn dia- gram. Consider the works of art on page 66. Organize the information you wish to compare and contrast. List the traits unique to Tree of Life (Figure 3.1) in one circle and the traits unique to Madonna and Child (Figure 3.24) in the opposite circle. List the traits similar to both pieces in the space created by the overlapping circles. Both sculptures are made from clay, but each artist used the medium of clay and processes of sculpture in very different ways. Using the Time Line Take a look at some of the other artworks from this chapter that are introduced on the Time Line. What media and processes can you identify? c. 1470–75 1897 c. 1501 1248 Madonna and Child by Reflection-Venice by Erasmus by Albrecht Dürer Sainte-Chapelle Andrea della Robbia Alfred Stieglitz 1200 1500 1800 Architecture incorporates Sculpture and engraving depict a Early photography captures a stained glass variety of subject matter moment in time 50 ■ FIGURE 3.1 Oscar Soteno Elias. Tree of Life. 1997. Clay, molded and modeled, appliquéd polychromatic. 1921 1935 1967 Night Shadows by Robert Silvers creates Geodesic Dome 1997 Edward Hopper photo collage Buckminster Fuller Tree of Life by Oscar (Detail. Credit, p. 61) (Detail. Credit, p. 65) (credit, p. 79) Soteno Elias Refer to the Time Line on page H11 in your Art Handbook for 1900 1950 2000 more details. Etching using Photo Experimental Modeling perspective manipulation architecture with clay 51 LESSON ONE Drawing and Painting Vocabulary rawing and painting are two important means through which artists ■ dry media D give visible form to their ideas and feelings. A knowledge of the ■ wet media media and processes used to create drawings and paintings will prepare ■ still life you to recognize and respond to those ideas and feelings. It will also help ■ pigment you give form to your own ideas and feelings. ■ binder ■ solvent Drawing Discover After completing this lesson, Drawing is a process of portraying an object, scene, or form of decora- you will be able to: tive or symbolic meaning through lines, shapes, values, and textures in ■ Discuss the processes of drawing one or more colors. This process involves moving a pointed instrument and painting. such as a pencil, crayon, or stick of chalk over a smooth surface, leaving ■ Explain how artists find ideas for behind the marks of its passage. The generally accepted name for this their artworks. mark is line. Although their styles differ (Figures 3.2 and 3.3), all draw- ■ Name and describe the three basic ingredients in paint. ings have a common purpose: to give form to an idea and express the artist’s feelings about it. ■ FIGURE 3.2 The artist used this ink drawing to express his ideas and feelings about a religious subject. What adjec- tives would you use in describing the line used here? ■ Which portions of the drawing have been emphasized? FIGURE 3.3 The raised hand of St. Anne in this How is this emphasis achieved? unfinished work has been drawn using contour lines. How does this make the hand look different when Guercino. Saint Jerome and the Angel. c. 1640. Brown ink on paper. compared with the remainder of the drawing? 7 1 24 ϫ 21.6 cm (9 ⁄16 ϫ 8 ⁄2Љ). University Purchase, University of Iowa Museum of Art, Iowa City, Iowa. Leonardo da Vinci. Madonna and Child with Saint Anne and Infant St. John the Baptist. Charcoal, black and white chalk on brown paper. The National Gallery, London, England. Art Resource, New York. 52 The seventeenth-century Italian artist This illustrates the strong emotional bond Guercino (gwair-chee-noh) used his drawing between the figures. Clearly, the artist’s pur- skills to illustrate the strong religious feelings pose is important in determining the style of a that dominated his time and place. With a drawing. The choice of a drawing medium, style featuring spontaneous and vigorous often based on the artist’s purpose, can also lines, he gives visual form to his idea of contribute to style. St. Jerome listening intently to an angel in Figure 3.2. In this work, the rapidly drawn Drawing Media lines add excitement and action to the scene. The media for drawing can be divided into Compare Guercino’s work with Leonardo’s two types: dry and wet. Dry media are those unfinished drawing in Figure 3.3. Leonardo’s media that are applied dry; they include pen- drawing places greater emphasis on value cil, charcoal, crayon, and chalk or pastel. An than on line. Using charcoal to produce dark example of a drawing created with a dry and light values, he was able to make the fig- medium is Mary Cassatt’s (kuh-sat) pastel in ures look more three-dimensional and lifelike. Figure 3.4. LOOKING Closely ➤ DRY MEDIA The subject here is one the artist used over and over during her career: a mother and her children. • Medium. The artist em- ployed a favorite medium: pastels. • Technique. Cassatt aban- doned her more familiar smooth, even surface in favor of one composed of swiftly applied strokes of bright colors. • Purpose. The finished drawing looks as if it were done quickly, suggesting that the artist wanted to capture a fleeting moment shared by a mother and her child. ■ FIGURE 3.4 Mary Cassatt. In The Garden. 1893. Pastel on paper. The Baltimore Museum of Art, Baltimore, Maryland. The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.193. Chapter 3 Creating Art: Media and Processes 53 Wet media are those media in which the col- Drawings in Sketchbooks oring agent is suspended in a liquid; they Artists have long recognized the value include ink and paints. The wet medium most of maintaining sketchbooks to record their commonly used in drawing is ink in various col- ideas. Earlier artists used drawings mainly ors, applied with pen or brush. Paints can also as a way of developing the ideas they wished be used as a drawing medium. The drawing of to express in their paintings and sculptures. cottages (Figure 3.5) demonstrates the skill of More recently, artists have used drawings in the artist, Rembrandt, with a wet medium. A two ways: as finished works of art and as pre- variety of lines made with rapid strokes of a liminary studies to develop ideas. fine quill pen captures not only the appear- Georges Seurat visited the Grande Jatte every ance of a simple rural scene but also the day for six months. He made preliminary draw- quiet, peaceful mood associated with it. ings of the landscape and sketched numerous Recognizing the advantages offered by both figures for his painting of a summer day on the dry and wet media, many artists have com- island near Paris. Detailed studies like the one bined them in their drawings. in Figure 3.6 were often referred to during the two years required to paint the large picture—it ■ FIGURE 3.5 Rembrandt made thousands of drawings during his career, many of which were done in his favorite drawing medium, ink. Judging from the lines used, how would you describe the method or technique used by the artist to make this drawing? Rembrandt van Rijn. Cottages Beneath High Trees. c. 1657–1658. Pen and brush with bistre, wash, on paper. 19.5 ϫ 31 cm (7 1⁄2 ϫ 12Љ). Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin, Germany. Bildarchiv Preussischer Kulteurbesitz. Art Resource, New York. 54 Unit One Creating and Understanding Art ■ FIGURES 3.6 AND 3.7 ■ FIGURE 3.6 Many artists prepare pre- Georges Seurat. Study for liminary sketches for A Sunday Afternoon on their paintings. They La Grande Jatte. 1884. Oil plan and experiment on wood. 15.5 ϫ 25 cm with ideas before begin- (6 1⁄8 ϫ 9 3⁄4Љ). Musee d’Orsay, ning to paint. Georges Paris, France. Réunion des Seurat, for example, Musées Nationaux. Art completed numerous Resource, New York. detail paintings before beginning work on his huge painting A Sunday Afternoon on the Island of La Grande Jatte. Can you identify the portion of the painting that was the result of sketch? ■ FIGURE 3.7 Georges Seurat. A Sunday on La Grande Jatte. c. 1884. Oil on canvas. 207.6 ϫ 308 cm (81 2⁄3 ϫ 121 1⁄4Љ). The Art Institute of Chicago, Chicago, Illinois. Helen Birch Bartlett Memorial Collection. 1926.224. measures 70 square feet (Figure 3.7). When it surface in ways that are sometimes visually was exhibited in 1886, Seurat’s creation was appealing, sometimes shocking or thought- greeted with ridicule and controversy.
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