DOCUMENT RESUME

ED 096 192 SO 007 711

TITLF Studio in Art: A Comprehensive FoundationCourse. INSTITUTTON State Education Dept., Albany.Bureau of Secondary Curriculum Development. P118 DATr 74 NOTr 145p.

TN'S PRICE MF-$0.75 HC-$6.60 PLUS POSTAGE DESCRIPTORS *Activity Learning; *Aesthetic Education;Art Activities; *Art Education; *Art Expression;Course rescriptions; Curriculum Guides; *FineArts; Humanization; Secondary Grades; TeachingTechniques; Visual Literacy ABSTPACT This secondary level art curriculum guidehelps students to individualize visual and plasticarts experience. It is divided into sectionson the naturo of art, elements of art, and movements and trends in the world of art. Materialsdirect the teacher toward important events andconcepts, useful exercises, and pertinent points for student development.The material, illustrated by student art and reproductions, isnot intended as the substance of lectures but as an outline ofareas of emphasis to be used by both student and teacher in the development ofa fleLible course based on a theme or principle of their choosing. A visual diaryof information and observations to help the studentbecome visually sensitive anda portfolio of the student's workare kept as indications of student performance. The course is predicatedon the availability of a studio and on access to genuine works ofart. At the least, an atmosphere of art, within the working environment is mandatoryas is the presence of an artist as teacher, Sources of materialsfrom museums and commercial producersare listed at the end of the guide, as are litnrature references pertinentto the study of movements and trends in art. (JH) a comprehensive foundation course THE UNIVERSITYJr"BUREAU 7- OF OF SECONDARY THE STATE OFCURRICULUM NEW YORK DEVELOPMENT / THE STATE EDUCATION DEPARTMENT / ALBANY, NEW YORK 12224 THE UNIVERSITY OF THE STATE OF NEW YORK k.tj. o1; of Ut 1984 Joseph W McGovern. A B., J D . 1 H.D ftsti . 11 D.. D C 1 , Chancellor Nev. York VOA toft 003t.t. 1975198719781985 EverettEdwardCarlAlexander H. J Porzheimer.M. Penny, JM. Warburg. B C.S Jr., B.S.,A.B L.H D. Allan, Jr . D.0 S . ViceLLD Chancellor . M.B.A.,. Litt.D D.C.S., H.H.D. NewPurchaseTroyWhite York Plains 197619741977 Mrs.Joseph Helen C.T. King,Indelicato B. Power. LL.8. M.D. A.B., Litt.D.. L.H.D., LL.D. RochesterBrooklynOueens 19861979 FrancisKenneth W. B. McGinley. Clark, A.B.. B.S., M.S J.D., LL.D. . Ph.D., LLD., L.H.D.. D.Sc. HastingsGlens Falk 198819811983 WillardTheodore Harold A. E. Genrich.M. Newcomb, Black. LLB.. A.B., B.A. L.H.D. Litt.D. BuffaloSandsOwego Pointon Hudson President1982 Emlyn of the I. University and Commissioner of Education Griffith, A.B., J.D. . DeputyExecutive Commissioner Deputy Commissioner for Elementary, of Education Secondary, and Continuing Education Associate Commissioner for Instructional Services E. - I': Director, Divisioncsistant of School Commissioner Supervision for Instructional Services (General Education) Director,Chief, Bureau Division of Secondary of the Humanities Curriculum and Development the Arts E I Chief, Bureau of Art Education J z /1 FOREWORD STUDIO IN ART is a curriculum guide pies of relevance. student involvement and / .1:1, 14,1 t:'t 'tlIke% iitt Pt( experiencesingtoIt a isa comprehensive highlyintended that individualized towill assist meet study the the program ofteacher needs the visual of inof inter-develop- studio arts. visionparticipation. and expression. and respectSTUDIO IN ART was prepared under the for individual (h. ,drbi /1. Ile", it. WO 111 ,,'tit. tittI'lable. the"! tit rAtile'NN lit,flu/ s" fIthe thiNV:1," teleNteli signededucation.ested students to: at all levels of secondary Such a program should be de- mauscriptinthedirection tentative Bureau of wasof Vincent form Art written Education. in J. Popolizio. by Minerva and published Chief Mar- of 1966. The original VIa 'hi aP!, se, tbat the Ii :Wit thlagrIl% ,P1 iPat creativeStimulateEnrich growth:the and students' encourage lives: the students' School,atkey. and Niagara-Wheatfielz: JuniorSenio-chairman High Ernest Andrew Mills. of the art department then :4'111eit rtrrlllrlile adapted from a speechPrinceton by sociologist to r"1( riNt. alei ill/ a% art HelpraryofIncrease the livingthe importance students and the instudents' ourto of enjoy. culturalart inJriderstanding appreck.i.e.contempo- : asenchairmanbyin ail Central education. of the School art The department andfirst nowdraft at associatewas Mohon- editedBrita Walker, associate professor of Melvin Tumin arevisualtechniques,DevelopandIdentify essentiai come arts; in and to and for valueencourage understandingsquality works work students of art:in which the with the students those skills. sorsociatePopolizioNewart education ofYork artin andartat at Albany. education Haroldat the andStateL. Laynor,and revisPd University now then profes-by Mr_ of Millersville State College. as- aspectsandinterestProvidepar cular of inguidance aptitudesthethe visualvocational for for arts. students the or avocationalvisual with arts: an schoolSator,theinsistanceMillersville. manuscript systems associate of Richard throughout was in secondary G. rewritten Decker, New York curriculum.by associate RitaState.secondary A_ curriculum. Pennsylvania. Afterwith thetrial as- in ofexperienceaning individual opportunity pages the suggestscreative excitement to grasp expression that' Accordingly. the studentsand feel satisfaction and of be to artto giventheap- material on the follow- cationZatlukal,tionmanand Mr_andoffor Mahopacformerly theMills.now Syracuse director Anthony associate High ofSchool,City Haruch, secondary in School art James arteduca- -Dis- edu- supposesmediawithpreciatement the of :.ifthe variousthe the the vision, visual availability artistthrough forms, the and skill, plastic dimensions,of and a directstudio: arts.the achieve- contact ready and It pre- publication'seducation.terial.arttrict and Jamesreviewed V. theGilliland, manuscript. associate in education. Robert A. Reals, associate in art layout provided and additionalvisual design Thema- toand/orwhereveraccessleries, its learning artists-in-residence.to possible,genuine procedures workscontact of with artare through localthe princi- artists gal- museums, and institutes: Fundarnentai and. are the work of Mr. Gilliland. SchoolGordonDirector, Supervision E. Van Hoolt Division iiiof CONTENTSi!rt Is the eie- teireee ot hie mem eertg. ere the- theitOmit- r. 'et zieirlelItiq?la :chit h Petah .califs It PuV%Is the ?rid a eni en t Johntile' Galsworthy ?dr eshblera arid retiezeat.lief Hier. between tat 'And Hf human lite: te,7 ?ii STUDENT ART WORK CONTRIBUTEDCanastotaAlbany High BY High School. School. Albany Canastota HighHempsteadDeerCase SchoolParkJunior High HighHigh of MusicSchool. School. School. and Deer Hempstead Watertown Art. park New York S.0NorthportMacArthur MephamRye High High HighSchool. School. School. Rye Northport LevBellmore town PHOTOS FOR REPRODUCTIONS OF FAMOUS WORKS OF ART SUPPLIED BY iv Museum of Modern Art Sandak. Inc . and in N, in 1". C\J CO d" LO

W An exploratory course intended to meet the general Exploring THEthe Visual VISUAL Arts ARTS art requirement for students in grades 7 and 8 enabling them to experiment with the various forms and media of COMPREHENSIVE FOUNDATION COURSES the visual arts in the ..z..ntemporary world Croat vs Crafts Studio in Art Art History Machariald Onomog and theA year fulclamentals lonj introduction of 3. to theA nature, year;ong function, introduction and to =11 mar.'sA yearlong creative introduction use of the to end Appreciatiost aA univertyear long introduction to Ow*. graphic tatsjobase variousthechmensional creation. materials designof crafts through in theartstechniques in the ()resentof the visual and in hrzIoig.implicationsreferencevisual with arts to constantthroughout thefor thepresent future and exactnesscreativity.expressthrough 111CAtheir clarity. ideas students and wittlx UM Studio in Ceramics Studio in Drawing and ADVANCED ELECTIV :;OURSES es Painting I Studio in Stage Design sio: Ancient Art theArchitecture Ages Through I 11. AdvancedDrawing Mechanical and Dts.96 StudioStudio in Sculpture in Jewelry Studio in Graphics Studio in interior Design mis European Art Esthetics and Art -tectuital Drawing Advanced Creative Crafts DesignStudio in Advertising Sti:dtoStudio in Sculpturein Ceramics r3 ModernNon-European Art Art .. a. fr..:r Independentc,t,c,..., Study 11 Imilustrialand Design Design independent Study IClustratronr align and rashion it Costume Photography 3 At of the Americas NO a 4 UrbanCommunsly Design andPlanning 1 Studio in Jewelry t.: IndependentCinematography Study O. as Independent Study Titles enclosed in dotted lines are suggestions for locally Studio in Product Design developed advanced elective courses. S vi I /1INTRODUCTION 1. OH 111 find rT a . !. e,', _ _.: . -- th,Sr 11 bli,cal I1,1 r (WIC% /11% I Nut/ ,lt . Lit' `.. ' K. lb,'(1,1,1 In WI, bill I 1t1(11,. f I Ulf 1. a1111 Olen A..--:4.1- V'''' 40:1!* ,- .. tri011 id!. O ,. , ,-, Johannes Men i C p44I willschoolscurriculumindividualized in Newguides educationalYork intended StateSTUDIO createprograms IN highly ART that is one ofenable a series each of and every student to help the to PR4° fa. ill ofwillditionsthe"become random develop desire of focusall toin he livehim andis tocapableboth tothe improve the fullest ofmeans being," inthe a con-andworld that life in which he finds himself. thethereforeThe student chief topurpose assist the of thisteacher publication in helpingTo see,feel, is (ro 111 through a wide variety of studio exper-ToTo evaluateexpress makethink, choices, his thoughts and and feelings, . hasiences been arranged in ThethreeThe Nature categories:material of Art A brief consideration of the inesthetic the visual and plastic on the following arts. pages The Elements of Art artsprinciplesAn inductive approach that underlie to the the visual ele- $ ofMovements Art and Trendsartments which comprise in a the World work of groupexperiencesFinally,lished basis. on both an the in questions art shouldindividual and a listed be estab- under waystrends.amountand the in which elements this might of art, be and accomplished. a sufficient However,allocated there are a variety of to movements and A riousciplestheandbrief use placesdescription of ofart the ofat thevariouselements of world. art oftimes theand pastin prin- va- intended to illustrate Summaryofopmenttantrather guides thanand to Evaluationshouldas each measures student'sbe used of asachieve- devel- parta continuous monitoring are impor- system, studentthatFor example, planning the might collage have: of experiencesAn esthetic base evolvesStudio activitiesfrom and exposure to continuous teacher- teacherexamplesofBoth The and Natureof the ofstudent Art and might The ElementsplanArt include the kinds of introductory activities the statements, to- Artteacher,Movements is also notintended asand material Trends as a resourceto in be the reproduced World forment the of at the end of a given unit. An elements base thesignedInrelated three worksareas, ofthe art nature might or be art. de-the process of discovering for to emphasize the first of evaluatetionstopicsstudy,gether for for discussion, classwork andand/or a series independent of ques- designed selected the toillustrations help the and teacher related toin dentfromdent.or otherwise willit throughout emerge presented from the hisyeardirectly brief and toexposure thethe stu-stu- Hopefully, the teacher will draw mighttheeffectshimself elements examine that the can propertiesof howbe achieved artists of and at with la- the art, the student art. forThe the teacher, not as Inthe every substance case, however: descriptive student's matter development is intended with a new awareness of: varioustheThe many times ways and places have used elements and in which principles artists he ofis A thematic base Theprinciplestherious elementsperiods for theirof own purposes_and time have used the esi..!etic situations,themexamplestheTheof lectures when forthey teacher the apply students. is to free to use studio but experiences he is generally are particular merely ex- mentcurrentlymentsThe of theexploring, visual arts, and relationship in the continuous of various develop- move- principleswiththoughts the use of art of tothe express elements his ownand student arvf feelings,might experimentand then cludeddevisingpectedIllustrative tonew work ones. with because materials they his havestudents are beenavailable in- in useguide; and In inThe human function life.his and importanceany of art particular expertiseevent, the teacher this publication is expectedin develop- is to a A problem-solving baseexamineThesimilarriods themes_ how artists in various pe- student of history might have examine expressed the ofworksonforerarel, encouragedof art, and the to teacher use the is offerings there-resident slides; good artistsbut substitutes reproductionsand of for iocal actual are or needsisartistsofing with andand/or each ofgenuine his students works a of program specificallyartstudio that experiences interests, geared . andandto exposure to the that student's utilizes worklem,intheand elements ofexperiment and with principles of artapproaching a particular such artists as pastpersonal and present the tension;use prob- of opensuggestedThemuseumsreasonably topics dialog foras discussionoften as possible. have been in an effortaccessiblerelated to the students' galleriesto show that and ofdescribedcommunityshouldeffectively the learning include above, conditions time a with studydevoted andthe of major allto thethree portion nature areas as possible. The resources as program sionmakingnity;home,environmentalisolation; population the school, pressure or the and commu- human the in difficultiesconditions an age of inwithout deci- the whateverThere are theother plan approaches, of organization,(1) as well; but absolutesft should . evolve. . from the com- ment,ananatomy,be image, or to ever visualize with a thought. an extension to record a passing mo- of him the to student's capture art;posesrialAs indicated frequent ready visitsaccess to galleries,to genuine museums, works of in this publicationin the foreword, the mate- further presup- (2) uallyItabledents,bined resources;adaptable. the teacher, and and the avail-should characteristics be readily and of the contin- stu- aticallyIn - The labeled,theaddition, dated, and signed. portfoliorecordstudent's the teacher should system- the should art student's containworkcarefully work ?.;- of vironmentditionscontactandresidence. should institutes; arewith But whether or notavailable, these con-local andideallypersonalhave the atmosphereartists the orworking artists-in- en- hisperiod"beilot spenttensions, during in creativefosters which his theactivity;The ego, student bulk or but cultivates ofrelieves thisthe student'sis .0 imply time that should the art class is a "free Evidence35illustratinging m.m. recommendationsthe slides,student'sof this a concept sort final is useful for grade;at othera laterin indetermin- students; support-date; preferably in duplicate. in oftheasin art, every well areas and as sense the hein teacher whichknows of the they hisshouldword_The art. teaching be an artist artist knows his students live; He explores fie meets learnrriondaryh's re fantasiesand than something, school self-expression; students anddoes theyare little interested want to feel they want to else. Sec- in creditDepartment'sanding in infulfilling art. part of theThe State suggestions Education offered on the follow- requirements for Regents aspire.theythemately peopleconditions hold, involved; andwith ofwhomthe he their comesgoals theyhying, to toare whichunderstand the most values they inti- inersiences.mentthe satisfactionand students that should results work from involve-planning in It is for these reasons that teach-genuinely an meaningful programtogether exper- a areastudioa with: separate and clearly definedplay,Adequate and stc..-age pagesworking, space;presuppose demonstration, the dis- existence of nesssibleActivities materialsof his which environment sharpen utilize one's and aware- of his He is aware that: readily acces- tionalstudentin orocess.xpected will in which he makes al:.his own Andto although he shouldn't beprofit most"reinvent from an educa- individualized the wheel," the andSinksartProper claywork; with traps;heat hot and and lighting cold running for creative water sourceownOne'sA interestsperson's potential of pride and dress for attitudes_ creativity. is often a key to his cultural heritagein a pluralistic can be a so- foredrawschoices, learns_ discovers for himself,A final notecompares, or two. The student should honest observes conclusions, the effects and of there-those presses,eningtions,EquipmentFacilities thewhich room; such as potter's for include ways foraudiovisual wheels, easels, kilns, presenta- printing dark-etc.; ratherciety,whowaded,Appreciative thanvalues and forced heattentionhim will uponbecause follow makes him. the he one personknows feel but or.!y when it is fostered andbe a portfolio. - The vra.i.alof journalrequired should be a diary sort:;information, which to keep includesnotes a visual about useful journal refer- bits asSufficientwork;terialsA wide an open andmostwithvariety studiowhich and important forabundancethe interested students of per-canma- staffing to be maintained onlytothatperception"There be the hurt_ skillis no with such which thing one as .1ndersa wrong latter will never allow himin art," and therefore andprojectsencesto develop the recording, an-i cr sources,activities, habitihe suggestionsjournalofetc. observation Intended should for artenrolledalsosons classes. not only from the school, but from or the not enrolled community, in whetherspecific And he acts accordingly. itself.jecthis particular vision for criticism, never is a valid sub- the vision 3 THE NATURE OF ART BEST LOVI ;,4;1;LA!,'LE \)/rill I pl41,11 l't r lit'te ilt 11,1 )1 tl% O1 slit. 1 . it, tiiti tt% !IM; errrifilite intliaif fltlil lister!lir.Nter\ to i' IC) be elreilre 4.1ld wtttatri''1 et% e I blgPirN% UnknownI iefa. It?elvINtibe)eld llfPrIgh VN ell. Pa i.1! the

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THE NATUFE, OF ART Art is creative expression in any of a times ignored or even disparaged in his An artist sees the world in terms of his fiedfunctionbothnumber science and craft, it with of of the forms. human huruanities--for Distinguishedperception is usually classi- art based isfrom a ownfollow. age. yet praised inA themode times of perception which is a way of seeing, It is gov- space,thathumanity. or color,but also -becauseor rhythm, these or movement are the constituentsis, ofhe is keenly aware of sound. or in terms of his art. ofience.upon creative human processes values which andA work humanincludes of exper- per- response. art results from a spiral ab- ernedditionedinequipmentan which avenue by the bywe've mannertoexperience.functions understanding. been in "programed" andwhich by our the sensory manner or con- In general, the componentsperceptionsitieshis art. withand shapes an of his medium, he draws from hisSensitive to the particular qual- which he works have idea. The withstraction,ception.artof ais medium.an decisionmaking, arrangement of andforces interaction whichit in- may simply "happen," a work of Although some aspects interpretation, ofprocess us, but: of perception is the samevaryingWe see, for allhear, feel, smell, and taste in degrees, and these differ- areelementsformthebeen benefit identified of art of are students and space. labeled, and light critics. primarilyand color, for arranged (shape), accordingline, and totexture. These The all reasons:privatemanyduces levels.esthetic ends, andmay experience. is serve valued public for a as variety wellThe asartistof values his work if it success- It operates on system,throughOuraboutences senses us:affect one are ouroften partconcepts affects of an ofinterrelatedthe the others; world so that what we perceive venientvariety,rhythm,of handlesand unity. for grasping the conceptsthe followingbalance, principlesTheharmony, labels fonts con- any orof emphasis, design: oftionallyfullyif his the expresses choice processsatisfying, appreciates whatof andcreating he if wantsthe his it audience achieve-was to say,emo- are;seemandSensation sometimes more stimulates real createsthan thosethe imagination that really images that in employs.antantly,about"language artist eithera work consciously of art. or intuitively they enable us through In addition, which we can And mostto develop impor-they new provide a "talk - The viewercanhimthatment. values empathize back the again work with and if heagain, feels and makes it communicates to it; and if him; it draws if he Weandmationof our interpretseekvalue experience, through ordersystems; sensory andour and filteringmeaning the infor- interests,input in needs,terms our changingtermsmodesthe elements of of component perceptionto and principles parts see with ourof constantly art lives should in forms and relationships. But andworkhelpsThehim consider want the peopleit for himself. of any time and any criticif it capturesand it ahistorian masterpiece its own value milieu, if the it weFor want these to see,reasons, what we we tend expect to see toelsuniverse, see, whatof abstraction. and operate at different lev- edgeardsentitiesnorbe examined forofa nor critic.themcritical absolutes. will withjudgment; make care: they neither they areand not an stand- artist For an artist isare neither a knowl-like the workThe extent of art todepends which artwork not only becomes uponitplace the a to understand moreis fully to be what a human being. Therethingshisperceivesor what relationships are beyond we nohimself, are wrong himselfled to to see; in and each of us his surroundings, andhis fellows and theperceptions, different ways. then; "feels"delightislegendary right.by combining cookith who"a pinch creates "a pinch ofin that"a the gustatoryof pudding.this"until the mixture He knowsand the proof The critic, of course, 6 oneskillbothupon of to thethe him reasons modes and to ofwhy his perception anaudience. artist isavailable some- and insight of the artist, but also This is oursharpenperspectivesbut experience. our awareness, by broadening and develop the base new of we can increase our sensitivity. bringforcultivatedis the the to experience. gourmet the to feasta fine whose adegree varied senses of palate. appreciation have been And the rest of us . . r-1-L suchin as line or form or c olorIn and thewhich ways addition these elements seem to to recognizable elements have styleprinciplesEiutThatidentifiablebeen like wearearranged. thosetend arbitraryof art. to g.ven groupthea workand terms to and aretheof usedart labelelementstherefore has to as identifyreadily style. andpri- qualities or characteristics exhibitart,marilyother.beticular or markedly usefulin andqualitiescomparing so different may of works anserve artist'sfrom which as those a work meansseem of may toan- of similar in talking about a workcharacteristics. of The par- tivityseeingidentification. and /or to his medium change: and the re- Often,his an choice artist's wayof of and sensi- . enablesuiting us to classify the various phases changes in feature Before devel- or quality 1 -t . of3pments his work inin scienceterms of and style. technology made :".'11...... '. t . r Irri. ''': S.' similarandisticsthe worldgeographical thatof art acritics inglobal particular established areas village, werehistorical the suchso character- markedly periods cate- ir ail . 0 .4 .- , I 00 ...: t goriesism, as Classicism, Romanticism, Real- Fauvism, 10, riz 41- Expressionism. Impressionism. But the Surrealism, identifying Constructiv- Cubism,features t., 7 thatnextgorizeofthatism, contemporary reinforces major theyandetc. precludemovement the works tht-ory any of will art attemptthat bea are art situationso is tovaried a cate- re- effectively predict what the - ,f; dtvt-topoltrit,, l art .ire (11,--,cribed(,t Pot)lit anon p 7 liable barometer of its age. an analysis of style, we are increasingly ornot mean that expression necessarily o:iesupplants mode of perception an- typesablyANDFeldman's asIDEA of usefulwork: classification(Prentice-Hall, as any. Hein ART describes ASThe IMAGE fourstyle of objective 1967) accuracy, is prob- in availablespecificallystandingingable condition to construct of man a picture through of thean under-chang of modes relates his art. of artistic perception Heinrich creation Wolfflinin his to alternativeshasexperience,other, increased it simply individually and from the number of availaule indicates which that collectively,manand human whichaof sensoryreality the artistthrough data creates a careful the selectionwork which impliesin much more order to produce illusion STYLEIrenePROBLEMPRINCIPLES IN LATER OF THE ART (Dover, 1950); and Rice OFPereira ART DEVELOPMENTdemonstrates OF HISTORY: THE the ofableAnthereforein awareness time to a isperson not ofimportant at a given to ageour enjoymentor hisperiod work; the artistis able but itthe alternatives is essential to choose. avail- ofTheathan thestatement art styleisartist according visually ofarranges formal there to principlesorder,selected and thus elements makes of in which in- aevertoman'stheory volume his he environment, conceptthat entitled the useof THE himself ofhis NATUREspace fellows, and in his OFartand relationrevealsSPACE what- believes in beyond himself in appreciationment.and as such, of the involves measure Aa of numberwork his achieve- of artof con- is the product of choice to our cordingartistThedertellectual, style biomorphic, or esthetic interacts with to of emotion, his emotional his medium ac- in which the response or- alsovaluable(Corcoranof artprove criticism; for Gallery, helpful the viewerbut to1956). the Wolfflin's teacherandBoth the work in student under- might of these books are especially whole,mediumsiderations.lectual,process a gestalt. emotional,alonetheuntil and physical energy The artist worksit with represents In many cases,exertion for of him a intel- thehis Thetheto elicitstyle viewer an emotional response fromhis subject and/or of fantasy, in his attempts which thehis standingcategorieslationhimself, to the the student'sworld about changing him, and view his ofre- it. of Herr Wolfflinprogression whichidentifies five reveal complete.thesatisfying.in man; and when it the act InThe work is anof extension ofothers, the artist requirescreationis is finished, he is sufficiently fel- expressartistorimaginationthe expresses or become thedreams, reality products the visions,of the hallucinations that so often aanddevelopment,awareness. spiral events of growth as man discrete in sees human entities that bear In the early to people, stages himself.thought and places,of his As ofworka lows.response, an interaction with histhat influencesTo a certain extent, theinteraction. style of a the nature and degreeEnvironments and tex- aboveofboth contemporary and the less art. easily classifiedThe style worksFeldman's of a work categories often helps obviously us to includethe major movements identified andtoitemshe commonalitiesgrows, he begins as well to assee differences thatone-to-one thesehim, and that there are relate to relation each other as well similarities as withestheticture,morehappenings easily response; depend and upon we tend to identify and movementnaturalistic often than with subjects abstract it; triggc:and light, efforts_ styles kin- findvironment,aboutthe subject the artist's and matter, his way cultural of seeing, milieu. his en- the content, the meaning beneathfor it reveals much Since change.clusior3,amongmensions them. He becomesandand aware of other di- He learns thatbeginsbeliefs facts, con- toare explorealternatives,subject and to latedItinglyIn any event, art is becomingArt livesinis ancreative; increas-every sense of the word. meaningful, it involves a seriesshared of re- experience_ artist, 8 ceptualprovideddevelopmentsioral framework us with useful with which tools toand approach a con- sciences and the humanities have in the social and behav- experiment.tion.andin thecommunicates shorthand of more symbol and andmore sugges- often But the implied progression does He discovers a oftenrelationships;medium, projects and anthe audience, conditions of processes and requires an it responds to, reflects, and in varying life; and theactivityitbeeause- students like to increaseOneis ornever more the of same. the fcAlowing types of might life--it prove usefulis an understand-inexperience, helping 42 4115./ sharpenInd of thetheir nature awareness ofA art: variety of: v;ronment,The sensory of suchexperiences elementsdesigned as of their sound, en- to .41111.. aTheetccolor, wealth source smell. of of inspirationtheir surroundingstexture, as light, and movement, mate- r seemtheinTherial forto bework the in same art seeminglydifferencessimilarities different between and commonalitiesthings,things thatand sightample;Relationshipsbetween people, for ex- and or betweensound form and or touch, human color, Visitsslideas to thepresentations art following: galleries andor museums discussions and/or sucrt The(e.g.,andthought effects art, and of things art and upon life each other nonhuman,the and effects execution, cause of light and technology and effect, air stylesame,worksExpose are different. the studerifs to a series inbut which the contentthe and/or the For example: subject is the of ofnologymanupon alternatives upon color, upon his ofupon environment,sound choice, upon of mood,a of tech- of the conditions of sense life, SubjectInstruments Georges VIOLINLIFE: AND PIPE, SHEET GUITAR, STILL Braque's MUSICAL FORM, anditingInformal how discussions anof artist value works uponwith attitude and behavior) artists about the nature local or vis- of art WilliamRaoul M. Harnett's THELINHOMAGE OLD VIO- TO MOZART Dufy's THE YELLOW VIOLIN, 9 All works of art have been covered in Su bjectWomen JacquesEugeneFrancois Delacroix's Boucher's MME.MMLE_GAZON BERGERET JULIE AS DEANDROMACHE Louis David's MME. DU- compliance with copyright law. VincentGeorgePablo Romney's MRS_ MLLE.DAVENPORTLA BOUTRAYE RAVOUX Picasso's van Gogh's GERTRUDE LA MOUSME, STEIN MADAME DUGAZON AS ANDROMACHE by JacquesMUSEUMLouis David. OF ART. Oil on GIFT canvas. OF GEORGE THE CLEVELAND S. KENDRICK MADEMOISELLE RAVOUX oy Vincent van Gogh. OilPurchase.on canvas. LEONARDTHil. CLEVELAND C HANNA. MUSEUM JR BEQUEST OF ART. James A_ McNeill Whistler's("Whistler'sRANGEMENT AN AR- IN GREY AND BLACK Mother"), LADY OF lowing: Then discussforThe such motives topics the as artist the may fol- have hadLANGE selectingLIJSEN the particular subject 10 SpecificofThe hisart function work of the subject in a work characteristics of the works TRAITvs.RAVOUX, van ON Gogh's EKELY Edward LA MOUSME Munch's SELF or MLLE. POR- vs. Edgar Degas' Pablo LIFE Picasso's MA JOLIE, STILL interpretationofTheNIECESDiscuss the characteristics various OF withTHE worksof theARTIST) his students subject, the the artist's ele- of style in each thewhatart,temporaryThrough help style theexamples and students drawn to understand from way men is and how think;historical the it periodsrelates tomaterials con- of ing:theganizationmentsin specifica group of art he characteristics ofand employed, paintings the principles likeand of thehissome of follow-style or- of Inductivecerned withpolitical, thetheiravailable basic lives. and principles economic of or-conditions of learningto them: experiencesand the social, con- Mu-Ch'I'sPabloKenzoJoan Okada's SIX PERSIMMONS NO. 2 (1954) Miro's Picasso's COMPOSITION THE STUDIO (1933) or proveSometwo-ganization useful:and of thethree-dimensional and following design suggestions might in a variety of art forms. JanRembrandt Vermeer's van THE ARTISTSTUDIOVIEWIN HIS FROMIN STUDIO THE STUDIO Rijn's THE ARTIST HIS Rhythm JamesMaxJean Brill's Brooks' RHYTHM BIXBY IN ANCHORS,SPACE DESIGN OR NAVEL Arp's LEAVES AND NAVELS, (Jr i MI It cw Di l A B011 T PAYE iry THE (.1EVE E AND MOSE UM C)f E uowle. following,Using a help group the of students paintings to such under- as the Henry QUEEN,1952, TWO FORMS, Moore's RECLINING FIGURE KING AND SEATED, (OFART i F 140k1 IN MEMORY OF E4 PAUGHTE MAUL) !-,TACIER EELS viewer'sstandhis composition how eye: anSandro artist and achieves thus directs unityTHE inthe MAGI Botticelli's ADORATION OF Balance Jose NO.STANDING 47, CONSTRUCTION FIGURES NO. 48 de Rivera'sTWO WOMEN CONSTRUCTION following: Compare orcolor,selected contrast abstract such elements). items as the (e.g., the use of space or AndrePaulAgnolo Cezanne's Derain's Bronzino's THREE LA MONTAGNEPORTRAITVICTOIRE TREESYOUNG MAN OFSTE. A AlexanderEdgar Degas' Calder's GIRL STILL DANCERWHITE DANCERPUSFISH, DOTS OFTWO ON 14, IN STAGE, THE AIR, HEXTO- FR:FIE OF - The- The artist's artist'selements jectuse interpretation of one of art or more of his of sub-tile by in ArshileVincent FLOWERYNIGHT MILL Gorky'svan Gogh's WATER THE STARRY OF THE NorbertJulio Kricke's SPACE SCULPTURE,COMBINGDANCERS HER HAIR, PERSON.IAGE Gonzalez' ANGEL, WOMAN RANGEMENTselectedThe mood created works IN (e.g., GREY AND BLACK Whistler'sthe artist AR- ClaudeMiniatures Monet's from PONDPersia ANDorED India COVER- Auguste Rodin's LEJONGLEUR,SPACEDANCE ETUDE, TIME MOVEMENT SCULPTURE E 11 Variety and Unity JohnIbram Hovannes' Lassaw's figurePROCESSION studiesMY WORKSHOP JuanUmberto Gris' Boccioni's HARLEQUIN, UNIQUE CITYOFGUITARFLOWERS, CONTINUITY RISES,FORMS AND ELASTICITY STILL LIFE WITH OPEN IN SPACE. THE JacquesHenri Laurens' THE GUITAR.SEATEDBOOKGUITAR, WOMANHEAD, SAUVETAGE, Lipchitz' MAN RECLINING WITH A HenrySeymour Moore's Lipton's INTERNAL CRUCIBLENUDETERNAL AND WITH EX-FORMS GUITAR also be CreativedrawnAppropriatemedia.ing media, from experiences examplesetc. with might a variety of For example: stitchery, plastics, print- onedevelopingcrayons,Usingin he knows a character wella studyfriend, of a some-mem-combination,materials, pastels, inks, feltetc.,conte the pens, individuallystudent crayons, printmak- might wax or PROCESSION by Ibram Lassaw. Wire. copper, various TURY, STANDING GIRL, MODEL- whichsonalhimself.ber of his or his class, even interpretationincludes The study should be a per- some of of the the subject sub- MUSEUMbronzes. OF AMERICAN ART, NEW YORK and silver. COLLECTION WHITNEY RaymondHenri WOMAN,HORSEING OF LIGHTYELLOW ACCENT Laurens' Duchamp-Villon's AMPHION, SEATED THE dent'sject'ssimilarandUsing uniquefeelings qualitiestoward him. and the stu- wire, clay.materials, reed, plasticine, wood,the student might plastics,or plaster or 12 Harmony Alexander MATCH, THE SPIRIT OF THIS CEN- Archipenko'; BOXING Emphasis Alexander Calder's STILL EN-FOOTEDFISH, SEV- BEASTIE, A PIECE OF developratessional one or more of the concepts constructiona nonobjective which three-dimen- incorpo- positiveandpositionbeen principles exposed and negative of art space.to which he has might For example,illustrate his corm the use of artA(1)matter: lowingtwo- representationalwhich degrees of the use of subject or three-dimensional work ofillustrates one of the (the subject fol- is all"pretty"?ratherHas expanded his horizons to includetypes than of art, that past and which ispresent, just a bination.collageUsingpainting tempera, which watercolor, makes full ink, acrylic, material, the student etc., might developin any com- use of (2) abstract jectclearly are identifiablerecognizable) (aspects of Ps. the basis the sub- foundaticnRealizesprintIs aware of the of that artist? all art should bear the im- orthat composition art, whether repre- is the colorrics,Usingularhis personal andaspect photographs, organization of feelings society. about a illustrations, expressing partic- fab- (3)A nonobjectivepainting, (the subject can notforbe the identified design) in the work) drawing, print, collage, vidualHassentativeideasHas discovered become and new more waysthat receptive heof seeing?has an indi- or unique highly interpretationindividualized? to new to foundvelopingin combination materials, thewith student drawing might or paint- de- found aobjects, collage, objects, or a an compositionlettering,exhibit which etc., of artAposedor styles studiopiece toofproblem whichsculpture he has been ex- in personalin one of the inter- Does the creativebringReflect to work the ofworld the student:of art? something of his own per- stylesemphasizespaint,Using of folding art one bristolboard, or more of the cardboard, various ink, felt pens, colored pencils,(e.g.. Art Nouveau). Independentthe student researchchangepretation,learnsThe about: projects using media in which of any type artist's contribution to sociai sees?sonalitynottheIndicate subjectmerely or of that hethehis has ownherecording selected?realizes feelings of thattowardwhat art he is cellophane,itsuctredesign own that appearance. does not sell the etc., packaging the The project willstudent itself throughof a mightprod- Theceptthe developmentin contemporary and design application similarities"form follows and function" differences con- inof Is the student'scussedciplesReflect work of in anorganizationrelevant?class? understanding that ofwere the dis-prin- ofantionrequire organization some research and design. on the evolu- understandingof contemporary packaging and of the principles designthespace, way each of two sculptors handles principles form, material, and some ofof organization and Is Does it reflectinvolve the the kind world of lifehe heknows? leads? reflect now? able to per,crayons,Using or tempera, naywatercolors, combination acrylics, inks, pastels, of torn a these.draw- pa- oil sucharchitecturalLudwigThe significant characteristics of the men Mies as stylesvan Frank developedLloyd Rohe, Wright, by through art? work?How does the class respondthe student communicate to his ism.ism,particularingthe studentor One a paintingof style the drawingsof which inillustrates his sketch- a Fop art, might develop or Abstract-expression-art, such as Cub- Saarinen,Sullivan,minsterbusier, Fuller , andEdward R.H. Durrell H. Richardson, Le Cor- der Stone, Buck-Louis Eero beencessfullyDoIfDoes so, othersuccessful? thewhy? studentstudents If not, feel why that not? he has suc- projected If feel so, why? his that he has thoughts? If not, Independentthe student studio develops: experiencesbook might servein which as a point of departure. Summarystudent: and EvaluationDoes the discussion indicate that the why not? 13 THE ELEMENTS OF ART BEST

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t, -5-, - _,: ..... , 7-.,:-. ?.e.-,:,. - ,,.....t..- _ ..- :, ... 41.v., -,t,.-4 ,,,.,. , - ' - - - - ' " ' 4-.A.,,. , 07...... -...,..-- ,, .""..-.' . cr ..-...--.3..4 ,- r-r. . ., 14 k ark -a .0.-- 4.41414404:6:44 ',; r . ,.! )r. ... - V THE ELEMENTS OF ART/ tii that an The elements of art are the components artist - "Shift gears" as he looks about him, follow,variouslysiontile/kinestheticabout we've him and identified languagethen usesspace, for as the visual/tac- expres- of his labeled. particular vision. abstracts from the world On the pages which lightThey and are expression;combinationUseiousand seesperspectives;the elements hisand environment of art alone through and var- in as effective modes of color,arbitrary.as the elements of art; but the namesThat are form movementOthers might argue: (shape), is line, an and element texture There- Understand is a patternasevolvescisions somethingthe to work the anfrom materialtoartist achieveideasabout makes whichthatthe them de-change as progresses. his evenwork sideredofThatsionwe've ofshape combined space; is a separate item becauseits two-dimensionalitywe've con- it an aspect of form; it with our discus- theinnotorderfollows; a teacherto classroom tosuggest butprint is that expected thethat situation. patternmaterial it be to presented workOnwas in theusable withdevised contrary, that the form, ele- way in ture,line,Thatlated shape, etc.valuethe elements mass, color, of art value, it to light and color; or is an entitywe've are really tex- re- ments of art in ways that: andneedsities,Derive the and bestfrom interests his own of unique his students, capabil- the observed and/or expressed utilization of available encouragedtextareTheprefers. usuallyinclassifications which The understood tothey important use appear, vary;whatever through thingbut the sincelabeling teacher the these con- ne is is workIncludeAffordresources; in aample considerationvariety opportunity of media; of the forand arrange- creative shouldofmentsertiesstudents structure andof enable artcome potentials inand athe to functionalsyntax studentunderstand of inthe way.to: various theThe study ele- a work of art that the prop- thewholeestheticforviewer'sment sum of experiencethoseaof work its parts. elementsof art which far greater andmakes of than the these interaction produce withthe totalitythe work, of 16 SPACE is a prerequisite for andSpace an integral part is fundamental to creation. It existsceptible,relatedof the in physical the mind universe. of man.The apprehension of space to infinite, human and experienceindivid-affective. It is is real, directlyAnd per- it abstractfieldwelationshipsual see and within collective. between the frame concrete of our Gbiects optical and ideas, develops models, and extensions. It from begins with what perceived re- to placesfrightening;Asportionate;Rooms are and easier adults furniture to seem get becometo; less strange formidable: more tt.:.ngs pro-a child being grows, alone his world is no changes. longer developmentseasonsbecomespace,in attitude therefamiliar;come of and histo and an waypersonal end. seemingly of thinking. concept endless In similarof is a corresponding growth And wit", the withtheenvironsitivefashion, his skiesman, culture man's wasbelongedthe andarea concepta place experience. beyond to of spaceno his return, Forimmediate develops prim- and the supernatural. cordancesigninghisHe patterned to with each his the space needs, land a he hisfunction occupied, values, in andac- as-beliefs. Hunting expeditions, curios- 17 its;tationity, extended man's geographical and improved methods of transpor- lim- ers,terior efficiency space in engineers, and urban plan- planning buildings; farm- in produc- andhis experience extensive. with space should be varied This might include some spacedirectedthetion instrumentscolflictsintroduced of measure a and naviga-within his attention to the unexplored ofhimself. advancingthird Ultimately,dimension; and civilization new spacevisualpositions,tivity,ners inpattern two- happenings, and space three-dimensional and environments; com- facility,artists effectiveness,organize terms of and and structure need; of the following types ofExperi.-tients changedanddentactivity: t.r...sp positions the designed feel onof histhisto helpbody feeling the in space stu-(gjm- the effects of movement and encetioncreasinglyexpressionmodes and and of ideas, travel,technology and developments made the world in sci- a rapidand communication, theexchange use of symbol for of informa-the in- estheticetc.,performingtographers,and aspects of space to create vis- exploitgraphic both the psychological and artists,filmmakers, artists, painters, advertisers, set designers,sculptors, pho- Experimentshelpfulphysicalnasts, performinghere) education artists, teachers and mightdrama beor with spatial relationships conceptsionglobalthoughtandprint of on space-time, the moon. in his andThe art. put changes a human in man's im- village, added theof fourth dimen- space are reflected in his ual effects that involve theThe viewer_ tir-.; has follow;fullCarefullycome when plan man the must:use of space, with awareness of the generations to VisitsSlideExperimentsseums,ings, presentations and and with kinetic other environments, and sourcesart discussions of happen-appropriate to art galleries, institutes, mu- amplesconceptionofhis closed attitudes include ofspaces) it and haveclaustrophobia behavior. and a strong Bothagoraphobia Extremeeffectthe (the nature upon (theex- of space and man's fear andspaceaboveContinuelusionDevise beyond of newhis space; the explorationthe ways planet ground,and of earth;creating in the thesea, of physical il- Figure-groundspaceperimentsexhibits with exercises and similar ex- positive and negative fluenceeffectstension;fearlands of asand open of well. Marlboro spaces); Cramped Country but quarters there offer are breed escape other spacious well being;quarters and suggest the Open af- work,tion to he these can: efforts. ThroughThe artist his creativecanmind.Expand make a theunique use contribu-of space within his Experimentsthrough:of withnecessaryDefining mass, to contain which impliesit thespace space m two-dimensional creating the illusion forms allsiveanceslence,to of peace theseuse and and innervous somerugged disorders,way individualism. relate the to exces- limi- Vio- child of alcoholabuse, or emotional drugs, pollution disturb- thoughtDepictIncreaseProjectInfluence theand public conditions action,decisionmaking, awareness, of his and time, the effects of contemporary Pointtiple-pointConvergingAerialLinear of orviewperspectiveone-point atmospheric lines perspective and mul- self.andhastations theitsBoys in effectsability physicaland togirlsupon control space. rearrange hisManand fellowsthe use their andof rooms; space him- particularly the artist And because theprecludingthePlay student an integral is a member part in solvingand problems of space. andSeparatingTheDiminishingPositioning edgesuse of positive shapes shapes and or or negative forms forms spaces and overlapping planes 18 architectsmenthroughand adjust designers consider their effectwork both space; the exterior illusion housewives andof space in- color, texture, and placement; willartist,environmentof themake cecisionmakingan thearchitect, choicesand may a public,cityfor even planner, becomebecause etc., anhe his personal SharpeningDiminishingChangesThe recessive in or value gradationssoftening use of color detai: of texture ."1111111.111'rell U Experimentsetc.,color, on mass, threedimensional with texture, , space proportion, the effects of light, varying"Lines"Geometric lengths shapes of various sizes formed f- .m thin strips of workInformalgraphicers,use isof directlyspace artists, (e.g., related advertising to the planned design- architects, meetings with interior designers,community per- people whose planners, GridscedingThetheA series viewer's simulation movement of shapes, eye to eachon the a ofnextstriped which fielddirects of equispaced curves superim- of advancing or re- Observation,tographicers)forminguse of space sketchbook in the student's notes, or immediate pho- artists, essays sculptors, concerned set design- with the compositionstypeTorn paper might through be lessused precisemoireposed shapes. effect on straight of activity to achievelines into create a interestingthe same IndependentInvolvementor community in environment planning efforts studio and/or research Usingstructureormight cardboard, found composed construct objects, and a glue,of three-dimensionalscraps a the number of wood student of 27chits.loan 5 8- 1928.to THE Black MUSEUM in/it-stone OFRECLINING MODERN 16 3 8 ARTNUDE NEW WITH YORK. GUTAFI by JaLquo-, x 13 1 :'-. prormt.ed gift and Ilion..xterided at base. arts:ualizedbe useful in the developmentSomeprojects of of the an followingindivid- suggestions might learning program in the visual Usinggatesoftsmallrandom pencil,tracingthe units principles relationships. arranged thepaper student ofand linear a mightfelt perspective pen investi- or a in identifiable or FROM MRS JOHN D ROCKEFEL I ER. 3rdmovingmechanicalnetic light devices, source forair itscurrents, effects. mag- or gravitational force. andlor a STUDIO EXPERIENCESUsinglargedstudent pencil might or pen make and aIndia number ink, theof en- sketches of common objects Usingdentfromteriorby making might a develop series of a tracingslarge drawing of the in-or large magazineorappropriate photographs. exterior viewsmaterials, of buildingsthe stu- Usinglight,movingmentof students a color,varietywhich mightand of soundmaterials. construct ana group environ- and includesstable such forms inthings as space. Usingemergingbands)(e.g.,for ablack drawing and from andthen whichor white use receding emphasizesthem cut paper,as into the space. shapesbasisthe paperclips, penpoints, rubber- stools,paintingorganization.emphasizefound chairs, of a negative stackedeasels). shapes, construction color, andof objects within the roomHis work might (e.g.. DISCUSSIONS Showsionalof the students a variety of examplesthe forms. use of Some of space in the three-dimen- following studentsurfaceticulationinvolve might ofsome space experiment of theon a following: two-dimensional with the ar- through arrangements which Usingsizeamaterials, series written of compositions and printed letterwhich forms empha- as drawing, the student painting, might develop and collage items might be includedNaumCharles Eames' The CharlesSPACE.House Eames SPIRAL THEME Gabo's CONSTRUCTION IN 20 shapesusingofSmallA sizes single shapes geometric all cut the from shapepieces larger, in a relatedvariety Usinggroupfigureskinetic a variety against composition a ground. which depends upon of students might construct a of materials, a small SidneyDavid Gordin'sHare's MAN RECTANGULAR. LEARNING5: CONSTRUCTION TO NO. FLY NO. 10 BarbaraJacques Hepworth's FIGURE LiQchitz' 's David S. Ingalls Hockey Seymour WITHTHEMUSES SORCERER GUITAR.Lipton's RECLININGBIRTH NUDETHE CRUCIBLE. OF THE FrankDavid Lloyd Smith's Wright's HUDSON TheGu,igenheim RIVERSolomonSCAPERink atLAND- R. YaleMuseum University in New York LouiseHenryLaszlo Moore'sNevelson's RECLINING FIRST PERSONAGE.MODULATORS ROYALFIGURE TIDE I Moho ly Nagy's THE SPACE sculpture,uctscapeand representative architecture, environments, selections furniture etc. fromand prod-land- design.City urban planning, minimal RECLINING FIGURE by Henry Moore. UNESCO BUILDING. Suchprove topics useful as for the discussion: following might thenTheHenry essence Moore's of "carved the human space" figure in TheHenryHepworth.denseing usesolids. Mooreshadows of deep of hollows,works by holes, Barbara andspace as expressed by the - Jacques line and/or geometric Lipchitz. and Nagy'sAandGabo.form comparison Davidin SidneyTHEspace Smith SPACE byGordin. such MODULATORS men as Naum of Laszlo David Moholy- Hare. productleadersTheNevelsonwith fact designin the field were of also furniture architects and recent that many of sculptures by the Louise early HUDSON RIVER LANDSCAPE by David Smith. Steel.ART.COLLFCTION NEW YORK WHITNEY MUSEUM OF AMERICAN 21 SnowIectionssionalot the formsstudents-illusion might be a varietyappropriate:Sancho of examples Botticelli's BIRTH OF VENUS. Some of the followingof space se in two (Innen JacksonJacobRomanRaphael's Pollock's wall MADONNA paintings NUMBER AND THRONEDfrom 1 CHILD Pompeii WITH `-.N SAINTS van Ruisdael's THE WIND- (1948) . PieterPaul BreughelCezanne's the ORANGES, Elder'sVESTERSTHE THE STILLADORATION HAR- LIFE OF THE MAGI VictorWang Shih-Chiang'sde Vasarely's MOUNTAIN OP SCAPEMILL.ART A LAND-ROUGH SEA GiorgioChi Ch'en's de Chirico'sHORSE ANDDELIGHTSOFWITH WILLOW,TREE FLOWERSIN APPLESMOONLIGHT OF THE WITH AND PEARORANGES, POT vertisingturalExamples drawing. of the etc.. illusion shouldLeonardoJan of spaceVermeer's also da bein Vinci's ad-in- THE THESTUDIO LAST SUPPER design, serigraphy. architec- ElRobert Greco's Duncanson's GETHSEMANE BLUELITTLEFINITE.POET. HOLE MIAMI THE JUAN-LES-PINS NOSTALGIA RIVER OF THE IN- cluded.cludeIndividual such itemsor class as discussionthe following: mightThe in- illusion of boundlessness cre- JanGuercino'sLyonel van Eyck'sFeininger's "Aurora," ANNUNCIATION VIADUCT,STREET VILLAGE in the Baroque sionalvanatedThe Ruisdael by illusionform Breughel. of depth de orChirico. three-dimen- and use of in Cezanne's ORANGESlinear perspective to harvestPietHenri Mondrian's Matisse'sscenes in LADYCOMPOSITION the wall INaceiling tomb BLUEpainting of at Rome's LON-Thebes of Casa Ludovisi createTheCHILDLAST the SUPPER illusion andof space MADONNA in THE AND illsuion of spatial recession ClaudePersianParmigianino's Monet's or Indian MORNINGMADONNA miniatureNECKDON HAZEWITH work LONG createdTheoneplaneslapping anotheruse bythat planes, Feinit appear transparencies.ger's to usemove of through over- and of figure-ground relation- THE NOSTALGIA OF THE INFINITEPablo by Giorgio de D'AVIGNON Picasso's LES DEMOISELLES Show the sign.ofships printmaking and in serigraphyOptical Art. and advertising other forms de- students a variety of ex- 22 YORK.Cotlection.Chirico. ADVISORY 1913 THE 14'. MUSEUM COMMITTEEOil on canvas. OF FUNDMODERN 53 1 ART. NEW 4 x 25 1 ofampleslusion thepropriate: following of actual selections movement might and be the ap- il- of movement in space. Some Richard Anus; kiewicz' DEGREE OF VIV- UmbertoGiacomo Boccioni's Balla's DOG UNIQUEOFSPEEDING ON CONTINUITYIDNESS A FORMS LEASH. AUTOMOBILE IN SPACE, THE CITY Ellsw-rthMarcelAlexander Duchamp's Kelly'sCalder's GREEN LOBSTER NUDEFISHRISES BLUE INGDESCEND- TRAP TAIL,A REDSTAIRCASE AND RED GONG, WHALE JeanTheodoreMatta's LISTENRoszak's TO SPECTRE LIVINGYORKHAWK OF KITTY Tinguely's HOMAGE TO NEW useful for discussion:Some of the following topicsVictor might de Vasarely'sFamiliar be TORKE forms of movement in dancing,thetionwalking,phonespace wind; wires, swimming, the human or cobwebs diving, figure moving in mo- in (e.g., tree running, branches, bending, throw- tele- Balla,expressionmovementTheing something, Matta,patterns of inand them space,created etc.) Marcel (e.g., and by Duchamp) Giacomoenergythe artist's or 1912. Oil on wood. 21 SPEEDING7 *8- x 27 1 AUTOMOBILE by Giancomo Collection. Balla. MUSEUM OF MODERN ART. NEW YORK. Purchase 23 The illusion of movement in a stable A visual presentation concerning the and (a) the simultaneity of the Cub Art,Roszak.torsform.The as suchexemplifiedillusion and as Diego ofthat movement created byde theRivera workby in scull)Optical of Umberto Boccioni. Theodore A ausevisual thevariety of of techniques for creating the linear perspective bypresentation artists of which illustrates SUMMARY AND EVALUATIONofists. the or Futurists (b) the space time visualization ely.theKelly.RichardAlexander and use Bridget others of space Riley, in artVictor (e.g., de changVasar AnUSIklewicz,Calder's contribution Ellsworth to AnA sionpersonal illusioneffective in a two-dimensionalofinterpretation use a third of the and/or human of spacefourthart form dimen- in sponses,reveal that and he: creative workTo what of the extent studentofIs existence? doaware the thatobservations, space is a very re- real element - The role offormsterns thekineticmg viewer spatialproducedin space) in Optical by the Art, movement of art, environments, and hap- relationships and pat. Anopaque,printsoriginalaction as drawing, either figure painting, or ground or series in anof effective transparent, spatial and/orarrangement translu- of foreExistsHastative perceptible? affectiveboth characteristicsin the qualitative mind, properties? as andwelland isas quanti- there- in the Showsamplingtures from of theearly artwork times ofto variousthe present, culinpenings. the world and ofthe art resultant changesthe students a representative Thetotectural,nonobjectivecent whichdevelopment planes the and construction abstract ofvolumes a problem spatial in an in studiesoriginal, archi- landscape, or interior design controlhisdirectlyIs consciousnessaware the related use thatthat and man'she to nottheeffects and concept onlydevelopment has ofcan, space?therefore of butspace must of isphysical universe? hisperceptionand art. help them to see the change in man's of space as evidenced by A nity,ofcificallywhichresearch urban a have particular applied planning been completed city, in the another local can commu- bepart spe- of report on the development positionsvironmentchangedIsIs aware able throughoutin to arethat space? organize three-dimensional many the and aspects ages? construct of hiscom- a three-en- INDEPENDENT STUDIOPROJECTS AND RESEARCH A thesummary-analysisLaszlomentsEurope United asMoholy-Nagy's, and ChandigrahStates, America, theof Gyorgy "newandand/or Brasilia towns" Kepes',Irene Rice of or such experi- dimensionalforms?and/orniquesUnderstands formovement creatingcomposition thein two-dimensional illusion in space? of space the fundamental tech- A effectiveshapepictorialvisualings or use essayform of in spacedeveloped space in graphic from draw-design or photographspresentation of concerning a particular the A bookletinorPereira's theirform, composed workmotion, and and of writings an vision ordered as expressed series ideas about space, shape effectivelyornegativeUnderstandsIs movement able to space?andcreate in theimaginatively? two-dimensional the nature illusion of of positive space forms and/and Anshipso' andcorporatesoriginal innegative banner, the space effective book or jacket, spatial use ofposter, relation- positiveother type of graphic art which in- its design A stroboscopicone'spicture"ofreport "frames" thumb when whichor flippedstop-action produce with photographythe a "motionedge of on the relationship between artrietyeffectivelyIs Isable work? ableof totwo- touse useand positive spacethree-dimensional imaginatively and creatively negative in forms? spacehisa va- own LIGHTCOLOR AND BEST COPY Avf,11;,bLi quaderivativeceivedthea world non only ofvisually; withoutelements visual of light, lightandexperience, of it artseemssinceand which Itcolor. lightis appropriate and difficultmust isThese colorthe be for sine area sightedto people to imagine per- experimentscolorconsiderto what on an themhe intuitive sees freely together_ in basis. witha very variousThat personalIn general, aspects the of artist works with light and is, he responds way, and aslighthetheawareartistic ranwell processes/techniques and achieveexpression.of as thecolor intuitive effects them,in an However, manner, heincreasinglyhe canbegins throughachieveasparticularly tohe work cognitivebecomes andwhich with as of beencolorbutsomeandhe independentcomes included knowledge not to of inuse rules thelanguage. of these materialthe or theory colorelements For which wheelshasofthis light follows. and as direct reason, andwhichbelight X-rays.proved is also color, includesOneby a simplecircumstance of the infrared, experiment:Light which is Ifa "white"visible form of radiant many properties of ultraviolet,can easily energy oredprism,passeslight light; passesit is through dispersedand through if the into resulting a dropa of spectrum water of col- a second but inverted or a 25 opticalcolorfemprism, white the orbands colorless of color light will again. combine Thus to is sensationa "frequency phenomenon," an produced by radiant processpresenteda television in setcolor when aChanging program theis color of light is an additive that sometimes Produces ratherbeing theandexample.bluefore green, yellow appearsand blue blue. violet:bands paintto and bereflects of absorbs blue. violetthe -,pectruni.Yellowred. one the orange. red.. paint orangeretie( absorbs yellow. is . and there- energytensities. of particular wavelengthsThere are arid twoChromaticwhich types of color: includesvisible the spectrum, entire and in. properartistsurprisingofchromatic radiation combines intensities, results. yellowalthoughis rarely red he willlightpresent. see with a If that pure greenhe acidsfrequency or inmono greenthe For eXatIlpie, when the verytureandblue, green: ofsmall andthe andportions twoviolet. therefore absorbs The of red.only looks all orange. lightbut yellow. greenreflected yellow. A mixarid by or properties: Chromatic colorsAchromaticwhich have three attributesincludesshadesblack, only of white, gray. and the various tints and magentaanquoisetobe blue, found orthe cyan: inresult optical the but isspectrum asensationblue blue-green and redthat called cannot tur it all! produce plicationcentacteristicisboth green, vancolors whichGoghcolor individually ofillustratestherefore the paint. and becomes an inA interesting workcombination the by char;fin. ap of these phenomena: By juxta ValuetheIntensityHuethat orbrilliance characteristic saturationthe of ahue; huecolor purity and as for mea- ofwhich a it is named; of a given andorsproduceaddedthe of intensities, visiblelight to because,the another, spectrum. afterimage they in theform When resulting Red, ofall theonethe green, third colorsof color these and inwill blueis are the primary col- appropriate mixtures viewerposingofpendentlowthe the paint todistinctviewer's two. see colors Thisblue brushstrokes andperception anddeliberate as yellow green. of coupled both bluealternationa combination asand withinde. yel ofthe in THE RAVINE. he causes the orwhitesuredtwo extremesonis addeda scale to ofof awhitegrays pigment, andbetween black. its col- the Asbecomes tighter and therefore versethereforeforeheif one will isthe staresalso see oppositeconsioered true;an at afterimagea each orconcentration complement its of complementthe of colors yellow; ofof bluetheis there-(e.g.,the other). light, re- ducesstaccatobulentsecondary a watercolor rhythm vibrationcolorsin theof the painting thatbrushstrokes Themakes conic primary thealive. pro.tur- colors of pigment are the of light: yellow. cyan. "higher"ed,higher"Icyver" it becomes in than invalue; value. medium darker as Colors black andgray withthereforeis are add- values often secondaryYellow,andmentary cyan, colors and are magenta blue/yellow. comprise red/cyan. the green/magenta. of light. In close The comple- proxim yellowmagentaplusand magenta. cyanequals equals or orange.blue As violet. equalswe've and justgreen. macienta seen. Cyan yellow plus Green. violet. and shadeuescalledoris areablack tints,tintof called lessensof and violet;shades. those the an-i withThuspurity maroon,lower lavender val- a red. Adding either white of a hue sumanotheyity. produce ofcancelthey the tend spectrum each colorless to otherenhance in orbalance.out "white" onein combination another: The light, com- the but andpairsrangeorange magenta/green. of therefore comprise the secondary include yellow/violet. cyan/orange. colors: arid the complementary In close proximity. orAchromatic value: they colors differ only in ofandit a :approaches color'smakes valuethe eitherviewer than end ofmore ofits the hueaware scale. as have no hue and therefore brilliance tractiveofplementsults light. than process,of light its counterpart is withdarkness, moreChanging in predictableor light. the absenceSince the re-colorpig- of pigment is a sub- thegreenmanymixedofto complementaryenhancelight, tints lightand they or ultimately willeach shadeshave produce colorsother: a of dullingproduce gray. ofbutyellow pigment Thusunlikeeffect one light: red oftendwhenthose andthebut 26 b&w/colorareisticsno readily intensity of chromatic anddemonstrated or brightness saturation. aht.; by level knobs on achromatic color The character-adjusting the ationwhen"subtracts"ment and there is areflects substance, issome lightand orof transmitsthe then frequencies it absorbsothers. of Forradi- or it can only be seen minedred and by green its source, pigment aThe condition looks characteristics like which mud. ac- of light are deter- ount,, tor the de u.il r-fect, cif tlvi,iort. r thereforebetween.Julylight ,how,,. ofii,itural Anti anti tirt worksartiftt:,tl on the F ourth It further lc( Mints, for the rliffrw light arid colorsbyvisible it will andspectrum, reflect at-sorb and/or any others. substance transmitSince Colored white someilluminated light light of lim- its is a balance of the full re- areflecting motoraffected one oil) by colorhave the andmediumthe addedtransmittingBoth through the property color another. which andof re. the quality of light theseityandtographer, of flashbulb, light it..nis and whose are I'.the (1,.pericieritto special selectionbt. used effect, uponof film. for the whichfilter,. goal Ii irticular importance to ph, redthatflected,Forits under comprisethe these transmitted,range white reasons, the of light apparentfrequencies a because orpiece absorbed colorof redthatit reflectsof cantheto those light.be the paper looks anbrownsfadesskies,it opticalpasseshence and on and flamingfoggygrayish-purple. greens mornings, sunsets.our of nacreous distant The and hills worldOld dawns, the becomeMasters of "real" color blue objectsdence,havepearance long inintensity. motion exploitedof things or and at the illuminatedrest. color visual AIn onworking turn, effects persons by the it. knowl- of Artistsnature inci-or of light affects the ap- andalllight.absorbsred but yellow and veryBut orange allradiation,in small yellowothers. bandsamounts light, andIt also of thereforethe theof looks paper red,spectrum redorange, absorbs in andred appears sionthePainters,toobserved advantageof properties depth thesepotters, on in a of phenomena creatingtwo-dimensional siliconesand glaziers mood withand andrecognized usedrespect surface. the them illu- to uponvisualedgemight itofand fs.,' bethese the e;:pected,tie performing strengthis fundamental light of arts, their has which toillusion. its both greatestdepend the As light,portionstopaperrials be blackyellow always looksthey or ina receivethus white reflectvery yellow dark in light whitelight, brown. a in piecelight,and the White bright redof whitemate- in red same pro- or plasticsing,levellight andof art furtherraised through their enabled such usage processes artists of them to toascapital- a glaz- high crackling, etc. The development of adifferenttomerism,from impact fairly::lok the alikenormal inwildlythe on another. tendency incoloran psychedelic oneperception Inkind general, impactof ofcolored to oflight simple colorwethat and surfacesmaintain rangesundermeta- quite whichtransmit,dim accordingmakes or absorb it visible. to theonly brilliance thoseSoan colors illuminated of theincluded light object can reflect, fromand/ortion,internalize theupon interference structure the visual and of effects lightcomposition waves produced resulting of trans- by the dispersion, absorption, distortion, transmission, polarization, reflec- consumeropticaltheawarenessvery artist/designer different effects toof selectthe typesand principles may tohis of produce illumination;materialsremind involved thea undervariety averageenables but thean of foreorsfectsstance inof look ofthethe that of lightsamequite which light which differentintensity init is afalls madevariety and in:upon canhue of it; alter willbut there- thethe sub-ef- ways. Col- visualindependentlysignificantparent perception and translucentaspect they of them; ofmay light planes existforIn and no thein and matter thecolor final volumes. physical isanalysis,how however, the most our colorstheysame are conditionswe to ascribe be seen. of to light a nonluminousWith as those the exception in which of fluorescence, the bject A AChristmas swatchpiecevolumebowl ofof of gelatin;ofglasstree velvet, liquid; ornament; or cotton, cellophane; silk, or wool; thewecapacitytermsuniverse, samesee. ofThefor for life seeingalltheir process and of us;chief artand but isof our importanca directlythereseeing response are relatedis differences generally to what to us in our pendselse(e.g., that a upon: flower, doesn't a lemon,produce a itsrug, own or light)anythingTheWhat de- nature the ofobject the light does which to that falls light, upon it, siding;AAn stripglazed enameled of enameledceramic; metal or dish;wood or aluminum orbothmoreto are what in subjectsusceptiblewhat we see.we to see Forit tounder andexample,eye in fatiguedifferent how some than circum- of others, we respond us are OwandThe perceptual medium through apparatus. which it travels, And some materials (e.g., gold alonepera,A painting or watercolor, in combination. done with crayon, oil, acrylic,pastel, tem- foil and etc., Onevisualafterimagesstances; man sensations inand 10 ofbecause and complementary are one sometimeseye fatigue color, distorted.produces woman in 100 is our27 andotherstween"color collectively, blind':particularbetween some greenshadeswe see tend and little of to bluered. associate difference Individuallyand green, color be- andapparentThemode spatialeffects of consciousness size, relationshipsof these shape elements or asof form, itemswell; upon weight, within the Usingstudentofon acrylic.various tempera.colored or oil paint, thethe same size might experiment but backgrounds. different freely colors with temperaturesdentwithoranges,(e.g., inexperience--a our the personaland 'warm" wethe ascribe"cool" reds, preferences;condition blues,yellows, to certain which greens, in pinks,the colorsis visual grays,evi- and shapetheorThea work psychological manner effects of ofthe art; inofcolor whichthe aspects area,quantity it has the ofbeen of symbolic color, color, applied and the Usinghehowcolor cana manywide produce. variety variations of paints, of a single pastels. color mixing and discover, perhaps. byriousandInterestinglyproud orange whites); cultures; skies in enough, andtheand color mostsimilar we symbolism recently, aredepartures not disturbed of from va- affirmation "Black is beautiful!" in the himThewarm/cool,panding/contracting,on throughrangethe overall of the expression effect choice etc.,of colorof availablerelationships; subjective and upon to advancing/receding, ex- andexploreness.mediuminks, the and variousthe art unique papers, effects qualities thehe canstudent produce might fluidity. covering power. texture)(e.g.. transparency. of eachopaque sickenedthefrieddisplays; iarreal foods.eggs, byblue but Thusand we mashedsimilarwe refuse experience distortions potatoes, to eatare not only ofgreen famil-even visual. in filmed cartoons or advertising ette,tionsThereal,or optical emotional orevoked objectivea myriadcolor, by as tonality,as color;wellof opposedcolors; as avisual limited to sensa- local, pal- Thecoloredultravioletwith them. surfaces. or black light on fluorescent student might experiment with delic,oftentainbut alsoevencombinations than emotional, hallucinogenicnot, our responses of physiological, light effects and are color. frompredictable psyche- cer-More ofachievedTheing paintsthem; from or througha pigments, free and a thorough andtextured those handlingmixing result- differences between the effects Theobservingcolors,theits effects serving the of results.color them on to ourhis friends,eating hab- and by student preparing might foods experiment in unfamiliar with inunique.but terms a significant of scientific number lawsFor ofand them these principles; still reasons, seem the student should wasThelightingillumination, developedquality conditions and regardless or effects is viewed; in which of of controlled andthe the actual work Usingdimensionaltheboxes student and tempera might construct a three- cardboard form or which corrugatedor acrylic expresses paint,paper a thethroughbenative, encourageduse ofdirect and set self-strUcturedexperiencerules to discoverand- The color in appropriateness a forfree,wheels:waywithout himself imagi- of light and color bibliographic It is with thesemony,The usethoughts and of balance.light in andmind color that for the unity, har- references on pages 35-36 Thepersonalingthe effective use of color. in whichstudent color is used in unusual feeling might or developemotion a through paint- anattacknalizedofas NOW,aimmediate, medium on perception a the world ofsenses all-at-once,expression which in intendedfavor bypasses in of the ato direct world inter-elicit nonrepeat- have STUDIObeen included. EXPERIENCESUsingsize. cardboardthe student rectangles might develop of the an same ach- Thestructangepurpleor unnaturalstudent skies). stabiles fire hydrants, ways or mobiles (e.g., blue bananas,of tissue pa-or- might design green faces, and con- 28 perceptionsTheablelight response:power and and color of tothe tochange imaginative visualize the viewer's one's use own of fectsa heromaticmatching value scale scale in color. and then might experiment produced by placing with In addition.visualrectangles create ef- Theotherper, student colored materials. cellophane, might create magazine interestingpages. or COVI 1heoredtwo student glass. and ttlftt' cellophane.'night dimensional experiment or plastic forms with planes. ofthe col cumferencealternateColored pages discs and inslitattached a frombook: centerto to a revolv- cir- photographyachievingThe student light through might and experimentcolorthe imaginativeeffects with in effects of colororSmall and squares motion. of using: complementary col.attached to the same corner of ofPatchesing an turntableelectric of color fan. or attachedpotter's wheel: to the blades or Theshows,taryuse student ofillumination. f-stops. environments, might experiment and withlighting light filters, and supplemen- de- For rc 7-4 Usingformances.thetisingsign astudent asvariety mightof color design combinations, a wardrobe displays, it applies to and live interiors, adver- theater per- . for a teenage boy and/or girl. .- .7. ,.... V .14"..... ,..s. -.: ' -;** . . ". The student interesting . might create 4' ..-* 4'.. ..:r.';:' ..'s7.4::.1r1.*:. .b.....; .711.42':', .., is,..".; .-1..--:.e....:??.1'1'... - % 7,;.:11.0: 1K ...=i....'"..r; ...,.._ ;,-7,1..: ,. i .7,-'...7 ...... ,"7.,.. ": ..,..., ,....-.:,...:.0.,1,1,,P.,'0.1 ''.----., ....*V0 on' -` ..r. ..:, 4 _A., , .I. - .. : ...... 4...... Z.-....".::' -7* ...:.-45, .....z...4-....4,7 r , ...... f...- t ..7. ''''."' *I; '... . pr.,.,o/ , .; ,...--... ..' ... .."%o,...... T. rialscompositions as string, by cellophane, arranging such mate- wax crayon 4.. . .::?..4-i.".olie-.-.:!---'n'::::,..5:tit-- ..c`..-","%:. '-f"-;F r ,,, shavings, Vaseline etc., I, a ....:.4t.4:1'4.11? iii-'7 e.:it..01,:::::,,,;:if:....c.,:?, heavyslide celluloid: sealing them with mounts or between in 2x2 glass pieces tape; of 2 .." `--;:eli` ., la, t . 2.. -0 . Ite, !" . 4. "V (Theand heat from the projector will then projecting them as slides. melt .48 y -7 10,11E * - -44.2.;:i?' ;oz unusualthe Vaseline results.) and crayon. with rather . "WI f. . ' r . Thecolor student effects might of fusedexperiment glass bywith creating the .4 tir V -- 1 shapea simple suitable glazed for hanging.clay dish form or a . Usingmight transparent experiment enamel with colorthe student in a dish 4440W616- 11 . overor pendant and over. by refiring several colors -' ;,jr.; ,;..':;--; = ' ...... -4 P Usingpopsicle sponges. string, toothpicks, twigs, card- ?. ,tasrlot IrA s't ._a_:"",rie rP''t .1.: .., 44.--4....;.- .. ;O:ii. I.* , ,...... ,,,,t. 1?.:,, I board strips, sticks, found toothbrushes, objects, tempera, der/. a 3. Ai . "tAtra .411-"'., .-....%,..,.. z.IC -A. andmight a variety experiment of papers, with brushless the student paint- alq 4( 'If -Nei' 446,- ing in back, white, and the primary "s es- - - t ; Usingcolors paper of pigment. and black and white tem 29 conceptpera. of value by translating a sub the student mignt illustrate the Showart thewhich students illustrate a variety the effective of works use of of Claude Monet's HAYSTACKS,CHILD; ROUEN THE MOON Theorofject student simple,an from etching hismight sketchbook which design illustrates a into woodcut a the variety use flat. achromatic planes. mightlight and be included:color. Some ofJosefRobert the following Campin's ALTARPIECESQUARE: ASCENDING Albers' HOMAGE TO THE HenryI. Moore's INTERNALABSOLUTETERNALCATHEDRALRice AND Pereira's FORMS EX- LANDSCAPE OF THE Thedramaticofin linestudent which to orachieve value mightemotional developvalue. impact. a painting is the chief source of PaulMary Cezanne'sCassatt's MOTHER PINES ANDCHESTNUTTHE AND LODGEROCKS, CHILD, TREES AT JAS DE PabloMaurice Picasso's LE GOURMET,BEACHMONT;LEQUIN HAR- CENTRAL PARK Prendergast's LOW TIDE, DISCUSSIONS Examineexamples with ofthe the students use of lighta variety and ofcolor: MarcGerard Chagall's David's TRIPTYCHBIRTHDAYBOU OFTHE FST. FANBAPTIST JOHN I AND THE VILLAGE, AugusteTillmanAbrahamRembrandt Reimenschneider'sRenoir's Rattner's van LADY Rijn's APRIL WITH andPORTRAIT SHOWERS altarpieces PARASOLsculpture OF manufacturinggalleries,homes,InIn advertising and centers, packaging; etc.; and manmade environments such schools, shops, municipal churches, museums,buildings, as AndreStuartRaoul Derain'sDavis' Dufy's LUCKY CASINOLONDON STRIKE DE BRIDGEBOAT NICE, AT SAIL- SAINTE-ADRESSE MarkDiego Rothko'sRivera's FLOWER PAINTINGA EARTHVENDORYOUTH, (1953-54), AND THE GREEN NIGHT WATCH Thentopics discuss as thetoricalIn with following: clothing and contemporary. and accessories, both his- the students such VincentChildeElLyonel Greco's van Feininger's Gogh'sST. JOHN'S GELMERODASUNFLOWERS VISIONNUE, BOSTON: RAINY DAY; WINTER Hassam's COLUMBUS AVE- GeorgesHenri Roualt's DEAD GYPSYKING,CHRIST, A CLOWN, OLD THREE JUDGES Rousseau's Seurat's SUNDAYTHE SLEEPING AFTER- Theing;emphasis use ofof lightcolor and for coloreye appealin architec- and and in marketing and advertis- WassilyHansEdward Hofmann's Kandinsky's Hopper's BLUE NIGHTHAWKS BLUE RHAPSODYNIGHTFALL (NO. 393), IN THE CITY Alfred GRANDENOONEUROPEEN ON JATTE, THE AT ISLAND THE CONCERT OF LA Sisley's BANKS OF OISE, turecessories,Theotherlocal use examplescultural of color or as geographical in well clothing as those andareas; from ac- againinterior including design, localincluding ex- GeorgesFranz de La Tbur's EDUCATIONWHITECOMPOSITION AND OF GRAY NO. 2 Kline's SIEGFRIED; BLACK, Titian'sStained CathedralEARLY SNOW and others OF LOUVECIENNES glass windowsVENUS AND THEin Chartres LUTE amplesteringThecultural fact as or that wellgeographical certain as those colors areas; from are other flat- to certain people, and otners SeymourFranzLight sculpturesMarc's Lipton's BLUE CRUCIBLE HORSESTHE VIRGIN JohannesTohaku's Vermeer's BOOM OFYOUNG MAPLESWITHPLAYERFLOWERS WOMAN A WATER AND JUG, THE ARTIST'S 30 and/orblackTheare not; effects and television white in programs. photographs, films, of color as opposed to JoanHenriMayan Bonampak TempleROUGE, frescoes RED STUDIO Miro'sMatisse's GRAND INTERIEUR MAN, WOMAN, AND Jean STUDIOTION FOR CYTHERA Antoine Watteau's EMBARKA- beSuch discussed: items asThe the intensity followingYoruba of might the dance colors then masks used by van forcasso'sGoghThe use LE ofGOURMET blackcool, subduedmasses and HARLEQUIN and color outlines in separation of color and "visual Pi- conveytionshock"fairlyinformalThe or comment wellexactitudethe emotionsconvinced that not Henri felt thatonly by Matisse, color thefailed artist, imita- tothe leader of the Fauves. "was colorAtheThetobut comparisonsuccessful constitutedImpressionists theory by the of Oldexpression." color ofinstead Masters the and demonstrated use anthe andimpedimentof Pointillists light the andIm- by ThepositirmpaintingpressioniststoKandinsky's bestatement seeking with musical comparison thata way "Rothko notes of changing of and appearscolor com- and the viewer's mode of consciousness through . . . paintThethoughtthecolor. consciousness, various employed and techniquesfeeling." by Chagall,to get behind van Gogh,man's he wants painting to seize for applying CARDINAL. DON FERNANDO NINO de GUEVARA byRembrandt, Seurat, and Titian. SEUMMEYER.E ITION Greco. OF ART. 1929.011 on BEQUESTTHE canvas. H THE OF METROPOLITAN MRS H 0 HAVE MU 0. HAVEMEYER COL LEC 31 Theas nonverbalstrong emphasis language given by such groups to color Havevalue the in studentsa varietyorBlue(The movements of examine Rider),Bridge), art forms: andas theDer Orphism, psychedelicadvertis- use Blaue of DieReiter art.Brucke (The sign,ing examplessculpture,painting, printmaking, mightetc. Some be Harryincluded: of product the Bertoia's de- WALL PIECEdesign, architecture, fashion follow- de- GiorgioAlexanderGeorges de Braque's Calder'sChirico's STILL mobiles NOSTALGIASTILL LIFELIFE: FRUIT, LIFEBLUE OF WITH PLUMS, GRAPES, LE JOUR STILL JuanHerbert Ferber's THE FLAMETIQUEOFTHE SPRING, ERA JUAN-LES-PINS, Gris' GUITAR AND FLOWERS;INFINITE, DOUBLE DREAM AN- GeorgesRayGeorge Komai's Inness' de La side AUTUMNTour's chair THEPOTIER,LE OAKS FORTUNEPAQUET STILL DE LIFE TABAC; LA COM- EdouardFernand Leger's THETELLER CITY,BASKET,DEAD THE TOREADOR, THREE BLUE WOMEN THE GUITARIST Manet's THE FIFER, THE ART.Px BLISS NEW BEQUESTYORK. ACQUIREDSTILL 19'4".THROUGH LIFE byCollection. Juan THE GT LILLIE IS. 1911, Oil on canvas. 2312- THE MUSEUM CF MODERN 32 Peter Max's contemporary posters The nature, function, and effects of PabloGeorgeHenryLouise Moore's Nelson's sculptures chairs 1-6, ROYAL TIDE I Picasso'sNevelson's CATHEDRAL NO. DOG AND COCK, ofspace,useThechiaroscuro Georges ofdifferences valueas illustrated Braque to createbetween and by Juanthe the the illusion paintingsGris, abstract and of PSYCHEDELICRembrandt van WET Rein's (film) THESTILLWOMENHARLEQUIN DESCENT LIFE, OF VIOLIN ALGIERS, AND MA GRAPES JOLIE ON HORSEBACK, inTheofthe Georgethe illogical more paintings Inness realistic use of of Giorgio darksuse of and itde in shadows Chiricothe works EeroLudwig Saarinen's Mies van TWA der FlightKennedyRohe'sBuildingTEMPLATINGFROM Center Seagram InternationalTHE at CROSS, THE BUST ARISTOTLE OF HOMER CON- Airport, the INDEPENDENT STUDIOA visualcolorPROJECTSlight AND and presentation on RESEARCH lightcolor show of produced the effects and of Titian'sYves THE TRIBUTE 1AONEY,WOUNDED!ServiceGeneral VENUS Section, chair Tanguy's Motors MAMA, Technical PAPA Center IS A lightingmunitytirepresented class designtheater or by school a forproduction few a studentsschool or for com- the en- proveSuch useful items for Theas discussion: the relationship followingGeorge Tooker'sofmight value then THEto hue SUBWAY andAND in- THE LUTE PLAYER A colors,warmpaintinglected analogous developedor print developedcolors, from etc.several from col- or color cool combinations, colors, complementary such se- as andThetraffictensity value effectsimportance signs, (cf. of advertising surfaces of value on displays, light, color, etc. fabrics, fashion acces- in posters, A visualseriesadvertisinginors, the all presentation ofuse of experiments the ofdesign colorsame offor value recentin packaging the trends and use of Theinen)wigHenrysories, Mies dramatic Moore, and van the der works Rohe, of and Harry Eero Bertoia, Saar- effectsLouise ofNevelson, illumination Lud- A visualandoritivecolor emotional valueand analysisfor negativefigure/ground of theshapes) psychological contrast (pos- .ipects of light, color, moodTitianTheachieved use of by value Rembrandt. to interpret La spaceTour, and A tovisualillustrates achieve presentation vitalitythe use in ofor advertising, contrasting a layout which valuesfash- 33 WATER LILLIES by Claude Monet. c. 1920. Oil on ion and interior design, architecture, in which color is an integral part of the OFcanvas.HEIM MODERN FUNDE 6'2" ART, x 19' NEW 7' 2". YORK. Collection. MRS. SIMON THE MUSEUMGUGGEN- Agroup painting,visualpressionists,ists, of analysisartists or sculpture concerned of the work with of thethe cre- Im- the Cubists, the Fauves, and/or any the Pointill- other AnA totalvisual signininterior design presentation design for of an the apartment, use of colorarchitecture a and environmental de- A Aativevisual colorcollagemovement use analysis theories ofor light, painting in of artof Optical,color, a particular based and or Op valueupon artistArt the or A apainting lighthome,community and a which school, dark building, illustratesvalues a "house etc. for theofdramatic the use future," of ef- A Aminiature compositioninvolvingment as well as color light, or whichcolor, full-size movement,involves and environment, move- A withsmudging,offectseries ways charcoal; of of experiments rubbing,expressing wet and dryvalue,with techniques; a varietysuch as or blending lines 34 Asignboth three-dimensional structure or two- and three-dimensional relief de- Aand andvisual combinations other presentation media of watercolor,of techniques inks, for SUMMARY AND EVALUATIONprintmakingachieving value in various forms of ally?objectively,IsIs aware able to ofas use the well color many as abstractlyrepresentation- and ways in which non- sponses,reveal that and he: creative workTo what of the extent studentUnderstands do the observations, the nature and proper- re- andUnderstandsillusion,terpretingartists light in three-dimensional space, the importancecreating mood design? of value and use value: developing for pattern, modeling, etc.? in- thetoshiptiesIs his awareability ofbetween environmentandlight thatto and seethem? light color, that and and environment hascolor the developed are relation- integral in withobservesandIsEnjoys them? able value toexperimenting the mix,in aeffects varietycontrol, he apply,ofwith can media, light, produceand color,andother- Understandsandchoosesterms its of relationship theseto do the so?two elements, to color and when light? he the implications nature of of value the Albers,REFERENCES Josef. The interaction andwiseof color. creativelyuse (Athese inelements his own imaginatively art work? cantographynatureIs be aware achieved and and ofproperties the through othervariety of visualthe lightof imagina-effects arts?for pho- that Berlin. Brent. & Paul Kay. Basic color terms; Univ.the'i1962.portfolio universality of California. of color and prints). evolution. Yale Univ. Illus. 1969. them,andnotUnderstandstive use onl} usebut of uponofalsothe light, elementsthat upon the color,these artist's the which effectsandviewer's perception value?produce depend ca- Birren,Billmeyer, Faber. F. W. Color, Jr. & form Max and Saltzman. space. Prin- enceReinhold.ciples Pub. of color technology. 1966. 1966. Intersci- Illus. toexperienceparticularlypacityIsity, affect c andware for human bothseeing, of the his sensibility,power hispersonal level of with color of and sensitiv- and culturalof the light color? ofapy;Macmillan. color a factual on human study life. of the influenceColor psychologyColor and color there- in 1966. pa. Your World. Illus. Univ. Cc lier. aboutasthesefullIs a significanceaware psychological him? of curt of trendsthat forcein power? in thethe world use of elementsincluding their use newBooks.1961. principles HistoryCreative of color color. in painting, with 1961. of color expression.Illus. Reinhold. nology?andIs awaremedia of produced the increased by modern range oftech- color VanIllus. Nostrand-Reinhold. Reinhold. Light, color 1965. and 1969.environment. 35 traditionscolorReinhold. harmony. Principles of color: a review of past and1969. modernIllus. Van Nostrand theories of Life Editors. ed. Color. Time Lite. Reinhold.Haagn Elements of color. Illus 1910 Reinhold Vail Nosirand I!3fi1 19/0 Chevreul.Buchanan,Brooks. Walter. M. Norman. E. ed.The The principles Painting art of color andof harmony mixing.the joy Orig.of color. Illus. Golden Press. Illus. Warne. 1968. 1966. pa. Munsell.Macadam. A. H. D. A L.. grammar ed. Sources of color: of colora basic sci- treatisebertences. H_ onMunsell; the color intro. system by Faber of Birren. MIT. Al- Ciba Foundation Symposium. sion:cationandBirren. contrast to the of arts; colors and their appli- physiology Illus. Reinhold. and intro. experimental1967. Colour: vi- by Faber Ostwald. Wilhelm. The color primer: a basic treatisetitle:Ostwald;Illus. Die on thefarbenfibel) ed. color by Faber system Birren. of Wilhelm Van NostrandReinhold. Illus. Van Nos- (Orig.1969. Coleman.Di Valentin, H. W.. Maria, & Louis. businesspsychology.ings. 1968. of colorcasting.Williams(Cor Imunication & Wilkins. art books). eci. Color television: the Color in Illus. 1965.Hast- oil Riordan.Ross. R. James. J. Color Dynamics film for color of colorcon- television. trolHastings.trand-Reinhold. and harmonics. Vantage. 1970. 1969. 1970. Gareis.Fabri, Ralph. Rairno, Color: & T. M.a complete Sheerer. guide for colorartists.painting. photography: Illus. Watson-Guptill.Illus. Sterling. exposure, 1965. Creative 1967. dark- Sheppard.Salernme.Rothstein. J. Arthur. Color photography now. painter.Illus. Dist. Watson-Guptill. by Chilton. Amphoto. 1970. 1970. L. J. HumanA. color perception. Color exercises for the Gatz. Konrad. & Gerhard Achterberg. turalourAmphoto.room, Book. and experiments. architecture. 1970. 1966. Dist. by Hastings. Illus. Architec- Col- Sloane. Amarthold.[and] Elsevier. paperback) new directions. 1968. Orig. illus. Rein-Patricia. Colour: basic principles1967. (Studio Vista/Reinhold vonGaunt. Goethe. Leonard. Johann. Take color. Dist. by Hast- pa.trans.ings. Amphoto. by C. L. Eastlake. 1970. Theory of colours; 1870. MIT. Spears.Taubes. C W. How to wear colors: with emphasis1965. pa. on Frederic. The mastery of dark skins. Burgess. color. HaHickethier, Ise, A. 0. Alfred. The use Color of mixingcolor in by interiors. numbers. Illus. McGraw. Van Nostrand-Reinhold. 1968. 1969. Wright.Tritten. Gottfried.W. 0. Measurement Teaching color of colour. and form. 4th Pitman.ecL9.Illus. Illus. 1970. pa. Van Nostrand-Reinhold.Van Nostrand-Reinhold. 1970. 36 Men. Johannes. The art of color: the sub- tionalejective experienceof color; trans. and by objective Ernest van ra- Yule. J. A. Principles of color reproduction. Wiley.1969. 1967. BE1 Co FORM (SHAPE) Form is a segment of space or substance calledaspatialsurface,with plane,void. distinguishable shapesstructure aa three-dimensionalvolume, and a areboundaries. construction, usually image defined anon opena flatby Two-dimensional forms are often even negative space or It can be structuresionaltrastsareasclosed of formsof color, lines;andtexture are byoverlapping but patternsdefined or they value. alsobyof planes, lightthee: emerge or andmass move- con- from or Three-dimen- everywhere.sion.forment, their and effectiveness often They require are aslarge the Likeesthetic viewer's or the small, otherexpres- touch sim- elements of art, forms are tangiblevexmajororple ormassive, or concave, types: complex,as well static as perfect rounded visible. or mobile, or or irregular, pointed, and oftell airycon- There are two GeometricBiomorphic formsforeganic amorphous.forms relate areaspects are perfect,to rounded, life of and nature primal ovoid, and sources_ there- They resemble the or- pointed mentssemblenature,or circular, devised are oftenmathematical. by man, produced and therefore by instru- the inorganic aspects They re- 37 of LA couraged to reinforce his visual perception form and t e responses it evokesIn general, have a thebasis "meaning"mechanicalsuggest of a shape qualities. or intellectual, abstract, and ofaremilieu, the work since as thea whole. shapesIt alsoand formstells us in something art related of the artist's to the materials, processes, For everof things possible. by touchingDirect mediaor feeling through them when-which the student can experience with a variety of whencountertheelementsin propertiescommon they them are in humanain usedof composition;life these acquirein experience. conjunction elements a because new But as withmeaning becausewe the other en- sig- weresignificanceprimitiveandrather prevailing physical than man, andmere embodimentsshapesattitudes three-dimensional representations often of the had of time. the religious of formsgods, them. discover:formsThe symbolicphysicalvisual and/or properties symbolic of shapesforms effects and of ience,bringsculturenificance tohisto of a culture;own workobjects level of and artand of becausehis sensitivity,actions personal differsthe andviewerexper- from his andStonehenge,theEarlyIsland Colossus meantworks are likemassive to ofand the Rhodes, thepyramids structures monoliths the andAnglo-Saxons' made the of Sphinx,Easter of stone serve religious, political, - The variousmentor forms on arrangements forms, or specific of shapes arrangements and/ effects of light and/or move- .formsorownpurpose. forms that way seemofin Forseeing,a given mostexample: the achievement appropriate impactThe artist of the for willselects, shapes his vary. transforms, or creates ofmolded,bothisand/or amarble, peimanence commemorative cast, wood, constructed, terra about cotta, them assembled, bronze, that spans wax, etc., worlds. Later works were purposes. carved, There Thethemdepicting,theof them materials varietyrelationship of and purposes between processes which forms used forms and transforming, or creating in tionalofHe forms; may or abstract attemptseek to toredefineuse capture of form; the the properties essencehis. subject through a representa- wire,the"imprisoned"plastic,leased polyester,human found the form, forms transparentinitems the or and celebratedmaterial, meanings and translucentor the captured that divine, were even ice. They re- ExperimentsThecanmented serveeffects forms one can achieve with frag- in creating three-dimen- Heorticular communication; may forms createuse theas nonobjective a symbolic means of value formsexpression of which par- sensory reactions; tion,ororuniverse, said exploitedor somethingdefined or served an aboutelement a functional the of human the physical purpose, condi- technological developments, forms Experimentssionaltoconversion images in on abstracting a flat surface through thetwo-dimensional of three-dimensional forms shapes in varied stimulateOrvariationsHeHe may may organize deliberatelyof one ina conventionalvariety distort, of forms,juxtapose, ways; or direct stressingreflectorliquid.nonobjective, lodged the And the achanging protest. recenthere-and-now, worksnatureContemporary goof the life:further one-time- they yet are by kinetic, amorphouseven Sketchingthefunctions,perspectives student's sessions and awareness arrangements designed of to the sharpen of types, shapes inwaysas ordersponse.mentor orto Picasso tomake elicit doesaparticular personal in GUERNICA types state- of re-use familiar forms in unfamiliar sculpturesloononly, structuresthe direct of ice sensation thatthatAs meltself-destruct with of in the the 70's making.other andin bal- elements in of art, the - Inor theforms: whole humanlargedIn machinesor about detailsfigure, the andofor thatschool machine figure; building; parts; in en- 38 servesformIn any asis a anevent, matter important the of artist'schoice clue to useand the ofmeaningtherefore shape or variediningstudent's any types and event, extensive.ofexperience activity the student might Some with be formshouldof included;the should follow- be en- butbe streets,In the neighborhoods;natural environment; shopping areas, office buildings. a. Film visionIn art commercials; galleries and etc. sculpture gardens:photographs,or advertisements, slide presentations, visits tele- to Thecharacterandsculpture student brings might of outthe carve thewood. grain, a simple curve, hand and that appeals to the touch Informalsculptors,opencultural discussions institutes meetingsinterior designers, and with exhibits, architects,industrial and Thejectivemedia.lappingcorporates student might the use develop of transparent a over- painting planes or or collage which a combination nonob- in-of Theandersengineers,:rig, whoseforms occupationsgraphic artists, involve and/or depict- oth- transforming, suggestions or creating shapes are more Theeffectsanglesof student interesting and might directions, forms spotlight from and observea variety the of of changes in lighting a seriesupon STUDIOspecific: EXPERIENCES following Theshapescasts.the appearance and values of of the the items shadows and the student might create simplified it Thecutposition studentpasted or onmight mounting create board. a mood com- torn fromwith colored shapes of various sizes paper and Theject,orforms thinor a bymaterial. group draping of objects, or wrapping in sheeting an ob- student might illustrate a mul- Thedesignsorby studentstudent cloth.making based might a rubbingon simplecreate on organic textureda series forms paper of might develop a simple Themetricmensionalsculpture.tiple student view shapes of might a simpleand create forms object in aor seated paper study of the simple geo-a three-di- designclay,orform by has pinching, been achieved. adding, subtracting, otherwise or plasticine modeling until terraa satisfying cotta, openstylizedfishingUsingor reclining and dowel line, figure closed human therods, or studentspaces.animal toothpicks, figure.. formmight withand create manynylon a Theboard,of studentmensional might construct a stabile brightly student celluloid, constructioncoloredmight or plasticbuild shapes.rectilinear of a three-di- shapes card- Usingcreatedisplay discarded a kinetic mechanical sculpture. advertising material, the student might withfoamcarveda paint. burning or or genolitecut from scrapstool and/or and textured oversprayed of styro- with 39 DISCUSSIONS Sidney Gordin's CONSTRUCTION NO 1hroughforms.dentsandgalleries, shopping to films, a museums, variety slides, of Setilpturethree-dimensional and visits gardens, to art These might ioclude hats, areas, expose the jew-stu GastonEdrnoniaTornIndian Hardy's Lachaise's templeLewis' BISON FOREVER sculptureTORSO ifFREE tativements,cessories.elry, ceramics, works architecture. of silverware,art as: andAfrican such furniture, represen- ac- sculptureparticularlyprimary structures, environ- from JacquesMichelangelo's Lipchitz' RECLININGWITHDAVID,MUSES, NUDE PIETA FIGURE GUITAR, MOSES. BIRTH HEAD OF THE OF JeanLeonard Arp's Baskin'sRELIEF, SEATEDHUMANTION,Basongethe CONCRE- Congo,MAN DESIGN styleWITH the Bakongo and AndrewHenryIsamu Moore's Noguchi'sO'Connor's TWO CRONOS FORMS, HEADCOLNING OF RECLIN-FIGURE LIN- ConstantinChineseBIRTH OF deities ATHENABrancusi's (relief BIRDernOWL on IN pediment the SPACE, east- of the Parthenon) JoseLuca de della Rivera's Robbia's CONSTRUCTION MADONNABLACK"CONSTRUCTION AND56, "BLUE LILIES, AND DISCOBOLOSLynn Chadwick's TEDDYGIRLFISH BOY AND ("The Discus Throw- discussed:Topics like the followingAugusta might thenSavage's be GAMINMADONNACHILD, MADONNA DEL ROSETO WITH LorenzoFrank Gallo's Ghiberti's SWIMMERLANGUEDOCtheer") baptistry atFIGURE Florence OF CHRIST bronze doors for sory,Thedimensional product,varietyuseinterpretation of formsand materials furniture of the used humandesign in three- form of form in jewelry, acces Alberto THEHEAD CART OF THE ARTIST'S MOTHER, Giacometti's CITY SQUARE, Mmetti,(e.g.,in .ore, Lachaise, O'Connor, Lipchitz, della Robbia) Michelangelo,theGreek work and of African Baskin, Gallo, representative artists Ghiberti, sculpture, and Giaco- HEAD WITH HORNS. AFRICAN. BAULE. Anonymous.LOCK.19th NEW century. YORK Ivory. COLLECTION PETER POL GordintheNoguchiformsA work usedof andJose by the de Jean geometricRivera Arp and and formsSidney Isamu incomparisor of the biomorphic VISORYOF35. Wood.MODERN COMMITTEE 19 1 ART. ? x 19 NEW ( 5by 5-, exchange) YORK. Collection.RELIEF GIFT by THE Jean OF MUSEUM THEArp 1938 AD- 39. after a relief of 1934. CRONOS by Isamu Noguchi. Balsa wood. STABLE GALLERY. NEW YORK 41 wardMiesBuckminsterLe Corbusier, vanDurrell der Stone.Rohe, Oscar Paoloand Niemeyer, Fran% Solervi, LloydLudwig Ed- Fuller, Philip Johnson, andTheWrightperiodsresentative three-dimensionalrelationship works between of art from various forms the viewer in rep- Showwrappingvertisingples the of studentsthe use of a formvariety in lettering,of exam- ad- design, paper fabricdesign, and mechanical wall-/or

TALIESIN WEST. Terrace. Frank Lloya Wright. 1938,SCOTTSDALE. ARIZONA The contributions of such men as box.of plaster steering rr.,er wheel. cheesecloth: driver'sTHE seat.bus BUS parts railing. DRIVER including dashboard. by Georgecoin Segal, 1962. F lure designCharlesinen,Nakashima, and Eames, Hans Jans Paul Wegener Risom, McCobb, to functional George Eero Saar- 42 PHILIPlection.5etc.. 1 '8- Figure C.THEx 51JOHNSON 53MUSEUM 5.8" 1 /2- x 75 xFUND. OF26 5.8" 7MODERN '8" overall x 45". ART. woodenheight NEW 75". platform YORK. Col designinThe use.mportance of form, ofstructure, form in andfunctional spacethe architectural designs of R. drawing, photography, printmaking, and following:such AubreyRomareBetty Beardsley's Bearden's FAMILY THE BLACK CAPE two-dimensional Blayton's CONDUCTIVE MIND artwork as the WangGeorges Chien's Braque's WHITE MAN CLOUDSWOMAN TAR,WITH(from WOMANOVER AWITHSALOME) GUI- A WITHVIOLIN A MANDOLIN, JuanGustave Courbet's THE STONEBREAK-ENTRETATERS,HSIAO THE AND QUARRY, HSIANG THE BEACH AT JacobErnst TERSCOMPOTIER, HARLEQUIN Gris'Kirchn.:r's GRAPES STREET Lawrence'sAND WINE, SCENE LA PRAYING MINIS- PietFernand Mondrian's Leger's BROADWAY THE WOOGIE,VERS,CITY, BOOGIE THREETHE PAINTING DI- MUSICIANS I, RED AND HoracePablo Pippin's JOHN BROWNTHEGUITAR,YELLOWFORE THREE A GIRLGO- MIRROR, MUSICIANS, WITH SEATED A MANDOLIN, GIRL WOMAN BE- Picasso's WOMAN WITH A BenGeorgeKay Sage's Segal's NO THE PASSING BOWERYANDING CHILD TO HIS HANGING Shahn's HANDBALL, FATHER PALM SUNDAY PROCESSION by Romare Bearden.YORKCollage. CORDIER AND EKSTROM. INC.. NEW 43 Henri de Toulouse-Lautrec's JANE INDEPENDENT STUDIO AND RESEARCH SUMMARY AND EVALUATION Topicsdiscussed: like the followingUtamaro's might then be AVRILLADY BUST OF A BEAUTIFUL Aa pictorialformscreativePROJECTS essay use ofdeveloped handwriting fromseries and draw- letter of designs based upon the sponses,reveal that and he: creative workTo ofwhat the extentstudenttiesUnderstands doof form?the observations, the re- nature and proper- - The importancesculptureTheraphy,in meanings of productshapes associated andand stageforms with design, the shapes and advertising, illustration, photog- A seriesingillustrateformirgs or as of compressing seendrawings the from visual aor variety paintingseffectsfamiliar of perspectives ofshapes which stretch- or or photographs of a particular orRealizeshisroundings, formIs life?aware is dependentthat of and shapesthe ofeffect theirnot and of only importance formsa given upon in shapehis the sur-to vironmentandLeger,inThe forms interpretation Picasso, and one in encounters art Shahn, of the and human in Toulouse- formrepresentative works by Courbet, his en- Anwithofforms origin&sketches drawing, of the human painting, form or in series action, emphasis upon mass and posi- ofexperience,viewer'sIsuse seeing? able to which culturalto uselevel it variousis background,of put, sensitivity, but types also personaland ofupon media way the Bearden,multaneityoverlapping,TheLautrec use andBlayton, in effects Braque, of simplification, Gris, Leger, reorganization,representative works by and si- A ofnonobjectivelucenttive/negative opaque, planes constructionshapes or volumes composed transparent, and/or trans- stractlyinIsimage three-dimensional able and on toto acreateusenonobjectively, flat shapes surface? a design?three-dimensional and as forms well asab- Picasso, and Sage A visualreliefing:cernedagainst sculptureor multimediawitha background a topiccomposed presentation such as of theplanes con- follow- mensionalativelyIsrepresentationally? able to design? use shapes and forms cre- in original two-/and three-di- Wright"FormstractionhausTheAn art contributions3-F to movement of thephilosophy form solutionFollows involved of the Function" Weimar with the Bau- ab- of of problems in Frank Lloyd ThedesignThethepractical relationship corporate relationship and design ecology image between between desi architectural jn and 44 r 4 LINE UST ..! 1 PYpressacteristics: o n with a varietyA ofline uses is a and graphic Itchar- or structural mode of has two dimensionslength and 4 andinwidthI any sometimes directionsometimesbegins dividing with a point or dot and moves unifying space, but perception.oralways otherwise leading, affecting limitinc, the enlarging, viewer's ing,thin,a Itstring;brush, can beand a crayon,made may bewith a long, twig, a pen, short, a feather,a pencil,thick, hard, precise, soft, broken, clear, fuzzy, waver- continuous, andgedaccordingtouroblique,rhythmic,It usecan of aofbe shape tools a force to andor the or form; media.movement; artist's a passive choice the de- con- straight, erratic, horizontal,curved, bent, vertical, jag- 4 A values,ormarcationIt space. may and be betweenvolumes visible orcontrastingor implied.areas of colors,mass face;THEitAndas can HOSTESSfor exist worksa standing in space like so Alexander structureasclearly well as illustrate ofCalder'son wirea sur- 45 integral Like the otheror stringthreedimensional elements is actually of art, line aform. line is andrawing in madecommunicateitive people with a soonpointed by simplediscovered object marks on that a ordirt they diagrams surface. could equaltachedEqual in length todiagonal a baseline if the angles appear they to beform un- or oblique lines at- derivesingample,experience its horizontal "meaning" w;th observed lines from often common reality. convey human a feel- of solidarity, permanence, or peace, part of man's environment and For ex- evenmovements,orcouldAlone emotions, be or usedin combination, to identify persons, lines and places, thincsdots and directions, to moods,express concepts, orrelationsh;ps, attitudes. ideas withcationslines.unequal theItems baseline on ofwhen equal areplaced heightunequal. appear to be a system in of different converging lo- or(forone'sbecauseing, death. which feet, they Verticalthey're roads, relate named), linesfoundations, to thesuggest a ground bed, thelife, ...nd beneath horizon reach- sleep dignity, and sometimes resistance, TorecordingorcuneiformsignsPictographs, anotherdate, language were developedand seems symbols to as have ofa means one passed sort of and ideograms, transmitting hieroglyphics, information. figure.StraightpearonThe a sidespatternto bowlines of towardof asuperimposed squareconcentric the superimposed center circles on ofa gridap-the mathematical,structions.ofbecausein men, trees,they A combinationare buildings, visible in supports, ofthe the upright two balance:and results forms ob- right angles are intellectual, preciseand therefore verbalofandgraphic,through advances itsand nature syllabic,visual, four in andstages or alphabetic,usepurely of are development: visual, strong and language indicators binary; picto- civilization. But whether Spacedistorted.patternConcentricof intersecting dividedof diagonal circles bydiagonals lines linessuperimposed appears appearseem to to bend_ onbe a towersterwhileimplyDiagonals H suggestdoorframes,a ofreasoned Pisa varying or ladderscontrol goalposts, degrees ofwithout natural and of stability. supportthe force; let- are precariouslike leaning ienceandrecord,can be usedbut the also not basic to only create element to communicateCertain esthetic is lines exper- and or line combinations pro- line. face.thesmallerin Identicalorientation than pairs space of theof whicheyes lower appear part of to the gazedifferent directions, according is unlined. to unlesswoundsformwalls,ning of bolts,they triangles. ripsin stabilizecracksfrom barbedThe in stone eachjagged wire, or other woodlines or the inofor gapingthelight-plaster the earth's surface produced duceFor example:unusual perceptual effects asDiagonalhorizontalVertical well. lines lines appear of equal to be length. longer than lines 'loving outward from artistsuchdimensional toas createthose spacethedescribed illusion on aThe aboveflatof depth effectssurface, enable or of three-the line the illu- and line combinations andtheandpressionsby oftenquakes othersudden feminine ofhand, or catastrophe.tension, other are in disasters danger,nature.graceful, Curved Whenhighare fluid, vivid lines,voltage, they calm ex- on lengther,towardterminatedthe ends (the the of Muller-Lyercenterby a diagonalhorizontal appear illusion). line to makebe short- a linealthough the lines are equallines moving in intentsotherofsionline life of visualasin motionand inanimatehe purposes.doeseffects, in stable the forms, according other Formedia, and the elements atheartistto variety his illusion usesown of of art formproperties;gesttheytious; circles, remind when and theyone they when ofseem areeggs they ovoidperfect and spiral, therefore or or elliptical,they repeti- sym-sug- fertility, potential, and biomorphic ConvergingstrokesinoppositeParallel the same converge. parallel direction lines seem that theto diverge cross lines crossed by a series of lines create the illusion expresstional,objectivelybe useful abstract, his orownin subjectively; developing vision or nonobjective inSome his withfor own ofrepresenta- the the way. workto studentfollowing suggestions might 46 mobility,growthbolize of growth, commonaspirationand progression, visualWritten experience.the ascent, reverse. upwardPrim- language was a natural out- beequalofLines distance. unequal pairs of equal inof length.darker length lines flanked appear by toun- a line:wide variety of relevant experiences with STUDIO EXPERIENCESTheheldadrawing large sheet a number of paper of fast, with freea soft lines pencil on student any manner not normally used might experiment with tion.composedthelines student organizes of might many construct curved or a straight stabile as a unified composi- Thenotvarietydrawingfor writing. expressive normallystudent of media, might associated includinglines with experiment with materials a wide draw- with DISCUSSIONS Havedimensionaluse theof line students and forms dot examine of in expression. a variety the artist's of These two- Usingstudenttwigs).ing strips might of construction experiment withpaper, organiz- (e.g., matchsticks, toothpicks, ti drawings.paintings.ings,t:nts.might calligraphy, mezzotints. cartoons. paintings. cave draw- Chineseinclude etchings. andadvertisements. iHustrations.Japanese prints. aqua-brush line Thefiguretionshipssitioning student lines or animal inmightin athe unified form constructmanner from geometric of a a Mondrian.continuous standing compo- which emphasizes spatial rela- artists.Masterswoodcuts. as well and as the those works ofMary contemporaryLeohard of Cassatt's Baskin's THE MAN FITTING OF PEACE For example: the Old Thesimpleple,piece student brushof wire. might drawings make of aanimals, peo- plants, machinery, buildings, ser.es etc. of DEERLuPaul Chih's SCROLLpainting ROCKY LANDSCAPENUTTREES. by TREES Sotatsu. AT JAS DE BOUFFAN Cezanne's THE STOCKADE. CHEST. HOUSE AMONG Thecutwoodafrom student smallsections grain,linear branch might ofapatterns fingerprint,fruit frommake or a in vegetables,largetree, nature, a dried drawingsfern such weeds. etc. as leaf. Vincent van Gogh's POPLARScalligraphyWITHFIELDHILL. CYPRESSPOPLARS ON by A Koetsu LANDSCAPE. CORN- WITH CYPRESSES. ROAD Theinsketches studenting another, horizontal of might etc.the samelines make in scene, aone, number verticalemphasiz- of lines WillemFranzIkkosaiMorrisArshile Kline'sGraves' Gorsky'sHosei's CHIEF LITTLE ABETROTHAL RUSSIAN KNOWN H BIRD de Kooning's WOMAN. MAN OF PE ACE t) Lt.nrirlard B,i 1197,2) Wirocl Theingstour student drawingswithout might removing of makeobjects athe series or tool human fromof con- be-the PietJohn Marin's WoolworthWOMAN If Mondrian's COMPOSITION Building IN F?OCKESEcur UM OF FEILEP Mi.);)E FUND PN ART NEW YORK. ABBY ALDRICHpr,nttql ('ollet' twn THE MU Usingstripspaper. such of wood, materials reed, as string, wire, thread, doweling, etc.. POSITIONREDBLACK AND OF WHITELINES. AND WHITE RED. AND OP- 47 CharlesJacksonIPablo mile NoldesPicasso's Pollock's THE SEATEDAUTUMN PROPHETFRANKLIN WOMAN RHYTHM: Willson Peale's BENJAMIN Showmensionalofing the items studentsuse forms. ofmightKooning line a variety be and included: dot of examples in three-di Some of the follow- MarkCh'aGeorgesMaurice ShihPiao'sTobev's Prendergast'sSeurat's LYRIC SPRING CAFE THECONCERTNUMBER RYDER ONE. 1948 Alexander Archipenko'sOF THELIGHT" THIS SPIRIT CENTURY "MODELING OF Such topics as the followingJamesBradley might A. then LION1948 WHARF Walker McNeill Tomlin's Whistler's BLACK NO. 3- JoseAlexanderHarry de Bertoia's Rivera's FLOWER CONSTRUCTION47,SPINY HOMAGE STABILE, NO. TO SPRING THE WORLD OF Calder's THE HOSTESS, be discussed:casso,Theline texture orMaurice dot andin Prendergast, the works andof Pablo Georges Pi- pattern created by NaumCharles Gabo's Eames' MONUMENT lounge chairPHYSICSmanMINKOWSKI and FOR otto- A OBSERVATORY, LINEAR ofandTheSeuratThe Piet usespatial characterMondrian of measurement relationships of line to inorganize the works line in Chinese and Sidney Gordin's CONSTRUCTIONSTRUCTIONCONSTRUCTION10 NO. IN SPACE #1, LINEAR CON- ThecontemporaryJapanese uniquepower art, ofquality line artistsand toof in leadlineand the in Oldthedrawings graphic viewer'sMasters art of GunterIbramDavid Haese'sHare's SUNRISE IN TIBETRIUS, METAMORPHOSES Lassaw's PROCESSION, PROMETHEUS SI- artistsBaskin,Theeye inuse Ikkosaiadvertising of line Hosei in woodcuts design or Shokoku by Leonard Emile Nolde, and Japanese JacquesKonstantinLen Lye's FOUNTAIN Milonadis- FLOWERSTRANGLINGDEN GAR- THE VULTURE Lipchitz's tionalVincentCassattsiveThe expressioncontrast van Gogh. betwecn as a meansthe serene, of emo- pas- line and of Paul Cesanne and Mary the swinging line of AntoineGeorgeHenry Moore's Nakashima's KING AND tableCOLUMN,EGG, QUEEN and FAUNA chair CONSTRUCTION OF THE OCEAN IN THE Pevsner's DEVELOPABLE 48 Pollock,movement,ing"The vitality ofespecially line in the that "action of Jackson paint- of Franz the Kline, and Willemabstract-expressionist de DavidEeroRichard Saarinen's Smith's Stankiewicz' HUDSON conference EUROPARIVERSCAPE, chair LAND- ROYAL ON A BIRD Takes' SIGNAL ROCKETCYCLE, FISH LURKING Suchbecostume,tural,and discussed: topicsappropriate interior, and as thejewelrystage, selections following furniture,design. from might product,architec- then centurytechnologyThelandscapeDav;c1 apparent upon in impactspace the sculpturewith of science line alone of andthis Smith's attempt to "paint" a nerstructivistchitz,Theing" and contrast andline Sidney useHenryof David betweenof Gordin lineMoore, Smith, by theAntoine and Jacques the Pevs- Con- Lip- "storytell- Wright,ofThetectureThe Gunter use strong of ofHaese point such linear or and men dot quality Harry in as the Frank inBertoia sculpture the archi-Lloyd Ludwig Mies van der Rohe, mobiles,washingTheandlines Eerocontrast used etc., machines,Saarinen betweenwith those refrigerators, in earlier mod-auto- in the design the of modernfunctional signersfunctionalutilitarianTheels emphasis needs on in both the use of clean, lines by contemporary de- esthetic and SUMO WRESTI ERS by Katsukawa Shunko. late 18th YORKcentury. Wood block, GEMINI SMITH. INC . NEW 49 INDEPENDENT STUDIOA figureseriesPROJECTS AND ofin ofRESEARCH gestureaction line drawings drawings orof thepaintings human revealsponses,SUMMARY that and ANDhe: creative EVALUATION workTo what of the extent studentUnderstands do the observations, the nature andre- properties A eddevelopeddrysitionsnumber three-dimensional on dry,using of fromexperimentaland wet awet previouslyon oncomposition wet, dry line dry materials construct- on wet, compo- wellenvironmentinofIs spaceline?as aware visible, as that well andand line as hasthat oniscan integral developeda besurface? implied to one's the as it may exist A seriesemphasizeed with of designsline line alone and for jewelrytype develop- of advertising layouts which theofabilityEnjoys line, isresultant aware to when see ofhishevariety the choosesenvironment versatility of its to uses? do :nof so? termsline and experimenting with various ModelsAcompositionssage bannerwriting" of functional, oris used to three-dimensionalcommunicate a mes- posterwhich in which "scriptemphasize line asofkindsPerceives mediadecoration of linein creatingthe and difference with line? various between types line or embellishment and Antal (e.g.,illustrated sculpture) architecture, report on furniture, the use monumen- of line acteristic,area;ment;lineIs asable anto to defineintegral use line volumepart to of express composition? as well move- as to reveal a condition,or an emotion; a char- to repre- A visualmakingtheporaryin contemporarythe designwithfurniture. that of in Victorian use early of forms, line and contem-includ- presentation which compares in print- aveysent bolizedesiredIs an a able subjectintended an effect? toidea; use or message aline situation; creatively or to to create sym- or otherwise to con- in his An inillustratedJoanDaumier, contemporarying theMiro, workreport etc. sculptureof on such the diverseuse of line artists as Durer, Munch, Corita Kent, own art work? 50 TEXTURE ment of art. Traditionally,Texture the simulation is both a of visual and a tactile ele- work.DISPUTARaphael'satetexture realisticRenaissance was THE a prime SCHOOL painters ingredient OF labored in an to artist's cre- and have illusions of natural textures; painted "architectural umns,marbleandnownedframes"; plaster or moldings, forsimilar theirwalls three-dimensional skill appearpilasters, in making to engagedhave flat devices. gold wood col- or and Baroque artists were re- theiummagicingsingLater eye" were was attempts or and soalwaysphotographic successfulearned to subjectsimulate such thatrealism. to stylistictexture they the man,"deceivedThe inlabel- paint-med- and as trompe I'oeil, illusionism, and vertonecovered,ofartist histhatof was thetools medium ormeasuresthe wereotherwise extent to expectedhis to ofpurpose. disguisedwhich his togenius he be The could inremoved, marksasthe con-an fin- andanmarvelouslyished academic such work. innovators Thus painting smooth the as has Withlimbsand Paul the the ofCezanne. look DAVID surfaceadvent of glass. Vin-are ofof the Impressionists ofKlee,cent actual van artists Gogh,rather began thanFernand to simulated explore Leger, the textureand effects Paul in 51 a opmentswork of art. as Andwell: there were- The other unique devel-ist's characteristics medium and theof the marks art- of his tools (cf.imaginativehavegraphs tangible are visual methods textures only; of butachieved applying paintings throughpigment often the varied techniques of Max Ernst, Thepaperthen student mount or board. might them create together a composi- on a !arge "beauty"ways,Oldofcame expression materials to end be became regardeditems inwere and unrelatedthe usedas of neweffective themselves. media to meansart foras in different sightuponsculptureamongNiki forde the theirothers)Saint viewer's these effectiveness. Phalle, and moresense jewelry, and than of Jackson touchNocraft, ever longer asceramics, dependPollock, well re- as string).sponge,andthetion use a based variety ofscreen, oil, on acrylic,of textures wood tools or grain,(e.g., achieved tempera styrofoam,pieces through paint of orartisticoperationsterms pigmentit expression. of color, was done important with not onlyhad in been applied; and such but also because of For example, paint it or in it after ele- sentationsstrictedfamiliarincorporates to formsa of single themreal of medium,objectsmultimedia in his work. rather the composition artistThe than moreoften repre- Usingastheexplorepoint he medium items ofdevelops thedeparture, fromtextural and ahis thepainting possibilitiesthesketchbook working student with surface acrylic,of mightas both a worksbuildingobjectstape,ments of cameof art. modern to civilization as string, nails, materials junk, and other "found" be both tools andfor contemporary asanandtage,include a effectivemeans environments. decalomania, collage, of tool representation, assemblage, and architectural anTexture independent frottage,but has surfaces,also come grat-asele- into its ownnot only Thewithfromoil, watercolor, similara variety or ofcontrastingor readymade pastel. materials student might create textures.a collage - Photography,edotherMuseumsillusionist, theelectronic need and for galleriestheimagemaker. artist came as historian, alive with technological advances imagery, and lessen- shouldandtactilement nonstructured ofthereforewith sensations expression a wide be encouragedvariety andway.in a design. free, As of his textures The towork experi- student in and art imaginative, Usingsizesitem,amaterials, relief natural the and sculpture actual thenand/or surface studyor manmade mosaic thetexture whicheffect "found" of empha-ofeach light the student might develop Andperienced,worksthoughtto involvesuch designed to as thebe well achieved wholeto asbe viewed.touchedsensorium, most effectivelyand it ex- was esthetic experience seems activityprogresses, might somebe included: of the following types of Usingsinglepiecemighton thepen object of composition. andcloth, such ink a aspiece an apple,of driftwood, a knotted etc. make a textural only, studythe student of a offorbecomesnow-participant art, both a relatively in which case the workthe itself artist through and insignificant the the processviewer- re- STUDIO EXPERIENCESBlindfolded,glassware,the surface fabrics, thetextures student furs, of books,logs might or tabletops,branches,explore Thepartcisedstruction student of surface the of might total clay texture composition.increate which a appliedslab con- or in- is an important experience.arts;sualPainting and mergedplasticminder arts, with of with thesculpture; experience. the dramatic the vi- and representation, with real membersthenplastic,rocksfruit, discussflower and of stones, petals, thehis class.reactions soil,dried cement, weeds, with the metal,grass, other sponge, sandpaper, etc., and Therialwithmade studentlated that pieces firsttextures willmight with alterof experimentstrongly in the a series surface textured with of ofmonoprints simu- the mate- ink lines alone, and then 52 ture.both Forsimulated example, and those actual Asin filmsa formsresult, and of contemporaryphoto- tex- works include Usingathe number any surfaceof small thatsurface lends rubbings and activity, the student might make itself to Thefamiliarbefore student the objects mightprint withis create "pulled." materials facsimiles having of Thesurfaceanormally student sensorium. textures mightassociated thatdesign contrast with and the constructwith objects. those , .4 DISCUSSIONS Examineexamples with of the the students artist's use a varietyof actual of tex- madedesign,turelowing in orsculpture, ceramics, mightnatural be items. architecture,fabrics, included: SomeAztec and other sculptureoffunctional the man- fol- CharlesBronzeHarryLeonard Bertoia'sEames' heads Baskin's armchairloungefrom WALKING Benin chair,geria Court, FLOWERMAN Ni- SeymourATom Michelangelo'sLeHindu Corbusier'sHardy's temple Lipton's BISON covered LeHEADCRUCIBLE Couvent OFwith MOSES sculptureSte. Marie f SelectedLouiseGeorgeHenry Moore'sNevelson's Nakashima'spaintings RECLINING ROYALof Robert mira TIDE chairFIGURERauschen- I AugusteLudwig Mies van der Rohe'shousesbergBALZAC apartment Rodin's MONUMENT TO TheodoreShangEero Saarinen's Dynasty Roszak's bronze loungeSPECTRE vesselschairmanHAWK OF and KITTY otto- 54 POP ARS ON A HILL by Vincent van Gogh. Orlon canvas.LEONARDTHE CLEVELAND C HANNA. MUSEUM JR. BEQUEST OF ART. Purchase. WilliamFrank Lloyd Zorach's Wright HEAD TatOF iesin,CHRIST West Kaufman house or ThomasJean-Baptiste Cole's SimeonLANDSCAPE Chardin'sING WITH BUBBLES BLOW- TREE Marktendra Tobey's Mozumdar THREADING andMAN, others LIGHT; WHITE RED MAN, BLACK MAN: jectsThen asdiscuss the following: withobjectsThe theunique andstudents materialssurface such sub-examined qualities of the Edgar WOMANDANCERSLATRUNKS DANSEUSE, WITH IN CHRYSANTHEMUMS,PINK DANCER RESTING, Degas' DANCER ON STAGE, Someuseful of for the discussion: theThefollowing illusion importance topics of depth ofmight texture or bespace in creating (cf. theEARTH CIRCUS; LYRIC ThetionfromobjectsThe growing inreactions those contemporary had emphasisexpected textures one might that onart tac*ile have (e.g.,were if sensa-differentnot familiar only VincentRaoul Oufy'svan Gogh's SAILBOAT WALKPOPLARSADRESSE ATLIGHT, AT SAINTE- TWI- CYPRESS ON A HILL, BY HOUSES MOONLIGHT, AT workandtoTheists its ofChagallrealistic asdecorative Thomas Harnett use Cole) and useof texture Chardin, by men by as likesuch opposed Dufy art- theThebutis integralthe texturehisfact viewer participation that to indigenous worksit)invited of toin art touchthisto possess the manner the medium work, both is ClaudeWilliamAdolph Monet'sHarnett's PALAZZO AFTERAUVERS THEFROZEN DA HUNTMULA, SOUNDS Gottlieb's THRUST 1959, SeuratTheMonet,Edgarpost-Impressionist manner achieved Degas, Auguste in whichVincent both Renoir, Impressionist actual van andGogh, and Georges simu-Claude and painters such as TheterialstheandFrank artist'stexturala surface in Lloyd their handlingdifferences Wright's texturenatural of that usesettingin the resultsof sculpturalnative from ma- it GeorgiaPabloI. Rice Picasso's O'Keeffe's Pereira's PIPE, GREENWHITE GLASS,OFRED GARDENIADEPTH RUM; BOATS,BOTTLE MAN CLIFFS WITH AT A ETRETATHAT; LA Thebatik,oflated pigment use texturestitchery, ofof texturetexture through tie (achieved in and textiles their dye, applicationthrough (applique, etc.) ex- sculpturesTheSeymourandworks textural Harry of ofMichelangelo,Lipton, Bertoia differencesHarry andBertoia, Theodore Henry Tom Hardy, RoszakMoore, in the metal AugusteJacksonSen Nan Renoir's P'ing'sPollock's DEERON AUTUMN THE INTOILETTE PINENO. TERRACE, RHYTHM, 27:1950, FOREST NO. 17, NO. 12 ersThesensations,caseaggerated such reasons of van as directional Gogh)orAdolph why ideas contemporaryto Gottlieb, express emotions,Pablo paint- Pi- strokes, in the Display,turecombinationartist'sstudents in project,drawing,use to ofa of variety simulated oractual painting, otherwise ofand examples texture, simulatedphotography, expose or of the of tex-the a Mark Rothko's YELLOW YELLOWVESSELSOVERBOUGIVALLADY PURPLE, WITH OF MAGIC,A PARASOL, ORANGE LE BALAND A meansandcasso,nonobjective Mark Jacksonof Tobeyexpression art Pollock, found for texture Markabstract Rothko,ar ideal and ingmensionalprintmaking, items might artwork. and be other included:Some formsAjantaBlock of the of caveprints two-di-follow- painting by contemporary Japanese StitcheryEdwardGeorges by Steichen'sSeurat's Mariska THE Karaszphotography PARADE,OFDAY LAand GRANDEAFTERNOON others A SUN- JATTE ON THE ISLAND Marc Chagall's BIRTHDAYSaito)artists (e.g., Aoyama, Mikumo, TieTextile and applique dye work work by Indianby theIndians Sanartist Blas Ri- 55 INDEPENDENT STUDIOPROJECTS AND RESEARCH SUMMARY AND EVALUATIONTo what extent do the observations, re- A Avisual sizingseriesin the presentation simulated ofstudent's drawings texturesketchbook or based a photographic and empha- upon items sponses,reveal that and he: creative work of the studentinIs his awaresensitive surroundings? that to every texture, substance and aware has tex-of it A withinwallseriestextureessay hanging the ofwhich in heavilycommunity ,arious madeexamines textured formswith the stitchery of clayuse architecture oftiles andsurface simulated,dointure, so?Is terms aware and of oris texture ablethata combination totexture whensee his hecan environmentof chooses thebe actual,two to A photographicpaintingbeautycolors,applique whichandto be valuesessay simulatesfound whichused in the the inreveals variousatextures, collage the tex- andusecantweenIs understands beawareof them?achievedtexture, of the andthrough thevariety of difference the of imaginativeeffects be- that its importance A Acollageturesseries tactile of of (collograph)chartone's prints which environment "pulled" also hasfrom visual an inked appeal isticsrietytoIsEnjoys artists sensitive of of textures his andexperimenting media designers?to theand and textural textural materials? with character-aeffects? wide va- A ticularlydensitieswoodcutdepthin his study workeffective patterned of an useartist with of wholines surface made of various texture par- owntureCan art imaginativelyuse work? both actual and and creatively simulated in tex-his 56 t a` I ." 1.111111. /I

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41111111e....x_.; MOVEMENTS AND TRENDSIN THE WORLD OF ART . . . Ue ft,to /tutor', farand (*Ape?lentwhen e. all we there rile (at wit et:uric% nessing be«nuet h e c not vet ,generalize Mal onc in ta pa, tatmanifestationsof ions of ty)at.)ne historicalof one ,gen cat i Pi(egory. asM. toed. ti e t art we, lima he ult it is to eaten us to the logical li IVpit al exam /,lc h e artist, as h e di ;-erse e fillingtice'aptk eatsno some to theidentityhe saidshock artistot h erthe' I endsbody. isvirt continually intuitively uousThat isphilosopher. to tosay, infOrming identify in prac- Ile him- has and of the poet, has a chameleon nat ure, mayothermuchcellself seem artist.towith plagiarisma ( the like haracteristitand purpose anonly excusethere by arid mode an has foraeeffort been, hievementplagiarism, confines in even. of h andevery (pub of expression. This logicalthetoricalof art. complexity. Butdevelopm it is also and rut 1/1e ineven art, explanation of and the an falsity, indication of all of his- of «Itegoriev. Herbert Read all GUGGENHEIMMUSEUMmer). 011 OF on MODERN canvas. FUND. 6'7"ART.THREE x NEW 7'334". YORK.MUSICIANS Collection. MRS, SIMONby THE Pablo Picasso. 1921 (sum- 58 I

F tosophicalsectiontory providing books is introduction devoted aavailable to toestabilsnng inSince this most material, there schools. a arephilo and thismany excellent art his list of suggested areas of concept.'ernofyears. art man. have In theofIn only today,keeping past. emphasized mostit is with essential western the the "total art that histories of world west-all of II ernreadings,ofstuly world,movements which and and amight listsourcesand of be trendsappropriate included: forThe ofvisual artteacher references, in materials. the is mod encouragec: to introduce a glossary chronologicallynationploredthe art sinceonof thea globalcultures pastwith andanybasis. haveA degreethe world notpresent history beenof coordi- be at of ex- theart cannot ne o-ganiied : andrsrather listeddiscuss than within several attempting this selectedsection. to surveyareasListings b-iefly, all which that followinsame time. stagewill The help suggestedof evolutionthe teacher areas at andthe of studysamethe student whichpoint is to propriate,are considered particularly timely or ap- might be pursued in greater thecomprehend world of art. the The vast areas panorama of study which "Ancient D mo depth. ofArt"merely the through global listings aspects "Art which of of the givethe Americas" painting, some indication sculp- are & duringBACKGROUND the past 30 yearsMore than has during happened any in the world of art provideploregoodture. andeachart meaningful history architecture of these text areas referencewill of help inthose great students material periods. detail andex- for A . . . asbefore.outstandprevious an some orextension appreciate familiaritycentury. of, One orthe with a artcannotreaction what of today hasfully against goneunder-with- Every art movement came about andpandedWorld"mentsthe a teacher. glossary (18th-20thand Trends of terms.centuries), in Art The of traditionalhasthe beenModern ex-art to include backgroundThe section entitled "Move- material 3 . sionistsofathat world the which cave panoramaand preceded painters environmental from to Thethe earliest abstractdevelopmentartists ofcreations expres- recent of art has produced it. traditiontury.emphasisbeenappreciation Perhaps and placed andemphasize it historyupon the course the art art of hasofthis today. often cen- taught chronologically is time to abandon this with little 60 AOF GLOSSARY TERMS with the current art scene soIt is that vital he that may the teacher keep abreast artbyorwillinintroduce artintaking galleries,never curriculum without and thebe andfounddiscusspersonalclass guides. museums into the ancurrent Itbias. latestwill art only andhistory"The movementsart be throughshows, latest" foundbook formsmationlatedthe continual of asand art, a example readythis use glossary reference of artSince hasperiodicals. for beenit theis often teacher.formu- difficult to locate infor- uf the more recent

61 Abstract Art A general classification for nonrepresen- jectedEmployed planned a creative outcomes strategy in that re- favor of mustthepaintingbetweentational belatter something works oris asculpture visible of art.in and and/or The of major itself, tangible differencewhereas image abstract and is that therepresentational former tegralingConsideredCelebratedspontaneous and parts the the bothof marksexecution individualitythe the work; of process the oftool theof as paint-artist; in- stract,identifiableof somethingabstraction in which in else. the aspects ranging workThere (e.g., of arefrom the various, Picasso's subjectthe semiab- degrees areTHE wayanda ProducedRequiredkinesthetic a thereforepainting not awasresponse significant only supposed a from visual, change to the operate butviewer; in also the calledatpurposeinTHREE all which SPRING). MUSICIANS), theof abstractionsubject There arecannot to variationstheas nonobjective,wellinbe identified in some the (e.g., Kandinsky's PANEL [4], also expressionismAmong the greatest exponents of abstractthein terms viewer. of the artist, the setting, and are Willem de Kooning, arrangementcreateacteristiccases,essence histhe of ofsubject artist it; hisof in light,subject, others,may through line, want orhe t. aan olor, maytoparticular appropriate depict form,intend tex-char-the to ActionNeo-Expressionism.)PhilipAotAph Guston,Painting Gottlieb, and Mark Robert Rothko,A typeMotherwell. Franzof abstract Kline, (See expressionism in which thetionture,not esthetichavefrom etc.come Althoughbeenprehistoric into used being the in times untilelementsart work theto the anddevelopment of present, abstrac-decora- principle of abstraction did riflesplashed,forceful,jectthe ontoof execution the impulsive the work.hurled, painting of Pigmentthe brushstrokes and painting surface. even is appliedisfired As theor adripped, real fromresult, with sub- a Abstracttury.oftational Cubism Expressionismpainting in the early which part combines', oflabel the 20thgiven abstract cen- to a form of nonrepresen- titionerseffort,ernedtheidentifying form andmore andof the actionbycharacteristic. content artist's impulse painting methodof thanthe work orby becomes itsconscious are French gov- his The chief prac- Stimulatedduringofandform European the with World convergence byexpressionist expatriatesWarthe workII, theof aof movement emotion&remarkablein Arshile New York Gorky toward value. group City Analyticalphrase)equivalent,lock, (who and Cubism isWillem supposed de Kooning.The to havelabel givencoined to the an early phase of Cub- tachisme, were Jackson Pol- 62 abstract expressionism: ReintroducedinDominated the 1950's; the the international huge canvas; art scene extentricalandism (1910-12)Pablo appearance the labelPicasso developed is a ofbecause misnomer: their by work. Gorgesof thefor To althoughgeomet- Braque some merelythatthe founders the superficialvisible of thedifferences styleva generally in matter believed were 'ions of common artthestyle Sezession in France, in the Austria, Jugendstil and thein Germany. Stile Lib- was also known as the yachting aridderivedgeometricalingto coherence,build human from a. forms.newasensibility given Analytical structure subject through Cubism capableC011id its was own be of never usedpoweraffect int, that the elements Assemblage-ertyAshcan in School, - TheThe(See technique The Eight.) of combining various ele- Italy. ofanothertothereally major the emphasis based arrangement Naysignificance of on lookingin analysis. art ofbecausefrom at forms thingsBut visual itin did andwhich narrative present was the it shifted relief,semblageorments,into art: andanalso,such integrat!cl may asa work foundincludebe either so three-dimensionalobjects constructed.various freestanding or readymades,parts Anwhich or workas- in form,Art Nouveauwhen realized, "is thereAn toornate live its style own of art that originated in Barhi7onJospehaltered),haveists: beenLouise Cornell. orSc carved,left hNevelson, oolin their painted natural Daniel (or Spoerri, state.otherwise and Art- fluencesandCelticEngland19th America. centuryas during the Derived arts and the and later fromfinal crafts spread suchdecades movement. varied to Europeof in- the art, rococo styles, Oriental calli- throughtivelypaintersin the painted village 1880.who formedin Theof that Barbizon, Barbizon areaan Ainformal fromname France, painters about artgiven colonyand 1830were to ac- a group of landscape graphy.it was andcharacterized Japanese artby: and architecture,PlantlashFlowing,Cursive, curves: and expressive flower motifs lines: in naturalistic swelling, reverse, and whip- ruralstudio.thanforeststhe first scenespainting to to paint go arid theirinto directly characters. thelandscapes countrysidesfrom natureCorot's in a rather Parisland- and Although most painted realistic. canThe mosthe found prominent examples of artStraightforms: and, lines in anda concurrent rectangular phrase. motifs. in the drawings of Aubrey nouveau Charlessionists.withscapes light, were Francois thus less foreshadowing realistic Daubigny, and Camillemore the suffusedImpres- Corot, Artists: Theodore Rousseau, decorationthefurnitureBeardsley. glassware of theHenri ofposters Louis Van de Comfortof VeldeAlphonse Tiffany.and Mucha.Louis the architectural of Charles Rennie Mackintosh. ornament and interior natedBaroqueand Francois Millet. A dynamic theatrical style that domi- European art and architecture ofGaud!Sullivan. the -Aestheticand Victor Movement.'Horta. in England. and the buildings Considered part of Antonio arealism.turies.throughout blending ofthe the 17th arts. and Illusionistic early 18th fresco cen- Its effects were achievedillusionism, by using ornamentation, and 63 elaborateceiling paintings moldings designed and COriliCe, to riwrge ware with ex outinfluenced the world the education of artists through domcontras'tsoratel(twistedan11,11.form of Baroqueis found also arid characterized art.in curvedthe Baroque work forms artof the Gianlorenzo inand newits strongpurest free Of the High Baroque in Italy. [lab groups,unistsBlaue Reiter, Der (The BlueThe Rider) name of a group of abstract expres- of in Munich who. together withrepresentational a expressionists toretto.AmerighiCaravagcno.Cortona.Kerwin, arid Jacopo Robust' GiovanniF rancesco in paintings of Michelangelo Battista Borromini. Tiepolo. Pietro aridTin da Klee.Marc.thein inDresden. development AlexeiDer Blaue exerted von Reiter Jawlensky.of a modern profound also included art.and influence Auguste1911 Paul byon Wassily Kandinsky and Franz Founded PaoloatBauhaus Veronese.Weimar in 1919 underA schoolthe direction of industrial of design established whoBrucke,Macke. developed Die (The a Bridge)representationalThe name of form a group of of artists in Dresden asaridofprovidedGerman science,we know architect modern economics,them wereWalterartists first and withGropius. trained. craftsmanship: "a knowledge Bauhaus In 1925. in this manner, industrial designers vivalBleyl.theexpressionismin ofrise interestErich of modern Heckel, in thatthe art graphicanddirectly in GermanyKarl arts. contributed Schmidt Founded and1905 Roil-a re- to by Ernst Ludwig Kirchner. Fritz structor.thecomposeditself Bauhaustechnician at Dessau. of leftBauhaus and Weimar where artist graduates. anda in new thereestablished faculty, samecombined in-now The school became an experi- vanandMueller.Maxluff, Gogh. athePechstem. contemporary groupThey Gauguin. were alsoKees includedMunch,stronglyvogue van Dongen. for the influencedEmile the Fauves. Primitiveand Nolde. Otto by tors.madeandmentalnewproduction craftsmen, among artistworkshop or were the designer andin skills continually which architects, of might modelspainters. built. employ since for revised.sculp- mass thesev- improved.- Distinctions were not countertheandism, foundingthe the philosophyexotic. group of Derdissolved. of Blaue abstract Reiter expression- with its In 1913, two years after Germanyaneralinstructors.power. object. of these and in The 1933 skillssubsequently Bauhaus inwhen the processthe was one Nazis driven of of its camecreating youngerout toof Laszlo Moholy-Nagy. estab- fragmentsCalligraphicposition. The of Paintingletters letters, in words.(Lettrisme aArtThe painting incorporation or numbers oror Wordcom- are of words. numbers, or 64 Technology.-allyoflished Design absorbed an inAmerican Chicago. into the branch,where Illinois it thewas institute Institute eventu- of The Bauhaus permanently design.asLarryIndiana. important RiversThe Eugenio work as reflect any of Carmi. Jasper otherthis idiom. Coritaelement Johns. Kent. Robert in the and Camptwcti tirliVer',,Iiiy Art condemnedAt, by .ittittitit that prizes that which has rrio->t crit whichapproachtechniques Antoine to and materials Pevsner Naum Gabo,addedand form. hishis scientificOfficiallyartistic inder,ofment interpreting the began sphere, with nature and a group thein terms cone, of French ofthe the move- paint-cyl- monsa throrial opinion. arid out cultural backwoods. or has bN, 1-, households.tra.trrd museums.fYlost or in primitive re been ustbegun 5, 1920,with a the manifesto movement: published on Aug-Abandoned the figurative and mono ersidentifiable,in whoMontmartre; met in but Picasso's movedinextricably through"floating related two phasesclearly laundry" aridrt.rummage banal ,irshops elevated ,I11(1 beCorl1C. cairip\,- attitude of Pop Art The trite. -objtsreflectsgarish. shapesoflithic space, traditionand lines volumes; of in force, sculpture and geometricfor the use velopmentsism);(seethat Analytical anda work had in should aCubismart. major be impactand something Synthetic on later in Cub- itself,de- Its advocates believed ClassicismKu-1011)1.,ti art Any embodiment of the style of classical Artists I ucas S iii iris arid F dard forUsedasofTreated a somethingthe negative expression open spacealienas of well matter,of to as matter;as if positive rather forms than it; it were part shouldtheattemptsconceptualnot viewera rendition at with representation ofcomparison something whichand else; personal distract that it affect human sensibility structures unencumbered through by GreokonClassicismproportionto standardswestern (ind Roman which hasart of andbeen artsimplicity.characterize architecture a recurrent classical since influence art. Also. the adh?rence restraint. and the and,AttemptedmonyriousIntroduced ca engineering,sculptural with to industrialnew bring practice;concepts sculpture with materials production and into into har- se- in science percept.withassociations;itselfthe a given organization spacewas ofthe form artist's and onlycolor Accordingly, the chief character- and that the composition CollageRenaissance. F roan the French verb (miler -to paste. ism,space.Its abstraction, Although supporte:1 and the integralin its earlyand use stages industrialprincipal of design. characteristics were dynam- istic of Cubist painting were: andA perspectives;Simultaneousrearrangement textures of renditionthe of the motif; shapes, of a variety colors, of areassemblagecombinationto attacheddlue. Paper. to couldwith a cloth.fiat parriting be consideredother or flat drawing. materials a An surface ;i1.(1 used in '01 ree contributedcatesotherbyment the stylesleft governmentwas for toproscribedof Europe such abstract effortsof where Russia, inart, 1922as andtheir the the along itsGermanthinking move- advo- with Violationsjects;shadowsTransparent ofare light treatments sometimes and color of opaque in which ob- lighter and medium.dimensionalBraque are collage. noted MiN Ernst. Pablo Picasso. and Georges for Kurt Schwitters, Juan their work in this Laszlochenko,tivismBauhaus. were Moholy-Nagy, The Vladimir chief exponents Tatlin, and the Alexander twoof Construc- brothers Rod- El (Lasar) Markovitch Lissitsky, flat-patterning,castAnbrighter1912 them;emphasis and in and,color 1914, collage,on particularlythan textures the and objects createdmaterialsbetween which by theoriescombinationevolvedConstructivism in of Russia composition, from aA rather the elements inter c:sting nonobjective of influences art movernt't (Kandinsky's that of Gabo.manifesto,with dissimilar names who authored the Antoine Pevsner and Naum MarietheLed Cubist byLaurencin, Georges painters BraqueAndre included Salmon,and Pablo Max Maurice Picasso, Jacob,like sand on the canvas. alist/productivistsciencegeometricFuturism, and abstraction contemporary technology, used and developments in theCubism function- and traits of Tatlinism) toin velopedCubismNegroInfluenced insculpture France by betweenthe and "rationality" Cezanne'sA 1907 revolutionary and oftheories African art movement that de- 1914. casso'saratelyRaynal,Francis in three-dimensionalJuan sculpture, Gris, Robert although Delaunay, some of and Pi- Picabia. Cubism developed sep- still lifes and 65 studiosconstructions or cafes made may havewith bric-a-bracbridged the fromgap. materials"found" arid "readymade- objects): (e.g.. doodling. collage. Gonzalez,tureTheLipchitz.Laurens, principalwere Constantin Raymond exponents Brancusi,Duchamp-Villon, of Cubism and Jacquesin sculp- Julio Alexander Archipenko, Henri - IntentionalAtiveWeirdday: narrowing wit: humor and of and the a gap between art nonmeaning peculiarly nega- and absur thoughtsDadaism and activitiesA of movement an international that evolved from the withporcelainDuchamp'sAmong a mustache the best photograph and examples THE ofFOUNTAIN of the Dada Mona andLisa life. urinal). PR :aria's paintings art are of(a cludedandZurichgroup"founders" Hans ofMarcelduring artistemigres Richter; were WorldDuchamp. Hans but War later Arp.who Francis exponents Marceldrifted Picabia. Janko. in- I. Among the into De bilderabsurdStijl, and(The Merzbau Style) constructions.A Dutch movement primarily concerned machines. and Schwitters' Merz selvesvarietydevelopmentandGeorge Man of"a Grosz, forms,Ray. rallying of Originally Max cabaretthe point groupErnst, entertainments foroccupied considered Kurt abstract Schwitters, with them-ener- inthe a Originatedandwithdepainting designfunctionalism andby concepts. Theo sculpture vanand Doesburgthe with integration architecture and Piet ofStijl group was "utterThe creed of the simplicity." ofhad"theinternationalgies 'modern artists noand idea a ofart' lasting whatthe that Cabaret they atslingshot some wantedthe Voltaire time for oractual-lcthe wisps other grt artistic movements But habitEight,Mondrian. of Thevivid (See reporting Neo-Plasticism.) andA group accurate of painters social who developed the a werewordFrenchlookinghad gatheredtheyclung 'dictionary. for stumbled to something the together minds They upon and ofelsewere inthese called 1916in self-proclaim- a individuals German- whileDada" widespreadforpictedasdescription New the proletarian"AshcanYork use City of School"photography. periodicalssubjects because rather Alsobefore thantheyknown the thede- while working as illustrators Thepropaganda,disillusionment,ed activists, movement caught and was the by characterized Bolshevik the war, widespread revolution. by:A conscious internationalism; Marinetti's inflammatory Williamson,Prendergast,Eightmore and Glackens,fashionable Everett Arthur John Shinn. onesB. Davies,Sloan, Theof salon Ernest generalGeorge art, Law- Luks,char- The included Robert Henri, Maurice 66 TheandA flamboyant conventionalinversion ofavoidance established artistic form; of "beauty"norms; use of 'nonart' methods and influenceEighttheacteristics work in 1908of upon Robertof theand its groupthoughtsHenri, exerted whocan andthe foundedbe strongestefforts. found The in objectstypesEnvironmentalThe1948), Germanof as events oneart, Artartist, modifiedof created (Environments)the Kurt firstGrew theby Schwitters theinterior out Dadaists. of ofthe(1887- his assemblages and the to use discarded FauvismBeasts,"pendentmeritstrop. Theconcerned alanguage wordlabel derivesgiven with of meaningby fromOne a contemporary Fauvesof several and or erno "Wildearly 30th century move. color as an inde DRALments.objectshome inOF He as Hanover EXOTIC gavestructural this using MISERY. work and refuse thedecorative Environments title and CATHE- found ele- vanboyantpainterscritic Gogn, to useHenri because and of Matissecolor. Gauguin, of Influencedtheir and the arbitrary his Fauves fellow by Cezanne,and rejected French flam- of clearly eventsasoneventsartists thea formalized contemporaryand may to the the duplicate antiart version scene of everyday the of may 1920's. the be Dadaists'places regarded Today's and last detail. THE BEANERY thatistcolors,outlinedthe characterized objects in manyapparent of the or develop-"natural"techniques,traditional and the monochromatismthe fragmentation representation of Impression- diner.(1965)areasandGeorge guests. bythat Segal, Edward are changed includes Kienholz by table, the is aobserver.chairs, complete food, An THE DINNER TABLE (1962), Other environmer+s may be by "Exactitudementspaintingfortsinant paved intheme French as is anthenot of "art abstraction.modernwayTruth" of for color" became aart, new Theirinand whichconceptthe their motto dom- line, ef- of Expressionismexampleby Lucas of thisSamaras. is MIRROREDAn art InROOM which (1966) the intensity of the artist's (See Happenings.) Albertcludedinformalingshape, roles, Marquet, Andresymbol, groupif any. Derain, ofetc.,Raoul friends playedMaurice Dufy, and onlyand de painters Vlaminck, Georgessupport- in- In addition to Matisse, the prominencecolor.resulting(taloninner emotions in distortions by and such ideas painters of line.overrides shape,as Vincent the and tra Thisof movement was brought portraying actual appearances. into trainingbyFolkRouau people It.Art in art, who but may who have haveAny had anart, established nocraft, formal or ornamentation produced andvanearlytheing Gogh,carried in20th expressionists Germany Paulcentury. into Gauguin. full during bloom were andthe by Edward Henri firstartists quarter Matisse Munch,paint- of Among the prominent Found(Seetradition Primitive.) Object Sculpture(See Assemblage.) of styles and craftsmanship. alt.NoJamesErnst Ide,Paul Klee. Karl Hofer. and Max Peckstein. Ludwig Wassi Ensor.ly Kirchner,OskarKandinsky, Georges Rou- Kokoschka. Max Beckmann, Emile suggestivewhentheFunkhot name blues. "funky"Art from Thisof theadescribed jazzSan old idiomFrancisco earthyA groupmusicof theNew and oflate that OrleansSan Bay 1950's was Francisco Area artists borrowed Blaue(See Reiter.) also: Fauvism, Die Brucke and Der art form eventually spread across the coun- t 67 oftenandtry the feeling are more iniportant thanF unk art is earthy. organic.ugly. Plomorphic. and anti Bauhaus- the idea Genre Painting A style of painting that represents some hooly.Conner.the product. Claes Oldenburg. and David Gil Artists: Robert Arneson. Bruce areGeometriclagephase those scene of of everyday Abstraction orsimple a wonian geometry life. atA suchstylework (the asinof the abstracta line, rural kitchen. the vii painting whose shapes sionFuturismlifebolic movement dedicatedA brief to (1909 the expres 14). fundamentallyof ofsym. steel, "the vortex fever. pride, and headlongof modern life--a amongKasimirtimescircle, referredthe theMalevich square, pioneers to as andthe Classicalof triangle,Piet this Mondrian movement. Abstraction.etc.) Some- were firstparticularlyianspeed." poet Conceived Filippo Tomasso and proclaimed Marinetti by in Ital-the of several manifestos, Futurism was concerned with time, move- versaHappenings script who that become is used direct to motivateAre participants of short the obser-duration in the and usually call for chiefa;rangementrhythm;ament, succession and and mechanization. movement, ofof multiplewaves; color, limbs.a Soundserial a Among prismatic orbecame radial its exponents Carlo Carra. Umberto andexperience.environmentandevent. Robert odors Sound, Whitman as all physicalwell become areas movements, anoted visualpart forof andthis the speech, artistictactilehap- Allan Kaprow, James Dine, describedwasGinounderstandingBoccioni, DuchampSeverini, his NUDE who of DESCENDING theexhibited movement the Agreatest whenSTAIR- he Luigi and MarcelRussolo, Duchampit Giacomo Balla, Hardmentalpenings Edge Art.) they Painting have staged.(See Minimal Art and Op Art.) (See Environ- paintingdepictedtion."throuahCASEments. as the andan within"an abstractexpression sculpturetheyorganization the static presentation of conventions timeof were kinetic and ofnever spacemo-ele- of But the Futurists' concepts were soncenturyHudsonpainters River, River who although lived School in they theA vicinity namealso painted ofapplied the Hud- in to a group of romantic American landscape 19th- WorldAlthoughrathertheintegral Warthan tothe I. representations the movement forms themselves; failed of their themes. and thus works became conceptual it was significant to such later to survive symbols, influenceciencynativemembersvarious whichabilityother ofof the states wasas Barbizon well gained and as countries. painters. technicalchiefly from Several the this group possessed great Artists: profi- 684. LANDCAPf WITH TM E SCHOOIOil Of Of 'YGN UM of AP T ov PHOnf AND thedevelopmentsit stimulatedmachine.preoccupations as a Dadanew of artistictheand time: Surrealism, sensibility speed and for Moran.Kensett,ThomasDurand, Cole,Thomas Albert Frederick Doughty, Church. and AsherThomas B. Brerstadt, John Frederick ThebetheImpressionism the1860's French first and greatImpressionists is moderngenerallyA movement art wereconsidered movement. primarily which to began in France in artists.technology.Rickey,ingthe magnet,pieces John have optical Whitney, all effects,been Jesus used and Rafael byfree-mov- kinetic Soto, Artists: Alexander Calder, George The machine, the computer, orbrilliancyshadownatureconcerned strokes and areas. of of colorthewith color hidden thewere that surface placedeffectsoccurred play nextof colorwhen of to light eachwithin dots on The artists discovered the sitionwhichJeanLuminal Tinguey, inuses combination lightArt and as Polan with elementBury.An other art whichof media compo- developed or during the 1960's onotherhadpaintingsthe colors onbeen the insteaddid traditionallycanvas not of conformso the that colors the to eyehowbeing blends nature mixedthe palette. Although represented, they Impressionist tensivelyobjects.Reiback,andlight-is. incandescent Thomas in andthis Chryssamedium. Wilfred, lights have Canare treatedFlavin, worked Earlas art Fluorescent tubes, projected light, ex- sphericweretilitythenatureImpressionists 1880's inand impression!fact as ridicule. itwerereal really attempts receivedin The isaParis exhibitionsfeeling, in withat the portraying great 1870'san of atmo- hos-the and It was not until the anartfromLyrical towardemphasis geometric, Abstraction the uponlyrical hard-edge, the andAn sensuous, art and movement minimal with of the 1960's away "artist's touch" groupment.wasownrecognition theindividual broke acknowledged up,was artistic each achieved. leaderdevelopment,to continue Claudeof the move-in Monet that Other Impressionist artists were: his andandLandfield,Barrnard, Kenneth Showell. "painterly LarryRalph quality." Poons, Humphrey, MarkArtists: Rothko,Ronnie Darby theEdgarPierreManetCamille younger DegasAugust(in his artists, andlaterRenoir, Paul work),Vincent and Cezanne Bertheto van some Goghas Morisot, extent,well and as Pissarro, Alfred Sisley, Edward ancommonplacephotographic opticalMagic report Realism objects presentationof what and hasThe throughbeen of details observed. almost gives 19th-century trompel'oeil' takes JunkKineticPaul Art Gauguin. Art (See Assemblage.) Objectsfiedbutuseica'sWilliam "magic inthis most unusualare M.technique. realism-famousportrayedHarnett settings 19th-century(1848-92)to with their or great unrealown was fidelity.needs.artist placesAmer- The surrealists modi- to relationshipsscope.anddominate. eventually grew to Anbe artinternational in which the in aspects of movement The artist seeks to explore new Kinetic between art began science, in art, Europe and WyethmagicthisTookerto mysterious.excite has realist-and thealso Bernard emotions by beenreal-unreal some Perlin's called of critics. the effect. paintings viewer.a "modern George have Andrew Mannerism An artistic style which developed in re sculptures.motion into Calder art without successfully sacrificing integrates the es- emotionaltury.entbalanceaction in Mannerism Italyto ofthe portrayalinthe austere the Koh waslast Renaissance.ofharmony halfcharacterized subject of the and matter, 16th classical Preval- by cen- ex- an Othersentialistoin generallymotiona kineticartists traits by ofsculpturecausednoted naturalsculpture. for by forces.in theirmotors which A mobilemobiles as or movement opposedmagnets. is areset oftorettomanycolor.aggerated this style.paintings Formswas amongMuch were of of Elthe theoften Greco, foremostlater elongated work who exponents of with Michel- as Tin- in perspective, and rather vivid MoirestantineGeorge Pattern Rickey,Milonadis. Takis VassilakisThis term comes from the French word and Kon. Othersgoldsmith.Agnolocriticsangelo associated to has fall Benvenuto also into been thewith Mannerist consideredCellini. category. by some Bronzino and the Mannerism were sculptor and moirepetitiveMoirericinally which meaning used patterns structure has to adescribe "watered.''wavy. are is seenoverlaid watered shimmering wheneverand with appearance. was anothersilk oriq a fate re- aspectsspace,theMinimal basic and in elements Artthe color painting are of design. theorThe sculpture. most artist important reduces These esthetic concern to Line, shape, wireoverlappingsuperimposed.structurein mesh and fences the lineproduce elements these are patterns. nylonnearly curtains, insect window screens. foldsSuch common objects as wire trash cans, and Ellsworthpainting.elementsReinhardtJosef Kelly.are made the are subject. colorconcerned with the re- Albers. Other painters. Frank Stell and Barnett Newman, and Ad their In the 1960's, subject for Nabis,(SeemanyMoire Opof Le the Art.) Op artists such as Bridget Riley. patterns are effectively used by turetousingTonylationship fabricateplane. Smith of enormous workcolor withto the primaryworks. shape structures.of the pic- industrial Sculptors Robert Murray and materials and processes The sculp- vadingcharge'intersbrewwas sense whothe takensimple bandedof mysticism. byscenes atogether groupThis of life namemeaning of inwith French1888 a per- to "prophets" in He- This group Mobilestheirmental.tures clarityproduced smooth-surfaced, of structure. by this method and areunique monu- for andbersofanne,was Gauguin. greatly of as this well influencedAmonggroup as the were the Symbolist by most PierreDegas noted paintingsBonnardand mem- Cez- Edward Viullard, whose landscapes 72 slightesttormove, Alexander was movement invented Calder by ofThis thein the Americantype 1930's. of sculpture, sculp- The in which the parts air activates his andMauricesoft, Ker-Xavierordinary dreamy, Denis, ,ubjects poeticPau!Roussel. Serusier, light.were painted Paul Ranson, with a Other artists: Neo-Classicism A style in which the artist was not only in- anding other images, technical light effectsfiltered as through well as prisms, "hard classicalfluencedDavidprevalen:19th centuries.and bythemes in classicalJean France forTheIngres, inpa;nters the and 18th sculptorJacques and early LouisAn- hif.art but often took subject mattei; ofedge"sareley,orscolor the of painting.square divisionism Optical by The Art. Joseph ofchromatic Seurat Albers were venerations and precurs- the Bridget Riley, Artists: Victor de Va- Richard Anuszkie- byallNeo-Expressionisni--tonio forms Canova of abstract worked art which Thisin this are term style.determined is generallyemotional, used to include accidental, or impulsive GuillaumeOrphismOster.wicz, Agam Apotlinaire (Yaacov Gipstein), to Adescribe word andused a Gerald typeby French poet and art critic (See Minimal Art.) sky.workstraction.arrangedforces of Europeanas compositions opposed painter to the of Wassilymore Geometric meticulously Kandin- Ab- This art form stems from the alonepationplanes,izedof nonobjective was withthe both style the form coloristicpaintingemerged and subject. fromaspects Character- a preoccu- of Cu- by brilliant colors in whichin color overlapping artNonobjectiveNeo-Plasticism in which the subjectArt cannotA (Seetype be ofDe identified.abstract Stijl.) or nonrepresentational exploitationachievedficlight.bism, Thecapitalized its besteffects examples uponthrough the a are quasi-scienti-geometrical the "frag-experiments of the refractive ofquality of Impressionism, and anderthesensibilities,sult customary fromThe Rodchenko esthetica direct unaided avenues experience isattack said andof recognition. toon unhindered have theis intended usedviewer's Alex- the by to re- Duchamp,byDelaunayPointillismmented Fernand in and Leger, 1912-13,(Pointillisme Frank Francis (Frantisek)and orselectedPicabia, Divisionism)-- Kupka. Marcelworks rainbows" of founder Robert developedinsilybutterm 1909. theKandinsky, as style another the is firstusually who labelnonobjective is associated credited with paintingwith having Was- (See Abstract Art.) for Suprematism; strokesture).thepressionism principle so that, inof when whichbroken viewed the Thiscolor chief at was (opticala focusdistance, an extension mix-was or branch of Im- Colors were applied in tiny dots or Opoftheabstract da.77leArt retina or patterns Optical ofor the movement. eye stimulateIllusion resultingA The recent Art a juxtapositionin reaction an style illusion of on art in which sharp edge Signacmovement.rat,visualthe whoeye masseswere inventedwould the and blend leading pointillism, outlines. the figures color, and Georgescreatingof this Georges Seu- dazzlingofmay complementary also effect involve (see mechanical Moirecolors Pattern). enhances motion, Op this shift-Art moviePop Art Comic stars, strips, signs, brand-name Benday dots, products, ham- 73 burgers, and actual objects all are images ArtStatessculptureofpendently Pop Art. in gainedthe in 1960's, England momentum but in wasthe in 1950's. bornthe United inde- reflects This movementthe in painting and ironies of contemporary Pop aculture repetition,Popisticsdetached Art inwhich strategyall mood.theaspects, are commonplace, are an Among largeinimportant both scale,the a critical character-the partanonymity. absurd. of and the ofcontemporarytheism,to the masssuch Pop diversemedia, Art movementAmerican andfactors a general values. haveas Folk been ridiculeThe Art, traced rootsDada- of Collage, Assemblage, Surrealism. quist,Warhol,CampPeterStuart TomArt.) Saul, Claes Wesselman, Red Oldenburg, Grooms. Edward WayneJames Kienholz. Thiebaud, Rosen- Davis, and Fernand Artists: Roy Liclitenstem, Andy Leger. (See ertJamesPost-Impressionism Rauschenburg, Dine, Jaspar and Johns. GeorgeThis Marisol,is Segal. a general Rob- term which includes alljectiveGauguin,periodism.1900's trends Most whichwereor inwho emotionalnoted art wereVincent were from among a concerned reaction content1880van the Gogh to artists ofwith Impression-the whatand theearly of Paulthey sub-this THE 1!)(i:) Patine() w(mciFAMIL and otherY. materials MARISOL 1 t MARISOL. ESCOBAR). in three 74 OfTEE MOD/ FUND RN ART NEW YORK ADVISORYtinns f4,;) COMMIT ;) x :)... ( ollection. THI MUSE UM saw. and Georges Stql rat. who created for- bism in favor of simpler, more functional Primaryprinciplemal compositions ofStructure broken while color. (Seefurther Minimal refining Art.) the (See Pointillism.) Charlesdui:lines.Purismpaintermanifesto Edouard retainedBegun published Jeanneretwith many of (Lethe Corbusier),principles of Arnedee Ozenfant and in "After Cubism," a 1918 by French architect otherwhoPrimitiveprimitive.Henri is artists Rousseauself-taught or trends, was and the historic Anot bestterm influenced knownwhich or current. Frenchis usedby to describe an artist Although he lived and paint- orsgeometricallygenerallyiecognizablethe and some characterized depiction simplifieddegree ofof by forms stylization.subjects precisely in pure and drawn,Sculp- wascol- earlier movement, but stressed the flectednotedtrendshis while theunique American Impressionists'thatImpressionism stylepreceded of painting them.wastheories, in does full or bloom, notother re- primitives were Edward Among the fiedtorReadymades-- Constantin with the Purists.Brancusi has(See also Assemblage.)been identi- turetomartHicks, of withoutor groups Grandma a traditional regardof peopleMoses, pattern whoandThe adhereHorace term of their primitive Pippin.to cus-cul- also pertains to the for or knowledge of everydayaRealisming.matter of life Romantic andAn Neoclassical artreaction movement againstpaint- in France the idealized whichThe was subject Realists painted subjects from in a "naturalistic" manner. PsychedelicGuinea.appearscreatedworld.social orThis forAlaska. artisticin religious typethe Art andchangesartof primitive oforAmerica. tribalAfrica, in the purposes,art restwas ofoften andthe India, New thegroup,Gustavein depiction1855. organized Courbet, of real the the objects, first mostThe notedscenes,term Realism of ani-this is also used to describe Realist exhibit sentialstractevolvedin 1966. shapes elements from the Artcurvilinear and Nouveau. of brilliant this styleartFirst Decorative. colorsform. seems The are to de-es-ab-have introduced in the United States appearsentational,usedterpretation,mals, to andin describe naturewithout human or distortion. this figures type stylization,Other asof artthey termsare actually repre- also objective, naturalistic, and in- andvelopmentiningMax thisdyes posters, not brilliantly haveonly of clothing,the inhelped painting,new colored artistsandintense buthousehold style. such alsocolors, asin design- Peterobjectsinks, interiorRococphotographic.18th century decoratingo which found representedA gay, in France delicate, a reaction in refinedthe style of art and decorativePurism and fantasticA movementaspects of thatCu- rejected the overly linearreducedagainst forms the many heavy of ofthe Baroquethese Baroque elaborate, style, to abut smaller which curvi- 75 scale.courtto light, life frivolous, during that rather period. artificial views of In painting, this style was devoted Artists: Jean Socialin 1932 Realism when the governmentThe official resumed style the of Soviet art established andAntoineRomanticism Francois Watteau, Boucher. Jean HonoreA 19th-century Fragonard, movement which arose theactivitysponsorshipIts Organization chief originally characteristics and performed are: by Proletcult, - An emphasis on social commentary; forsupervision Proletarian Culture. of Vultural ofthatspiritaspersonal, thesea agereaction artists.was dramatic, oftenagainst The embodied Romanticists emotionalNeoclassicism. in statementsthe created work The of revolution which characterized sculpture,tationalA productFunctionalismgenerally approach design; conservative, and to altered in architecture within painting and represen- recent and Theodoreleadingandarythrough subjectthe figuressculptortheGericault matter.use in ofAntoine thisand historic,In France,movement.Eugene Louis exotic, theDelacroix,Barye painters or wereliter- In Eng- Suprematism . A nonobjective art movement begunyearsmentation in by a limited and abstraction. degree of experi- SocialistTurner.land, the Realism leading painterThe was artists J. try to mirror society, often M. W. mirMoscow Malevich, in 1913 who by pronounced Russian painter that:Objectsof Kasi-Reality color initself; in themselves art is the sensational are meaningless effect Jacobupwithlaughedleader. a satire.mirror Lawrence, at. Jackto the Levine corrupt (1915- political or civic His people are to be detested, not Other social realists such as Isaac Soyer, and John ) holds - Feeling is conceivedworthless;andtheThrough decisivethe ideas basic in factor; terms of forms the andof conscious and"pure simple feeling," mind, colors vieraAlfaromanment,Sloan sympathy. depictneverthelessSiqueros social The(1898- conditions revealingMexican withoutartists a broad David corn- hu- (1886-1957), and Jose ), DiegoClemente Ri- TatlinmateMalevich's expressionand AlexanderWHITE of ON Rodchenko WHITE was were thearttion alsoulti-arrives or Suprematism. at nonobjective representa- his thesis. Vladimir Margoulies,OrozcoEdwardliticalideological change. (1883-1949) instruments Artists: use George totheir bring Tooker,painting about Berta aspo- Hooper, Ernest Aaron Barlach, Bohrod, Louis William Bosa, SuprematistsSovietdroveftarictionalist/productivistassociated them proscription withto went Constructivism. the to inParismovement, 1922, where many theybut of theircon- the leanings After the soon 76 eralGropper,termed members SocialGeorge of Realists. Grosz,The Eight Ben might Shahn. also be Sev- Abstraction.tributed to the development of Geometric creativeSurrealism writing A movement derived from a mode of defined by experimenter Denmark,ers in Brussels, Japan, Prague, and the Belgrade, United States. , Vort ic ism A branch of Futurism founded in England Andre. Breton. as "pure psychic, automatismfree from any control by the reason, inde- Synthetic Cubism The label given to a form of Cubism de- whichtheby Wyndham central advocates clause Lewis "a incleanin Boccioni's1912 sweep and named manifesto, from . . of all Apollinaire."pation."pendent Namedof anywho esthetic "in had homage used or moral the to Guillaume word in preoccu- Grisveloped and/or between Fernand 1914 Leger. and 1918 by JuanGris combined "the 'composition after derstale. to and express threadbear the. vortex subject-matter of modern in." lifeIts chief adherents were William Rob- or- tionalManifesto,""liberatelauncheddescribing associations" pictorialin the one 1924 movement of withhisideas and plays,the to from attempted"First and their Surrealist officially tradi- use spontan- to frameworkofLegerimposingnature' the picture "invented with forhis thespace" subject autonomous a space by upon planning without it. structure the his painting and then per- lishedHenriC.erts, Frederick Gaudier -Brzeska; Etchells, Edwardits credos Wadsworth,R. W. Nevinson, Jacob Epstein, andin two issues of an item called were pub- employedtasiesrealistaseous a sourceimpulses worksof adreams deliberate ofeither fromcreativity. and depictedthe strategy trancelike subconscious the of psycho-quietstates mind fan- In general, Sur- or alwaysSyntheticthe arbitrary within Cubism use wasof color characterized and texture,cizedspective but elements." :n which he set his geometri- its own logic of form and by tors,smallstract"Great"Blast"; by group the English and time of itswriters, it worksendedVortex" painters, inwere involved1915, primarily and the sculp-only ab- and nonobjective. Although move- the a acterizedexperiencingtomarylogical habits shock by: the ofintended work."perception- toA restructurekind in the of "superact "cus- of realism" within an They were char- paintingceptionTrompespace. of so I'oeilthe detailed eye," isand applied photographicallyThis Frenchto term, which means "de- a type of Italianbinedment had Futurism succeeded to British in bringing art_ the influences of French Cubism and com- - Unnatural juxtapositionsThetionspellent,atmosphere illusion of images;irrationality: of ofand infinite haunting, combina- space; sometimes re- sionisticthantherealistic of objects of painted.reality. Magic that portrayed Trompe The Realismthe painterobserver l'oeil are and creates is"actual" oftenmight thefeel a character- an ele- rather thatillu- Its luteAnsuchSomechief freedom as of the exponentsthe use earlierof theof found Dadamind.were objects;foundertechniques, andBretonunderlying concern forthe abso- Harnettment used and in Aaron Surealism. Bohrod. Artists: William andBunuel,Picabia,Ernst. SalvadorL'AGE whose Joan D'OR Dali, LE Miro, (1931)Giorgio CHIEN and deANDALOU filmmaker Chirico, (1929)Max Luis Yves Tanguy. Hans Arp. are "Surrealist Francis AndreLatermanifestations Masson, Giacometti, of the most and typical other paint- kind." adherents include Rene Magritte, 77 .

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'Iv ' SELECTED SOURCES OF M wideresources,to schools. variety ofsupplementing educational materialsthem with andslides, servicesMuseums, at little or no cost Teachers are encouraged to makegalleries, extensive use of local and similar nonprofit prints, RIMS AND Sinstitutions RVICES replicas, etc.,offer of a Albright-Knoxsignificantprisesfrom such as those nationally Art Gallerylisted recognizedbelow. institutions and commercial enter-' but otherwise inaccessible works which can be secure Munson-Williams-Proctor Institute Boston,BostonBuffalo, MuseumMass. New 02100York of Fine 14200 Arts MuseumUticaNewBroadway New York, of York theandNew American 13501155th York 10032Street Indian ChicagoChicago,Brooklyn,Brooklyn Art Museum New Institute York 11238 III. 60600 MuseumNew11 WestYork, of Modern 53dNew Street York Art 10020 DeDetroit, Young Museum Mich. Museum 48200 PhiladelphiaWashington,NationalPhiladelphia, Gallery Museum D. Pa. C. of 2000019100 Art 5thGuggenheimSanGolden Avenue Francisco, Gate &MuseumPark 89th Calif. Street 94118 SterlingSeattle,Seattle Art Wash.& FrancineMuseum 98102 Clark Institute Washington,DivisionLibraryNew York, of of Congress NewD.Fine C. YorkArts20000 10021 WhitneyNew22Williamstown, West York, Museum 54th New Mass.Street Yorkof American 01267 10020 Art 5thNewMetropolitan Avenue York, &New 82dMuseum York Street 10028 of Art 4525WilliamKansas Oak R. City,Street Nelson Mo. Gallery64111and of ArtMary Atkins Museum of Fine Arts 79 COMMERCIAL PRODUCER/SUPPLIERS SLIDES Santa2211BFAEducational Educational Michigan Monica, Audio Calif.Avenue Media Visual 90404 Inc. ResearchBaldwin,650Prothman Thomas New Media,Associates, Avenue York Inc. 11510 Inc.* New711LearningPleasantville, York, Corporation New New York York 10022of 10570America Fifth Avenue 4 4Sandak,Hicksville,Midland East 48th Inc.*Avenue New Street York 1180i 330McGraw-HillNew West York, 42d Inc.New Street York 10036 UniversalNew136 York, West Color New 32d Slide YorkStreet Co. 1000110017 ArtexBox Prints,70 Inc. PRINTS 650Prothman Thomas Associates, Avenue Inc. Westport.Greenwich.New York Conn. Graphic Conn. 06880 06830 Society, Inc.* NewShorewoodBaldwin.724 York. Fifth New New AvenueReproductions, York York 11510 10019 Inc. Oestreicher's43PennNew West York,Prints 46th Prints New Street York 10026 SocietyChicago.1345 for West Visual Diversey Education Parkway III. 60614 80 221WilhamNew Park York, Penn Ave. New Publishing So. York 10003 Co. Cambridge.HarvardUniversity15 Brattle Square Prints Mass.Street 01922 Library Filmstrip Center FILMSTRIPS Wit rilr,t. i. ' 1 Life Filmstrips I ft ii; Ir1i'tc1 Yrk N, . f I h I. It BI,itrvtIt.Art Education Ntw York ' AUDIOVISUAL PROGRAMS VitlitTwoHumanities, H(,ll,ind Inc. Ntvv York ',)(303 VicstWarren Schloat Productions Nt,w, Y trr REPLICAS OF MUSEUM SCULPTURES ('" Austen30AlvaLong 30 Museum NortltrnI,LDisplays. Replicas, Blvd Inc. Inc. id C.Iy. New York 11101 MuseumNry133 Wt.,,t Pieces, Vit,st York l')!! Strr'et StreetYnrk 10011Inc. Ntw York. N, v. York !(1001 . DAVID by Mir :!.',icl14) DE MIA. F LOH.f NC.E Bubbarrr,tt. Mdrbie ACCA I the range arid type of published material available forThe use following in Movements list of books and periodicals is intended to suggest REFERENCES Al Isom),and Trends Bruce. in the World of Art, Study of architectural history. Praeger. BOOKS 1970. AsiaBill HouseIn, Germain. Masterpieces The history of Asian of world art sculpture.ciety. House.New York Graphic So 1968. 1970. in American collections. Asia Cheney.Canaciay. Sheldon. John. Mainstreams Expressionism of modern in art: rev. art. ed. 1959. A new world history of art; rev. ed. Viking Press. Holt, Rinehart & Winston. Liveright. 1956. 19/0. Craven.Day°, Maxim. Wayne. Twenty Sculpture centuries in America. of great Crowell Europeaneright. paintings. A primer of modern art; 1970. rev. ed. Prentice Hall 1968. 1965. Sterling. Liv Faulkner. Ray. Edwin Ziegfeld. & Gerald Hill & 1957.Winston. 1963. Art today. Holt. Rinehart 1967. Gardner.Fleming.Feldman. WilliamE.Helen. B. Art through the ages: rev ed. 1968. Art as image. and idea. Arts and ideas: rev. ed. Prentice Hall. Holt. Rinehart & Winston.Harcourt Brace. 1970. 82 1.1rom fl Vy History of art: The new painting. rtNo fd l'r,rhtit t FLO! 1,1wo f )1 i!,s1 r 1 it %. A concise history of painting, trim. Giotto to Clanti MaillardI .y r Riibert The visual experience. Prritil e 11.111Tudor history of painting in 1000 color reproduc- 1963 Niwihlytrri.ltri(!tcw,it.' &tion, \,%/tri-,tori Alfrtcf !odor ()Arne! Search for meaning1' 0;1 in maA history'ern of American art: ftV ed art. Holt. RinehartPrentice Hall. hitWrt 3 A concise history of modern sculpture. Praeger 196.1. SiVi.itttr,,onSieber. llinnllr Arnold Tex t book .Joenti A The1 sculpture of black Africa.Art search andArchitecture: self discovery: a short rev history. W W. Norton. Bo'-ton Book. ed. International 1968. 1968. ArtArchitecturalAmericanPERIODICALS in America Artist Forum CraftArtsArtArt International NewsJournalHorizons 83