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Chapter 11 • Medium: material that pigments are suspended in • Binder: holds the particles together (glue) • Support: in painting what the artist on • Transparent: that can be seen through • Opaque: paint that cannot be seen through • Ground: primer used to even the surface of the support, even application • Solvent: thinner that allows for paint to flow easier 1. Painting as the ability to copy during the 2. La Pittura: personification of Painting 1. Why is this important?

Title: The Art of Painting Source/Museum: Vault of the Main Room, , Casa Vasari. Canali Photobank, Capriolo, Italy. Artist: Giorgio Vasari Medium: Date: 1542 Size: n/a La Pintura 1. Representation 1. Herself 2. La Pittura 1. Why this representation? 2. Pendent: symbol of imitation 3. Accurate representation 1. Representation of nature through artist eyes 4. Portrayal 1. Real women 2. Idealized personification 5. Copy work or creative? 6. Equal to Leonardo and ? 7. : Painting the Nature 1. Zeuxius Vs. Parrhasius 1. Zeuxius: paints grapes and birds come down to eat them 2. Parrhasius: paints a curatian and Zeuxius asks him to remove the curtain so he can see the painting

Title: Self-Portrait as the Allegory of Painting Source/Museum: The Royal Collection © Her Majesty Queen Elizabeth II. Artist: Artemisia Gentileschi Medium: Oil on canvas Date: 1630 Size: 35 ¼ x 29 in. Encaustic Encaustic Encaustic 1. Combining pigment with binder of hot wax 2. Funerary portraiture from Faiyum 60 miles South of Cairo 3. Real person 1. Naturalistic sensitive depiction of the face

Source/Museum: Albright-Knox Art Gallery, Buffalo, New York. Charles Title: Mummy Portrait of a Man Clifton Fund, 1938. Artist: n/a Medium: Encaustic on wood Date: c. 160 – 170 CE. Size: 14 x 18 in. Encaustic Fresco

• Greek and Classical deal with the representation of real objects: nature • European Fresco deals with the illusion of space Fresco Fresco 1. Buon fresco 1. Limewater ( and slaked lime) 2. Fresco Secco 1. Binders of yolk, oil, or wax

3. Naturalistic depiction 4. Life size 5. Breaking the picture plane 6. Mt. Vesuvius eruptions in 79CE near the city of

Title: Still Life with Eggs and Thrushes Source/Museum: Villa of Julia Felix, Pompeii, National Museum, Naples. Scala/Art Resource, New York. Artist: n/a Medium: Fresco Date: Before 79 CE. Size: 35 x 48 in. Fresco

Title: The “Toreador” Fresco Artist: n/a Date: c 1500 BCE, , Fresco Secco

Figure 22-4 , , ca. 1495–1498. Oil and on , 13’ 9” x 29’ 10”. Refectory, Santa Maria delle Grazie, Milan. 10 Fresco Secco

Figure 22-4 LEONARDO DA VINCI, Last Supper, ca. 1495–1498. Oil and tempera on plaster, 13’ 9” x 11 29’ 10”. Refectory, Santa Maria delle Grazie, Milan. Buon Fresco

1. Arena Chapel : built on ancient Roman arena ruins of an amphitheatre 2. Barrel vaulted: 3. Story of Mary and Jesus 4. Gesso made of gypsum 5. Tempera; powdered pigments, egg yolk, little and sometimes glue 6. (gray monochrome ) 1. Resemble sculpture and relief 7. Christian pictorial cylcels (38) 1. Life of Virgin and her parents, Joachim and Anna (top register, level) 2. Life of Jesus (middle) 3. Passion, Crucifixion, and Resurrection (bottom) 4. on west wall over entrance 8. Medallions: Christ, Mary and Prophets

Figure 19-1 di Bondone, Arena Chapel (Cappella Scrovegni; interior looking west), 12 , Italy, 1305–1306. Artist: Giotto di Bondone Title: Marriage at Cana, Raising of Lazarus, Resurrection, and Lamentation Medium: Frescoes Size: Each scene approx. 6' 5” x 6' (2 x 1.85 m) Date: 1305-6 Source/ Museum: North wall of Scrovegni (Arena) Chapel, Padua Buon Fresco

1. Off center for emotional effect 1. Emphasis 2. Focus 2. Barren land 1. Death 3. Virgin in mute intensity 1. Intensity of the scene 4. Convulsive despair 1. John the Evangelist 5. Real human suffering 6. Foreshortened 1. Hysterical grief 7. Tree of knowledge (good and evil) 8. Stagecraft 1. Figures with back turned 2. Set places. 3. Fore ground to background 4. Emotion 9. Chiaroscuro to show depth: 10. Mystery Plays holy representations Stages (stages of the cross) 11. Giornatta: a days work while painting a fresco

Title: Lamentation Source/Museum: Arena Chapel, Padua, Italy. Scala/Art Resource, New York. Artist: Giotto Medium: Fresco Date: c. 1305 Size: Approx. 70 x 78 in. 1. Foreshortening 2. Architectural illusion

Title: The Glorification of Saint Ignatius Source/Museum: Nave of Sant' Ignazio, . Scala/Art Resource, New York. Artist: Fra Andrea Pozzo Medium: Ceiling fresco Date: 1691-1694 Size: n/a 1. Athena and Apollo 1. Arts and wisdom 2. Portraits 1. and 2. Euclid (mathematician) 1. Theorem 3. Bramante 4. Zoroaster and Ptolemy 5. Michelangelo 6. 7. Diogenes

3. Humanists vs. Scientist 4. Timaeus: 5. Nicomachean Ethics:

Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19’ x 27’. 16 Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19’ x 27’. 17 1. Creation, Fall, Redemption 2. Prophets, Sibyls, Religious Imagery 3. Narrative from Genesis 4. 12 old testament prophets 5. 12 sibyls or women of classical antiquity 1. Possessed prophetic powers 6. Preparation 1. Theme 2. Scaffolding 3. Drawings 1. Cartoon 4. Transcription of drawing with Stylus

Figure 22-18 Interior of the (looking east), , Rome, Italy, built 1473.

18

1. Spiral contrapposto

Title: The Libyan Sibyl Source/Museum: Detail of the Sistine Ceiling, Sistine Chapel, Vatican City. Canali Photobank, Capriolo, Italy. Artist: Michelangelo Buonarroti Medium: Fresco Date: 1511-1512 Size: n/a Title: Study for the Libyan Sibyl Source/Museum: Metropolitan Museum of Art, New York. Purchase, Joseph Pulitzer Bequest, 1924 (24.197.2). Photo © 1995 Metropolitan Museum of Art. Artist: Michelangelo Buonarroti Medium: Red chalk on paper Date: c. 1510 Size: 11 3/8 x 8 7/16 in.

Tempera

• Medium made by combining water, pigment, and some gummy water, usually containing egg yolk • Cannot be blended • Hatching was used for blending and volume (chiaroscuro) • Gesso: ground used for tempera on wood panels containing glue and plaster of Paris, chalk 1. Realism? 2. Problems of Scale 3. Drapery 4. Depiction of face and head 5. Mimesis: representations that transcend mere appearance; sacred or spiritual essence 6. Didactic function: ability to teach and 1. Connotation: transcends the meaning of what is there 2. Denotation: clearly before us 7. Support: 8. Opaque 9. Ground (pre- treatment) 10. Solvent 11. Vehicle

Title: Madonna and Child Enthroned Title: Madonna Enthroned Artist: Giotto Artist: Date: c.1310 Date: c. 1280 Source/Museum: Galleria degli , . Source/Museum: Galleria degli Uffizi, Florence. Scala/Art Resource, New Medium: Tempera on panel York. Size: 10 ft. 8 in. x 6 ft. 8 ¼ in. Medium: Tempera on panel Size: 12 ft. 7 ½ in. x 7 ft. 4 in. Tempera: Glazing

1. Venus 1. Caduceus 2. Three Graces 3. Venus 1. Son 4. Chloris 1. Flora, goddess of spring 1. Floral Gown 5. Zephyrus 1. West wind

Title: Primavera Source/Museum: Galleria degli Uffizi, Florence. Scala/Art Resource, New York. Artist: Medium: Tempera on gesso ground on poplar panel Date: c. 1482 Size: 80 x 123 ¼ in. Title: Braids Source/Museum: Private collection. © 1986 Leonard E. B. Andrews. Photo courtesy of Ann Kendall Richards, Inc., New York. Artist: Andrew Wyeth Medium: Egg tempera on canvas Date: 1979 Size: 16 ½ x 20 ½ in.

Oil Painting

• Best way to depict realistic three-dimensional forms • Binder: linseed oil • Solvent: turpentine • Qualities of – Can make modeling while on the surface of the painting – Can blend hues and tones on the painting seamlessly – Can work with big, bold, and energetic brush strokes • 1st used by Romans for furniture • 15th Century used for Painting in Flanders Oil Paint: Glazing 1. Religion and everyday life 2. Book, lilies, screen, towels: purity and divine mission 3. Mousetrap: Christ as bait 4. Flower of humility 5. Peter Inghelbrecht ( bringer)/ Scrynmakers (cabinet or shrine makers) 6. Triptych: painting usually an altar made of three panel which can be closed 7. Small in size: portable and probably used for private worship

Figure 20-4 ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on wood, center panel 2’ 1 3/8” X 2’ 7/8”, each wing 2’ 1 3/8” X 10 7/8”. Metropolitan Museum of Art, New York (The 30 Cloisters Collection, 1956).

Title: The (The Mérode Altarpiece) Artist: The Master of Flémalle (probably Robert Campin) Date: c. 1425 – 1430

Source/Museum: Metropolitan Museum of Art, New York. Cloisters Collection 1956 (56.70). Photo © 1996 Metropolitan Museum of Art. Medium: Oil on wood Size: Triptych. Central panel: 25 ¼ x 24 7/8; Each wing: 25 3/8 x 10 ¾ in. Trompe L’oeil

1. Feast for the eyes 2. Glazing: layers of transparent paint to make luminous effect 3. Trompe l’oeil: deceit of the eyes 4. Deliberate display of wealth

Source/Museum: Toledo Museum of Art, Toledo, Ohio. Purchased with funds Title: Still Life with Lobster from the Libbey Endowment, Gift of Edward Drummond Libby. Artist: Jan de Heem Medium: Oil on canvas Date: Late 1640's Size: 25 1/8 x 33 ¼ in. 1. Feast for the eyes 1. Breakfast pieces 2. Glazing: layers of 2. Still life : dead nature transparent paint to make 1. Inanimate objects artfully arranged luminous effect 3. Trompe l’oeil: deceit of the eyes Figure 25-6 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1 1/4”. Museo del Prado, Madrid. 34 Vanitas Paintings

• Vanity – Vanity or frivolous existence of human life Vanitas Still Life

Title: Still Life or Vanitas (tulip, skull, and hour glass) Source/Museum: Musée de Tessé, Le Mans, France. Photo: Giraudon/Art Resource, New York. Artist: Philippe de Champaigne Medium: Oil on canvas Date: n/a Size: 11 ¼ x 14 ¾ in. Vanitas Still Life

Title: Parrot Tulip Artist: Robert Mapplethorpe Date: 1985

Source/Museum: © 1985 Estate of Robert Mapplethorpe. Medium: n/a Size: n/a Vanitas Still Life 1. Realism Vs. Abstraction 2. Local Color of Objects in the refrigerator 3. Detail within the environment 4. Expressive of the artist’s mental or emotional conception of the world

Oil Painting and Its Expressive Potential • Oil can record the brush strokes • Record of the artist’s presence Title: Biker Artist: Susan Rothenberg Date: 1985 Source/Museum: Museum of Modern Art, New York. Fractional gift of Paine Webber Group, Inc., 1986. © 2003 Susan Rothenberg/Artists Rights Society (ARS), New York. Medium: Oil on canvas Size: 74 x 69 ½ in. Oil Abstraction

Title: Dancing Shoes Source/Museum: Courtesy of the artist and Elizabeth Harris Gallery, New York Artist: Pat Passlof Medium: Oil on linen Date: 1998 Size: 80 x 132 in. Oil and Hyper Realism

Title: Betty Artist: Gerhard Richter Date: 1988

Source/Museum: The St. Louis Art Museum, St. Louis, Missouri Medium: Oil on canvas Size: 40 1/8 x 23 3/8 in. Watercolor as Painting Media

• Most expressive painting mediums • Water and Gum Arabic • Xu Wie (shoo Way) – Xie yi: sketching idea • Aim to capture the essence of nature • Deemed as a form of Drawing Expressive Quality of Watercolor • Ink in water with gelatin and alum – Gelatin Collagen from animal skin and bones • Gelling agent, binder – Alum: • Xu Wei: tormented – Attempted suicide 7 times – Murdered His wife and went to Jail

Title: Grapes Artist: Xu Wei (shoo way) Date: 1988 Qualities of Water Color

1. Transparent 1. Washes 2. White spots on coral limestone are the reserve 3. Focal point: poinsettia plant 4. 1828 introduced to US 5. Intrusion and Privacy 1. Cultural division between the tourist and local population 2. Boat: freedom and wealth 3. Shards of glass

Title: A Wall, Nassau Source/Museum: Metropolitan Museum of Art, New York. Amelia B. Lazarus Fund, 1910 (10.228.90). Photo © 1995 Metropolitan Museum of Art. Artist: Winslow Homer Medium: Watercolor and pencil on paper Date: 1898 Size: 14 ¾ x 21 ½ in. Watercolor Studies

1. Water color droplets 2. Pink Melon Joy 1. Gertrude Stein writing 2. Reminiscent to water droplets dropping from the mouth of and individual eating honeydew melon 3. Sensuality of the act and of the medium itself in this case water color

Title: Ruby Dew (Pink Melon Joy) Source/Museum: Courtesy Stephen Wirtz Gallery, San Francisco, and the artist Artist: Laurie Reid Medium: Watercolor on paper Date: 1998c Size: 192 x 240 in. Title: Ruby Dew (Pink Melon Joy) detail Artist: Laurie Reid Date: 1998c Gouche (gwawsh)

• Meaning to puddle (Italian guazzo) • Watercolor mixed with Chinese white Chalk • Opaque • Difficult for blending – Better used for large flat areas 1. Distortion of Scene 1. Tipping over 2. Unbalance 3. Drunken 4. Two- dimensionality

Source/Museum: From the Harlem Series, Portland Art Museum; Portland, Oregon. Helen Thurston Ayer Title: You can buy bootleg whiskey for twenty-five cents a quart Fund. Artwork. © 2003 Gwendolyn Knight Lawrence, courtesy of the Jacob and Gwendolyn Lawrence Foundation. Artist: Jacob Lawrence Medium: Gouache on paper Date: 1942-1943 Size: 15 ½ x 22 ½ in. Synthetic Media

• First artists to use it were Alfaro Siqueiros and and Jose Clemente for Revolutionary Art in Mexico – Nationalism in Mexico Between the two world wars – Emiliano Zapata and Pach Villa “land, liberty, and justice” – Imagery based on Mexican political and social life

• Painting outside in the elements – Oil took to long to dry and tempera dried to fast 1. Original destroyed by Nelson A. Rockefeller (41st Vice President under Gerald Ford) after Diego refused to remove Lenin from the mural 2. Steer between evils of capitalism and the virtues of communism 3. WW I military 4. Lenin with workers of many cultures 5. Syphilis and of New York

Source/Museum: Whitney Museum of American Art, New York. Purchased with funds from the Friends of the Whitney Museum Title: Man Controller of the Universe of American Art, 68.12. Artist: Diego Rivera Medium: Synthetic polymer on canvas Date: 1934 Size: 124 x 140 in. Title: American Progress Artist: Jose Maria Sert at 30 Rockefeller Plaza, New York /Photo by Jaime Ardiles-Arce Date: 19 Acrylic Staining

1. Acrylic: synthetic platic

Source/Museum: Whitney Museum of American Art, New York. Purchased with funds from the Friends of the Title: Flood Whitney Museum of American Art, 68.12. Artist: Helen Frankenthaler Medium: Synthetic polymer on canvas Date: 1967 Size: 124 x 140 in. Title: The Great Wall of Los Angeles, detail, Division of the Barrios and Source/Museum: Tujunga Wash, Los Angeles. Photo © Chavez Ravine SPARC, , California. Artist: Judith F. Baca Medium: Mural Date: 1976 – continuing Size: Height 13 ft. (whole mural more than 1 mile long)

Mixed Media: Collage 1. Introducing the Real into the 2-d space 2. Verisimilitude of painting 3. Using found objects 4. Collage: Gluing together printed matter, fabric, and anything flat onto a 2 dimensional surface 5. What is real and what is false

Title: The Table Source/Museum: © Philadelphia Museum of Art. A. E. Gallatin Collection. Photo: Lynn Rosenthal, 1993. © Artists Rights Society (ARS), New York. Artist: Juan Gris Medium: Colored papers, printed matter, charcoal on paper mounted in canvas Date: 1914 Size: 23 ½ x 17 ½ in. 1. Kaleidoscopic view 2. Ebony, Look, and Time magazines 3. The African- American experience in Modern America 1. Fragmentation 2. Unification 3. Finding Identity

Title: The Dove Source/Museum: Museum of Modern Art, New York. Blanchette Rockefeller Fund. © Romare Bearden Foundation/VAGA, New York. Artist: Romare Bearden Medium: Cut-and-pasted paper, gouache, pencil, and colored pencil on cardboard Date: 1964 Size: 13 3/8 x 18 ¾ in. Title: Study for Collage “Cut with the Kitchen Knife Dada through the Last Source/Museum: Staatliche Museen zu Berlin, Preussischer Weimar Beer Belly Cultural Epoch of Germany” Kulturbesitz Nationalgalerie. Photo: Jorg P. Anders, Berlin. Artist: Hannah Höch Medium: Ballpoint pen sketch on white board Date: 1919 Size: 10 5/8 x 8 5/8 in. Title: Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Source/Museum: Staatliche Museen zu Berlin, Preussischer Cultural Epoch of Germany Kulturbesitz Nationalgalerie. Photo: Jorg P. Anders, Berlin. Artist: Hannah Höch Medium: Collage Date: 1919 Size: 44 ⅞ x 35 7/16 in. Painting toward Sculpture

• Extending the space of art

Title: Springs Upstate Artist: Marcia Gygli King Date: 1990-93 Title: The Kitchen Artist: Patricia Patterson Date: 1985 Irish essence of the Hernon family Ktichen From Painting to Sculpture • Liberating the goat from the prison that is wall paintings

Title: Monogram, 1st State Source/Museum: © Robert Rauschenberg/Licensed by VAGA, New York. Photo: Harry Shunk. Artist: Robert Rauschenberg Medium: n/a Date: n/a Size: n/a Source/Museum: © Robert Rauschenberg/Licensed by VAGA, Title: Monogram, 2nd State New York. Photo: Rudolph Burckhardt. Artist: Robert Rauschenberg Medium: n/a Date: n/a Size: n/a Combine-Painting: High Relief Collage

Title: Monogram Source/Museum: © 1996 Robert Rauschenberg/Licensed by VAGA, New York. Artist: Robert Rauschenberg Medium: Freestanding combine: oil, fabric, wood, on canvas and wood, rubber heel, tennis ball, metal plaque, hardware, stuffed Angora goat, rubber tire, mounted on four wheels Date: 1955 – 1959 Size: 42 x 63 ¼ x 64 ½ in. Source/Museum: American Fund for the Tate Gallery and the collection of Title: Airborne Event John and Amy Phelan, fractional and promised gift. Artist: Fred Tomaselli Medium: Mixed media, acrylic, and resin wood Date: 2003 Size: 84 x 60 in.