A World of Art - Chapter 3 and 4

Autographic Line

Any use of line that is distinct to the designer who employs it and is therefore recognizable as a kind of ‘signature’ style. 

Colorito

A term applied to painting in which color is employed in a dominant manner, for sensual expressive purposes and as an important compositional element. 

Contour Line

The perceived line that marks the border of an object in space. It is used to define the edges, ridges, and corners of objects, giving them a three-dimensional look.

Disegno

A term used to describe the representation of the ideal form of an object in the visual arts, especially as expressed in the linear structure of a work of art.

Implied Line

 A line created by movement or direction, such by pointing a finger, the direction of a glance, or a body moving through space. 

Line

A mark left by a moving point, actual or implied, and varying in direction, thickness and density.

Outline

The edge of a shape or figure depicted by an actual line drawn or painted on the surface. It defines the shape of an object in two dimensions and is always at the edge. 

Visual Hierarchy

The arrangement elements in a way that implies importance. It influences the order in which the human eye perceives what it sees.

Frontal Recession

 In perspective, when the lines recede to a vanishing point directly across from the vantage point.

Impasto

 A painting technique wherein paint is thickly laid on a surface, so that brushstrokes or palette knife marks are visible. 

Intuitive Perspective

A method of giving the impression of recession by visual instinct, not by the use of an overall program system.

Linear Perspective

A form of perspective in drawing and painting in which parallel lines are represented as converging so as to give the illusion of depth and distance. 

Vanishing Point

The point on the horizon line where parallel lines appear to converge.

Vantage Point

The point where the viewer is positioned. 

Titian

Assumption and Consecration of the Virgin = 1516-18

Henri Fuseli

Oedipus Cursing His Son Polynices = 1786

Vincent van Gogh

The Starry Night: 1889

Sower: 1888

Wenda Gu

United Nations-china monument: 1998

Jacques-Louis David

The Death of Socrates: 1787

Eugène Delacroix

The Death of Sardanapalus: 1827

Henry Fuseli

Oedipus Cursing His Son Polynices:1786

Jasper Johns

 Numbers in Color: 1958-59

Jackson Pollok

Number 30: 1950

Pat Steir 

The Brueghel Series: A Vanitas of Style 

Sol LeWitt

Wall Drawing No. 681

Rembrandt van Rijn

The Three Crosses

Disegno

Line = structure and control

Colorito

 Color = emotion and atmosphere

Julie Mehretu

Berliner Plätze: 2008-09

 Ellsworth Kelly

Three Panels: Orange, Dark Gray, Green: 1986

Martin Puryear

 Self: 1978

Donald Sultan

 Lemons: 1984

Hilma af Klint

Altarpiece

 Brunelleschi

Florence Baptistery: 1420

Remember: Brunelleschi proved that linear perspective can create realistic depth using a vanishing point and converging lines

Duccio

Annunciation of the Death of the Virgin: 1308-11

Remember: Early attempt at perspective (not accurate)

Masaccio 

Holy Trinity, Santa Maria Novella: 1428

Remember: First successful use of Brunelleschi’s perspective system

The Tribute Money: 1427

Leonardo da Vinci

The Last Supper: 1495–1498

Gustave Caillebotte

Paris Street; Rainy Day: 1876–1877

Stereoscopic Image

Man in Big Shoes

 Hiroshige

Moon Pine

Henri Matisse

The Red Room: 1908

Johannes Vermeer

Woman with a Water Jug: 1660-62

Cezann