Painting Choices Fall 2012 Peasant Wedding Pieter Bruegel

Painting Choices Fall 2012peasant Wedding Pieter Bruegel The Elder

Painting Choices----Fall 2012 Peasant Wedding , Pieter Bruegel the Elder, 1567, oil paint on wood panel Woldgate Lane to Burton Agnes , David Hockney, 2007, oil on canvas, two panels The Virgin of Humility , Fra Angelico, , tempera on wood panel The Castle of Tin Tin , Takashi Murakami, 1998, acrylic on canvas mounted on board The Rocky Mountains, Landers Peak , Albert Bierstadt, 1863, oil on canvas Portrait of Marie-Antoinette , Elisabeth Vigee-Lebrun, , oil on canvas Rubric for Evaluation of Critique #1 Critique #1 will be graded according to the rubric below. The number to the left is the highest number of points given for each section of the critique. Points 5 Title Page: Followed the example of the title page; include all information in the example. (Your name, Art 100, due date, Critique #1, Professor’s name, Analysis of :) 15 Description: Described the work of art in your own words so that someone could visualize it from your description. 10 Medium: Described the medium (type of paint and surface material) and why you think the artist chose this particular medium. 10 Style: Identified whether the painting you chose to write about is representational, abstract, or non-objective and explain why you chose that description. Discussed the historical time it was painted. 20 Four Elements/ Principles: Discussed at least four (4) elements and/or principles of design in your critique explaining how each is used in your chosen work of art. Used the vocabulary discussed in class and in your text. 10 Personal: Explained why you chose this particular work of art from those available. Discussed such matters as: What is it about this work that appeals to you or displeases you? How does the painting make you feel? What does it remind you of? 15 Content: These points reflect the overall success of your critique. Did it flow easily from one point to the next? Did your sentences make sense? Did you have redundant ideas? Did your critique make sense? 15 Editing: Points will be deducted for errors in spelling, grammar, and punctuation. Please edit your paper carefully. 100 Total points possible Please scroll down for Points Taken Off For: POINTS TAKEN OFF FOR: -100 Papers not turned in as an attachment in the correct format. Do not write your critique directly onto Bblearn! -100 Any papers found to be copied from any source is also considered a failure. This is plagiarism! This is easy to check on! -10 Lack of in-text citation (-5) or Works Citation Page (-5) using the MLA format: When you use a quotation or information from a book or Internet site, you must include in-text citations and a works cited page with your critique citing the source of the information or quotation. This includes paraphrasing. It is necessary to do research to write an excellent critique. When you do research, it must be listed on a Works Cited page in MLA Style. - 5 Using Wikipedia as a cited source. -20 Number of Pages: The written portion of your critique (not including the title page or works cited page) must be at least 1.5-2.5 pages long, double-spaced, in 12 point Times New Roman font (no bold type), with no extra space at the top or bottom of the page or between paragraphs. If the critique does not meet these criteria, 20 points will be deducted from your overall critique grade. Please do not exceed four (4) pages in length (not including the title page or works cited page). THE FORMAL ELEMENTS Line – · Includes actual lines, implied lines, lines formed by edges, directional lines, and lines forming pattern, texture, shading, and contour lines creating modeling · Strictly defined: a line is a path traced by a moving point · Can be organic or straight · Popular among artists utilizing contour lines such as Matisse Shape – · A two-dimensional area having identifiable boundaries, created by lines, color or value changes, or some combination of these · Form: deals with composition and the physical appearance of a work of art relating to materials and style Mass – · Three-dimensional form, often implying bulk, density, and weight Light – · Actual light, illusion of light · The contrasts created by light and darkness (related to value) · The origin of light and how that effects the interpretation of the work · Rembrandt is well known as a painter of light. He uses small beams of light as emphasis in his paintings, creating shadows. He plays with light in such as way so that the light itself actually becomes a character in the painting. Value – · Refers to light and dark, chiaroscuro (movement or gesture of light and shade) · The gradation of a gray scale or hue, tint and shade Color – · Local color, emotional qualities of color (the mood), color schemes · Analogous color, monochromatic color, triads, polychromatic color, absence of color Texture – · Can be actual or implied through medium, style, composition, value, color, pattern, etc. Pattern – · Any decorative, repetitive motif or design · Can create visual texture Space – · Can be 2- or 3-dimensional, may refer to the illusion of space or depth on a 2-dimentional surface (i.e. perspective) · The area behind the shape, the background · Architecture: appreciating the sculptural masses from the outside, while walking through the shaped space from the inside · The void within boundaries · “The works of art take their character from the ways in which they carve out volumes of space within and around them.†(Gilbert’s Living with Art – 6th ed.) Time – · Variations of light to indicate a time of day · Popular with Impressionists like Monet (He enjoyed making studies of the same environment or object at different times of day. He believed that each shift in light created a different subject, as though there were no continuing reality but only a collection of moments.) Motion – Implied or actual kinetic energy, dynamism Popular with Futurists in the early 20th century such as Balla, Calder, and Boccioni due to inventions such as the automobile and airplanes. PRINCIPLES OF DESIGN Unity – · A sense of oneness, a coherent whole · Appears almost always with Variety. Artists strive to find just the right point on the spectrum – the point at which there is sufficient visual unity enlivened by sufficient variety. Variety – · Differences that create interest Balance – · Can refer to symmetrical, asymmetrical, radial, or actual physical balance, such as in sculpture · Also refers to the visual weight of a piece, the distribution of parts around an axis or point Emphasis and Focal Point – · Can be a center of interest, an area emphasized by directional forces, color, proportion, etc. · Works with Subordination Subordination – · Certain areas of the composition are purposefully made less visually interesting, so that the areas of emphasis stand out · Can be just as visually stimulating as the Focal Point, but fades to create an atmosphere or backdrop to the subject matter Proportion – · Relative sizes of objects within the image itself Scale – · Size of the work of art in relation to external objects in its environment · Outrageous scale is evident in the work of Claes Oldenburg and Coosje van Bruggen – Plantoir. Rhythm and Repetition – · Refers to visual rhythms, repetition of elements in color, shape, size, etc. · Can be related to Pattern · An example would be to try to paint music, what kind of patterns and rhythms would need to be present to convey that message? – Lorna Simpson’s Easy to Remember How to Write an Art Critique Tips for Earning an A This is an example of the painting critique but the basic rules apply to the sculpture critique too. The Painting: Title Page: What to Do Title Page: What NOT to Do Description: What to Do Description: What NOT to Do Medium: What to Do Medium: What NOT to Do Style: What to Do Style: What NOT to Do Elements & Principles: What to Do Elements & Principles: What NOT to Do Personal: What to Do Personal: What NOT to Do Citation: What to Do Citation: What to Do Here are some common features you should try and find before citing electronic sources in MLA style. Not every Web page will provide all of the following information. However, collect as much of the following information as possible both for your citations and for your research notes: Author and/or editor names (if available) Article name in quotation marks (if applicable) Title of the Website, project, or book in italics. (Remember that some Print publications have Web publications with slightly different names. They may, for example, include the additional information or otherwise modified information, like domain names [e.g. .com or .net].) Any version numbers available, including revisions, posting dates, volumes, or issue numbers. Publisher information, including the publisher name and publishing date. Take note of any page numbers (if available). Medium of publication. Date you accessed the material. URL (if required, or for your own personal reference; MLA does not require a URL). Aristotle. Poetics. Trans. S. H. Butcher. The Internet Classics Archive. Web Atomic and Massachusetts Institute of Technology, 13 Sept. 2007. Web. 4 Nov. 2008. Citation: What NOT to Do Do NOT simply put: Google.com Wikipedia.org Art Book Internet