World off art 8th edtion by henry m sayre chapter 04

 Julie Mehretu's Berliner Plätze features layers of place, space, and time that emerge from the flat shape of the canvas.. Linear Perspective1 of 4 • One-point linear perspective reli

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Shape and Space

4

Learning Objectives

is represented on a flat surface using perspective.

challenged the means of representing three dimensions on two-dimensional surfaces.

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• Shape is a two-dimensional area.

 Julie Mehretu's Berliner Plätze features

layers of place, space, and time that emerge from the flat shape of the

canvas.

• Perspective is a system that allows

the picture plane to function as a

convincing window into its subject.

Julie Mehretu, Berliner Plätze

2008–09 Ink and acrylic on canvas, 10 × 14' Commissioned by Deutsche Bank AG in consultation with the Solomon R Guggenheim Foundation for the Deutsche Guggenheim,

Berlin

© Julie Mehretu, courtesy of Marian Goodman Gallery [Fig 4-1]

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Museum commissioned a group of

works known as Grey Area, meant to

display ambiguous spaces.

contested issue, especially in an age where the Internet and cyberspace dominate our daily lives.

Shape and Mass

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Dark Gray, Green applies the shapes to

the gallery wall as though it were the canvas.

 The wall became the ground in the

figure–ground relation.

 Shapes between figures are known as

negative shapes, and the figures

themselves are positive shapes

Ellsworth Kelly, Three Panels: Orange, Dark Gray, Green

1986 Oil on canvas, overall 9' 8" × 34' 4-1/2 in Museum of Modern Art, New York.Gift of Douglas S Cramer Foundation, 776 © 2015 Ellsworth Kelly [Fig 4-2]

Rubin vase [Fig 4-3]

Shape and Mass

possess weight and density, but is

lightweight and made from wood.

Martin Puryear, Self

1978 Polychromed red cedar and mahogany, 5' 9" × 4' × 25" Joslyn Art Museum, Omaha.Museum purchase in memory of Elinor Ashton, 1980.63 © Martin Puryear [Fig 3-4]

Martin Puryear, Untitled IV

2002 Soft-ground and spitbite etching with drypoint and Chine-collé Gampi, 8-5/8 ×

6-7/8" Paulson Bott Press, San Francisco

© Martin Puryear [Fig 4-5]

The Creative Process

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Umberto Boccioni's Development of a

Bottle in Space

 Marinetti's Futurist movement called

for the beauty of speed.

 Umberto Boccioni asserted that no

object exists in space by itself, and is rather coexistent with its surroundings.

The Creative Process

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Umberto Boccioni's Development of a

Umberto Boccioni, Table + Bottle + House

1912 Pencil on paper, 13-1/8 × 9-3/8" Civico Gabinetto dei Desegni, Castello Sforzesco, Milan

© Comune di Milano All rights reserved [Fig 4-6]

Umberto Boccioni, Development of a Bottle in Space

1913 Bronze, 15-1/2 ×23-3/4 × 15-1/2" Metropolitan Museum of Art, New York.Bequest of Lydia Winston Malbin, 1990.38.© 2015 Image copyright Metropolitan

Museum of Art/Art Resource/Scala, Florence [Fig 4-7]

Negative Space

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Hepworth's Two Figures have negative

spaces carved into them.

 The left-hand figure especially seems to represent anatomical features.

generosity of the hospitable wunkirle

woman in the Dan people of Liberia, its belly "pregnant with rice."

Barbara Hepworth, Two Figures

1947–48 Elmwood and white paint, 38 × 17" Frederick R Weisman Art Museum,

University of Minnesota

Gift of John Rood Sculpture Collection © Bowness [Fig 4-8]

Feast-making spoon (Wunkirmian) Liberia/IvoryCoast.

Wood, Height 18-1⁄8" Private collection

Photo © Heini Schneebeli/Bridgeman Images [Fig 4-9]

Negative Space

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frame empty space.

Cathedral in France elicits a sense of

awe, particularly with the way that light fills the space.

featured a gallery bisected with a

yellow sheet of Mylar.

Nave, Reims Cathedral, France.

Begun 1211; nave ca 1220 View to the west

© Art Archive/Alamy [Fig 4-10]

Olafur Eliasson, Suney

1995 Installation view, Künstlerhaus Stuttgart, Germany

Courtesy of the artist, Tanya Bonakdar Gallery, New York, and Neugerriemschneider,

Berlin [Fig 4-11]

Representing Three-Dimensional

Space in Two Dimensions

of deep space in Deliverance.

 Overlapping images, such as the

helicopter atop a landing pad, imply that one object is in front of the other in

space.

• A shadow provides another visual cue.

 Finer lines on the landing pad draw the viewer inward.

Linear Perspective

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• One-point linear perspective relies

on a single point, or vanishing point,

on the viewer's horizon to represent

parallel receding lines.

across from the vantage point (where

viewer is positioned), the recession is

frontal; if it is to one side or the other,

it is diagonal.

Steve DiBenedetto, Deliverance

2003 Colored pencil and acrylic paint on paper, 30-1/8 × 22"

© Steve DiBenedetto, courtesy of David Nolan Gallery, New York, Collection of Morris

Orden, New York [Fig 4-12]

One-point linear perspective

Left: frontal recession, street level Right: diagonal recession, elevated position [Fig

4-13]

Linear Perspective

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large panels as well as smaller

compositions, such as the Annunciation

of the Death of the Virgin.

 The piece, despite Duccio's attempt to create a realistic space via intuition,

does not succeed in having a single

vanishing point.

Perspective analysis of Duccio, Annunciation of the Death of the Virgin, from the Maestà

Altarpiece

1308–11 Tempera on panel, 16-3/8 × 21-1/4" Museo dell'Opera del Duomo, Siena

Canali Photobank, Milan, Italy [Fig 4-14]

Linear Perspective

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employs convincing perspective.

 The vanishing point is located behind Jesus, thus drawing all attention to him.

Leonardo da Vinci, The Last Supper

ca 1495–98 Mural (oil and tempera on plaster), 15' 1-1/8" × 28' 10-1/2" Refectory,

Monastery of Santa Maria delle Grazie, Milan

© Studio Fotografico Quattrone, Florence [Fig 4-15]

Perspective analysis of Leonardo da Vinci, The Last Supper

ca 1495–98

© Studio Fotografico Quattrone, Florence [Fig 4-16]

Linear Perspective

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• Two-point linear perspective results

in a more dynamic composition.

on a Rainy Day depicts an intersection

of five streets through a series of

vanishing points.

 The canvas is divided into four equal

rectangles formed by the vertical line of the lamppost and the horizon line.

Two-point linear perspective [Fig 4-17]

Gustave Caillebotte, Place de l'Europe on a Rainy Day

1876–77 Oil on canvas, 6' 11-1/2" × 9' 3/4" he Art Institute of Chicago

Charles H and Mary F S Worcester Collection, 1964.336 Photo © 2015 Art Institute of

Chicago All Rights Reserved [Fig 4-18]

Line analysis of Gustave Caillebotte, Place de l'Europe on a Rainy Day

1876–77

Charles H and Mary F S Worcester Collection, 1964.336 Photo © 2015 Art Institute of

Chicago All Rights Reserved [Fig 4-19]

Distortions of Space and Foreshortening

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perspective depict space as "real"

because it is a monocular, or one-eyed, point of view.

nineteenth century to imitate binocular vision.

 From close up, the difference is more

discernable.

Distortions of Space and Foreshortening

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stereoscopic view.

that in Dürer's Draftsman Drawing a

Female Nude would result in a figure

whose lower body would be too large in comparison to her head.

Photographer unknown, Man with Big Shoes

ca 1890 Stereograph

Courtesy of Library of Congress [Fig 4-20]

Albrecht Dürer, Draftsman Drawing a Female Nude

1538 Woodcut, second edition, 3 × 8-1/2" One of 138 woodcuts and diagrams in

Underweysung der Messung, mit dem Zirkel und Richtscheyt (Teaching of Measurement

with Compass and Ruler) Museum of Fine Arts, Boston

Horatio Greenough Curtis Fund, 35.53 Photograph © 2015 Museum of Fine Arts, Boston

[Fig 4-21]

Distortions of Space and Foreshortening

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foreshortening, adjusting the

dimensions of closer extremities to

make up for the distortion created by

the point of view.

Andrea Mantegna, The Dead Christ

ca 1480 Tempera on canvas 26 × 30" Brera Gallery, Milan DEA/G CIGOLINI/De Agostini/Getty Images [Fig 4-22]

The Near and the Far

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markets after 1853 combined close-up views of nearby objects with views of distant landscapes.

contains a large gap between the pine

in the foreground and the city behind.

 This particular tree was named for its looping round branch.

Utagawa Hiroshige (Ando), Moon Pine, Ueno, No 89 from One Hundred Famous Views of Edo

1856 Woodblock print, 14-3/16 × 9-1/4" The Brooklyn Museum

Gift of Anna Ferris, 30.1478.89 [Fig 4-23]

The Near and the Far

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and far became a lasting trend.

horizon in Touch, a video work featuring

the artist walking on a tightrope.

 The horizon line can never truly be

reached, yet it is a place that has been contemplated through culture over time.

Janine Antoni, Touch

2002 Color video, sound (projection), 9 min 36 sec loop.Courtesy of the artist and Luhring Augustine, New York [Fig 4-24]

Modern Experiments and New

Dimensions

Dimensions

and foreshortening to capture complex conditions of contemporary culture.

 For them, disorienting and chaotic

exemplify the modern.

 Perspective seems to impose false order.

Experiments in Photographic

Space

Shadows was an unmanipulated

photograph with no fully discernable objects.

Backyards, New York, took further

advantage of the abstraction of walls, pavement, and hanging sheets.

 The overhead viewpoint was novel.

Paul Strand, Abstraction, Porch Shadows

1916 Silver platinum print, 12-15/15 × 9-1/8"

© Aperture Foundation Inc., Paul Strand Archive [Fig 4-25]

Paul Strand, Geometric Backyards, New York

1917 Platinum print 10 × 13-1/8"

© Aperture Foundation Inc., Paul Strand Archive [Fig 4-26]

Experiments with Space in Painting

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that led to a painting rather than the

realistic depiction of subject matter.

Matisse shows a flattened space with

unified color and design.

 Tree trunks within the frame of the

window or painting mimic the winding

designs on the wall and table.

Henri Matisse, Harmony in Red (The Red Room)

1908–09 Oil on canvas, 5' 10-7/8" × 7' 2-5/8" The Hermitage, St Petersburg

© 2015 Succession H Matisse/Artists Rights Society (ARS), New York Photo: Archives H

Matisse, © 2015 Succession H Matisse [Fig 4-27]

Experiments with Space in Painting

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Cézanne in a Red Armchair is the lack

of spatial depth.

 The painting is almost entirely flat

where the left side of the armchair

meets the wall behind it.

 The stripes on the figure's dress do not delineate the shape of her lap.

Paul Cézanne, Mme Cézanne in a Red Armchair

ca 1877 Oil on canvas, 28-1/2 × 22" Museum of Fine Arts, Boston

Bequest of Robert Treat Paine II, 44.77.6 Photograph © 2015 Museum of Fine Arts,

Boston [Fig 4-28]

Experiments with Space in Painting

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uses a web of circuit-like squares around

a central pole.

from when he scanned in drawings for

woodcuts, modifying their size and color.

yet abstraction, and information despite information overload.

Terry Winters, Color and Information

1998 Oil and alkyd resin on canvas, 9 × 12'

Terry Winters, courtesy of Matthew Marks Gallery, New York [Fig 4-29]

Digital Space

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paintings in the Game Over: Long

March series that envisioned an

imaginary video game.

actual video game based on the

Communist Party's Red Army under the command of Mao Zedong.

Digital Space

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Restart and consisted of two

80-foot-long walls.

 Viewers can take control of the Red

Army soldier and move the avatar

through five screens and 14 levels of

play, each progressively faster and more difficult.

Feng Mengbo, Long March: Restart

2008 Video-game installation, each screen approx 20 × 80' Museum of Modern Art,

New York

© 2015 Digital image, Museum of Modern Art, New York/Scala, Florence [Fig 4-30]

The Critical Process: Thinking about

Space

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inspired by the drowning of 23 Chinese cockle pickers in England, shows

tragedy juxtaposed with the Chinese

fable, "The Tale of Yishan Island."

goddess adds to what seems like a

chaotic landscape.

Isaac Julien, Ten Thousand Waves

2010 Installation view, Nine-screen installation, 35 mm film, transferred to High

Definition, 9.2 surround sound, 49 min 41 sec Edition of 6 plus 1AP

Courtesy of the Artist and Victoria Miro, London, Metro Pictures, New York, and Galería Helga de Alvear, Madrid © Isaac Julien Photography © Adrian Zhou [Fig 4-31]

The Critical Process: Thinking about

Space

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institutionalized one; the work suggests that a new perception of space may be like the typical sensory experience of

daily life.

Thinking Back

is represented on a flat surface using perspective.

challenged the means of representing three dimensions on two-dimensional surfaces.