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7/26/2019 Functional Line in Painting
1/116
7/26/2019 Functional Line in Painting
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7/26/2019 Functional Line in Painting
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751
BJlf
65-04217
Berkiaan
Tue
functional
line
In
painting
7/26/2019 Functional Line in Painting
4/116
3
1148
00512
7444
.JI,
and
sweep the deft nuance of the
rn rtnlDlC
rich of texture and the masterful
technllQue
ll
aU
combine to compose
into
a graciously
d e ~ ; 2 I l e d linear poem
on
a theme
of bird
life.
China.
Dynasty 960-1280.
The tradition of the Oriental line established
centu-
ries ago has persisted the
ages
This
painting reveals the masterful of the Chi-
nese artist. How these lines
express
the
superior
knowledge
graciousness
refinement and
del.
icate sensibility which characterize the Oriental cul
ture.
China.
vIars; ene e tion
scroll ink on paper. i\ttributed to Shen Chou 14
2
7-
159
a u 1 L of linear
movements
of varied
strength
.l:....JL, - J:\,.JL;II. lJI,
and
sweep the deft nuance of the
rn rWIDIC
rich of texture
and
the masterful
technllque
aU combine to compose into a graciously
d e ~ ; l g I l e d
l inear poem on
a
theme of bird
life.
7/26/2019 Functional Line in Painting
46/116
Japan.
Book
illustration,
One
Hundred
Women
in
Japan.
(Moronobu,
162^-94.)
Observe
with what
economy
the
artist
selected
only
those
lines
which
suggest
the
volume
of
the
figures.
This
one
line,
through
its
variations
and
handling,
expresses
form,
texture,
character,
and
placement
all
knit
into a
perfectly
composed spacial
design.
Japan. ook
illustration
ne
undred Women in Japan
Moronobu
1625 94.
Observe with what
economy
the artist selected only those l ines
which
suggest the
volume of the figures.
This one line through
it s
variations
and
handling
expresses
form
texture character
and placement -a ll knit
into a
perfectly composed spacial design.
Japan. ook
illustration
ne
undred Women in Japan
Moronobu
1625 94.
Observe with
what economy the artist
selected only those l ines
which
suggest the
volume
of the figures. This one line through
its
variations
and
handling
expresses
form
texture character
and placement -a ll knit
into a
perfectly composed spacial design.
7/26/2019 Functional Line in Painting
47/116
Persia.
Manuscript
illustration,
Anushirwan Marries
the
Daugh
ter
of
the
Khaquan
of
China.
(From manuscript
of
Shah-namah
by
Firdausi,
dated
1605-08.)
The
Persian
lines
sweep
in
big
rhythms
throughout
the
picture.
At the
same
time
they
become involved
with the most elaborate
detail
and texture.
The
lines
shape
out
a most
luxuriant
feast
for
the
eyes.
Note
how
they
structure
the
picture
into
a
framework
of
progressively
balanced
rectangles
which,
in
their
own
way,
are
as
pure
as the most modern
functional
design.
Observe
also
how
the
lines
variously express
rocks,
foliage,
grass,
and
sky.
This
pic
ture
must
be
studied
minutely
for
its
subtle delicacies
and
Ori
ental
splendor.
Persia.
illustration et nushirtl an Marries the
teT the China
of
~ \ T i l ( l n T I , U U U J n ,
Firdausi dated 1605-08.
Persian
lines
sweep
in t
picture.
At the same
time become involved
with most elaborate
detail
and texture. lines out
a
most luxuriant
feast
for
the eyes. Note how structure the in to a
framework
of progressively balanced in their
own
way are
as
pure
as tbe
most modern
functional
Observe also
how
the
lines
and This
pic-
turemust and Ori
ental splendor
Persia. illustration et nushirtl an Marries the
teT the China of 3nlan nl1 ml1ln
Firdausi dated 1605-08.
Persian
lines
sweepin t
picture.
At
the same time become involved
with most
elaborate
detail
and
texture. lines out
a
most luxuriant
feast
for
the eyes. Note
how structure the
in to a
framework
of progressively balanced in their own way are
as
pure
as tbe
most modern functional Observe also how
the lines and This pic-
turemust
and Ori
ental splendor
7/26/2019 Functional Line in Painting
48/116
China.
Family
portrait.
(Painting
on silk.
Unidentified
artist,
Ming Dynasty,
1368-1644.)
The
lines
in
this
family
portrait
cut
out flat
planes
for
pattern
design.
These
lines are
controlled
with
masterful
draftsmanship.
China.
amily portrait Painting
on
silk. Unidentified
artist
Ming
Dynasty
1368 1644.
The lines in. this family port ra it cut out
flat
planes.
for pattern
design. These
lines
are controlled with
masterful draftsmanship.
China. amily
portrait Painting
on
silk.
Unidentified artist
Ming Dynasty 1368 1644.
The lines in. this family port ra it cut out
flat
planes. for pattern
design.
These lines are
controlled with
masterful draftsmanship.
7/26/2019 Functional Line in Painting
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Tibet.
Sand-dui
and
Consort,
Tibetan
painting
was
a
performance
of the most
exacting
reli
gious
ritual,
prayer,
and
ceremony.
The
artists
in
most
cases
were
anonymous
and
of the
priesthood
(lamas).
Upon
completion,
die
picture
(called
a
banner
or
tanka)
went
through
a
process
of
con
secration
through
which
it
assumed the divine essence
of the
deity
it
represented.
It
then
became
endowed
with
magical
pow
ers
for
the salvation
of
the
souls
of
those
who
contemplated
it
devoutly.
The rich
cosmogony
of Buddhistic
theology
is
thus
re
lated
in
these
lines,
which
embody
the
very
spirit
of
Buddhism.
Tibet. and dui and onsort
Tibetan painting was a of the
most
r e l i ~
gious
ritual
prayer
and
ceremony.
The
artists
in
most were
anonymous and
of
the
priesthood
completion
the
a
banner or
went
a process of con
secration which
it
assumed
t he divine essence of the
deity it represented. then became endowed
with m.agical
pow
ers for the salvation
of the
souls
of
those
who
contemplated
it
devoutly.
The rich of Buddhistic theology is
thus
re-
lated .in these lines the very of
J : S u : a C J l u ~ m
Tibet. and dui and onsort
Tibetan
painting was a of the
most
gi U
ritual
prayer
and
ceremony.
The
artists
in
most were
anonymous and of the priesthood completion the
a
banner or
went
a process of con-
secration which
it
assumed
the
divine essence
of the
deity it represented.
then
became
endowed with
m agical
pow-
ers for the salvation of the
souls
of those who contemplated it
devoutly.
The
rich
of Buddhistic theology is thus re
lated in these lines the very of
J S U d d h u ~ m
7/26/2019 Functional Line in Painting
50/116
THE RHYTHMIC
CONTOUR
AS
WESTERN
ART
EVOLVED THROUGH
THE
CENTURIES
IT
TOOK
ON
MORE
sophisticated
guises
and the
flat
picture
plane
gradually
disappeared.
With
the
emergence
of
three-dimensional
painting
during
the
Renais
sance,
the
line
also
disappeared.
During
these
great
centuries of
art
the
painters
became
involved with
considerations
other than
decora
tion and the
delineation
of
ideas,
for which the line is
a
basic instru
ment.
The Renaissance
artists tried
to
emulate
sculpture.
They
conceived
their
subjects
as
three-dimensional forms
existing
in
space.
They
became
more
and
more
concerned with
the
visual
aspect
of
things.
They gradually
developed
the
concept
of
chiaroscuro
(light
and
shade),
and
painted
their
forms in
light
and dark
masses.
The line
therefore
disappeared
as
a
technical
device
until the
twentieth
century
and
was
henceforth
used
only
for
drawings
and
studies,
and
for the
marking
out
of
preliminary
layouts
for
paintings.
2
TH
RHYTHMI ONTOUR
o s WESTERN RT EVOLVED THROUGH THE ENTURIES IT TOOK ON MORE
sophisticated guises and the flat picture plane gradually disappeared.
With the emergence of three-dimensional painting during the Renais
sance, the line also disappeared.
During
these great centuries of
art
the painters became involved 1vith considerations other than decora
tion and the delineation of ideas, for which the line is
basic instru
ment.
The Renaissance artists tried to emulate sculpture. They conceived
their subjects
as
three-dimensional forms existing in space.
They
became more and more concerned with the visu l spe t of things
They gradually
developed
the
concept
of
chiaroscuro
light
and shade ,
and painted their
fOT ns
in light and dark masses.
The
line therefore
disappeared as a technical device
until
the twentieth century and was
henceforth used only for drawings and studies, and for the marking
out
of
preliminary layouts for paintings.
2
TH RHYTHMI ONTOUR
o s WESTERN RT EVOLVED THROUGH THE ENTURIES IT
TOOK
ON MORE
sophisticated guises and the flat picture plane gradually disappeared.
With the emergence of three-dimensional
painting during
the Renais
sance, the line also disappeared. During these great centuries of
art
the painters became involved 1vith considerations other
than
decora
tion and the delineation of ideas, for which the line is a basic instru
ment.
The Renaissance artists
tried
to emulate sculpture. They conceived
their
subjects
as
three-dimensional forms existing in space.
They
became more and more concerned with the visu l spe t of things
They gradually developed the concept of chiaroscuro light and shade ,
and
painted their fOT ns in
light
and
dark masses.
The
line therefore
disappeared as a technical device until the twentieth century and was
henceforth used only for drawings and studies, and for the
marking
out
of
preliminary layouts for paintings.
7/26/2019 Functional Line in Painting
51/116
45
THE FUNCTIONAL LINE IN
PAINTING
that
had
a
function
In
its
own domain. It
may
be
said of this
period
that
the line
evaporated
into
the
rhythmic
contour,
the
modulated
edge.
The
line
existed
only
through
implication,
by
the
way
the
con
tour
of
the
form
was
modulated,
and linear
accents
were
implied
by
lost
and
found
rhythms,
as
the
edges
of
the
form
disappeared
into
the
background
and
then
appeared
again
in
rhythmic
accents.
The
modulated
edge
became the
technical
absorption
of
the
great
masters
of
Baroque
painting.
It
sweeps
in
expanding
rhythms
to
en
close
the
grand
styles
of
Rubens,
Rembrandt,
and
the
Baroque
school.
In
the works of
Velazquez
and
Vermeer lost
and found
edges
convey
the
rhythmic
cadence
of
light
and
shade,
to
the
glorification
of
light
and
the visual
experience.
We
must
await
the
advent
of
the
nineteenth
century
for
the line
to
make
a
semblance
of
appearance
again
in
art,
disguised
as
it
may
be in
the
neo-classical
painting
of
Ingres.
In
Ingres*
paintings
the
pure
and
chaste
forms turn
to
a
very
concise
edge,
with the
contour
modu
lated
into as
close
an
approximation
to the linear as
volume
painting
could attain.
But
Ingres
was
indeed
a
linear-conscious
artist. The
im
plied
line
in
his
paintings
chisels
nicely along
the
forms,
and
sweeps
in
broad
rhythmic
accents
which
belie the
cold
and academic
aspect
of
the
modeling.
Ingres'
rendering
of
the
chastely modeled
form
with
a
minimum
of
chiaroscuro,
and
with
an
insistence
upon
a
sweeping
linear
contour,
places
him
directly
as
one
of
the forerunners of
the
neo-classical
school
of
modern
art.
He
was
rooted
in
a
lineage
which
links
directly
with
such
divergent
painters
as
Picasso
and
Stuart
Davis.
4.3
that had
a
function in
that
the
line
The line existed
tour
of the
form
,, as
I.J.A I J lwL
...... .ll.Gllll....... 1
lost
and
found
..h ' r , .+h ,
......... . .
h . . . . i , , . , ~ , ....... T llri and
then
'_ 1o ' )oT O,rt :
The modulated
masters
of
J 4 JU
II I.,P -i .....
l
close the
styles
of .JL - -,
........ -, ......
. l L . J l J . i l . u tA..ll..I. - .
In
the ,vorks of
the cadence
o
and
the visual
exp,erience
,\Ve must
a,vait the
advent of
the
nineteenth
century
for the line
to make a semblance of appearance in art, as it may
be
in
the
neo-classical of In
the
pure
and chaste
fonns
turn to a very
concise
1Nith
the contour modu-
lated into
as
close
an approximation to the linear
as
volume i J Q . J L 4 ..L.L .....Fi,
could attain.
But
Ingres \ laS indeed
a linear-conscious
artist..
The
im
plied
line
in
his chisels the o r s ~
and sl\Teeps
in
broad rhythmic accents
\v hich
belie the cold and academic
of
the
m ) a ~ ~ l 1 1 t 1 g
Ingres
rendering
of
the
chastely
modeled form
lvith
a
minimum
of
chiaroscuro, and
\vith
an
insistence
up,on a
linear
contour,
places him
directly
as one of the forerunners
of
the neo-classical school
of modern
art
He
t\J
1
as rooted in a which links \vith
such
divergent painters as
Picasso
and Stuart Davis
43
THE Ft.::SCT10SAL
L1:SE IS PAI:STI:SG
that
had a
function in
its
own
domain. may
be said
of this period
that the
line evaporated
into
the rhythmic con ou
r
the modulated
edge
The line existed only through
implication.
by the way the con
tour of the form was
modulated
and
linear
accents were
implied
by
lost
and
found
rhythms
as
the
edges
of
the
form disappeared
into
the
background and then appeared
again
in rhythmic accents.
The
modulated edge became the technical absorption of the
great
masters of Baroque
painting. It
sweeps in expanding rhythms to en
close
the grand
styles
of Rubens Rembrandt
and the
Baroque
school.
In
the works of Velazquez and Vermeer lost and found edges
convey
the
rhythmic
cadence of light and shade
to
the glorification of
light
and
the
visual experience.
\Ve must await the
advent
of the nineteenth
century
for the line
to
make a
semblance
of
appearance again
in
art
disguised as it may
be
in
the neo classical painting of
Ingres. In Ingres
paintings the pure
and
chaste forms
turn to a
very
concise edge with
the
contour modu
la ted in to as close an approximation
to
the linear as volume painting
could attain. But Ingres was
indeed
a linear-conscious artist. The im
plied
line in his paintings
chisels
nicely along
the forms
and sweeps
in
broad
rhythmic accents
which
belie the cold
and
academic
aspect
of
the modeling.
Ingres
rendering
of
the
chastely
modeled
form with
a
minimum
of chiaroscuro and
with
an
insistence upon a sweeping linear
contour
places him directly as one of the forerunners of
the
neo classical school
of modern
art.
He
was rooted
in a lineage
which
links
directly with
such divergent
painters as Picasso
and Stuar t
Davis.
7/26/2019 Functional Line in Painting
52/116
Diego
Rodriguez
de Silva
y Velazquez.
Menippo.
(Oil
on
canvas,
.
1639-40.)
With the
advent
of
naturalism
in
painting,
the
line
finally
dis
appears,
to
be
enveloped
within the
accents
of the
rhythmic
con
tour.
For
example,
observe
how
the
contour
of the
hat
stands
out
in
the
light
and
disappears
in
the shadow.
These
lost
and
found
edges
sweep
in
rhythmic
accents
to enclose
the
grand
style
of
Baroque
painting.
Diego
Rodriguez de
Silva y
Velazquez. enippo
Oil
on canvas,
39-4
With t he advent of
naturalism
in
pa int ing , the l ine
f in lly dis-
appears,
to be enveloped within the
ents
of the
rhythmic on-
tour.
For
example,
observe how the contour the hat
stands out
in the
light
and disappears in
the
shadow. These lost and
ound edges sweep in rhythmic ents to en lose the
grand
style of Baroque painting.
Diego Rodriguez de Silva
y
Velazquez. enippo Oil on canvas,
39-4
With
th e advent of na turalism in painting, the line f in lly dis-
appears, to
be
enveloped within the ents of the rhythmic on-
tour.
For example, observe how the contour the hat stands out
in
the
light
and disappears in
the
shadow. These lost
and
ound edges sweep
in rhythmic
ents to en lose the
grand
style of Baroque
painting.
7/26/2019 Functional Line in Painting
53/116
Jean Auguste
Dominique
Ingres.
Countess
d'Haussonville.
(Oil
on
canvas,
c.
1842-45.)
The
forms in
this
painting
sharpen
to a
concise
edge,
which
re
veals
Ingres'
awareness
of
linear
rhythms.
Observe
the
chaste
modeling
of
the head
and
arms,
which
design
beautifully
as
vol
umes
(in
direct
contrast
to
the
over-detailed
objects
on the
table).
It
is
the
over-elaborated
details
which
the
academic
followers of
Ingres
Imitated;
but
it is the
chastely
modeled
geometric
forms,
with
their
sweeping, rhythmic,
implied
lines,
that
the
moderns
have so
learned to
admire in
Ingres'
work.
umes
It is
Jean Auguste U,()m:lnlQu.e Ingres. Countess d Hawsonvilie
on
canvas
c
The
forms in this paJtntln2
veals awareness
linear
m ) 1 f ~ l l I J l g of
the
head
and
arms which
direct contrast
to
the
over 'UC:: la. l CU
over elaborated
details which
the
a C c l a ~ m I C
imitated;
but
it
is
the
modeled ge
OIII etrlc
their lines
have
so work
Jean Auguste
Dominique
lngres.
Countess d Haussonville Oi l
on
canvas
1842-45.
T he forms in
this
painting sharpen to a concise edge
which
re
veals
Ingres
awareness
of
linear
rhythms.
Observe the chaste
modeling of the head and
a rm s, w hi ch d esig n
beautifully as vol
u mes in direct contrast to the over-detailed objects
on the
table .
I t
the
over-elaborated details which the academic
followers
of
Ingres
imitated;
but it
is
th e
chastely
modeled geometric
forms
w ith th eir sweeping
rhythmic,
implied lines that the moderns
have so learned to a dm ire in
Ingres
work.
7/26/2019 Functional Line in Painting
54/116
REMBRANDT'S
LINE
While
Rembrandt's
paintings
reveal
no interest
in
line,
because
the
forms
were
conceived
as
masses
and
were
rendered
in
chiaroscuro,
his
drawings
are
masterpieces
of
linear art. These
drawings,
jotted
down
as notes
and
sketches
for ideas
of
compositions,
have remained
through
the centuries as
demonstrations of
the
workings
of the mind
of
a
great
artist in its
purest
state
of
creativity.
For
each
drawing
is
es
sentially
perfect
in
the
fact
that it is
complete
as
a
composition
and
contains the essential
core
of
a
finished work
of
art. It
is
rendered
with a
freshness,
directness,
and
clarity
of
statement
not
too
often
found
in
many
of the
paintings
attributed to
him.
Rembrandt's
drawings
warrant close
examination
and
study,
for
they
are
rich with
the
fullness of
life.
Their
sketchiness is
deceptive,
and is
due to the fact
that
they
were rendered
with the
easy
virtu
osity
of
a
great
master of
his
craft.
A
close
study
of
almost
any
line
in
any
of
the hundreds
of
drawings
that
he
left
for
posterity
holds
one
captive
with
the
richness
of its
content,
its
flow,
and the
rhythmic
sweep
of
its rendition.
Let
us
for
a
moment
examine
the
drawing
reproduced
on
page
50.
Observe
the
big
sweeping
lines
with
which
Rembrandt
structured
the
space
of the
composition,
and
the
abstracted
lines which
capture
the
fragile
character
of
the
trees on
the
left
in
contrast
to the
weighty
stone
building,
whose
arch flows
upward,
framing
the
doorway
and
the
stone
steps.
How
magical
is the
expressiveness
of
these
lines,
enclosing
space.
Then we
come to
the
figures,
and
study
the
boy.
His
posture
is
one
of
departure,
with
each
line
expressing
the
fact that
he
is
turning
back
for
a
final
blessing
before
setting
out
upon
his
journey.
We
then
observe
the gesture of
blessing
in
the
rnarvelously
fore
shortened
hand and
arm
which
reaches
from
the
boy's
head back to
R E MB R N D T S
LINE
\Vhile Rembrandt s
paintings
reveal no interest in line, because
the
forms
v r
conceived
as masses
and
v ere
rendered
in
chiaroscuro,
llis d ral\ring s are masterpieces of linear art. These dra,vings, jotted
down as notes and
sketches for ideas
of
compositions,
have
remained
through the centuries
as demonstrations
of the workings of the mind
of
a
great
artist
in its
purest
state of creativity. For each drawing
is
-
sentially perfect in the
fact that it
is
complete
as a composition
and
contains
the essential core
of a finished work of art. It is
rendered
with a freshness directness, and clarity of s tatement not too often
found
in many of
the paintings
attributed
to
him.
Rembrandt s drawings ,varrant
close
examination and study,
for
they are
rich \vith
the
fullness
of life.
Their
sketchiness is
deceptive,
and is due to the fact that they were
rendered
with
the easy
virtu-
osity
of a great
master of
his
craft.
A close study
of almost
any
line
in
any
of the hundreds
of
drawings that he
left
for
posterity
holds
one captive with
the richness of
its content, its flow and the rhythmic
sweep of its rendition.
Let us
for
a moment examine the drawing reproduced
on
page 50.
Observe
the
big
sweeping lines
with
which
Rembrandt structured
the
space of
the composition,
and
the
abstracted
lines which capture the
fragile
character of the trees on the left
in
contrast
to the weighty stone
building
,vhose arch flo\vs
up\vard,
framing the door1vay and the stone
steps. How magical is the
expressiveness
of these
lines,
enclosing space.
Then
we come to the
figures
and
study
the
boy.
His posture
is one
of departure,
with
each line expressing the fact that he
is
turning back
for a
final blessing
before
setting
out
upon his
journey.
e
then
observe
the
gesture
of
blessing
in
the
marvelously
fore-
shortened hand and arm
which
reaches
from
the b ay s head
back
to
REMBRANDT S
LINE
\Vhile Rembrandt s
paintings
reveal no interest in line, because
the
forms
v r
conceived
as masses
and
v ere
rendered
in
chiaroscuro,
llis dral\ring s
are masterpieces of linear art. These dra,vings,
jotted
down
as notes
and
sketches for ideas
of
compositions,
have
remained
through the centuries as demonstrations of the
workings
of the
mind
of a great art ist
in its
purest
state
of creativity.
For each
drawing
is
-
sentially perfect in the fact that it is complete as a composition and
contains the
essential core
of a finished work of art. It is
rendered
with
a freshness directness,
and
clarity
of s tatement
not too
often
found
in
many
of the paintings
attributed
to him.
Rembrandt s drawings ,varrant
close
examination
and
study,
for
they are rich ,vith the
fullness
of life.
Their
sketchiness is
deceptive,
and is
due
to the fact that
they
were
rendered
with
the easy
virtu-
osity
of
a great master of his
craft.
A close study of almost any line
in any of the
hundreds
of drawings that he
left
for pos ter ity
holds
one
captive
with the richness of
its content,
its
flow and the rhythmic
sweep of its rendition.
Let us for
a
moment examine the drawing
reproduced
on page
50.
Observe
the
big
sweeping lines
with
which
Rembrandt
structured
the
space
of the composition, and the
abstracted
lines which capture the
fragile
character
of
the trees on the left in
contrast
to the weighty stone
building
,vhose arch flo\vs
up\vard,
framing the door1vay and the stone
steps.
How magical
is the
expressiveness of these lines, enclosing
space.
Then we come to
the
figures and study the boy. His posture is
one
of departure, with each line expressing the
fact
tha t he is
turning back
for a
final blessing before setting
out
upon his
journey.
e
then
observe
the
gesture
of
blessing
in
the
marvelously
fore-
shortened hand and
arm
which
reaches
from the b ay s
head
back to
7/26/2019 Functional Line in Painting
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49
THE
FUNCTIONAL
LINE IN FAINTING
upon
his
feet;
and
yet
with
what
solid
dignity
does
this
old
patriarch
stand
Finally
we
come
to
the
woman
with
her
gesture
of
weeping,
where
the
lines
express
the
essence
of
her
subtle and
transitional
movement,
the
material
of
her
vestments,
and
the
depth
of
her
grief.
This
drawing
is
profound
as
a
psychological
presentation
of
hu
man
drama
caught
at
its
most
climactic
moment,
and
composed
in such
a
way
that it
sustains
In
its
summations the
full
import
of
the
event.
Our effort here is
to
highlight
some of
its
wonders.
But
words
at
best
can
only
point
a
way,
and
I
would
now
leave the
reader alone so
that
he
may
study
this
drawing
at
his own
convenience,
and
discover
for
himself the
rhythm,
movement, accent,
and
character
of these beauti
fully
expressive
lines.
Fl.::SCTIONAL
upon
his feet;
and yet
stand
conle
the
\V )nlan
the
l ines express
the essence her
the mater ia l of her
vestments,
and
the
This is
as
a of
nlan drama at
its
climactic
in
such
a ,ray that
it sustains in
it s summations the the
event.
U
effort here
is
to
some its
\\ onders. But
l\ ords at
best
can
a
lvay, and
I nOlV' leave
the
reader alone
so that
he may
this at his o w n convenience,
and discover
himself
the movement,
accent, and
character of
these beauti-
expressive
lines.
Fl.::SCTIONAL
upon
his feet;
and yet
stand
conle the
\ l n l an
the l ines express the
essence
her
the material of her
vestments,
and
the
This is
as
a
of
nlan drama at
its
climactic
in
such
a ray that it sustains
in
it s
summations the the event.
U
effort here is to some
it s
\\ onders. But
l\ ords
at best
can
a
lvay
and I
lVQuld
nOlV' leave the reader alone
so
that
he may this
at his o w n convenience,
and discover
for
himself
the movement,
accent, and
character of these beauti-
expressive
lines.
7/26/2019 Functional Line in Painting
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Rembrandt.
Drawing.
Rembrandt's
lines
penetrate
deeply
into
psychological
motiva
tion. In
bold,
deft
strokes
they
define the
significant gesture,
character, volume,
and
rhythm
of form. The lines also construct
into
a
beautifully
balanced
composition,
very
much
like a
stage
set.
This
type
of
pictorial
design
reflects
the humanistic-scientific
insistence
upon
a
reconstruction of visual
reality
based
upon
the
perspective
principle.
By way
of
contrast,
it
may
be
well to
com
pare
this
with
the Oriental
principle
of
designing
the
forms
upon
the
flat format of
the
picture
plane.
These
two
approaches
to
spacial design gauge
the
differences
between
the
Eastern and the
Western
philosophies
of
picture-making.
Rembrandt. rawing
Rembrandt s
lines penetrate
deeply
into
psychological motiva-
tion. In bold deft strokes they define th e significant gesture
character volume
and
r hy th m of form. The lines also construct
into
a beautifully
balanced
composition very
much
like a stage
set. This type
of
pictorial design reflects th e humanistic scientific
insistence upon a
reconstruction
of visual
reality
based
upon
the
perspective principle. way of contrast it ma y be well to com-
pare
this
w it h t he O ri en ta l p ri nc ip le o f
designing
th e
forms
upon
the
fiat format
of
th e
picture plane.
These
two approaches to
spacial design gauge
th e
differences between th e Eastern
and
th e
Western philosophies
of
picture making.
Rembrandt. rawing
Rembrandt s lines penetrate deeply into psychological motiva-
tion. In
bold
deft strokes they define the significant gesture
character volume
and r hy th m of
form. T he lines also
construct
into
a beautifully balanced composition very
much
like a stage
set. This type
of
pictorial design reflects the humanistic scientific
insistence upon a reconstruction of visual reality based upon th e
perspective principle.
way
of
contrast
it
ma y be well to com-
pare
this
with
t he Ori ental pri nciple of
designing
th e
forms
upon
th e
fiat format
of the picture
plane.
These two approaches to
spacial design gauge
th e
differences
between
th e Eastern
and the
Western philosophies
of
picture making.
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3
THE
BREAK
WITH
THE
PAST
DURING
THE LATTER FART OF THE NINETEENTH
CENTURY
THERE
WAS SHOWN
in
Paris the
exhibition of
Japanese prints
already
mentioned.
In Its
own
quiet
way,
and
certainly
unintentionally,
this
exhibition
shook
the art
world
at
Its
very
roots,
for
It
may
be
said that from that time
the
suspicion
grew
that
the Renaissance
and
Baroque
heritage
may
have
terminated
In
a
blind
alley,
and
that
art
was
ripe
for
new
ad
venture
and
explorations
In
pictorial techniques
and esthetics.
The
earlier
nineteenth-century
painters
attempted
to
Instill
life
Into
art
by
traditional
revivals,
which
they
transformed
to
fit
their
current
needs.
Delacroix,
Courbet,
and
Manet,
for
example,
made
pas
sionate
attempts
to
revive the
techniques,
and
paint
In
the
spirit
of
Rembrandt, Rubens,
Hals,
or
Goya.
These Frenchmen
were
very
talented
and
gifted
artists.
But their
major
contributions
were
mainly
polemical,
a
verbal
shifting
for
position
and
place
upon
the
bandwagon
of
tradition.
Basically
their
art
w
T
as more
traditional
than
revolution
TH
B RE K
W T
TH P ST
DURING THE
LATIER
P ART OF THE N I X T ~ T CE: \TURY THERE WAS SHOWN
in
Paris
the exhibit ion of Japanese prints mentioned.
In
its
o\vn
quiet
,ray, and certainly
this
exhibition shook
the art vlorld at its very roots for
it
may
be
said
that
from that
time
the
suspicion
gre \T that
the
Renaissance and Baroque may
have
te rminated in
a
blind
and
that
art
for ne v ad
venture and explorations in
pictorial
and esthetics.
The earlier nineteenth eentury
painters
attem pted to instill
life
into
art y
traditional revivals,
1vhich they
transformed
to fit
their
current needs Delacroix
Courbet
and Manet for example made pas-
sionate attempts to revive the
te,chniques,
and paint
in
the sp irit of
Rembrandt Rubens
Hals or Coya. These
Frenchmen
were
very
talented and gifted
artists But the ir
major
contributions were
mainly
polemical
a verbal shifting for
position
and place upon
the
band vagon
of tradition.
Basically their art was
more
traditional than revolution-
TH
B RE K
W T TH
P ST
DURING
THE
LATIER
P ART OF THE
N I X T ~ T CE: \TURY THERE
WAS
SHOWN
in Paris
the
exhibition
of Japanese prints
mentioned. In its
o\vn quiet ,ray, and
certainly this
exhibition shook
the
art
vlorld at its very roots
for
it may be said that from that time
the suspicion gre \T that the Renaissance
and
Baroque may
have
terminated in
a
blind
and
that
art
for ne v ad
venture and explorations
in
pictorial and esthetics.
The earlier
nineteenth eentury painters attem pted to instill
life
into
art y
traditional
revivals, 1vhich they
transformed
to fit their
current
needs
Delacroix
Courbet and Manet
for
example made pas-
sionate attempts to revive the te,chniques, and paint in
the spirit of
Rembrandt
Rubens Hals or Coya. These Frenchmen were very
talented
and gifted
artists
But the ir major contr ibutions were
mainly
polemical a verbal shifting for position and place upon the band vagon
of tradition. Basically their art was more tradi tional than revolution-
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THE
FUNCTIONAL
LINE
IN PAINTING
52
of
search
for
validity
and truth
in
art,
which
kept
burning
throughout
the
nineteenth
century.
However,
the
new
techniques
which
were
to
transform
the whole
aspect
of art
into
a
new
philosophical
and
esthetic
exposition
of
experience
were still
to
appear
upon
the
horizon.
It
was
the
Oriental
example which
first
showed
the
way
out
of
the
traditional
impasse.
Thus the
bondage
to the
past
was
broken,
for
there now
appeared upon
the
horizon
new
vistas
of
great
art,
which
existed
beyond
the
boundaries
of the
Renaissance
and
Baroque
do
main.
Japanese
art
had
left
its
imprint
upon
such
divergent
painters
as
Monet,
Degas,
and
Whistler. But these
men were
still
too
steeped
in
the
Western tradition
(Whistler
and
Degas
with
tonality
and
Monet
with
Impressionism)
to
step
outside the
technique
of
mass
painting
into a new
system
of
esthetics and
techniques,
based
upon
the
emanci
pated
use
of
the
expressive
line.
It remained
for
Gauguin,
Van
Gogh,
and Cezanne to
strike
out
upon
the
new
paths
which revived
the
line as
a
functional
element in
painting.
It
is
therefore
with
these men
that
we will
now
deal,
for it
is due
to
their
daring
innovations that the
new
techniques
were
finally
devised
which
established the
language
of
twentieth-century
art
and
transformed
its
entire
facade.
T FUNCTIONAL
LINE
IN PAINT ING
52
of search for
validity
an d tru th
in art, ,v hich
kept burning
throughout
t he n inet eenth century_ Ho,vever, the ne,v techniques ,vhich v
ere
to
transform
the
1\?hole aspect of art into a ne w
philosophical
and esthetic
exposi tion of exper ience
\tere
still to appear
upon
the horizon.
It
vilas
the Oriental
example
\Thich
first
sho,ved
the
,vay
out
of
the
traditional
impasse.
Thus the bondage to the past ,vas broken,
for
there
no appeared upon the horizon
n v
vistas of great art, ,vhich
existed
beyond
the
boundaries of
the Renaissance
and
Baroque do
main. Japanese art
had
left it s imprint
upon
such divergent painters
as Monet,
Degas,
and
Vhistler.
But these men \Tere
still too
steeped
in the esterntradition ( Vhistler and Degas \Tith tonality and Monet
\vith
Impressionism) to step outside the
technique
of
ss
painting
into a new system of
esthetics
and techniques , based upon
the
emanci
pated
use
of the
expressive line.
I t
remained
for
Gauguin, Van
Gogh, and Cezanne
to
strike out
upon the
new paths which
revived
the line as a functional e lement in
painting. I t is therefore with these men that we
will
now deal, for it
is due
to
their daring innovations that the new techn iques
were
finally
devised which established
the
language
of twentieth-century art and
transformed
its
entire f ~ d e
T FUNCTIONAL
L IN E IN PAINTING
52
of
search fo r validity an d tru th
in art,
v hich kept burning
throughout
the
nineteenth century_ Ho\vever, the ne,v techn iques ,vh ich
v ere
to
transform
the
1\?hole aspect of art
into
a ne w philosophical and esthetic
exposition
of
experience
\tere
still to
appear upon the
horizon.
It
vilas
th e Orienta l
example
,vhich
first
sho,ved
the
,vay
out
of
the
traditional
impasse.
Thus the bondage to the past ,vas broken, for
there
no appeared upon
the
horizon
n v
vistas of great art, ,vhich
existed
beyond the boundaries of the Renaissance and Baroque do
main. Japanese art had left
it s
imprint upon
such
divergent painters
as Monet, Degas, and Vhistler.
But
these men ,vere still
too
steeped
in
the estern
tradition ( Vhistler and
Degas
,vith
tonality and Monet
\vith
Impressionism)
to
step
outside th e technique of
ss
painting
into a
new
system of esthetics
and techniques , based upon
the emanci
pated
use
of the
expressive line.
I t remained for Gauguin , Van Gogh, and
Cezanne
to strike out
upon the
new paths which
revived the line as a
functional e lement in
painting.
I t is therefore with these men
that
we will
now
deal, for it
is
due to their
daring
innovations
that
the new techn iques were
finally
devised which established
the language
of twentieth-century
art
and
transformed
its
entire f ~ d e
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GAUGUIN
AND
THE
DECORATIVE
LINE
In
modern
painting
it
was
Gauguin
who
first
reaffirmed
the
prin
ciple
of
the
picture
plane
as a
surface
to
be
respected.
This
fact
is
so
fundamental
that
it
functioned
naturally
and
perhaps
unconsciously
in
art
from the
remote
times
of
prehistory
down
through
the centuries
to
the
quarttrocento
painters
and
Giotto,
until
it became lost
from
sight,
with
the
emergence
of
three-dimensional
painting
and
the
advent
of
realism.
But with
the
principle
of
the
flat
plane
of
the
picture
once
re
established,
Gauguin
advanced
further
by
declaring
that
the funda
mental
nature
of art
demanded
that a
picture
should
also
be
essentially
decorative.
This
meant
not
only
that
the
flat
plane
of the
picture
should
never
be
ignored
or
violated
but also that
the
picture
should
be
designed
as
beautifully
as
possible
for
decoration.
In
search
for
precedent
to
arrive
at
this basic
principle
of
pictorial
design,
Gauguin
circumvented
the
whole
cycle
of
painting
encom
passing
the
Renaissance
and
the
Baroque,
and
tried
to
start
all over
again
with
primitive
painting.
Thus
reoriented,
the
line
is
again
dis
covered as
a
fundamental
pictorial
element
of
prime importance.
The lines
in
Gauguin's
paintings
are
mainly
decorative.
They
cut
out
patterned
shapes
around
the
forms
which
they
delineate.
Their
precedent
may
be
found
in
the
art
of
Giotto
and
the
primitives.
The
decorative
line is
an
essential
attribute
to
mural
decoration,
for it tends
to
negate
the third-dimensional
modeling
of
forms*
which
prevailed
throughout
Western
art,
and
reaffirms the
premise
that
art
must search for
the
beauty
of
design
rather
than
attempt
to
reproduce
nature.
It
also
re-establishes
the
concept
of art as
a
pictorial
language
for
the
expression
of
ideas of
life
and
beauty.
Its
statement
therefore
forms
the roots of
modern
painting,
where the
line
finally
becomes
the
vehicle
for
journeys
into
new fields
of
exploration.
Without
it
much
G
U U I N
~
THE
DECORATI\TE LINE
first reaffirmed
the
r e ~ i P < : : ~ c t 4 e a
This
fact is so
In modern T \ ~ I : I I \ ~ . I r r t
of
the II \ 1IIf t lI 1 1l-JQ;AL
L ~ : s
lines
we ve
into
a
palt1 r aIIla
partmentaHzes
human action
images
of
mystic The
the whole
manly
motivated gesture each
chamber of destiny Thus does
action
and emotion in
a citadel
a boundless and timeless space
~ r Tobey konen
ark
Tobey>s
lines
we ve into
a
palt1 r aIIla
partmentaHzes human action
images
of
mystic The
the
whole
manly motivated gesture each
chamber of destiny Thus does
action and emotion in a citadel
a boundless and timeless space
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7/26/2019 Functional Line in Painting
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CREDITS
An
Oiran in
night
attire.
Courtesy
the
Metropolitan
Museum
of
Art
A
Lua
Matiriri.
Courtesy
the
American
Museum of
Natural
History
Arunta
tribesmen
making
up
for
Corroberee.
Courtesy
the American
Mu
seum
of
Natural
History
Yukeghir
birch
bark
picture.
Courtesy
the American
Museum
of
Natural
History
Rain
ceremony,
Rmawi
Valley.
Courtesy
the
Frobenius
Institute,
Frank
fort,
Germany
Rain
ceremony,
South
Rhodesia.
Courtesy
the Frobenius
Institute,
Frank
fort,
Germany
Painting,
Motoko
cave.
Courtesy
the Frobenius
Institute,
Frankfort,
Ger
many
Family
tree
of
ancient
Mexicans.
Courtesy
the
American
Museum
of
Natu
RE ITS
n Oiran in night attire Courtesy the ~ u s e u m of
l \rt
A
ua Matiriri Courtesy the American Museum of Natural
J runta tribesmen Corroberee.. the
American ~ u
seum of Natural History
}: ukeghir birch bark Courtesy the American 1\fuseum of
Natural
History
Rain ceremony Rusawi Courtesy the Frobenius Frank
fort Germany
Rain
ceremony South Rhod esia Courtesy
the
robenius Institute Frank.
fort Gennany
ainting
lYfotoko cave
Courtesy the Frobenius Institute Ger
many
amily
tree
of
ancient
i\fexicans
Courtesy
t
American
~ f u s e u m
of
Natu-
RE ITS
n
Oiran in
night
attire
Courtesy
the ~ u s e u m of
l \rt
A
ua
Matiriri Courtesy the American
Museum
of Natural
J runta tribesmen Corroberee..
the
American ~ u
seum of Natural History
}: ukeghir birch
bark Courtesy
the
American 1\fuseum of Natural
History
Rain ceremony Rusawi
Courtesy
the
Frobenius Frank
fort Germany
Rain ceremony South Rhod esia Courtesy the robenius Institute Frank.
fort
Gennany
ainting
lYfotoko cave
Courtesy
the Frobenius Institute Ger
many
amily
tree
of
ancient
i\fexicans
Courtesy
t
American
~ f u s e u m
of
Natu-
7/26/2019 Functional Line in Painting
108/116
THE
FUNCTIONAL
LINE IN
PAINTING
102
Painting
from
the
facade
of
a
Men's
House,
New
Guinea.
Courtesy
the
American Museum
of
Natural
History
Mural,
Menena's ancient
tomb
at
Thebes.
Courtesy
the
Metropolitan
Mu
seum of
Art
Drawing
of
Osiris. In
the
Brooklyn
Museum Collection
Temple
relief from
Armant. In
the
Brooklyn
Museum
Collection
Egyptian
family
stele.
In
the
Brooklyn
Museum
Collection.
Gathering
of
Philosophers. Courtesy
the
Metropolitan
Museum
of
Art
Marsh Scene
with
Birds.
Courtesy
the
Metropolitan
Museum of
Art
Book
illustration,
One
Hundred
Women
in
Japan,
Courtesy
the
Metropoli
tan
Museum
of
Art
Manuscript
illustration,,
Anushirwan Marries
the
Daughter
of
the
Khaquan
of
China.
Cochran
Collection,
Courtesy
the
Metropolitan
Museum
of
Art
Family
portrait,
China.
Courtesy
the
Metropolitan
Museum
of
Art
Sand-dui
and
Consort.
Courtesy
the
American
Museum
of Natural
History
Menippo
(Velazquez).
The
Prado,
Madrid
Countess
d'Haussoiwille
(Ingres). Courtesy
the
Frick
Collection
Drawing
(Rembrandt).
The British
Museum.
Two
Takitian
Women
(Gauguin).
Courtesy
the
Metropolitan
Museum
of
Art
Madonna
and Child
(Crivelli).
The
Jules
Bache
Collection,
Courtesy
the
-Metropolitan
Museum
of
Art
Birth
of
Venus
(Botticelli).
The
Uffizi
Gallery,
Florence.
Christ
Mocked
(Giotto).
The
Arena
Chapel,
Padua
Nude
(Modigliani).
Courtesy
the
Solomon
R.
Guggenheim
Museum
The
Bedroom
at
Aries
(Van
Gogh).
Courtesy
the
Art
Institute of
Chicago
Bibemus
Quarry
(Cezanne).
Collection
S.
Kramarsky
Mont
Saint
Victoire
(Cezanne).
The
George
W.
Elkins
Collection,
Courtesy
the
Philadelphia
Museum
of
Art
Tunk
Mountain
Series
No.
j
(Marin).
Courtesy
the
Downtown
Gallery
Luneberg
II
(Feininger).
Courtesy
the
Solomon
R.
Guggenheim
Museum
Accordionist
(Picasso).
Courtesy
the
Solomon
R.
Guggenheim
Museum
Woman
with
Mandolin
(Picasso).
Private
collection,
New
York
Three
Dancers
Resting
(Picasso).
Private
collection,
New
York
Mandolin
and
Guitar
(Picasso).
Courtesy
the
Solomon
R.
Guggenheim
Museum
Still
Life:
Le
Jour
(Braque).
Courtesy
the
National
Gallery
of
Art,
Chester
Dale
Collection
THE
F U ~ T I O N L LINE IN P A I ~ T I \ G
102
the
fU ,_ I , ~ I u s e u m Collection
In the :\1
useum Collection
In
the ~ I u s e u m Collection.
the
~ f useum of
-\rt
J.\fa Tsh Scene 11 ith Birds. Courtesy the ~ f t r o p o l i t n l\fuseunl of \ rt
Book
One Hu ndred ll omen in Courtesy
the
:Lvfetropoli
tan
l\v useum
of
~ - \ r t
Ji nllShirwan
Afarries
the the Khaquan
of
China.
Cochran
Courtesy
the ~ f e t r o p o l i t a n
l\tluseum
of
Art
China Courtesy
the
1\Ietropolitan lYluseum of A rt
Sand dui and Consort. Courtesy
the
American 1\fuseum of Natural History
e13.ZQ1Llel: . The Prado rvIadrid
Countess d Haussontn:lle
Ingres . Courtesy
the Frick
Collection
Drazving Rembrandt .
The British
Museum.
Two Tahitian
IVomen
Gauguin . Courtesy
the ~ f t r o p o l i t n Museum of
Art
i \Iadonna and Child Crivelli . The Jules
Bache
Collection, Courtesy
the
Metropolitan ~ { u s e u m of .o\rt
Birth of enus Botticelli . The Uffizi Gallery,
Florence.
Christ Afocked
Giotto .
The Arena Chapel, Padua
.l.Vude A-fodigliani . Courtesy
the
Solomon
R. Guggenheim ~ f u s e u n l
The Bedroom at Aries
Van Gogh . Courtesy
the
Art
Institute of
Chicago
Bibemus Quarry Cezanne . Collection
S
Kramarsky
font
Saint
Victoire Cezanne .
The
George \V. Elkins Collection, Courtesy
the Philadelphia
Museum of
Art
Tunk Mountain Series
1\/0
l\farin . Courtesy the
Downtown
Gallery
Luneberg
II
Feininger . Courtesy
the
Solomon R.
Guggenheim lVIuseunl
Accordionist Picasso . Courtesy
the
Solomon
R. Guggenheim lvluseum
Woman
with
iWandolin
Picasso .
Private
collection,
New
York
Three Dancers
Resting Picasso .
Private
collection,
New
York
l\ fandolin
and
uitar Picasso . Courtesy the Solomon R. Guggenheim
Museum
Still Life:
Le
Jour
Braque . Courtesy the National Gallery of Art, Chester
Dale Collection Loan
THE
F U ~ T I O N L LINE
IN
P A I ~ T I \ G
102
the
the l\le:troIDOntaln J\Iu-
~
useum Collection
In
the
:\1useum Collection
In
the ~ I u s e u m Collection.
the ~ f
useum of
-\rt
J.\fa Tsh Scene 11 ith Birds. Courtesy
the
~ f e t r o p o l i t n l\fuseunl of \ rt
Book One Hundred
ll omen
in Courtesy
the :Lvfetropoli
tan l\v
useum of
~ - \ r t
n1lf l l I t I l 9
7/26/2019 Functional Line in Painting
109/116
103
Painting
No.
259
(Kandinsky).
Courtesy
the
Solomon
R.
Guggenheim
Museum
Reisse
Skizze
(Klee).
Courtesy
the
Saldenberg
Gallery
No.
12
(Pollock).
Courtesy
the
Sidney
Janls
Gallery
Wounded
Scoter^
No
2
(Graves).
Courtesy
of
the
Cleveland
M
useiim
of
Art,
Gift of
Gamblers
in
Modern
Art
Ikonen
(Tobey).
Courtesy
the
Willard
Gallery,
Lelie
\VittIes
Collection
Essay
(Ernst).
Courtesy
the
Grace
Borgenicht
Gallen
3
CREDiTS
Painting So
:; 59 Kandinsky . Courtesy the Solomon R. Guggenheim
;\Iuseum
Reisse Ski e Klee . Courtesy the Saidenberg Gallery
NO 1:;
Pollock . Courtesy the Sidney
janis
Gallery
Wounded
Scoter So 2 Graves . Courtesy of the Cleveland ;\luseum of Art,
Gift of Gamblers in Modern rt
lkonen Tobey . Courtesy the illard Gallery, Lelie \nttles Collection
ssay Ernst . Courtesy the Grace Borgenicht GalleT
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110/116
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111/116
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112/116
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