Visual Arts Exercises - EDUCACIÓN PLÁSTI CA Y VISUAL 3º ESO

VISUAL ARTS

SECONDARY

Art appreciation

C O N T E N T Si n t r o d u c t i o n 4

a n a l y s i s o f w o r k s o f a r t 7

1 Visual language 8 1.1 Paul Citroen: Metropolis; erwin Blumenfeld: Portrait of Sam Levenson

1.2 rené magritte: A Friend of Order and Portrait of Edward James

1.3 nam June Paik: Andy Warhol Robot; andy warhol: Retrospectives

2 Elements of artistic expression 11 2.1 wassily kandinsky: Yellow, Red, Blue and The Village Church

2.2 henri matisse: Luxury, Calm and Pleasure and The Red Room

2.3 alBerto giaCometti: Walking Man and Bust of Diego

3 Colour 14 3.1 georges seurat: The Seine at La Grande Jatte and A Sunday on La

Grande Jatte

3.2 ernst kirChner: Street, Dresden and Potsdamer Platz

3.3 Frescoes from Knossos Palace: The Cup Bearer and Prince of Lilies

4 Shapes 17 4.1 Jan Vermeer: The Allegory of Painting and The Milkmaid

4.2 Claude monet: Water Lilies and Woman with a Parasol

4.3 PaBlo ruiz PiCasso: Guernica and Three Musicians

5 Light and volume 20 5.1 MiChelangelo Buonarotti: David and Madonna of the Stairs

5.2 Diego Velázquez: The Waterseller of Seville and The Tapestry Weavers

5.3 Joaquín sorolla: Sewing the Sail and Children on the Beach

6 Symmetry and composition 23 6.1 CasPar daVid friedriCh: The Abbey in the Oakwood and Wanderer

Above the Sea of Fog

6.2 Juan gris: Guitar and Newspaper and The Kitchen Table

6.3 fra angeliCo: Annunciation and The Washing of the Feet

7 Geometry and proportion 26 7.1 Paul klee: Castle and Sun and Flowering

7.2 JaCques-louis daVid: Oath of the Horatii and The Sabine Women

7.3 Maurits Cornelis esCher: Cycle and Flatworms

8 Systems of representation and perspective 29 8.1 Leonardo da VinCi: The Virgin and Child with St Anne and The Mona Lisa

8.2 Romanesque painting: Adoration of the Golden Calf and The Last Supper

8.3 riChard estes: Downtown Reflections; antonio lóPez: Gran Vía

In the official curriculum, the subject of Visual Arts is intended to develop perception, expression and aesthetic skills in Compulsory Secondary Education (ESO) students, based on theoretical and practical knowledge of visual languages. These skills must be accompanied by a basic knowledge of the terminology and methods used in interpreting works of art. This will also enable the student to comprehend and describe works of art and critically relate them to a specific environment or period.

In order to help develop comprehension and analysis of artistic work, the Art Appreciation booklet provides analysis of twenty-four works from different units in Visual Arts I and II. The aim of these analyses is to enable students to understand the process of observing and discussing works of art from very different styles and periods. The following structure has been used:

– Artist and style. An introduction discusses the best-known aspects of the movement or artist analysed.

– Learn to analyse art. Three formal analyses are presented for each thematic unit. Each one offers a description of a specific work, discussing the visual aspects studied by the student in the corresponding unit or previous units and years.

– Do your own analysis. For each artist or movement, there is an additional work of art related to the analysis in the previous section, accompanied by a brief set of questions. This allows the student to test their observation and expression skills regarding art and gain a better knowledge of the general aspects of works of a given period or an important artist.

Key aspects of the curriculum content covered in the booklet include the following:

– Observation. This booklet develops observation and perception skills through a complete analysis.

– Experimentation and discovery. The proposed analyses allow students to explore elements of different works and raise awareness of how the medium influences the art.

– Reading and evaluation of artistic models. The Art Appreciation booklet provides an opportunity for students to learn and practise reading images and gain knowledge of different styles and movements.

The purpose of these sections of the Art Appreciation booklet is to help achieve the following aims:

Observe, perceive, comprehend and interpret art, with attention to their aesthetic aspects.

Foment students’ interest in artistic works and help students learn the key aspects of the main movements and styles, evaluating them reflectively and positively.

Develop students’ confidence in their own ability to analyse and express their emotions and feelings.

Encourage active oral classroom work.

i n t r o d u c t i o n

4Art Appreciation

The analyses in this booklet are divided into the following sections:

• Thematic subject which the analysis is part of

• Introduction to the artist, style and work

• Questions to be used by the student to analyse the work of art

Art Appreciation5

Artist or work

focused on

Work provided for the student

to analyse

• Work analysed

Analysis of the formal

aspects of the work

analysis of works of art

Art Appreciation8

VISUAL LANGUAGE11.1 Paul Citroen (1896-1983)Paul Citroen was a German painter, graphic artist and photographer. He did his most important work between the two world wars, 1918 to 1939. Citroen studied at the Bauhaus school in Germany, which created simple and well-ordered art.Citroen was also involved with the Dadaists in Germany. This group was very critical of society and traditional art. They believed that any object or montage could be considered a work of art. The Dadaist photographers use photomontages.Citroen described his photomontage Metropolis as pasted pictures of buildings on a large sheet of paper that give the impression of the way many cities looked. It was a view of the future.

A. Briefly describe the work.

– What is the medium? What can we see in the image? What is the artist trying to communicate to us?

B. Do an art analysis.

– Do you think there is order or disorder?

– Are there colours in the piece?

– Do any elements stand out, or are the background and figure uniform?

– What function do you think the image has?

DO YOUR OWN ANALYSIS

E. Blumenfeld, Portrait of Sam Levenson, 1951.

LEARN TO ANALYSE ART

A. Brief description of the work

The artist has chosen a number of photographs of buildings from different perspectives, along with train stations, letters, avenues, etc. It appears to represent a city.

B. Art analysis

– The work is composed of photographic images in the style of a photomontage. The photographs were positioned in the form of a collage.

– The artist uses artistic visual language in which photographs are positioned to compose a subject.

– The piece contains black and white, sepia and orange photographs, with red and green applied to the train, making it stand out among the other uniform tones.

– The city is formed by uniform visual effects. Proximity, similarity and continuity are also used in the montage.

– It has an aesthetic function, but it is also expressive. The artist himself tells us that he was trying to represent the future and urban life.

Paul Citroen, Metropolis (fragment), 1923.

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– What is the medium? What do we see in the painting? What is the painter trying to communicate to us?


– Which part of the work seems realistic? Which elements are unrealistic?

– What feelings does the image elicit in you? How would you feel if you were alone in this space?

– What colours stand out in the piece? Why were these types of colour used?

– Where is the light source? Can you see any shape shadow? Can you see any cast shadow?


VISUAL LANGUAGE11.2 renÉ MaGritte (1898-1967)René Magritte was a Belgian painter who became part of the Surrealist movement. Surrealist painters combined the rational and irrational, the possible with the impossible. He was also influenced by the metaphysical painter Giorgio de Chirico.Many of Magritte’s works have a mysterious quality, with floating figures, strange landscapes and impossible proportions.



A figure of a man wearing a hat is silhouetted against a black background. Inside the figure is a landscape. The painting conveys mystery and stillness.

B. Art analysis

– A human shape stands out against a black background. The interior of the figure is filled with a landscape.

– Cool hues and dark colours are used in the landscape, giving it a feeling of calm and stillness.

– The proportional relation between the figure and the landscape is impossible. Normally, we see a person within a landscape, not the other way round.

– In the landscape, the trees look blurry due to mist or lack of light. There is also some shadow to create volume.

– The moon is positioned in the centre of the head and the trees seem to form two groups on either side of it. They give the perception of symmetry. The superimposed trees create the sensation of depth. René Magritte, A Friend of Order, 1963.

René Magritte, Portrait of Edward James, 1937.

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VISUAL LANGUAGE11.3 naM June Paik (1932-2006)Paik was a South Korean artist who studied art history in Japan and music theory in Germany. In 1960, he became part of the Fluxus movement.

The Fluxus movement combined different artistic disciplines and materials. They used video art, performances and music with unusual harmonies. They were also influenced by Pop Art, with its use of everyday items to represent the consumer society.

Paik used videos in his art installations, including personal videos filmed on portable cameras.


– What materials make up this piece? How are they positioned?


– Can you identify the pop culture icons used in the piece?

– Can you name the two well-known people shown in the work?

– Do you think the piece conveys a message or does the visual language only have an aesthetic purpose?


Andy Warhol, Retrospectives, 1979.



We can see the shape of a robot with television screens, cameras, reels of movie film, etc. The robot is also holding a box of Brillo pads and the ‘mouth’ is made of Campbell’s Soup tins, both icons used by artist Andy Warhol.

B. Art analysis

– This is an example of video art, an experimental art in which videos are shown in complex installations with no narrative intent: the audiovisual language is used exclusively for artistic purposes.

– The installation includes screens, video cameras and film reels, which create a robot. The robot is in turn the medium for icons from pop culture and the Pop Art of Andy Warhol.

– The work has two meanings: it refers to mass society and popular culture, and the video is used to critique television.

– The piece has two functions: aesthetic, although far from the traditional concept of beauty; and expressive, as it seeks to provoke individual reflection. Nam June Paik, Andy Warhol Robot, 1994.

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ELEMENTS OF ARTISTIC EXPRESSION 22.1 Wassily kandinsky (1866-1944)Kandinsky was a Russian painter, researcher and art theorist. He worked in France and Germany and taught at the Bauhaus school.

In 1911, together with other Expressionist painters, Kandinsky founded the Blue Rider. This group wanted to use colours to express ideas and feelings, rather than reflect reality. Kandinsky’s Expressionist works feature dynamic compositions, expressive line and a strong, aggressive use of colour.

Kandinsky was the originator of abstract art. This style features the same use of line and colour and the aim of expressing feelings, but without being figurative.



This is an abstract painting made using bright colours. Point, line, plane and colour were used as elements of the composition, as there is no subject.

B. Art analysis

– The work does not refer to any realistic or figurative element, making it abstract art.

– The art elements have been positioned in two separate areas:

Wassily Kandinsky, Yellow, Red and Blue, 1912.


– What elements are depicted? Are they natural or man-made? Is this one of Kandinsky’s Expressionist or abstract works? Why?


– Are the shapes realistic, figurative or abstract? Does the work depict reality or a feeling? Which one?

– Explain how the paint was applied: in patches, points, lines, etc.

– What sensations do the colours convey?

– Is there a sensation of depth? How was it created?


W. Kandinsky, Riegsee. The Village Church,1908.

Left side Right side

Point Point is used in various areas.

Line The horizontal segments give the sensation of calm and the vertical ones seem to separate. Some diagonals and curves express movement.

There is more use of irregular curved elements, generating more movement.

Plane Rectangular planes are superimposed, creating the sensation of depth.

The shapes are combined and superimposed, giving the sensation of depth. The planes formed by the blocks of colour were executed using strong perspective.

Colour In the centre, warm hues seem to advance towards the viewer; the cool hues in the background seem to move away.

The centre is dominated by a strong harmony between complementary colours (blue and red).

Music In both areas, there are images that evoke music (the lines of staves, quavers, etc.).

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ELEMENTS OF ARTISTIC EXPRESSION 22.2 Henri Matisse (1869-1954)Henri Matisse was a French painter. He was very important to the early 20th-century avant-gardes, a group of highly innovative art movements.

Matisse was interested in the Impressionist study of colour and light and Pointillism, which used dots of colour that merged in the eye of viewer. Matisse added more elongated, thicker brushstrokes to this style.

Influenced by Post-Impressionist painting, which used very expressive colour, Matisse liked to juxtapose blocks of strong, strident colours. He was one of the leaders of the first historical avant-garde: Fauvism. In Matisse’s Fauvist paintings, colour decorates, creates the planes and spaces, and expresses feelings. The distortion of shapes was also important in his work, emphasising expressiveness.




A group of female bodies are shown relaxing in a landscape beside a lake or sea. It is either early morning or evening. The brushstrokes form short lines or elongated dots, in the style of the Pointillist or Divisionist school.

B. Art analysis

– Matisse uses the basic art elements to give form to the work.

– He applies the paint in dots. Some dots are elongated into short lines. The accumulation of dots suggests volume, proximity and distance, etc.

– Strong vertical and diagonal lines break up the monotony of the dots. The lines outlining the bodies, objects, mountains, etc. also stand out.

– The piece is done in primarily warm hues. There are also some blues and greens.

– The dots and colour create the spaces and seem to form planes.

Henri Matisse, Luxury, Calm and Pleasure, 1904.

Henri Matisse, The Red Room, 1908.


– What figures are shown? In what environment? Is the scene depicted in an exact, realistic way or schematically?


– What style does it represent: Pointillism or Fauvism? Why?

– How is line used? What types of lines can you see?

– How are the planes formed?

– Does Matisse try to show depth or perspective?

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22.3 alberto GiaCoMetti (1901-1966)Giacometti was a 20th-century Swiss draughtsman, painter and sculptor.

He explored Surrealism, a movement that tried to produce works quickly and automatically, without premeditation, but this was virtually impossible in painting and sculpture.

After the Second World War, some artists started to pay more attention to man’s existence and his relationship with the world. Because of the horrors of war, these works tended to represent the grotesque and the ephemeral. Giacometti’s sculpture depicts the existence of man in a very pessimistic, mysterious and grotesque way.

Giacometti used art elements from drawing such as line, but texture was also extremely important.



A man appears to walk deliberately forward. His body is out of proportion: the arms and legs are too long. Heavy feet seem to connect the man to the ground.

B. Art analysis

– This is a simple, free-standing, distorted human figure. For this reason, it is a figurative piece.

– The man is out of proportion: excessively long extremities are connected to a very thin torso and a small head.

– The texture is rough and uneven, making the work tactile. This means that it can also be appreciated using touch. This texture is artificial and was created by the artist.

– The elongated arms and legs evoke vertical lines, creating the effect of elevation and upward movement. The oblique lines of the legs and body accentuate the feeling of instability and movement.

– The light falls on the sides of the figure and highlights the relief created by the texture.

– The sculpture conveys feelings (anguish, pain) accentuated by expression, posture and disproportion.

Alberto Giacometti, Walking Man, 1963.

ELEMENTS OF ARTISTIC EXPRESSION


– Is this a relief or a free-standing sculpture? What is the name for a sculpture that represents only the head and shoulders of a figure?


– Describe the texture of the piece. Are other art elements used for expressiveness?

– Are the shapes realistic, schematic, simplified, distorted or abstract?

– How does the light fall? What is the effect?

– What feelings does it elicit in you?


Alberto Giacometti, Bust of Diego, 1954.

Art Appreciation14

COLOUR33.1 GeorGes seurat (1859-1891)Seurat was a Parisian painter who was very interested in the technical aspects of painting and new colour theories. These theories focused on the importance of light, complementary colours and perception.

Seurat was familiar with Impressionist painting. The Impressionists tried to capture the transient effects of changing light and colour with quick, loose brushstrokes. Seurat was also interested in the outdoor scenes of middle-class life painted by the Impressionists.

Seurat explored colour and the geometry of shapes. He was one of the creators of Pointillism, or Divisionism. In this style, dots of colour were juxtaposed on the canvas, without combining them. They are only perceived as merging in the eye of the viewer.

He also established a series of relationships between dark and light tones, cool and warm hues, and descending lines (sad) and ascending lines (happy).


– What subject is depicted? What art elements are used?


– How are dots used? And colour?

– What tones are there? What colour ranges? What harmonies?

– How is white used? And black?

– What sensations do you perceive?

– Are the shapes open or closed?

– Can you identify the horizontal and vertical elements? What is their effect?


Georges Seurat, A Sunday on La Grande Jatte, 1886.



The work shows an Impressionist subject: a landscape on the banks of the Seine near Paris with sailing boats and a tree next to the water. The water is surrounded by green areas. The landscape was created using dots.

B. Art analysis

– The work is based on dots, which are used to apply colour in indivisible units.

– Colour is used in its pure, unmixed form.

– Cool tones such as blues and greens stand out, accompanied by yellow and magenta. The piece is dominated by harmonious colours close to each other on the colour wheel.

– The tones produce the sensation of calm and stillness.

– White is used in the brighter areas, with darker values for the shadows: volume, depth and shape are all created through the Pointillist use of colour.

– The shapes are not clearly defined and there are no outlines: they are open shapes.

Georges Seurat, The Seine at La Grande Jatte, 1888.

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COLOUR33.2 ernst kirCHner (1901-1938)Kirchner was a German painter who studied architecture and painting. In 1905, together with other painters, he founded The Bridge, an Expressionist group. Expressionism was a style based on the use of flat, subjective (not coinciding with reality), strident colours. The Expressionists took their use of strong, flat colours from the Fauvism of Matisse.

In Expressionist painting, figures were based on the simplified shapes of primitive art. They were strongly outlined, distorted and had no volume. Depth was created using unrealistic, distorted perspectives.

Kirchner painted the main Expressionist subjects: interiors and night scenes of the big city. After fighting in the First World War, he experienced serious mental problems and retired from urban life, moving to Switzerland. There he began painting landscapes.


– Is this an urban or rural landscape? What figures are shown? What does it convey?


– What colour ranges are used? What harmonies? Are the colours objective or subjective?

– How is line used?

– Can you describe the perspective?

– Are there realistic shapes? And geometric shapes? Are the figures and the background in proportion?


Ernst Kirchner, Potsdamer Platz, 1914.



This painting depicts an urban street with a tram and a number of pedestrians, primarily women. The figures seem distorted and the colours are strident and subjective. Kirchner uses colour to convey the idea of modernity as separate from reality.

B. Art analysis

– Colour is the most significant art element in the piece. The colours are strident and do not correspond to reality (pink streets, green faces, etc.). They represent the artist’s subjective vision.

– The colours are applied in thick, irregular and expressive layers of paint. They are combined with white in the brighter areas and black is used in the darker sections.

– There is a bold combination of cool hues juxtaposed with warm hues: the red raincoat and tram and the pink street.

– Another important element is line. It marks the outline of the figures and curved lines convey instability and continuous movement.

– In some parts of the painting, the brushstrokes are reduced to the size of a dot.

– Depth is defined by the superimposed bodies, use of colour and extending the straight lines of the tram rails.

Ernst Kirchner, Street, Dresden, 1908.

Art Appreciation16

33.3 FresCoes FroM knossos PalaCe, CreteThe Cretan or Minoan civilisation developed in the Mediterranean around 3000 BC. The society grew rich from trade and the level of culture was high. The society was hierarchical, but without major social differences. Its greatest artistic creations were palaces like the one at Knossos, whose walls allow us to see the painting of the period.

Cretan painting is noted for its frescoes in vivid colours applied over red or white stucco, which made them even more colourful.

The figures are full of life and we can see the artists’ interest in movement: they are shown doing traditional activities, walking, making offerings, etc. The style is archaic: in Cretan art human figures are usually painted in profile, but with some features shown from the front (eyes, shoulders).



Two men holding containers seem to be walking. It may be a procession or they may be servants. The figures are painted on a wall and the colours are extremely vivid.

B. Art analysis

– This is a figurative work featuring simplified figures. The anatomical proportions are maintained. The men are shown in profile, but their eyes are seen from the front. The space around them is represented abstractly.

– Geometric shapes and decorations are used on the clothing and containers.

– The figures are done in reddish colours, which stand out because of the red and white stucco covering the wall.

– The reddish figures stand out against a yellow and white background.

– The use of warm colours close to each other on the colour wheel creates a harmony of similar colours with uniform values. This harmony is interrupted only by the limited use of blues. The colours are extremely saturated.

– The shapes are outlined by sharp, uniform lines, which give the feeling of stability, clarity and proportion.

– The background elements follow a horizontal direction, while the men are vertical.

The Cup Bearer Fresco. Knossos Palace, 2nd century BC.

COLOUR


– What can we see in the painting? Where was it made? What are the colours like?


– Is this piece figurative or realistic?

– What parts of the figure are shown from the front? Which are in profile?

– Can you describe the clothing?

– Can you describe the colours? Are warm or cool hues used? How are the vivid colours created?

– Which stands out more, the background or the figure?

– How does the artist produce the sensation of movement?

– Why do you think he is a ‘prince’?


Prince of Lilies. Knossos Palace, 2nd century BC.

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44.1 Jan VerMeer (1636-1675)Vermeer was a Dutch painter of the baroque period. Baroque painting was noted for large works filled with movement showing religious and mythological subjects or the monarchy. The Netherlands was the exception. There paintings depicted middle class people in their homes or doing everyday tasks.

In both cases, light was very important, both direct, or contrasting, and diffuse. Artists painted very realistic scenes with marked perspective, diagonals, foreshortening, etc.

Vermeer used baroque elements such as ethereal, clear light, perspective and theatrical composition in middle-class scenes with relaxed figures and little movement on small canvases.



We see a painter painting a portrait of a woman in a middle-class interior. The book and instrument in the woman’s hand indicate that she is cultured. A curtain is pulled back like a theatre curtain to reveal the scene.

B. Art analysis

– The style is realistic, as it depicts a scene from everyday life with almost photographic perfection.

– The light is natural and comes from a window. This is common in Vermeer’s work, although the window is hidden. The lateral light creates contrasts, textures and volume, as we can see in the woman’s dress.

– The clear light blurs the outlines in the background, making the shapes which are closer to the viewer appear more closed.

– Perspective is indicated by the tiles on the floor. The spatial relations between superimposed objects (curtain, table, woman, map) and the fact that elements further from the frontal viewing point are less defined also create depth.

– The proportions of the figure of the woman are clear: the body is seven times the measurement of the head.

– The woman is stationary, although the arm holding the instrument and the turn of her head add some movement. The man, with his back to the viewer, only lifts his arm to paint in a calm movement. His arm and legs are foreshortened.

– The light creates harmony between the figures and the rest of the composition. The man and woman are also connected by their gestures.

Jan Vermeer, The Allegory of Painting, 1666.

ShAPES


– What subject is depicted? Is it an interior or an exterior? Can you describe the space?


– Is this a realistic work? Why?

– Where is the light source? Is it direct or diffuse?

– How is depth indicated?

– Describe two textures in the painting. How are they created?


Jan Vermeer, The Milkmaid, 1660.

Art Appreciation18

44.2 Claude Monet (1840-1926)Monet was a French painter who was fascinated by the effects of light. He was the greatest representative of Impressionism.

The Impressionists wanted to study light scientifically. They did not use preliminary drawings or sketches: in most cases, they applied the colour directly and their works evoked the sensation of movement. Influenced by photography, these painters explored capturing the instant, light and colour at a specific moment. For them, the world was continuously changing and had to be painted almost instantaneously.

Monet painted in the open air (plein air in French) and used very rapid brushstrokes to apply pure colours without mixing them. From a certain distance, they merge together in the retina of the viewer.

ShAPES


– What is depicted? What art elements are important?


– What angle do we observe the figures from: normal, high or low?

– How are dots used? And line?

– What colour ranges are used?

– Are the shapes defined? Are they realistic, figurative or abstract?

– How do the figures relate to the space? Is there depth? Is there contrast?

– Look at the shadows: where is the light source?

– Is there movement? Can you describe the gestures and expressions of the figures?


Claude Monet, Woman with a Parasol, 1886.



The painting shows a pond with water lilies painted using patches of colour. In the water, we can see reflections. It is the time of day when the sun falls most strongly.

B. Art analysis

– The natural shapes are organised in a complex composition made up of patches of cool colours (greens, blues, violets). Yellows are used to show the warmth of the light.

– The shapes are organic. Thick, energetic, undefined brushstrokes create shapes without defined outlines.

– The shapes and textures are combined on the canvas, creating a powerful sensation of energy and movement.

– The paint is applied so freely that close up, it looks like an abstract work. However, the forms take shape in the eye of the viewer at a certain distance. For this reason and because of the proportions, this is a figurative work.

– Everything is situated in space by the light.

– Because it is a plein air painting, the light is natural and overhead.

– Depth is created through differences in light (darker in the foreground) and tonality.

Claude Monet, Water Lilies, 1918.

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ShAPES44.3 Pablo ruiz PiCasso (1881-1973)Picasso was born in Málaga. He lived primarily in Barcelona, Paris and southeast France.

The artist was very involved in politics. During the Spanish Civil War (1936–1939), he painted this canvas denouncing the bombing of the Basque town of Gernika-Lumo by the German air force, in support of pro-Franco troops. It was exhibited in the Spanish Pavilion at the 1936 Paris Exposition.

The work is based on avant-garde styles Picasso had already used. The representation of various possible perspectives of an object is from Cubism. The neutral tones are also Cubist. The aggressive, twisted, almost monstrous, expressions and postures come from Surrealism. Bulls, horses, women and children are common in Picasso’s work.


– What figures are shown? How are they depicted?


– What art elements stand out?

– Is this a realistic, figurative or abstract piece?

– Are the shapes organic or geometric? Are they open or closed? Which part stands out: the outline, silhouette or interior?

– Is there depth?


Pablo Picasso, Three Musicians, 1921.



The scene shows bulls, horses, women, children and men moving in anguish and terror. The functions of the piece are aesthetic and exhortatory: Picasso wanted to use the beauty of art to convince viewers of the horror of war.

B. Art analysis

– The work has marked curved lines and large planes.

– The shapes are closed, flat and organic.

– It is a figurative work. The shapes are simplified anatomically and distorted in a complex way.

– The expressions and gestures of the figures show terror and pain. Their twisted postures accentuate these feelings.

– There is a lot of movement and agitation, which reflects the moment of confusion depicted.

– The work was done in achromatic hues: only black and white are used, mixed in different proportions. It is not necessary to use colour to show expressiveness.

– The scene is an interior. Two sources of artificial light illuminate the centre of the room.

– The composition is symmetrical: the central figures form a triangle. On the left and right, there are two vertical axes.

– The artist creates depth by superimposing figures and elements, with the placement of the walls, the position of the window frames, etc.

Pablo Picasso, Guernica, 1937.



We can see the naked body of a young man. His posture is relaxed, but there is tension in his hands and face.

B. Art analysis

– This is a free-standing piece done in marble. It can be viewed from various perspectives.

– We can see that the artist paid a lot of attention to anatomy, making it a realistic work.

– The artist’s technique involved carving a block of marble. This is a subtractive technique: material is eliminated to create the desired result.

– The surface is smooth and polished, but the muscles, hair, etc. create contrasting areas of light and shadow: chiaroscuro.

– The light source is overhead. The torso and arms are in the light, but the legs and areas such as the underside of the arms, part of the face covered by hair, etc. are in shadow. This accentuates the sensation of volume.

– We can identify areas of light (chest), half-light (face) and form shadow (left forearm).

Art Appreciation 20

55.1 MiCHelanGelo buonarroti (1475-1564)Michelangelo was an Italian Renaissance architect, sculptor and painter.

He worked primarily for the Medici family, who governed the city of Florence at the time, and for various popes in Rome. As a result, most of his works were portraits of rulers, mythological pieces or religious works.

His favourite discipline was sculpture. In his sculptural works, he tried to express the ideals of the art of his period: beauty, classical forms and anatomical perfection. However, Michelangelo also added monumentality, the expression of the inner strength of his characters and the representation of volume.

The material he used most often was marble.

Michelangelo Buonarotti, David, 1504.

LIGhT AND VOLUME


– Is the work free-standing or a relief? What type? What is depicted?


– Does the artist try to achieve anatomical perfection? Can you describe the bodies?

– This piece was done in marble. What technique do you think the artist used: carving, modelling or casting?

– Where is the light source?

– Is the surface smooth or are there different textures?

– How is volume indicated? And depth?


M. Buonarotti, Madonna of the Stairs, 1489.

21Art Appreciation

55.2 dieGo Velázquez (1599-1660)Velázquez was a Spanish painter of the baroque period. He trained in Seville and worked at the court of Philip IV in Madrid for most of his life. He spent long periods in Italy, where he learned about the latest advances in painting.

In his early career, light was very important to Velázquez and he adopted the Tenebrist style. This style used a high-contrast tonal scale to depict sharp differences between light and shadow (chiaroscuro) created by strong nearby artificial light sources. The light fell on the figures laterally, accentuating the contrasts.

He gradually added more white and a softer, more Classicist light, applied using looser brushstrokes. This created fewer contrasts.

Velázquez used baroque elements such as strong diagonals, foreshortening, deep perspective and almost theatrical scenes. In these perspectives, diaphanous light alternated with areas in semi-darkness.



A group of people are portrayed doing everyday activities. A man distributes water. He holds a glass and an earthenware jug. A young man holds on to the same glass. In the background, a third figure drinks. The work is very realistic and uses chiaroscuro lighting.

B. Art analysis

– The figures and objects are depicted true to life, in an almost scientific way.

– The scene is lit from the left by artificial light, creating brightly illuminated areas.

– A high-contrast tonal scale (Tenebrist) is used. The strong nearby light source highlights the areas with warmer colours and whites. The background of the scene is completely in semi-darkness.

– There is a lot of detail in the textures. They are modelled by the light, creating a sensation of volume. The cup and jugs are entirely modelled by the light.

– There are areas of light (white shirt), half-light (waterseller’s hands), form shadow (part of the jugs) and cast shadow (on the table).

Diego Velázquez, The Waterseller of Seville, 1620.

LIGhT AND VOLUME


Diego Velázquez, The Tapestry Weavers, ca 1657.

– Are the brushstrokes loose or do they delineate outlines and details?

– Is there movement?


– What does the scene depict? Is it realistic, figurative or abstract?


– There are three planes with three scenes. Can you describe them?

– How does the painting evoke the idea of a theatre play?

– How many light sources are there in the piece?

– Is there natural light? And artificial light? Is the light frontal, lateral or overhead?

Art Appreciation22

55.3 Joaquín sorolla (1863-1923)Sorolla was born in Valencia, and its light and beaches influenced his entire oeuvre.

He studied fine arts and developed an interest in the light and plein air painting of the Impressionists. He made several trips to Italy and Paris, where he studied the natural light used by other painters.

In all of his work, the artist’s main concern was the study of light. His paintings always showed scenes of local life and maritime subjects. The beach scenes are his most famous works.

LIGhT AND VOLUME


– What type of scene is represented? Is it realistic or figurative?

B. Do an art analysis. – Can you describe the light falling on the bodies? Where

does it come from?

– Does the artist use harsh or soft light? What does it express?

– What colour did Sorolla use to create the shine on the wet bodies of the children? What colour ranges are used? Do the colours have high or low tonal values?


Joaquín Sorolla, Children on the Beach, 1903.



Several men and women are sewing sails in a space lit by patches of partial light. Around them are plants and wooden structures. This is a scene of local, everyday life.

B. Art analysis

– The composition is symmetrical: the sail acts as the axis of symmetry and the figures and plants form the sides.

– The lighting effects are created by colour and the use of white. Strong overhead natural sunlight accentuates the dimensions and the fact that a roof of straw or leaves allows the light to enter only in white patches.

– The light and the brushstrokes make the shapes appear open and diffuse. The gestures of the figures are relaxed, but the light creates a strong sensation of movement.

– The shapes are complex because gradations of colour are accentuated by the texture and folds of the cloth and the light falling on small areas.

– The style is realistic, but the light makes emotion a more prominent element; it is not scientific realism.

– The use of high tonal values, with a lot of whites, adds to the sensation of brightness and softness.

– The perspective is similar to linear perspective. The superimposed figures and decreasing size of the figures also emphasises this feeling.

Joaquín Sorolla, Sewing the Sail, 1896.

23Art Appreciation

66.1 CasPar daVid FriedriCH (1774-1840)Friedrich was the most important painter in the movement known as German Romanticism.

Romanticism tried to depict scenes of nature from a spiritual, almost religious, perspective. Beauty was combined with feelings such as loneliness and fear. In Friedrich’s words: ‘A painter must not paint what he sees in front of him, but what he sees inside himself.’

He usually painted landscapes that were very distant in either space (glaciers) or time (medieval ruins) from Europeans of the period. His landscapes always have a mysterious, soft light and fog. The horizon seems to blur into the background. If there are human figures, they are generally positioned with their back to the viewer, looking into the distance.



The work shows the ruins of a Gothic abbey surrounded by dry oak trees. The atmosphere is mysterious and the soft light creates the sensation of loneliness. It is a Romantic work and the realism of the elements is seen through the personal vision of the painter.

B. Art analysis

– This painting has a flat, horizontal format.

– The composition is based on axial symmetry. The abbey ruins form the axis of symmetry. The oaks and the curve formed by the light complete the symmetry.

– The scene is dominated by natural (oak trees) and artificial (ruins) forms.

– This is a symmetrical composition, but the symmetry is apparent, rather than geometric.

– The symmetry produces the sensation of visual order and stability, while the atmosphere created by the light generates emotions such as loneliness and fear.

– The light used by Friedrich is natural and very diffuse. The position of the sun produces strong backlighting.

Caspar David Friedrich, The Abbey in the Oakwood, 1810.

SYMMETRY AND COMPOSITION


– What elements are depicted? What is unusual about the position of the figure?


– What format does the work have: horizontal or vertical?

– What type of symmetry is used in the composition, axial or radial?

– Is this an example of apparent or geometric symmetry? What elements indicate this?

– What type of light is used? What colour ranges?

– How is depth created?


Caspar David Friedrich, Wanderer Above the Sea of Fog, 1818.

Art Appreciation24

SYMMETRY AND COMPOSITION 66.2 Juan Gris (1887–1927)Juan Gris was born in Madrid. He studied fine arts, but soon moved away from traditional art, looking for something new.

Gris moved to Paris. Years earlier, the Post-Impressionist painter Cézanne had focused on shape, volume and order in his compositions. Inspired by this work, the young Juan Gris, Pablo Picasso and Georges Braque created the Cubist style.

This new avant-garde movement depicted reality by showing different possible perspectives of a given object (the ‘fourth dimension’). In Cubist works, the composition is based on the use of planes. Still lifes with newspapers, musical instruments, fruit bowls, musical scores, bottles and glasses are common.

Gris later added bright colours to his work, moving away from the neutral colours of Cubism.



This is a still life in which the objects are depicted from various points of view at the same time, in the Cubist style.

B. Art analysis

– This painting has a rectangular, horizontal format.

– The genre represented is still life. The different objects are shown from different points of view at the same time, creating a ‘fourth dimension’.

– There are characteristic elements of Cubist still lifes: a guitar, a newspaper, a musical score, a fruit bowl, a glass, etc.

– The colours are neutral, but dark red is used in the background and on the table.

– The composition is dominated by the diagonal of the guitar.

– Visual balance is achieved through balanced distribution of the visual weights.

– The shapes are geometricised, but their positioning and the different perspectives eliminate any sensation of order.

– The rhythms are interrupted and broken, expressing freedom of movement and energy.

Juan Gris, Guitar and Newspaper, 1919.


– What does the work depict? What style does Cézanne’s work belong to? What avant-garde movement did he influence?


– What elements are depicted?

– Look at the basket, table, vase and window. Are they represented from the same perspective? What has happened?

– How do light and colour affect the volume of the objects?

– Draw the compositional scheme. Is it a simple scheme? Is it balanced?


Paul Cézanne, The Kitchen Table, 1890.

25Art Appreciation

66.3 Fra anGeliCo (1390-1455)Fra Angelico was a friar and painter at the beginning of the Italian Renaissance.

In contrast with the Middle Ages, Renaissance artists were more interested in analysing the proportions of nature and studying composition. Compositions usually included architectural spaces to demonstrate the use of mathematical perspective.

Fra Angelico’s work still had the gold and sweetness of the medieval Gothic style, but also included architecture in mathematical perspective, primarily linear perspective.

SYMMETRY AND COMPOSITION


– What scene is depicted? Why would you say this is a religious subject? How are the figures positioned?


– What format is used?

– How many compositional schemes can you identify? Draw them.

– Can you describe the perspective? What elements indicate perspective?

– Is there geometric or apparent symmetry? Why?

– Are the rhythms primarily rectilinear or curved? Describe them.


Fra Angelico, The Washing of the Feet, 15th century.



The painting shows two scenes taking place at the same time, one in an interior and the other in a garden. This is a Christian work, depicting the Expulsion from Paradise and the Annunciation together.

B. Art analysis

– The composition is divided into three vertical sections, two showing an interior and one an outdoor garden.

– The visual weight of the composition is balanced: green (cool hue) in the left-hand section with the garden, pink (warm) in the centre, and blue (cold again) on the right.

– The scenes are connected by a strong diagonal.

– Interior:

•Thissceneisframedbyquadrangulararchitecture.Thetwofiguresfaceeachotherandacolumnformstheaxis of the axial symmetry. The bodies of the figures close this part of the composition like parentheses.

•Theinteriorclearlyshowslinearperspective, which extends into a room in the background.

•Thispartofthecompositionisdominatedbybluesandpinks.

•Thissectionisalsodominatedbycurvedrhythms, which are distributed symmetrically.

– Exterior:

•Thegardensceneisdominatedbygreensandnatureisdepictedinarealistic way.

•Depth is created by superimposed elements and size contrasts.

•Verticalrhythms predominate.

Fra Angelico, Annunciation, 1430–1432.

77.1 Paul klee (1879-1940)Paul Klee was a painter of Swiss origin, although he was a German citizen.

Klee was the son of musicians and he used abstraction and musical symbols in his paintings. In his work, he also depicted the world of dreams, a favourite subject of the Surrealists.

He had close ties to Wassily Kandinsky, who also used music and abstraction in his work. They were involved in the creation of Expressionism, a movement which tried to express emotions through intense, unrealistic colours. Both painters taught at the Bauhaus school.

Paul Klee took two trips which were very important for his work, to Tunisia and Egypt, where he was fascinated by the light.

GEOMETRY AND PROPORTION

Art Appreciation26



We can see a structure in the form a castle created using simple polygonal shapes. A semicircular arc marks the gate and a yellow circle represents the sun above the castle. The predominant colours are reds and ochres.

B. Art analysis

– The piece is composed of irregular, geometrically incorrect polygons.

– The combination of quadrilaterals and triangles creates a visual metaphor, the shape of a castle. A half circle indicates the castle entrance and a large circle represents the sun.

– The main art elements are line, especially white lines, and flat, geometric-looking shapes, highlighted by colour.

– The artist does not try to create depth. Flat geometry is used and all the shapes are situated on one plane.

– The colours are warm and very vivid, vibrant and highly saturated. The work is dominated by warm hues, but there are small patches of cool colours: greens, blues, etc.

– The structure of the castle fills the composition. Paul Klee, Castle and Sun, 1928.


– What elements do you see? Are they geometric? How are they combined?


– What geometric shapes do you see? What polygonal shapes are repeated? Are they regular?

– How is colour used? What differences in the intensity of colour are there between the centre and the edges? How does this affect the depth?

– What other art element do you see? How does it help create a sensation of depth and movement? Why?

– Were technical drawing tools used to make this piece?


Paul Klee, Flowering, 1934.

27Art Appreciation

GEOMETRY AND PROPORTION77.2 JaCques-louis daVid (1748-1828)David was a French painter who had a lot of influence on the painting of his time.

Like many painters of the time, David spent a long period in Italy, where important remains of Ancient Rome were being rediscovered. These painters wanted to recover the forms and ideals of Greece and Rome. They developed a style known as Neoclassicism.

In Italy, David produced work with classical elements (characters dressed as in Ancient Rome, Roman baths, classical decorations). He also studied works in the baroque style of the 17th century, and adopted the sharp contrasts between light and shadow.

David created very studied compositions dominated by geometric shapes and ordered, balanced structures.


– What space and figures stand out in the image?


– What geometric shapes are formed by the bodies of the figures in the foreground? And the shields?

– Where is the light source? What effect does it produce?


– Does the artist create depth? Is linear perspective used?

– Is the space realistic? What about the human figures?


Jacques-Louis David, The Intervention of the Sabine Women, 1799.



Three groups of people are positioned in a painting with a rectangular horizontal format. Each group is framed by an arch. The figures are dressed in the style of Ancient Rome.

B. Art analysis

– This is a Roman architectural setting, with semicircular arches. There are several groups of figures: three men fill the left side, another man is in the centre and there is a group of women and children on the right.

– Each group forms a triangle with a semicircular arch above it. The architectural space and elements are simple and are created using geometric shapes: half circles, parallel lines, quadrilaterals, etc.

– Linear perspective is used. It is emphasised by the walls and designs on the ground, which follow the direction of the vanishing lines, and by the shape of the inside of the arches. The vanishing point is in the centre of the picture.

– Depth is also indicated by the superimposed bodies, which decrease in size as they get further from the viewer.

– This is a realistic work in terms of how space and the human figures are represented. The figures are in proportion. Although they are in motion, the movement is slow: they seem to be posing.

– The light from the side emphasises the volume of the bodies and the contrasts between light and shadow.

– Neutral tones are used, together with harmonious complementary colours (blues and reds) in each group of figures. This highlights the structure of the composition and the balanced visual weight.

Jacques-Louis David, Oath of the Horatii, 1799.

Art Appreciation28

77.3 Maurits Cornelis esCHer (1892-1972)Escher was a Dutch graphic artist and engraver. He also lived in Italy, Switzerland and Belgium.

During his artistic career, he made many drawings, engravings and lithographs. One of his main themes was the repetition of a single unit which evolved and transformed, giving his work a lot of movement and energy.

He used regular and irregular geometric shapes which fit together. They were positioned in various interconnected perspectives, creating labyrinthine structures. He also played with false symmetry and impossible optical illusions.

For Escher, the most important element was the plane. He added dimension and created the sensation of depth and perspective by using achromatic shades (whites, blacks and greys) or two-colour compositions with complementary colours.



The artist has created a landscape with a building based on the transformation of a single basic unit: the quadrilateral. The composition is done in a range of grey tones.

B. Art analysis

– This work is based on a single unit: a quadrilateral which is drawn like a rhombus.

– Achromatic hues are used. Different combinations of black and white make it possible to distinguish between the planes and create the sensation of depth and perspective.

– The quadrilateral evolves until it takes on the form of a figure in motion, creating a lot of energy and movement.

– Alternating grey tones on the planes add to the sensation of movement.

– There are modular patterns combined with artistic drawings.

– The black gets lighter as we move away from the foreground. The landscape blurs into the background. M.C. Escher, Cycle, 1938.

GEOMETRY AND PROPORTION


– What visual elements were used to compose the piece? What art elements?


– Is this a simple or compound modular composition?

– What unit is repeated? Is it a geometric shape? Which?

– How is the sensation of depth created?

– Which figures are not modular?

– Is a colour range used? Which?

– Is there movement? How is it created?


M.C. Escher, Flatworms, 1959.

29Art Appreciation


– What subject is shown? What format has it been depicted in?


– Are the outlines of the figure clearly delineated?

– How is volume achieved?

– How has the figure been positioned in the composition?

– Can you describe the space in which the portrait is situated?

– What colour ranges are used? Do they have the same intensity throughout the entire painting?

– How is perspective indicated?

– Is this a realistic work? Why?


Leonardo da Vinci, Portrait of Lisa Gherardini, Wife of

Francesco del Giocondo, 1510.

88.1 leonardo da VinCi (1452-1519)Leonardo was an Italian artist, scientist and engineer. He was the archetype of the Renaissance artist. He trained in the workshops of the pre-eminent artists of his time. During his life, he worked for the most important families in Italy and for the French monarchy.

In the Renaissance, artists tried to recover subjects from classical antiquity (Greece and Rome), such as mythology. They were also interested in studying the anatomy and beauty of bodies and representing perspective.

Leonardo added the study of nature to his work. He was also interested in composition, in which the figures occupied the entire painting. Lastly, the study of light was also very important.

He was the first artist to use the blurred outlines and depth created by light and the atmosphere in his paintings. He did not need to utilise architectural representations to emphasise his control of perspective.

SYSTEMS OF REPRESENTATION AND PERSPECTIVE



Three human figures and a lamb are located in a mountain landscape. The three figures occupy the entire space. The painting has a Christian religious subject, although this is not immediately obvious.

B. Art analysis

– The figures have been positioned in a triangle, demonstrating an interest in geometry.

– The figures, which are realistic, occupy the entire space.

– The use of the sfumato technique creates blurred outlines. They blend into the atmosphere.

– The colour of the landscape gets lighter as it gets farther from the viewer.

– Sfumato and the use of whites in the background landscape create the perspective. The superimposed figures help give the idea of depth.

– The light falling on the figures is lateral.

– The colours used are contrasting (blues and reds), but the use of sfumato gives less emphasis to this contrast. Leonardo da Vinci, The Virgin and Child

with St Anne, 1510.

Art Appreciation30

SYSTEMS OF REPRESENTATION AND PERSPECTIVE88.2 roManesque PaintinG (11th—13th Centuries)Romanesque art was a medieval style that developed in Europe between the 11th and 13th centuries. The most important Romanesque buildings were churches and castles, and all the sculpture and painting of this period was found within these buildings.

Romanesque painting was not interested in representing perspective or forms. The emphasis was on the idea. For this reason, Romanesque paintings were filled with hidden meanings in the form of symbols. These symbols are difficult for today’s everyday viewers to comprehend.

In Romanesque art, space was also represented as an idea, rather than realistically. The perspective was generally incorrect (vanishing lines moved in the direction of the viewer instead of the vanishing point; objects were shown from different points of view in the same scene; figures did not decrease in size when they were farther away from the viewing plane, etc.).

The outline of figures in Romanesque paintings was delineated by a sharp, black line, and very vivid colour was used.


– What scene is shown? Is it realistic or figurative?


– What art elements are used?

– Can you describe the use of colour?

– How is depth created? Are there any errors in the perspective?

– What compositional schemes are used?

– Is there a modular pattern in the painting?

– Can you describe the human figures?


The Last Supper, 11th century.



A group of people seem to be worshipping the figure of a lamb. On the left, a man receives some tablets from an angel. This is a religious subject depicting scenes from the life of Moses.

B. Art analysis

– The composition is divided into two groups on either side of a small alter. The groups visually counterbalance each other.

– The central element attracts our attention because it is a warm colour in the middle of cool, blue colours. A little red is used in each group of figures.

– Depth is represented, but there are some errors with regard to the conventions of representation: the superimposed figures are not depicted as smaller when they are farther away, the vanishing lines of the altar lead to a vanishing point located in the same spot as the viewer.

– The only spatial element is the rock that supports the altar table. The other figures are suspended in mid-air.

– The outlines of the figures, cloth, etc. are very marked and done in black.

– Under the scene, there is a compound modular pattern of squares decorated with two half circles. The position of the half circles varies.

– This is figurative work done using schematic shapes.

Adoration of the Golden Calf, 13th century.

8.3 riCHard estes (b. 1932)Richard Estes is an American painter. He studied art in Chicago and soon took an interest in the realistic painters of earlier centuries.

His paintings are called photorealism, a style similar to hyperrealism. This style tries to achieve technical perfection and recreate reality the way photographs do, but does not attempt to represent a certain moment or atmosphere. Estes took photos of a space from different points of view and at different times of day. In his painting, he combined the different lighting and perspectives.

Light and reflection are very important to his work. He often uses mirrors, windows or surfaces that reflect buildings and other elements.

Estes usually paints modern American cities. In his early career, he painted human activities. Since 1970, he has based his work more on street furniture and buildings, eliminating the presence of the urban figure.

31Art Appreciation


– What subject is depicted? What particular features can you see?


– What perspective is used in this painting?

– How is the light depicted?


– Is this a realistic or figurative piece? Why?

– What elements does it have in common with the Richard Estes piece? How are they different?


Antonio López, Gran Vía, 1978.

8SYSTEMS OF REPRESENTATION AND PERSPECTIVE



We see an urban landscape in which the protagonists are the buildings, street and cars, not the people. It is done in cool tones with some yellows.

B. Art analysis

– The painter uses one-point perspective, but it is false: the vanishing lines do not meet at a single point, but at several.

– It depicts an urban landscape of the 1970s with buildings and cars that seem to be dehumanised.

– The natural light of midday in the upper part of the painting combines with a dark atmosphere illuminated by artificial lights in the lower section, especially on the right side of the canvas.

– Different lighting and points of view are depicted.

– Cool hues are used, especially blues and greens, with patches of yellow, colours which are all near each other on the colour wheel.

– The shapes are realistic. Richard Estes, Downtown Reflections, 1978.

Author Vanesa Blanco

English adaptation Cálamo & Cran (Jimena Licitra and Nedra Rivera Huntington)

Photography Javier Calbet/Archivo SM; Joseph Martin; David Buffington/PHOTODISC; CORBIS/CORDON PRESS; SCALA; INDEX; ORONOZ; PRISMA; AGE FOTOSTOCK; ALBUM

Cover and interior design Maritxu Eizaguirre

Layout Cálamo y Cran (Obdulia Zamora)

Editorial team Alejandro García-Caro García

Design coodinator Maritxu Eizaguirre

Managing editor Catherine Richards

Publishing manager Janet Wilson-Smith

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Visual Arts Exercises - EDUCACIÓN PLÁSTI CA Y VISUAL 3º ESO