1. CHAPTER 2: VISUAL ELEMENTS OF ART

2. I found I could say things with color and shapes that I couldn’t say in any other way – things I had no words for. –Georgia O’Keeffe Professor: Course/Section:

11. Fig 2-2 JACKSON POLLOCK. Number 14: Gray (1948). Enamel and gesso on paper. 223/4” x 31”.

14. Fig 2-4 A, B, and C Actual line (A) versus two kinds of implied lines, one formed by dots (B) and the other formed by psychologically connecting the edges of a series of straight lines (C).

16. Figure 2.5, p.30: LEONARDO DA VINCI. Madonna of the Rocks (c. 1483). Oil on panel, transferred to canvas. 78 1⁄2 ” x 48 ” . Figure 2.6, p30: The pyramidal structure of the Madonna of the Rocks .

17. Figure 2.7 p. 31. EMILY MARY OSBORNE. Nameless and Friendless (1834 - ?) Oil on Canvas. 34” x 44”.

19. Figure 2.8, p.31: RIMMA GERLOVINA AND VALERIY GERLOVIN. Madonna and Child (1992). Chromogenic print. To Give Outline and Shape

20. Figure 2.9, p.31: ELIZABETH CATLETT. Sharecropper (1968). Color linocut. 26 ” x 22 ”. To Create Depth and Texture

22. Fig. 2-12 Illusion of three-dimensionality.

23. Figure 2.11, p.32: SANDRO BOTTICELLI. The Birth of Venus (c. 1482). Oil on canvas. 5 ’ 8 7⁄8 ” x 9 ’ 1 7⁄8 ” . To Suggest Direction and Movement

25. SHAPE, VOLUME AND MASS SHAPE

27. Fig. 12 JACOB LAWRENCE. Harriet Tubman Series, No. 4 (1939 - 1940) Casein tempera on gessoed hardboard. 12” x 17 7/8”.

28. The word FORM - is often used to speak about shapes in sculpture and architecture - 3D works of art. Figure 2.14, p.34: HELENE BRANDT. Mondrian Variations, Construction No. 3B with Four Red Squares and Two Planes (1996). Welded steel, wood, paint. 22 ” x 19 ” x 17 ” .

29. Volume refers to the mass or bulk of a 3D work. It is the amount of space it contains. Fig. 2-15. GERRIT RIETVELDT. Schroeder House, Utrecht. (1924).

30. Mass - In 3D art, the mass of an object refers to its bulk. Fig. 2-16 RACHEL WHITEREAD. Holocaust Memorial, Vienna (2000).

32. Fig. 2-17 MARK TANSEY. Landscape (1994). Oil on Canvas. 181.6cm x 365.8 cm.

34. Geometric Shapes Fig. 18 DAVID SMITH. Cubi XVIII (1964). Polished stainless steel. 9’7 3/4” x 5” x 1’ 9 3/4”.

35. Organic Shapes Figure 2.21, p.39: FRANK GEHRY. Guggenheim Museum, Bilbao, Spain (1997). Figure 2.19, p.37: FRANK GEHRY. Guggenheim Museum, Bilbao, Spain (1997).

36. Compare and Contrast Picasso and Colescott Rectilinear forms versus curvilinear forms presented by two artists

37. Figure 2.20, p.38: PABLO PICASSO. Les Demoiselles d’Avignon (1907). Oil on canvas. 8 ’ x 7 ’ 8 ” .

38. Figure 2.21: ROBERT COLESCOTT. Les Demoiselles d’Alabama: Vestidas (1985). Acrylic on canvas. 96 ” x 92 ” .

40. Figure 2.22, p.39: ELIZABETH MURRAY. Tangled (1985–1990). Oil on shaped canvas with wood. 83 1/2 x 66 x 19 in.

43. Fig. 26 A Rubin Vase.

45. Figure 2.28, p.42: EDWARD STEICHEN. Rodin with His Sculptures “Victor Hugo” and “The Thinker” (1902). Carbon print, toned.

48. Fig. 2-33 Value contrast.

50. Figure 2.35, PIERRE-PAUL PRUD’HON. La Source (c. 1801). Black and white chalk on gray paper. 21 3/16 x 15 5/18 in.

52. Fig. 2-37 p.46 LORRAINE O’GRADY Mlle Bourgeoise Noire Goes to the New Museum (1981).

58. Figure 2.46, p.51: CLAUDE MONET. Haystack at Sunset near Giverny (1891). Oil on canvas. 28 7⁄8 ” x 36 1⁄2 ” .

59. Figure 2.49, p.51: VINCENT VAN GOGH. The Night Café (1888). Oil on canvas. 27 1⁄2 ” x 35 ” .

62. " Figure 2. 49 , p.53: LEON KOSSOFF. Portrait of Father, No. 2 (1972). Oil on board. 60 ” x 36 ” .

64. Fig. 2-52 P. 54 RACHEL RUYSCH. Flower Still Life (after 1700) Oil on Canvas. 29 3/4” x 23 7/8”.

65. Figure 2.53, p.55: DAVID GILHOOLY. Bowl of Chocolate Moose (1989). Ceramic. 10 ” x 6 ” x 7 ” (25.4 cm x 15.2 cm x 17.8 cm).

66. Figure 2.55 p.56 MERET OPPENHEIM. Object (1936). Fur covered cup, sauser, and spoon. Overall height: 2 7/8 in.

71. Fig. 2-64 RAFFAELLO SANZIO (CALLED RAPHAEL). PHILOSOPHY, OR SCHOOL OF ATHENS (1509-1511). Fig. 2-65 Perspective in School of Athens.

72. Fig. 2-66 GUSTAVE CAILLEBOTTE. Paris Street: Rainy Day *1877). Oil on Canvas. 83 1/2” 108 1/4”. Fig. 2-67. Perspective in Caillebottoes’s Paris Street: Rainy Day.

74. Figure 2. 69 , p.61: SYLVIA PLIMACK MANGOLD. Schunnemunk Mountain (1979). Oil on canvas. 60 ” x 80 1⁄8 ” .

76. Fig. 2-70 p. 62 ALEXANDER CALDER. Untitled (1972). East Building mobile.

78. Figure 2. 71 , p.63: GIANLORENZO BERNINI. Apollo and Daphne (1622–1624). Marble. 7 ’ 6 ” .

80. Figure 2.7 4 , p.64: THOMAS EAKINS. Man Pole Vaulting (c. 1884). Photograph.

81. UMBERTO BOCCIONI. Dynamism of a Soccer Player (1913). Oil on canvas. 6 ’ 4 1⁄8 ” x 6 ’ 7 1⁄8 ” .

82. BERNHARD JOHANNES AND ANNA BLUME. Kitchen Tantrums (1986–1987). Photo-piece. 51 1⁄8 ” x 35 7 / 8 ” .

85. Fig. 2-76. P.65 BRIDGET RILEY. Gala. (1974). Acrylic on canvas. 5’ 2 3/4” square.