Art: The Basics PDF

Page 1 of 18    ART: THE BASICS Theatre - Film (Major Art) De nition Elements...

Page 1 of 18    ART: THE BASICS Theatre - Film (Major Art) De nition Elements 1. Space “Art completes what nature cannot bring - Refers to the distances of areas to a nish. The artist gives us knowledge around, between and within of nature’s unrealized ends.”- Aristotle components of a piece. - Painters imply space, “The true work of art is but a shadow of photographers capture space, the divine perfection.”- Michelangelo sculptors rely on space and form, and architects build space. - Positive space: refers to the “Art is a mediator of the unspeakable.”- subject of the piece itself. Johann Wolfgang von Goethe - Negative space: refers to the empty spaces the artist has “Art is a mad search for individualism.”- created around, between, and Paul Gauguin within the subjects. “Art is not a mirror held up to reality, but 2. Shape a hammer with which to shape it.”- - An enclosed space, a bounded Bertolt Brecht two-dimensional form that has both length and width. Art is the expression of man’s ideas, - Boundaries are de ned by other imagination, and emotions through the elements of art such as line and use of his body. space. - Organic shapes: based on natural Characteristics or living forms and can be - Man-made irregular. - It should be made by human. - Geometric shapes: based on - Unique measured forms - Individualism - Sculpture: not art if it is mass- 3. Line produced. - Indicates direction, orientation, - Aesthetics movement, and energy. It is - Intelligible beauty (gandang pinag- considered as the oldest, isipan) simplest, universal element. - Vertical line: basic framework of Types all forms, power, strength, stability, - Traditional Art simplicity, and e ciency. Painting - Horizontal line: creates an Sculpture impression of serenity and perfect Architecture stability, rest, calmness, peace, Literature and reposed. Music - Jagged line: shows violence, Dance confusion, and con ict. Page 2 of 18 fi fi   ffi fi fl  - Curved line: shows a gradual Refers to the names we assign change of direction and uidity a color and signi es subtle form. Saturation- refers to the vividness of color 4. Form Value- lightness or darkness of - Connotes something that is three- the color dimensional and encloses volume, having length, width, and height. 6. Texture If there is a height, there is - It is used to describe the way a 3- volume. Then there is form. D work actually feels when We are living in a 3-D world. touched. - Geometric forms: mathematical, - In 2-D, such as painting, it may precise, and can be named, as in refer to the visual “feel” of a piece. the basic geometric forms: sphere, cube, pyramid, cone, and 7. Value cylinder. - Relevant to the lightness or - Organic forms: free- owing, darkness of any color, but its curvy, sinewy, and are not importance is easiest to visualize symmetrical or easily measurable in a work with no colors other than or named. black, white, and a grayscale. 5. Color Principles - Produced when light, striking an 1. Emphasis object, re ected back to the eye. - The composition refers to - A sensation, a human reaction to developing points of interest to a hue arising in part from the optic pull the viewer’s eye to important nerve, and in part from education parts of the body of the work. and exposure to color, and perhaps in the largest part, simply 2. Balance from the human senses. - It is a sense of stability in the body - Classi cation of Colors of work. It can be created by Primary- colors that cannot be repeating same shapes and by formed from mixtures because creating a feeling equal weight. they are pure colors. E.g. red, blue, and yellow 3. Harmony Secondary- colors form out of - Achieved in a body of work by combination of two primary using similar elements throughout colors. e.g. blue+yellow = the work, harmony gives an green; red + blue = violet; red + uncomplicated look to your work. yellow = orange Intermediate- colors form out 4. Variety of mixing one primary and one - Refers to the di erences in the secondary. e.g. yellow + green= work, you can achieve variety by yellow green using di erence shapes, textures, Hue colors, and values in your work. Page 3 of 18  fi ff fi fl  ff fl fl  5. Movement Minoan Gri n Fresco - Adds excitement to your work by - From Knossos, 1700-1450 BCE showing action and directing the viewer’s eye throughout the picture plane. 6. Unity - Is seen in a painting or drawing when all the parts equal a whole. Ancient Greek Art - Gri n: half eagle, half lion Frescoes Pottery The painting of color pigments on - Achieved prominence from 1000 BCE wet lime plaster without a binding to 400 BCE agent. - Vases were meant to be used in When the paint is absorbed by the everyday life plaster, it is xed and protected from - There were painters partnering with fading. potters in creating vases Depict scenes from everyday life. - Amphorae for storing wine, large Frescoes are fragile and often get kraters for mixing wine with water, destroyed when removed from their jugs for pouring wine, kylixes or original sites. stemmed cups with horizontal water, BCE: Before Common Era skyphoi or deep bowls, and lekythoi - Before was called BC (before jars for holding oils and perfumes. christ) but to avoid religious bias it was changed. Name Picture Minoan Dolphin Fresco Bell Krater - From Knossos, Crete, 1700-1450 BCE Lebes Minoan Bull-leaping Fresco Skyphos - From Knossos, Crete, 1450-1400 BCE Page 4 of 18  ffi   ffi fi  Name Picture Name Picture Aryballos Alabastron Hydria Oinochoe Volute Krater Lekythos Kantharos Amphora Psykter Kylix Stamnos Page 5 of 18      Terracotta Oinochoe, c. 900 BCE Archaic Period - Archaic Period: (c.650-500 BCE) Greek sculptors start to develop monumental marble sculpture - Archaic free-standing gures have the solid mass and frontal stance of Egyptian models, but their forms are more dynamic. - The three most common statues were Geometric Style Krater, Attica, 800 the standing nude youth (kourus, BCE plural, kouroi), the standing draped girl (kore, plural korai), and the seated woman. Kleobis and Biton (610-580 BCE) Proto-Corinthian Aryballos, 650 BCE The Moschophoros (c.570) Sculptures Greek art of classical antiquity is believed to be a mixture of Egyptian, Syrian, Minoan (Crete), Mycenaean and Persian cultures. Greek sculptors learned both stone carving and bronze-casting from the Egyptians and Syrians. Sculpture was developed by the Ioanians and Dorians. Three Periods of Greek Sculpture - Classical, Archaic, Hellenistic Page 6 of 18   fi  The Anavysos Kouros (c.525) Discobolus (460-50 BCE) The Artemision Bronze (c. 460 BCE) Classical Period Classical Period: (c.500-323 BCE) The creative highpoint of greek sculpture Although a time of con ict, the intellectualism and creativity of the classical period produced a plethora of memorable works of art and has Zeus at Olympia (c. 435 BCE) even been considered a ‘golden age’ Classical greek sculpture incorporated more diverse gure types and bodily poses as well as a sharp increase in technical dexterity, resulting in far more naturalistic and realistic sculptures Some famous sculptors during the Hellenistic Period period are Phidias, Praxiteles, The Hellenistic Period: (c. 323-27 Kritios, Lysippos, and Myron BCE) The “Greek” style of 3-D art is practiced across the Eastern Aphrodite of Knidos (c.350 BCE) Mediterranean. It has been seen as a continuation, re nement, and expansion of Greek, or hellenistic, in uence in the Mediterranean world after Alexander the Great. Many artistic subjects appear signi cantly more dramatized than before and for the rst time emotive facial expressions featured in monumental sculpture Page 7 of 18 fi fi   fl fi fl fi  Embraced adverse theme such as Laocoon and his Sons (42-20 BCE) su ering, old age, and death. Winged Victory of Samothrace (220-190 BCE) Architecture Greek architects provided some of the nest and most distinctive buildings in the entire ancient world. Aphrodite, Pan and Eros (c. 100) Characterized by simplicity, proportion, perspective, and harmony. Doric Order Earliest of the three classical orders of architecture Transition from wood to stone Characterized by a plain, unadorned column capital and a column that rests directly on the stylobate of the temple without a base - Pan: Satyr (half human, half goat) The Doric entablature includes a - Eros: child of Aphrodite (in Greek frieze composed of triglyphs (vertical myth, he is Cupid) plaques with the three divisions) and metopes (square spaces for either Venus de Milo (Aphrodite of Melos) painted or sculpted decoration). The (c.100) columns are uted and are of sturdy, if not stocky, proportions. Ionic Order Originated in Ionia, a coastal region of central Anatolia (present-day turkey) where a number of ancient greek settlements were located. Volutes (scroll-like ornaments) characterize the Ionic capital and a base supports the column Page 8 of 18 ff fi   fl  Notable for its graceful proportions, Recreation of the Temple of Artemis at giving a more slender and elegant Ephesus (Turkey now) pro le than the Doric order. Corinthian Order Originated from the Greek city-state of Corinth where the sculptor Callimachus drew a set of acanthus leaves surrounding a votive basket. The de ning element of the Corinthian order is its elaborate, carved capital, which incorporates even more vegetal elements ( owers and leaves) than the ionic order does. Most slender among the three columns. Theatre of Delphi Theatre of Epidaurus Parthenon Page 9 of 18 fl fi  fi   Theatre Orchestra: play area Dionysus, the god of wine, had a Parodos: entrance and exit of the actors cult following—the cult of Dionysus. Theatron: seating area “Dionysus is associated with Skene: stage wall darkness, with the loss of boundaries around the self Performers, Masks, Costumes, and experienced in a crowd.”—David Music Wiles All performers were male Athens’ democratic government Thespis was the rst actor. sponsored the cult of Dionysus and Aeschylus added the second actor established festivals in tribute. while Sophocles introduced the 5th century greek theatre was integrated to civic/religious third actor. Actors are also called discourse festivals included Thespians. processions, sacri ces, celebrations, Masks were essential part of Greek feasting and choral laments. theatre. Tragic masks had formalized, expressionless faces. Four Dionysian festivals- rural Comic masks presented caricatures, Dionysia, Lenaia, Anesthesteria, and grotesques, or animal heads. City Dionysia Some say that competitions on Costumes for tragedy included a tunic or sometimes a long/short tragedies originated in 534 BCE. cloak. Costumes for comedy were Thespis was the rst winner, who based on everyday wear and was also considered the rst actor. included a phallus. Others claim that the city Dionysia was established in 503-501 BCE. A double pipe, aulos, was integral in the music of greek theatre. Another essential instrument was the Parts of Greek Theatre harp. Play and Playwrights Only 44 plays survived from the Greek classical period. These were written by Aeschylus, Sophocles, Euripides and Aristophanes. Greek tragedies did not end with a terrible event. Some end on an a rmative note. Many address the history and character of Athens. The only extant comedies were those of Aristophanes characterized as bawdy, obscene, fantastical, or absurd - Criticized politicians, militarists, oracle mongers and similar gures of power - In The Clouds, he ridiculed Page 10 of 18 ffi   fi fi fi fi fi  Socrates. In The Frogs, he Ancient Roman Art ridiculed Euripides (known tragedy playwright) and Dionysus. Roman Art in General Spanned for 1,000 years in three Aristotle’s Poetics continents—Europe, Asia, and Africa How to write a good play Used broad spectrum of media First systematic treatise on drama including marble, painting, mosaic, developed between 336-331 BCE gems, silver and bronze work, and from the winners of the City Dionysia terracotta. Plot: sequence of events in a story Mostly has greek, Etruscan, and Character Egyptian in uences. Thought: theme (what is it all about) Diction: language (poetic language In Republican Rome is used back then) Art was produced in the service of Music: the musicality of the words. state, depicting public sacri ces or Spectacle: highlights the “wow” celebrating victories military factors of the play. It could be the campaigns. twists, props, costume in the play. Portraits depicted the collective goals of the republic Oedipus Rex Patrons chose to have themselves Aristotle named as the perfect represented with balding heads, tragedy. large noses, and extra wrinkles, Mimesis- imitation or representation demonstrating that they had spent of action and characters their lives working for the republic as - We imitate what see in our model citizens, aunting their surroundings. acquired wisdom with each furrow of Hubris- excessive pride the brow. Hamartia- tragic aw Anagnorisis- recognition In Imperial Rome Peripeteia- reversal of fate Aggrandized the ruler and his family Catharsis- purgation of emotion Often hearkened back to the classical art of the past Audiences’ emotions are The characteristics of Late Antique cleansed. art include frontality, sti ness of Greek tragedy tells us that we pose and drapery, deeply drilled cannot accept what is destined for lines, less naturalism, squat us humans. However, tragic heroes proportions and lack of try to change their fates. individualism. Important gures are often slightly larger or are placed above the rest of the crowd to denote importance. Page 11 of 18  fl  fl fl ff fi fi  Minor Art The 2nd image is a close up of the 1st bowl shown. Depicting hunting Jewelry scenes, this piece of pottery was Equate to richness. Mostly were found in Kingsmead Quarry (Horton, worn by women but there were also England), and dates to about men who wore jewelry. 120-145 CE Were made of precious stones such as opals, emeralds, diamonds, topaz and pearls. Bracelets of bronze, bone and jet are frequently found. Some were Red gloss terra sigillata ware with made of shale. relief decoration. Children and babies also wore Painting bangles. Roman interiors were Bracelets were lavishly painted and had stucco. For often buried with the 1st century BC and 1st century the dead and are AD, the largest body of evidence therefore found as comes from grave goods Pompeii and Herculaneum, both Rings were worn destroyed by Mt. Vesuvius by men, women Roman wall painters (or perhaps and children. their clients) preferred natural earth They were made colors such as darker shades of of silver, gold, reds, yellows, and browns bronze, iron and Subjects included portraits, scenes jet and sometimes had precious from mythology, architecture, ora, stones and intaglios set in them. fauna, and even entire gardens, Some are plain bands but others landscapes, and townscapes have more intricate designs Frescoes from the Villa of Livia (2nd half of the 1st century BCE) Pottery Ancient roman ne wares were called terra sigillata. These were characterized by red-colored pottery with glossy surface slips. Flourished in Italy and Gaul (modern-day France) during the roman empire. Page 12 of 18   fi fl  Popular subjects included scenes from mythology, gladiator contests, sports, agriculture, hunting, food, ora and fauna, and sometimes they even captured the Romans themselves in detailed and realistic portraits Mosaic of a Gypsy Girl Cubiculum Frescoe, Villa of the Farnesina Alexander Mosaic, House of the Faun, Pompeii Cupid Frieze, House of the Vettii, Pompeii Detail of Alexander the Great Mosaics Mosaics, otherwise known as opus tessellatum, were made with small black, white, and colored squares of marble, tile, glass, pottery, stone, or shells Each individual piece measured between 0.5 and 1.5 cm but ne details, especially in the central panel (emblemata) were often rendered using even smaller pieces as little as 1mm in size Page 13 of 18 fl   fi  The Great Hunt, Villa Romana Del The Orator, 1st Century BCE Casale Head of a Roman Patrician, 75-50 BCE Augustus of Primaporta, 20 BCE Sculpture Roman sculpture blended the idealized perfection of earlier Classical Greek sculpture with a greater aspiration for realism and mixed in the styles prevalent in Eastern art They mostly used marble and bronze Sculptures depicted prominent political gures in Rome or wealthy individuals. They were both manifestations of life and death Larger than life sculptures were also carved for gods, emperors, and heroes Page 14 of 18  fi   Fonseca Bust, 2nd century CE Roman Composite- mixed the volute of the ionic order with the acanthus leaves of the Corinthian Roman Tuscan- a form of Doric column but with a smaller capital, a Equestrian Statue of Marcus Aurelius, more slender shaft without utes, 175 BCE and a molded base. Arch of Septimius Severus (203 CE) Architecture Continued the legacy left by the Pont du Gard earlier Greek architects (Middle of the 1st Century CE) Largely favored marble especially for state-funded projects. Some of the varieties used were Carrara marble came from Italy, Parian marble from Paros, Pentelic from Athens, yellow Numidian marble from North Africa, purple Phyrgian from Turkey, red porphyry from Egypt, nd green- veined Carystian marble from Euboea Some notable architects were Apollodorus of Damascus, Hadrian, Severus, Celer, and Vitruvius Page 15 of 18   fl  Maison Carree (16 BCE) Republic Empire 509-27 BCE 27 BCE- 476 CE Discipline, economy, Power from endurance, military, representatives to the precision, loyalty emperor Drama prospered Drama was abandoned Roman Festivales Pantheon (113-125 CE) Ludi – o cial religious festivals Pompa – religious procession Munera – honorary festivals Ludi Romani – oldest of the festivals in honor of Jupiter every September. The festival started in 6th century BCE Various types of performances – 364 BCE; Tragedy and comedy – 240 BCE Theatre Roman Comic Playwrights Socio-Cultural Context Livius Andronicus By 146 BCE, Rome had conquered Birth of Roman Greece and absorbed its other literature territories He may have come to Rome as Romans were uninterested in theoretical questions, but they were a prisoner of war among the greatest engineers, but was later freed military tacticians, and Originally from administrators Tarentum, a Greek territory in Horace’s The Art of Poetry served Southern Italy as a manual on writing good plays – ve-act plays; teach and please; Known for his tragedies more unity, grace and decorum than his comedies Page 16 of 18 fi  ffi   Gnaeus Naevius Lucius Anneus Seneca The rst native Seneca’s works were the only ones playwright born in to have survived from this period Rome Famous for his works in philosophy Began writing in and rhetoric 235 BCE The Trojan Known for his Women, Medea, comedies more Oedipus, than his tragedies Phaedra, Added Roman Thyestes, allusions into Hercules on Greek originals Oeta, The Mad and wrote plays Hercules, The on Roman stories Phoenecian Women, and Agamemnon Octavia - only surviving fabula Titus Maccius Plautus praetexta First important successor to Livius Roman Actors Andronicus and - Histriones – actors; Cantores – Naevius in declaimers comedy - Histriones eventually evolved to 130 plays were history, because actors narrate history. attributed to him - Cantores chanted. The Comedy of - Male actors; Women performed in Asses, The mimes (no words, just actions) Merchant, The - The playwright left the production at Braggart Warrior the hands of managers Admired for his - Some actors belonged in guilds Latin dialogue, - In the 1st century BCE, emphasis varied poetic shifted to the “star” performer. meters, and witty jokes - The most popular performers in late Rome were tightrope walkers, trapeze artists, jugglers, sword-swallowers, Roman Tragic Playwrights re-eaters, and dancers. (they are thirsty for blood) Tragic Playwrights of the Republic Acting Style in Tragedy and Comedy There were only three recorded - Delivery in tragedy is slow, stately and Roman tragedians from 200-75 declamatory; Delivery in comedy was BCE: Quintus Ennius, Marcus conversational Ocuvius, Luccius Accius - Pro ciency in speaking, singing and Fabula crepidata – tragedies based dancing on Greek originals - Movement in tragedy was slow and Fabula praetexta – tragedies based digni ed; movement in comedy was on Roman subjects lively - Gestures and movement were Page 17 of 18 fi fi fi fi    considered enlarged - Actors specialized in one dramatic form - Actors in mime did not use masks Rome as a Republic (509-27 BCE) Present day Italy Rome is the birthplace of republic good luck mga ate q😚 🫰 Page 18 of 18