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Simplicity to Complexity

Simplicity to Complexity. in terms of line . . . The Obvious. STRAIGHT HORIZONTAL VERTICAL DIAGONAL. Barnett Newman, Dionysius , 1944, 67x49in. Barnett Newman, Yellow Painting , 1949. Barnett Newman, Untitled (The Cry), 36x24in., ink on paper.

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Simplicity to Complexity

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  1. Simplicity to Complexity in terms of line . . .

  2. The Obvious STRAIGHT HORIZONTAL VERTICAL DIAGONAL

  3. Barnett Newman, Dionysius, 1944, 67x49in.

  4. Barnett Newman, Yellow Painting, 1949

  5. Barnett Newman, Untitled (The Cry), 36x24in., ink on paper

  6. Kenneth Noland, Thrust, 196345 x 45 in.

  7. Lines can be implied. . .

  8. IMPLIED LINES Not really there but guide the eye or organize the image

  9. Giotto, Pieta(Lamentation)fresco BOLD DIAGONAL Late Gothic/ Early Renaissance from 1305

  10. CaravaggioThe Calling of St. Matthew,1599-1600

  11. Note lines implied by directional gazes Diego Rivera, The Flower Carrier, 1935, 48x48 in.

  12. Pierre-Auguste RenoirLe déjeuner des canotiers, 1880–1881Oil on canvas, 129.5 × 172.7 cm

  13. Morandi, GiorgioStill Life (The Blue Vase)1920Oil on canvas The blue lines point out . . . IMPLIED LINES

  14. Morandi, GiorgioStill Life (The Blue Vase)1920Oil on canvas implied

  15. A VENETIAN WOMANJohn Singer Sargent (American, b.1856, d.1925)1882oil on canvas93 3/4 x 52 1/2 in. (238.1 x 133.4 cm)

  16. A VENETIAN WOMANJohn Singer Sargent (American, b.1856, d.1925)1882oil on canvas93 3/4 x 52 1/2 in. (238.1 x 133.4 cm) Lines used to create emphasis

  17. Lines can curve . . .

  18. Hokusai, KatsushikaThe Great Wave Off KanagawaFrom "Thirty-six Views of Mount Fuji"1823-29Color woodcut10 x 15 in.

  19. Cy Twombly, Untitled, 1970

  20. This “artless” scribble • Defines an area • Creates an illusion of depth (volume)

  21. Look again …

  22. Brice MardenAmerican, born Bronxville, New York, 1938Cold Mountain 2, 1989-1991Oil on linen, 108 1/8 x 144 1/4 in.

  23. What lines lurk in this texture?

  24. Jackson Pollock, Lavendar Mist No. 1, 1950

  25. Consider the expressive quality of the jagged lines in this work . . .

  26. Clyfford Still, 1957, No.1

  27. Georgia O’Keeffe, Red, White and Blue, 1931

  28. The Obvious Again STRAIGHT CURVED – SMOOTH, JAGGED

  29. Curved, smooth Johann KoerbeckeGerman, c. 1420 - 1491The Ascension, 1456/1457tempera on panel, 92.7 x 64.8 cm (36 1/2 x 25 1/2 in.) Jagged Jagged, zig-zag straight

  30. Clyfford StillAmerican, 1904 - 19801948-C, (1948)Oil on canvas80 7/8 x 68 3/4 in. complex contour lines formed by these complex shapes

  31. Lines create or imply shapes Shapes can be open or closed Lines around a shape are CONTOUR lines

  32. SHAPE open/closed geometric/ biomorphic or organic

  33. an openshape, a biomorphic form Picasso, Femme

  34. Frank Stella, Wolfeboro II, 1966 closed, geometric

  35. THE UPSTAIRSCharles Sheeler (American, b.1883, d.1965)1938oil on canvas19 1/2 x 12 3/4 in. (49.5 x 32.4 cm) Lines create planes; planes suggest volume

  36. VOLUME LINE  SHAPE  VOLUME Implied in painting; actual in sculpture

  37. Kenneth SnelsonRador, 1975brass & stainless steel21 x 17 x 6 inches

  38. Kenneth SnelsonAmerican, born Pendleton, Oregon, 1927Needle Tower,1968Aluminum and stainless steel720 x 243-1/2 x 213-3/8 in.

  39. Frank Lloyd Wright, Fallingwater, 1936-7

  40. Giusti Garden, Verona, Italy

  41. BOTTOM LINE The concept of line plays a role in compositions of art, ranging from the simple to the complex.

  42. LINE What is a line in Art? Line – a mark whose length is considerably greater than its width; an indication of direction, an apparent movement. A line is a point moved or moving through space. This applies to drawing, painting, printmaking, sculpture, clay/pottery, and architecture. Characteristics of lines: lines can be actual or implied; a line which denotes or describes an outside edge of an object is a contour line. A directional line points or moves the eye in a particular direction. Lines can be interpreted as having expressive qualities and can indicate moods or feelings; particular qualities – thick or thin, weighty or straight, hard-edged or soft –.

  43. Kinds of Lines

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