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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. Giotto, Pieta ( Lamentation) fresco.

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

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

  8. Gentileschi,Judith Slaying Holofernes,1620

  9. Lines can be implied. . .

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

  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 implied

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

  15. Schiele, EgonSeated Girl1911Watercolor and pencil48 x 31.5 cm

  16. Caravaggio, Supper at Emmaus, c.1601

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

  18. 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)

  19. 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

  20. Lines can curve . . .

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

  22. Jean Honore Fragonard, The Bathers, 1761

  23. Cy Twombly, Untitled, 1970

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

  25. Look again …

  26. What lines lurk in this texture?

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

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

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

  30. Clyfford Still, 1957, No.1

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

  32. The Obvious Again STRAIGHT CURVED – SMOOTH, JAGGED

  33. 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

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

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

  36. SHAPE open/closed geometric/ biomorphic or organic

  37. an openshape, a biomorphic form Picasso, Femme

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

  39. 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

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

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

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

  43. RodinBalzac

  44. Frank Lloyd Wright, Fallingwater, 1936-7

  45. Volumes CA N C R E A T E LINES

  46. Frank Lloyd Wright, Fallingwater, 1936-37

  47. Frank Gehry, Disney Concert Hall

  48. Frank Gehry, Disney Concert Hall

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