This Work See Attached Image Is an Example of What Stylemovement of Art

ane. Line

There are many dissimilar types of lines, all characterized by their length existence greater than their width. Lines tin exist static or dynamic depending on how the artist chooses to use them. They help make up one's mind the motion, management and energy in a work of art. We encounter line all around us in our daily lives; phone wires, tree branches, jet contrails and winding roads are just a few examples. Expect at the photograph beneath to see how line is role of natural and constructed environments.

In this image of a lightning tempest we can see many different lines. Certainly the jagged, meandering lines of the lightning itself dominate the image, followed by the straight lines of the skyline structures and the coast line. There are more subtle lines too, like the lights along the buildings.  Lines are even implied by the reflections in the water.

The Nazca lines in the arid littoral plains of Peru date to nearly 500 BCE were scratched into the rocky soil, depicting animals on an incredible calibration, and so large that they are best viewed from the air. Let's look at how the different kinds of line are made.

Diego Velazquez's Las Meninas from 1656, ostensibly a portrait of the Infanta Margarita, the daughter of Male monarch Philip Four and Queen Mariana of Spain, offers a sumptuous amount of artistic genius; its sheer size (nigh ten feet square), painterly style of naturalism, lighting effects, and the enigmatic figures placed throughout the canvas–including the artist himself –is one of the swell paintings in western art history. Let'south examine it (below) to uncover how Velazquez uses basic elements and principles of art to reach such a masterpiece.

Diego Velazquez, Las Meninas, 1656, oil on canvas, 125.2" x 108.7". Prado, Madrid. CC BY-SA

Bodily lines are those that are physically present. The edge of the wooden stretcher bar at the left of Las Meninas is an bodily line, every bit are the motion-picture show frames in the background and the linear decorative elements on some of the figures' dresses. How many other actual lines can you notice in the painting?

Implied lines are those created by visually connecting two or more areas together. The gaze to the Infanta Margarita—the blonde central figure in the composition—from the meninas, or maids of honor, to the left and correct of her, are unsaid lines. They visually connect the figures. By visually connecting the space between the heads of all the figures in the painting we accept a sense of jagged implied line that keeps the lower part of the composition in motion, counterbalanced against the darker, more static upper areas of the painting. Implied lines can too exist created when ii areas of different colors or tones come up together. Can you place more than implied lines in the painting? Where? Implied lines are found in three-dimensional artworks, too. The sculpture of the Laocoon beneath, a figure from Greek and Roman mythology, is, along with his sons, beingness strangled by body of water snakes sent by the goddess Athena equally wrath against his warnings to the Trojans not to have the Trojan horse. The sculpture sets implied lines in motion as the figures writhe in agony against the snakes.

Laocoon Group, Roman re-create of Greek original, Vatican Museum, Rome. Photo by Marie-Lan Nguyen. CC BY-SA

Direct or archetype lines provide structure to a composition. They tin can exist oriented to the horizontal, vertical, or diagonal axis of a surface. Straight lines are by nature visually stable, while still giving direction to a composition. InLas Meninas, you tin can see them in the canvas supports on the left, the wall supports and doorways on the correct, and in the groundwork in matrices on the wall spaces between the framed pictures. Moreover, the minor horizontal lines created in the stair edges in the background aid anchor the entire visual design of the painting. Vertical and horizontal straight lines provide the near stable compositions. Diagonal straight lines are usually more visually dynamic, unstable, and tension-filled.

Direct lines, 11 July 2012, Creator: Oliver Harrison. CC By

Expressive lines are curved, adding an organic, more dynamic grapheme to a work of art. Expressive lines are oftentimes rounded and follow undetermined paths. In Las Meninas yous tin can see them in the aprons on the girls' dresses and in the dog'southward folded hind leg and coat pattern. Look again at the Laocoon to meet expressive lines in the figures' flailing limbs and the sinuous class of the snakes. Indeed, the sculpture seems to be made upwards of nothing just expressive lines, shapes and forms.

Organic lines, 11 July 2012, Creator: Oliver Harrison. CC BY

In that location are other kinds of line that encompass the characteristics of those above yet, taken together, assistance create boosted creative elements and richer, more varied compositions. Refer to the images and examples below to become familiar with these types of line.

Outline, or profile line is the simplest of these. They create a path around the edge of a shape. In fact, outlines often ascertain shapes.

Outline, 11 July 2012, Creator: Oliver Harrison. CC BY

Hatch lines are repeated at short intervals in mostly one direction. They give shading and visual texture to the surface of an object.

Hatch, xi July 2012, Creator: Oliver Harrison. CC BY

Crosshatch lines provide additional tone and texture. They can be oriented in any direction. Multiple layers of crosshatch lines can requite rich and varied shading to objects by manipulating the pressure of the drawing tool to create a large range of values.

Crosshatch, 11 July 2012, Creator: Oliver Harrison. CC By

Line quality is that sense of graphic symbol embedded in the mode a line presents itself. Certain lines accept qualities that distinguish them from others. Hard-edged, jagged lines have a staccato visual movement while organic, flowing lines create a more comfy feeling. Meandering lines can be either geometric or expressive, and y'all can see in the examples how their indeterminate paths animate a surface to different degrees.

Lines, 11 July 2012, Creator: Oliver Harrison. CC By

Although line equally a visual chemical element generally plays a supporting office in visual fine art, in that location are wonderful examples in which line carries a stiff cultural significance as the primary subject area matter.

Calligraphic lines use quickness and gesture, more akin to paint strokes, to imbue an artwork with a fluid, lyrical character. To see this unique line quality, look up the work of Chinese poet and artist Dong Qichang, dating from the Ming dynasty (1555-1637). A more geometric example from the Koran, created in the Arabic calligraphic way, dates from the 9^th century.

Both these examples show how artists utilise line as both a form of writing and a visual art form. American artist Marker Tobey (1890–1976) was influenced by Oriental calligraphy, adapting its form to the deed of pure painting within a modern abstruse fashion described every bit white writing.

2. Shape

A shape is defined as an enclosed area in two dimensions. By definition shapes are ever flat, merely the combination of shapes, color, and other means can make shapes appear 3-dimensional, as forms. Shapes can be created in many means, the simplest by enclosing an area with an outline. They can as well be made by surrounding an area with other shapes or the placement of dissimilar textures next to each other—for example, the shape of an island surrounded by h2o. Because they are more complex than lines, shapes are usually more important in the arrangement of compositions. The examples below give us an idea of how shapes are fabricated.

Geometric Shapes, 11 July 2012, Creator: Oliver Harrison. CC Past

Referring back to Velazquez'south Las Meninas, it is fundamentally an arrangement of shapes; organic and difficult-edged, calorie-free, dark and mid-toned, that solidifies the limerick within the larger shape of the canvas. Looking at it this way, nosotros can view whatsoever piece of work of art, whether two or three-dimensional, realistic, abstract or non-objective, in terms of shapes alone.

Geometric Shapes vs. Organic Shapes

Shapes tin exist further categorized into geometric and organic. Examples of geometric shapes are the ones we can recognize and name: squares, triangles, circles, hexagons, etc. Organic shapes are those that are based on organic or living things or are more gratis form: the shape of a tree, face, monkey, cloud, etc.

three. Class

Class is sometimes used to draw a shape that has an implied third dimension. In other words, an artist may try to brand parts of a flat image announced three-dimensional. Discover in the drawing below how the artist makes the unlike shapes appear three-dimensional through the use of shading. It's a flat image but appears three-dimensional.

This paradigm is free of copyright restrictions.

When an epitome is incredibly realistic in terms of its forms (as well as color, space, etc.) such as this painting by Edwaert Collier, we telephone call that trompe 50'oeil, French for "fool the eye."

Edweart Collier, Trompe l'oeil with Writing Materials,
oil on sheet, c. 1702.
This image is in the public domain.

iv. Space

Space is the empty area surrounding or between existent or unsaid objects. Humans categorize space: there is outer space, that limitless void we enter across our sky; inner infinite, which resides in people'due south minds and imaginations, and personal space, the important only intangible area that surrounds each individual and which is violated if someone else gets too close. Pictorial space is apartment, and the digital realm resides in cyberspace. Art responds to all of these kinds of space.

Many artists are as concerned with space in their works equally they are with, say, color or class. There are many ways for the artist to present ideas of space. Recollect that many cultures traditionally use pictorial space equally a window to view realistic discipline matter through, and through the subject matter they present ideas, narratives and symbolic content. The innovation of linear perspective, an implied geometric pictorial construct dating from fifteenth-century Europe, affords us the accurate illusion of three-dimensional space on a flat surface, and appears to recede into the distance through the utilise of a horizon line and vanishing bespeak(s) . You tin can see how one-point linear perspective is set upwardly in the examples below:

One-Signal Linear Perspective, 11 July 2012, Creator: Oliver Harrison. CC By

I-bespeak perspective occurs when the receding lines announced to converge at a single signal on the horizon and used when the flat front end of an object is facing the viewer. Note: Perspective can be used to show the relative size and recession into infinite of whatever object, but is most effective with hard-edged iii-dimensional objects such as buildings.

A classic Renaissance artwork using one betoken perspective is Leonardo da Vinci's The Terminal Supper from 1498. Da Vinci composes the work by locating the vanishing point straight behind the head of Christ, thus drawing the viewer'southward attending to the centre. His arms mirror the receding wall lines, and, if we follow them as lines, would converge at the same vanishing point.

Leonardo da Vinci, The Terminal Supper, 1498. Fresco. Santa Maria della Grazie. Work is in the public domain.

Two-point perspective occurs when the vertical edge of a cube is facing the viewer, exposing ii sides that recede into the distance, ane to each vanishing point.

Two-Betoken Perspective, 11 July 2012, Creator: Oliver Harrison. CC BY

View Gustave Caillebotte's Paris Street, Rainy Atmospheric condition from 1877 to see how ii-point perspective is used to give an accurate view to an urban scene.  The artist's limerick, all the same, is more complex than just his use of perspective. The figures are deliberately placed to direct the viewer's centre from the front right of the picture to the edifice's front edge on the left, which, like a transport's bow, acts as a cleaver to plunge both sides toward the horizon. In the midst of this visual recession a lamp post stands firmly in the middle to arrest our gaze from going right out the back of the painting. Caillebotte includes the little metal arm at the top right of the post to direct usa again forth a horizontal path, at present keeping usa from traveling off the acme of the canvass. As relatively spare every bit the left side of the work is, the artist crams the right side with hard-edged and organic shapes and forms in a complex play of positive and negative space.

The perspective arrangement is a cultural convention well suited to a traditional western European thought of the "truth," that is, an accurate, clear rendition of observed reality. Even later the invention of linear perspective, many cultures traditionally apply a flatter pictorial space, relying on overlapping, size differences, or vertical placementof components in a ii-dimensional piece of work of art. Examine the miniature painting of the Tertiary Court of the Topkapi Palacefrom fourteenth-century Turkey to contrast its pictorial infinite with that of linear perspective. It's composed from a number of different vantage points (as opposed to vanishing points), all very apartment to the picture aeroplane. While the overall image is seen from above, the figures and trees appear every bit cutouts, seeming to float in mid air. Notice the towers on the far left and right are sideways to the film plane. The trees and people occupying the upper parts of the image are meant to be perceived as farther from the viewer as compared to those copse, buildings and people located most the bottom of the painting. This is an example of vertical placement.

As "incorrect" as information technology looks, the painting does requite a detailed description of the mural and structures on the palace grounds.

3rd Courtroom of the Topkapi Palace, from the Hunername, 1548. Ottoman miniature painting, Topkapi Museum, Istanbul. CC BY-SA

After nearly five hundred years using linear perspective, western ideas about how space is depicted accurately in two dimensions went through a revolution at the commencement of the xx^th century. A young Spanish artist, Pablo Picasso, moved to Paris, then western culture's capital letter of art, and largely reinvented pictorial space with the invention of Cubism, ushered in dramatically past his painting Les Demoiselles d'Avignon in 1907. He was influenced in role by the chiseled forms, angular surfaces and disproportion of African sculpture (refer dorsum to the Male Effigyfrom Cameroon) and mask-like faces of early on Iberian artworks. For more than information about this of import painting, listen to the post-obit question and answer.

In the early 20th century, Picasso, his friend Georges Braque and a scattering of other artists struggled to develop a new infinite that relied on, ironically, the flatness of the picture airplane to behave and animate traditional subject affair including figures, nonetheless life and landscape. Cubist pictures, and somewhen sculptures, became amalgams of different points of view, light sources and planar constructs. It was as if they were presenting their discipline thing in many ways at once, all the while shifting foreground, middle basis and background so the viewer is non sure where one starts and the other ends. In an interview, the creative person explained cubism this manner: "The problem is now to pass, to go effectually the object, and requite a plastic expression to the consequence. All of this is my struggle to break with the ii-dimensional aspect*"(from Alexander Liberman, An Creative person in His Studio, 1960, page 113). Public and critical reaction to cubism was understandably negative, simply the artists' experiments with spatial relationships reverberated with others and became – along with new ways of using color – a driving forcefulness in the development of a modern fine art move that based itself on the flatness of the motion-picture show plane. Instead of a window to look into, the apartment surface becomes a ground on which to construct formal arrangements of shapes, colors and compositions. For another perspective on this idea, refer dorsum to module one's word of 'abstraction'.

Y'all tin can see the radical changes cubism fabricated in George Braque'southward landscape La Roche Guyonfrom 1909. The copse, houses, castle and surrounding rocks contain about a single complex grade, stair-stepping up the canvas to mimic the distant hill at the top, all of information technology struggling upwards and leaning to the right within a shallow pictorial space.

George Braque, Castle at La Roche Guyon, 1909. Oil on canvas. Stedelijk van Abbe Museum, Eindhoven, Netherlands. Licensed through GNU and Artistic Eatables

As the cubist fashion developed, its forms became even flatter. Juan Gris's The Sunblindfrom 1914 splays the even so life it represents beyond the canvas.  Collage elements like newspaper reinforce pictorial flatness.

Juan Gris, The Sunblind, 1914. Gouache, collage, chalk, and charcoal on sheet. Tate Gallery, London. Paradigm licensed nether GNU Free Documentation License

Information technology's not so hard to understand the importance of this new idea of space when placed in the context of comparable advances in scientific discipline surrounding the turn of the nineteenth century. The Wright Brothers took to the air with powered flight in 1903, the same twelvemonth Marie Curie won the first of ii Nobel prizes for her pioneering work in radiation. Sigmund Freud's new ideas on the inner spaces of the mind and its effect on behavior were published in 1902, and Albert Einstein's calculations on relativity, the idea that space and time are intertwined, first appeared in 1905. Each of these discoveries added to human being agreement and realligned the way we wait at ourselves and our globe. Indeed, Picasso, speaking of his struggle to define cubism, said "Even Einstein did non know it either! The status of discovery is outside ourselves; but the terrifying thing is that despite all this, we can but find what nosotros know" (from Picasso on Art, A Selection of Views past Dore Ashton, (Souchere, 1960, page 15).

Three-dimensional space doesn't undergo this fundamental transformation. It remains a visual and actual relationship betwixt positive and negative spaces.

5. Value and Contrast

Value (or tone) is the relative lightness or darkness of a shape in relation to another. The value calibration, bounded on one end by pure white and on the other by black, and in between a series of progressively darker shades of grey, gives an artist the tools to brand these transformations. The value scale beneath shows the standard variations in tones. Values near the lighter end of the spectrum are termed loftier-keyed, those on the darker finish are depression-keyed.

Value Scale, 11 July 2012, Creator: Oliver Harrison, CC BY

In two dimensions, the use of value gives a shape the illusion of grade or mass and lends an entire composition a sense of light and shadow. The two examples below show the result value has on changing a shape to a course.

2D Class, 11 July 2012, Creator: Oliver Harrison, CC By

3D Form, 11 July 2012, Creator: Oliver Harrison, CC BY

This same technique brings to life what begins as a uncomplicated line drawing of a young man'south head in Michelangelo's Head of a Youth and a Right Hand from 1508. Shading is created with line (refer to our discussion of line earlier in this module) or tones created with a pencil. Artists vary the tones by the amount of resistance they utilize between the pencil and the paper they're drawing on. A drawing pencil'south leads vary in hardness, each one giving a different tone than another. Washes of ink or color create values determined by the amount of water the medium is dissolved into.

The use of loftier contrast, placing lighter areas of value against much darker ones, creates a dramatic effect, while low contrast gives more than subtle results. These differences in effect are evident in 'Guiditta and Oloferne' by the Italian painter Caravaggio, and Robert Adams' photo Untitled, Denver from 1970-74. Caravaggio uses a high contrast palette to an already dramatic scene to increase the visual tension for the viewer, while Adams deliberately makes use of depression contrast to underscore the drabness of the landscape surrounding the figure on the cycle.

Caravaggio, Guiditta Decapitates Oloferne, 1598, oil on canvas. National Gallery of Italian Fine art, Rome. This work is in the public domain

6. Colour

Color is the most complex creative element because of the combinations and variations inherent in its apply.  Humans respond to color combinations differently, and artists study and use colour in part to give desired direction to their piece of work.

Color is fundamental to many forms of art. Its relevance, use and function in a given work depend on the medium of that work. While some concepts dealing with colour are broadly applicable across media, others are not.

The full spectrum of colors is contained in white low-cal. Humans perceive colors from the calorie-free reflected off objects. A red object, for example, looks red because information technology reflects the cherry-red office of the spectrum. It would be a different color nether a different light. Colour theory commencement appeared in the 17^th century when English mathematician and scientist Sir Isaac Newton discovered that white lite could be divided into a spectrum by passing it through a prism.

The report of color in art and design oft starts with color theory. Color theory splits up colors into iii categories: primary, secondary, and 3rd.

The basic tool used is a color wheel, developed by Isaac Newton in 1666. A more complex model known as the color tree, created past Albert Munsell, shows the spectrum made upward of sets of tints and shades on connected planes.

There are a number of approaches to organizing colors into meaningful relationships. Near systems differ in construction only.

Traditional Model

Traditional color theory is a qualitative try to organize colors and their relationships. Information technology is based on Newton'due south colour wheel, and continues to exist the virtually mutual organization used by artists.

Blue Yellow Red Color Bike. Released under the GNU Costless Documentation License

Traditional color theory uses the same principles as subtractive color mixing (see beneath) but prefers different primary colors.

• The primary colors are red, blue, and yellowish. You find them equidistant from each other on the color wheel. These are the "elemental" colors; not produced by mixing whatsoever other colors, and all other colors are derived from some combination of these 3.
• The secondary colors are orangish (mix of red and yellowish), green (mix of blue and xanthous), and violet (mix of bluish and ruddy).
• The third colors are obtained past mixing i master color and one secondary colour. Depending on amount of colour used, dissimilar hues can exist obtained such as red-orange or xanthous-green. Neutral colors (browns and grays) tin be mixed using the three main colors together.
• White and blackness lie outside of these categories. They are used to lighten or darken a color. A lighter color (made past adding white to it) is called a tint , while a darker color (made by adding black) is called a shade .

Colour Mixing

Think about colour equally the result of light reflecting off a surface. Understood in this manner, color can exist represented equally a ratio of amounts of principal color mixed together. Color is produced when parts of the external light source'south spectrum are captivated by the material and not reflected dorsum to the viewer's eye. For example, a painter brushes blue paint onto a canvas. The chemical composition of the paint allows all of the colors in the spectrum to be absorbed except blue, which is reflected from the paint's surface.  Common applications of subtractive colour theory are used in the visual arts, color printing and processing photographic positives and negatives.

• The primary colors are red, yellow, and bluish.
• The secondary colors are orange, greenish and violet.
• The tertiary colors are created past mixing a primary with a secondary color.
• Blackness is mixed using the three principal colors, while white represents the absence of all colors. Note: considering of impurities in subtractive color, a truthful black is impossible to create through the mixture of primaries. Because of this the outcome is closer to brown. Similar to additive color theory, lightness and darkness of a color is determined by its intensity and density.

Subtractive Color Mixing. Released under the GNU Gratuitous Documentation License

Colour Attributes

In that location are many attributes to color. Each one has an effect on how we perceive it.

• Hue refers to color itself, but too to the variations of a color.
• Value (equally discussed previously) refers to the relative lightness or darkness of ane color adjacent to another. The value of a color can brand a difference in how it is perceived. A color on a dark groundwork will announced lighter, while that aforementioned color on a calorie-free background volition announced darker.
• Saturation refers to the purity and intensity of a colour. The primaries are the most intense and pure, but diminish as they are mixed to form other colors. The creation of tints and shades as well diminish a color's saturation. Two colors work strongest together when they share the same intensity.

Color Interactions

Beyond creating a mixing hierarchy, color theory besides provides tools for understanding how colors work together.

Monochrome

The simplest colour interaction is monochrome. This is the use of variations of a single hue. The reward of using a monochromatic color scheme is that yous get a high level of unity throughout the artwork because all the tones chronicle to one another. Run across this in Marking Tansey'southward Derrida Queries de Man from 1990.

Analogous Color

Analogous colors are like to i another. Equally their name implies, coordinating colors can be constitute adjacent to one some other on any 12-role color bike:

Analogous Color, 11 July 2012, Creator: Oliver Harrison. CC By

You tin see the effect of analogous colors in Paul Cezanne's oil painting Auvers Panoromic View

Color Temperature

Colors are perceived to accept temperatures associated with them. The color wheel is divided into warm and cool colors. Warm colors range from yellow to cherry, while cool colors range from yellow-green to violet.  You can achieve complex results using just a few colors when you pair them in warm and cool sets.

Warm absurd color, 11 July 2012, Creator: Oliver Harrison. CC By

Complementary Colors

Complementary colors are establish direct opposite one another on a colour cycle. Here are some examples:

• purple and yellow
• green and ruddy
• orange and blue

Complementary Color, xi July 2012, Creator: Oliver Harrison. CC Past

Blue and orange are complements. When placed virtually each other, complements create a visual tension. This color scheme is desirable when a dramatic effect is needed using only two colors.

7. Texture

At the most basic level, Iii-dimensional works of art (sculpture, pottery, textiles, metalwork, etc.) and architecture take actual texture which is often determined past the cloth that was used to create information technology: wood, stone, bronze, clay, etc. Two-dimensional works of art like paintings, drawings, and prints may try to prove unsaid texture through the utilise of lines, colors, or other means. When a painting has a lot of actual texture from the application of thick paint, we call that impasto.

The showtime image beneath is a sculpture, and like all 3-dimensional objects it has actual texture.

The side by side two images are details from the painting The Arnolfini Portrait by Jan van Eyck. Here, the artist has created implied texture. If you were to impact this painting you would non experience the fabric of the article of clothing and carpeting, the wooden floor or the smoothen metal of the chandelier, only our eyes "see" the texture.

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Source: https://courses.lumenlearning.com/atd-sac-artappreciation/chapter/oer-1-9/

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