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Art History 112
Thursday, April 1, 1999
Announcements:
Lecture notes: The
green text refers to slides displayed during recitation.
Topic: Perspective
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there are a number of ways to deal with depth and perspective beyond the
linear perspective approach we learned about as we studied Renaissance
painting
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when painting landscape scenes (see Constable), perspective/depth is dealt
with differently
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there are few straight lines in nature
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atmospheric perspective is often used instead
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theory:
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lighter values contrast with darker values
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Hans Hoffman's developed the theory of the "Push-Pull Effect"
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dealt with the hot (reds, oranges, yellows) and colds (blues, violets,
greens) and their interaction with one another
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hot colors appear to "spring out at you"
"Red Studio", Matisse
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invites us in with warm colors but does not provide
us with much sense of depth or variance in color
"Red Room, Harmony in Red",
Matisse
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table is inconsistent
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window provides a sense of depth
Techniques
used by Picasso
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a sense of space provided for by overlapping objects
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a sense of depth provided for by color (hot/cold)
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use of light
Today's Slides
"Glass of Absinthe"
Degas
"Delivery of the Keys"
Perugino
"Salisbury Cathedral
from the Meadow" Constable
"Water Lilies"
Monet
"Red Studio"
Matisse
"Red Room, Harmony in
Red" Matisse
"Les Demoiselles d'Avignon"
Picasso
"Still Life with Chair
Caning" Picasso
"White on White"
Malevich
"The Bay"
Frankenhalter
"Autumn Rhythm"
Pollock
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