EXTRA CREDIT

Gwendolyn Lane

Professor Brew

EXTRA CREDIT

May 10, 2007

It appears that the color relationship of the titles in the "Assignments" lists in Blackboard are representative of color properties relating to the "subtractive" process of how color behaves when artists work with mixing pigments, or paints. This process occurs "when pigments of different hues, [or name of the color according to the category on the color wheel such as a pure primary color such as, red, green, or blue] are mixed on a gray value scale where the resulting color values [shades of light and dark existing in seamless continuum from white (the highest value) to black (the darkest value) (Getlein p. 92)] are darker and duller, because together they absorb even more colors from the spectrum. Thus, when a hue is lighter than normal value, it is called a tint; and, when a color is darker than its normal value, it is called a shade. For example, a red and green pigment will mix to produce a grayish brown or a brownish gray pigment." (96)

Thus, it appears that the color, or pigment, for the Intro week is brown or a mixture of red and green; week two seems to be a mixture of blue and yellow hues producing the color light green color; week three seems to be a mixture of red and blue hues producing the shade, or darker value, maroon; week four seems to be a mixture of red and yellow hues to produce the color orange. However, weeks five and six seem to be a lighter value, or hue of the primary color blue, producing the color light blue; week seven seems to be a mixture of red and blue pigments producing the color purple; weeks eight and nine seem to be a yellow-orange shade of lighter value, or hue, and appears to be the hue brown. It seems that week ten is black, a non-color, the darkest value; week eleven is the same color as week three, maroon; weeks twelve and thirteenth are the same as Intro week one, brown; week fourteenth is the same as week ten, black; and finally, weeks fifteenth and sixteenth are the same color as weeks eight and nine, a light value of yellow-orange shade of the hue brown.

WORK CITED

Getlein, Mark. Living With Art. 8th ed. New York: McGraw-Hill 2008.

ART101 Final Exam - Museum Paper - RE-DO

Gwendolyn Lane

Professor Brew

ART101

May 8, 2007

Museum Paper

In comparing and contrasting two art works located at the National Gallery of Art Online, I chose the following paintings from the permanent collection. Both of these works were created during the Industrial Revolution in the Postimpressionism period between 1880 and 1910 by Vincent van Gogh, a nineteenth century Dutch artist. The first work, The Harvest (1888), Van Gogh used pen and brown ink over graphite paper medium. (Figure 1. center) The second work, The Emperor Moth (1889), Van Gogh used oil on canvas medium. (Figure 2. right)

In the first drawing, "The Harvest," Van Gogh seems to have used his unique artistic style with a quill pen made from tail or wing feathers from a goose, swan, or crow in which the tip was cut to an angle for a fine or broad point to employ his artistic style or, technique of applying thick applications of black ink with dynamic brushstrokes. Also, in "Harvest," he appears to have employed another style, or technique [similar to pointillism] of using a variety of straight lines, dashes, and dots to depict the rough texture of the wheat crop and the stacks of wheat within the wheat field, the smooth surface of the ground and the road that is positioned up the center within the entire outdoor landscape. This piece seems to be in scale in two-point linear perspective to the distant foreground in which the town, railroads, and houses along the horizon look smaller and further away than the figures in the front sketched in thick brown ink. It seems that he also used a variety of straight lines and dashes in different sizes to build value, or a degree of lightness and intense energy within the massive asymmetrically balanced landscape composition. In "Harvest," the theme of art is representational as it depicts a somber mood of art in the here and now. It also seems to be realistic as it portrays art in daily life of farmers and peasants who worked long hours in the wheat fields in the French countryside.

In contrast, the second work by Van Gogh entitled, The Emperor Moth (1889), seems to have been created from a special pallette of primary colors in oil on canvas medium (Fig. 2 - Right). It is also representational of the theme of art in nature. Van Gogh may have painted "Emperor" from a quick sketch or memory because the subject matter, titled figure 's elusive nocturnal nature. While Van Gogh employs the same visual elements in both works (color, line, space, mass, texture, shape, and light), this second work seems more lively, realistic, and colorful as it appears he used a variety of complementary color harmonies for a cool appearance in the background of green, green-blue; and in contrast to the warm colors in "Harvest," he directs our attention to the three yellow-green colored hues positioned centrally, between the moth and the cluster of red berries that direct out attention to the top of the frame surrounded by a variety of the foliage in geometrical shapes that are attractive in combinations that add intensity within the entire asymmetrically balanced work. Thus, he seems to have produced a more naturalistic and intense mood of the subject matter figure [moth]. Van Gogh's "Emperor" is representational of the subject matter, the moth, in the here and now theme of art in Nature.

The "Emperor" is in contrast with "Harvest," where Van Gogh employed less color combinations to represent the wheat field. It appears that he used the value of light, texture, and intensity by applying thick and thin brown and black dynamic straight lines in combination with yellow-orange hues in straight and diagonal lines to represent a ripened wheat crop. By using the yellow-orange hues throughout the piece it adds implied light for sunlight and gives the overall piece a warm appearance. However, his use of a black ink created a somber mood. He was experimented with new forms of expression in his large asymmetrically balanced composition seen here in two-point linear perspective. Van Gogh pioneered a change in the wake of the pictorial revolution brought about by Impressionism. According to our textbook (Getlein) the similarities and differences between the artistic style seen in these two works, Van Gogh use of basic elements and design principles of design, including, vivid colors and geometrical shapes in his technique representative of the Impressionism movement that originated in France during the 1870's and associated with the Industrial Revolution which changed how artists used color, how color was applied, and a particular use of subject matter. Both works support the design principle of an asymmetrically balanced composition suggesting the use of "direct expression" -- creative process from brain to hand by the artist, in contrast to a seated or posed piece that required the subject figure to sit for hours or days in these large compositions.

In conclusion, in both "The Harvest" and "The Emperor Moth," Vincent van Gogh, a Dutch Postimpressionism period artist expresses his personal artistic style of dynamic brushstrokes, tiny broken brushstrokes in dashes and dots, and the use of a special pallette of primary colors. His style also defines the movement and style during the late nineteenth century that is associated with the Industrial Revolution that was a time for change out of the dark ages into industrialized methods and ways of thinking. Postimpressionism in the arts evoked expressing freedom of the moment or creating from a sketch or memory as in these two theme of art in the here and now art in daily life and in Nature outdoor scenes. I am emotionally touched by the "Emperor" because it is more colorful and more clearly defined with contour lines outlined by black ink line and thick dynamic brushstrokes to capture the cool mood of the moment. I feel good as I view them because they both are aesthetically beautiful as artistic works of art that are reflective as asymmetrically balanced compositions.

WORK CITED

"Artcyclopedia." Postimpressionism. 18 May 2007.http://www.artcyclopedia.com/

Getlein, Mark. Living With Art. 8th ed. New York: McGraw-Hill, 2008.

Hacker, Diana. Handbook for Writers. 6th ed. New York: MLA, 2003.

Creative Blog #10 - Art In My Life

According to our course text, this photo image shows many the visual elements and design principles, including color, line, shape, space, texture, balance, and unity, etc. The architects who design museums use space within the interior to create a dynamic visual that gives definition to the exhibitions displayed in the galleries. (Getlein 106).

This photo is a view of the interior of The National Museum of Women in the Arts. It seems to have a calming effect as it shows basic design elements of shading and contrasting geometrical forms in the beamed ceilings and the circular design pattern on the floor. The image is symmetrically balanced and very inviting. As a female art student, I found the photo interesting and hope to visit this museum in the future. Originally, I read this interesting and enlightening article in Washington Post newspaper's Sunday Section: ART N3. Online photo caption: Courtesy: WashingtonPost.com (link below): "The National Museum of Women in the Arts: Will progress make it obsolete? (The National Museum of Women in the Arts)"

WORKS CITED

1. Getlein, Mark. "Living With Art." Eighth Ed.New York, NY McGraw-Hill (2007). 27 April 2007.

2. Hornaday, Ann. "A Place of Honor, or of Confinement?" The WashingtonPost.com. ARTS N3. URL at:http://www.washingtonpost.com/wp-dyn/content/article/2007/04/20/AR2007042000389.html. 22 April 2007.

Peace

Gwendolyn

Creative Blog #9

The Petronas Towers (1998)

I found the movement, style and period of these interestingly connected to the early 20th Century Art Deco art period between 1920 and 1939, as the architect, Cesar Pelli, created the floor plans for the Petronas Towers in traditional Islamic design.

They are considered one of the tallest buildings in the world, 10 meters higher than the Sears Towers, USA. Completed in 1998, the 21st century buildings are identical with 88 floors, 1,483 feet high, shaped like an 8-pointed star, and at the 42-floor, a bridge connects the two. They have tall spires on top and have been called spiral pillars that point heavenward. They are located in Kuala Lampura, Maylasia. (Courtesy: Architecture Pictures - World's Tallest Buildings - Petronas Towers: http://architecture.about.com/od/skyscrapers/ig/World-s-Tallest-Buildings/Petronas-Towers-.htm. Photo: Copyright. iStockPhoto/Robert Churchill

These heavenly visions evolved from the geometric forms of the 20th century Art Deco period - Paris in 1925 where it originated. According to our textbook, one of the first skyscraper's (buildings over 1,000 feet) of the 20th century was William Van Alen's Chrysler Building that was completed in 1930 - the height of the Machine Age, modernism style. (Getlein, 336)

Peace,

Gwendolyn

Creative Blog #8: The Van Gogh Museum

The Vincent van Gogh Museum

My artist of choice in ART101 is Vincent van Gogh and our recent assignments relate to purpose and function of a building's architectural design, style and movement. Here is my brief presentation of The Vincent van Gogh Museum located in Amsterdam.

It is housed in two separate buildings, the main one was designed by a Dutch architect and completed in 1973. Its modernistic style has many wide open spaces which lets the natural sunlight into an atrium and the museum galleries.

The Exhibition Wing was designed by a Japanese architect and opened in 1999. It is known as a delightful combination of West's "rational geometry" and East's "Eastern asymmetry." "Visitors enter through a passage under the Museum Square (Museumplein), and step into the Promenade of the Exhibition Wing, which forms an ellipse around a shallow, enclosed pond. The result is stunning."

Photos: Bottom photo image view. Courtesy: Amsterdam - Van Gogh Museum Amsterdam Museum at: www.amsterdam.info/museums/van_gogh_museum/ ; and, Top photo image view. Courtesy: Van Gogh Museum, Amsterdam at: www.aviewoncities.com/amsterdam/vangoghmuseum.htm

Peace,

Gwendolyn

Activity #14: Write About It! - RE-EDIT

Movement, Style, and Period

The first work, "The Harvest" (1890) Pen drawing over graphite, was created by Vincent van Gogh during the Post-impressionism period (1880-1910) in France. Van Gogh, along with other artists sought new forms of expression in the wake of the pictorial revolution brought on by the Impressionism period. Van Gogh employs pointillist style in dynamic brushstrokes, thick application of straight lines, and dots and dashes. "Harvest" seems to reflect a style shift - from from his darker manner to a style heavily influenced by divisionism or, pointillism. Van Gogh's style also include emotional intensity as he sought elemental truth through the inner world of the psyche. While post-impressionism period cannot be called a movement, it did provide the vital and creative link between the impressionist revolution and the emergence of all the major art movements in the 20th century (Getlein).

The second work, "The Emperor Moth" (1889) Oil on canvas, 33.5 x 24.5 cm, was also created by Vincent van Gogh in France during the post-impressionistic movement or period. "Moth" is a realistic style that seems similar to the first art movement in the 19th Century known as Realism. It depicts "the everyday and the ordinary, rather than the historic" as Van Gogh seems to escape the abstract in his tortured mind. It seems that Van Gogh employs his famous style of dynamic brushstrokes in the content and form of the subject matter along with thick applications of paint to create a lively image. His style of expression is representational and naturalistic as seen here in atmospheric perspective, view from above. Van Gogh employs a pure pallatte of complementary color harmonies of red and green to capture a fleeting moment in time in the life of this beautiful nocturnal creature.

Thus, the artistic style of both pieces by Van Gogh is characteristic of the Post-impressionism movement. Vincent van Gogh's style is dynamic brushstrokes, thick applications of paint, and use of a special pallatte in composing his works of art.

WORKS CITED

1. Amsterdam - Vincent van Gogh Museum, Amsterdam Online. URL: http://www.amsterdam.info/museums/van_gogh_museum. (2007).

2. "Art Periods: POSTIMPRESSIONISM in France" at URL: http:www.discoverfrance.net/France/Art/postimpressionism.shtml. (2007).

3. Getlein, Mark. "Living With Art" Eighth Ed. McGraw-Hill 2007. (2007).

4. The National Gallery of Art Online. URL: http://www.nga.gov/. (2007).

Peace,

Gwendolyn

Reverse Ekphrases

Reverse Ekphrases by Gwendolyn (2007). Crayola on white paper.

Pieter de Hooch's "The Bedroom" (1658-1660) Oil on Canvas. Courtesy: National Gallery of Art. Washington, D.C.

Fawn's Ekphrases

This painting focuses on a mother and a daughter in a room. The doorway to

the inside of the room is centered along the vertical axis of the painting. The

medium is oil on canvas and was created in 1658/1660. It was painted by a

Dutch artist. There are uses of primary and secondary colors. Such as a red

tablecloth on a brown table with dark color vase sitting on top. The chairs are

dark brown with yellow diamonds. The walls are gray and tan. The mother is

wearing a red shirt with a dark color skirt and a white bonnet. The young girl

is wearing a dress that is brown at the top and yellow at the bottom. The floor

is a reddish-orange brick color in a square formation. The young girl is

standing in the doorway holding the door handle and is glancing at her mother

(I assume) while smiling. The mother is folding a greenish-yellow cloth and

smiling back at her daughter. Above the doorway there is a small painting,

with a brown frame and the picture is blurred. If you look through the

doorway you can see another door leading outside and a window to the left

of that outside door. That door has two parts(top and bottom opens

separately)and is open allowing sunshine into the house along with the light

coming through the windows. The balance of this painting is asymmetrical;

the left side is fuller than the right.The mother is standing on the left side and

little girl is slightly to the right of the vertical axis. The sides are brought

together by the light shining in from the right and through the doorway. The

theme of the painting is of human experience and is representational;

descriptive of a work of art that depicts forms in the natural world. The artist's

style is from the Dutch genre; French meaning scenes showing people at work,

play, or rest. He popularized the style of painting. Some describe this style as

cinematic people.

Creative Blog #7 - The Arcosanti Project

Our current assignment relates to periods and culture in architecture. This subject reminded me of photos taken twenty years ago when I visited an innovative cultural community for the purpose of being environmentally responsible. The unique experimental city is called Arcosanti. Construction on the Arcosanti Project was started in 1970 and is an ongoing process. It is designed on the concept of Arcology (architecture + ecology), meaning that the building and humans interact as organs in a highly evolved being. This unique twentieth century cultural system works together, with efficient circulation of people and resources, multi-use buildings, and solar powered lighting, heating, and cooling. "Arcosanti Project - 1987: Construction site" Photo by Gwendolyn Lane. (1987).
Arcosanti is an example of responsible environmental preservation in today's culture as seen in one of the completed residential units (the top photo) taken in 2001 compared to the same building under construction in 1987 [see the mesa at the right in both photos]. (Arcosanti: Completed Building - 2001. Photo image: Courtesy of www.arcosanti.org/ (2007).

Ekphrases - Edit

"The Harvest" by Vincent van Gogh. Oil on canvas, 50.5 x 103 cm. (1890)

This work is created by a Dutch artist. It is a vast landscape composition

painted in Auver-sur-Oise in late nineteenth century in 1890, the second

decade of the post-impressionism period. The medium is oil on canvas with

a theme of art in nature based on the content of this famous symbolic

piece.Many believe that this work was the last painting in a group of 13

narrowhorizontal canvases. This style characterized by an intense, dynamic

asymmetrical composition balancing massing elements on scale consisting of

a vast landscape, a turbulent sky, and crows. his work and others by the

artist has wide appeal and importance in the development of modern art.

It measures 50.5 X 103 cm. and is a representational naturalistic work

created with an innovative palette representing the main title subject

matter which employs bright contrast with dynamic brushstrokes

in monochromatic yellow hues to depict a ripened wheat crop. One

content form is a pattern of straight and contour lines in monochromatic

blue hues mixed with bold black dynamic brushstrokes depicting a dark

dark urbulent sky. There are two circular circular clouds positioned

within, a small one on the left side of the piece and a medium-sized one

on the right painted in short circular brushstrokes of light blue-green

contour line. The grass is on scale in various dynamic brushstrokes of

straight lines in monochromatic green hues. Also, the ground around the

grass is painted in straight lines of brown hues positioned in front and on

the bottom sides of the piece and further, emphasized by a brown colored

worn path in contour lines curved to resemble a pair of tire tracks leading

up the center of the work, and disappearing into the center of the

horizon. The path is the center focal point and it divides the main

subject matter vertically, into two triangular-shaped wedges of the

ripe golden-colored crop. There is a flock of crows flying over the

golden-colored crop and out of sight, off the canvas. Often

interpreted as a dark premonition of the artist's death, this work

expresses "sadness and extreme l oneliness" as well as "the health and

restorative forces... in the countryside." This artistic style is known

as instrumental in "setting the world in the direction or many of the

expressionist tendencies in twentieth-century art." This work of art

portrays great anguish while intriguingly beautiful. I sincerely

hope you have fun with my ekphrases!

WORKS CITED

1. Amsterdam - Van Gogh Museum Amsterdam. Image URL: http://www3.vangoghmuseum.nl/vgm/index.jsp?page=3343&collection=1282&lang=en accessed from: URL: www.amsterdam.info/museums/van_gogh_museum/ (April 23, 2007).

2. Getlein, Mark. "Living with Art," Eighth Edition. McGraw-Hill - 2007. (April 2007).

Peace,

Gwendolyn

Thanks and Credit for solving my paragraph spacing problem - Bonnie Calhoun: Blogger Help Group. 23 Mar 12:08 am.

Activity #11, RE-EDIT

Culture and Period

This first artwork entitled, The Harvest (1888) in pen and brown ink over graphite, was created in the late nineteenth century by Vincent van Gogh (Dutchman)who moved to Paris, France. He became thoroughly immersed in the bold, new Avant-Garde culture, changes in art through innovations and concepts of the Post-Impressionism period. According to our text, Post-Impressionism is the period of painting developed in France between 1880 - 1910 by a group of artists who believed in the idea of painting modern life from the artist's view. This was a time of change in art characterized by concentration on the immediate visual impression of the artist. In "Harvest," it appears Van Gogh used Seurat's style of Pointillism. (Getlein 514-515).

The second artwork entitled, The Emperor Moth (1889) Oil on canvas, was also composed by Vincent van Gogh in the late nineteenth century known as the Post-impressionism period. Post-impressionism is an art-historical term describing a generation of artists who sought new forms of expression in the wake of the pictorial revolution. In "Emperor," Van Gogh employs broad dramatic brushstrokes and expressive use of primary colors in this modern outdoor scene that is characteristic of the Post-impressionism period (Getlein). In conclusion, both of the Van Gogh artworks were created in the late nineteenth century in France during a revolutionary period of art known as Post-impressionism (1880-1910).

Peace,

Gwendolyn

WORKS CITED

1. Getlein, Mark. Living with Art. Eighth Ed. McGraw-Hill (2007).

2. National Gallery of Art. Washington, D.C. URL: http://www.nga.gov/. (images only)

Activity #10-Mediums and Techniques RE-EDIT

Vincent van Gogh, The Harvest (1888), Pen and Brown Ink over graphite. Courtesy of the National Gallery of Art. Washington, D.C. at: http://www.nga.gov/.

In Mark Getlein's Living with Art - Chapter Six, the medium that applies to Van Gogh's "The Harvest" is drawing on paper. Van Gogh used a "quill pen which is made from the tail or wing feathers of the goose, swan, and crow that has the tip of the feather cut with a penknife to a fine or broad point" to employ his style or, technique of dynamic broad brushstrokes. This technique seems to have created a rough field texture in the wheat field and a smooth surface for the road that draws attention up the center toward the town in this massive composition. Van Gogh uses this technique in a variety of different sizes of straight lines build value or a degree of lightness to this landscape in linear perspective to the distant foreground which is further away in an area thickly colored with brown ink. (courtesy: www.metamuseum.org/explore/van_gogh/glossary.html) Drawing is a personal expression and considered intimate and many artists had no intention of considering a drawing a final work. Perhaps, Van Gogh use of "direct expression" -an artistic term used to describe a glimpse into the creative process- "from brain to hand" in familiar scene the art theme of daily life: as he drew in the here and now in many other similar wheat field compositions. However, the method of drawing seen here is more defined as symmetrically balanced supported by a quality that creates a strong sense of unity among the elements used within this naturalistic piece.

Vincent van Gogh, "The Emperor Moth" (May 1889), Oil on canvas. Van Gogh Museum, Amsterdam. (Vincent van Gogh Foundation). Courtesy of the National Gallery of Art, Washington, D.C. at: www.nga.gov.

The medium that describes Van Gogh's "Emperor" is oil paint on canvas, according to Getlein's "Living with Art" in Chapter Seven. Painting is known as one of the oldest media art forms, with drawing being the oldest. Van Gogh used the cloth canvas over wood because it was a more flexible and light weight medium. It could also be conveniently rolled up when transferring to patron or outdoor scenes, as well as storage. Using oil paint medium and his signature technique composed of thick applications of artist oil-based paint, Van Gogh probably wanted the attention drawn to the titled image. This technique, together with a colorful pallatte of primary colors creates a naturalistic surface of the painting, representative of the outdoor scene. The focal point in this theme of art in nature is the figure of a moth in the center which the artist has placed two thick drops of black ink on each wing bringing all the elements together adding movement value. Van Gogh employs other basic elements of design including a variety of green foliage around the moth and throughout the background in different shades of green, blue-green hues adding value of lightness and darkness to the visual quality and overall natural looking appearance of this work. Attention is drawn to three yellow-green tertiary colored leafs directly above the center figure that, like the center figure, is outlined in thick black ink contour lines. Van Gogh applies unity and balance with a variety of contrasting geometrically shaped leaf patterns in complementary color harmonies of green and red in two clusters of vividly colored wild berries directly above the moth at the top of this piece. The oil paint medium on canvas provides lifelike appearance with different textures throughout this piece.

In conclusion, oil paint on canvas medium enhances the overall visual impact of "The Emperor Moth" drawing attention to the colorful and exciting titled image, in contrast to somber image in "The Harvest" landscape drawing. While using different mediums in his works, Van Gogh employs his signature styles in a somber and a lively expression of the here and now themes of art in daily life and nature in both compositions.

Gwendolyn

Creative Blog #6: "Night Lights" - Computer Art

Gwendolyn Lane's "Night Lights" (1968) Camera print. Color photograph. Yashika 35mm.

This unique photo was taken as the result of slow shutter exposure on the camera used by my husband, a 19-year-old soldier, who was off duty in a Saigon night club (during his tour of duty Vietnam Conflict. Thirty-nine years ago, I immediately noticed its abstract beauty among the other perfect exposures and decided to perserve it under plastic in our family photo album. Recently, after reading our present assignment, I was excited as my mind triggered memory and I retrieved it. Then, I scanned it, downloaded it via my computer, and re-created this old photograph representing a string of colorful, decorative Chinese lanterns that were hanging from the rafters. It seems to add a festive atmosphere and the element of light to a darkened night club in Saigon, S. Vietnam. I thought, "What an exciting historically original addition this camera print will be for my blogspot!" Although slightly faded and yellowed due to age, it is ideal for my weekly creative blog diary as it has relevance to Chapter Nine: Camera and Computer Arts (i.e., Andreas Gursky's Shanghai (2000) C. print (Literature p. 227)). I hope you enjoy this aesthetically attractive print. I am happy that somehow I had the insight to salvage it so long ago. And now, after rediscovering it, I am able to appreciate it as a visual, artistic expression in a modern art format.

Submitted by Gwendolyn

Activity #9: Write About It! - RE-DO

Photography and Visual Arts

After the invention and widespread use of the camera, the visual arts medium of camera art was introduced by the process called photography. Since then, photography changed the appearance of visual art in a variety of different and contrasting meduims. While photgraphy most closely resembled painting, visual artists thought the new technology of photography would be a way of freeing painting and sculpture from practical tasks such as recording appearances and events. During World War I, a cultural movement began in Zurich, Switzerland and peaked between 1916 and 1920 called "Dada" or "Dadaism." It primarily involved vusual arts as it changed or revolutionised the way individuals communicated through literature, theater, and graphic design and concentrated the anti-war politic by rejecting art through anti-art cultural works. Dada activities included public gatherings, publications of art/literature journals which conveyed information to the masses usually portrayed in a combination of photographs pasted together to communicate their anti-war message. A famous Dada artist named Hannah Hoch (Germany 1889-1978) was one of the first pioneers of the artform known as "photomontage." Her most famous piece entitled, "Cut With The Kitchen Knife" (1919), was made by combining pieces of images from newspapers of that time which was re-created to make a new statement about life and art in the Dada movement. It was a very clever of communicating a message within another message which is still very much in vogue today. It was not until later in the twentieth century that photography was used to explore abstraction and nonrepresentational as a photographic art medium. It was also about the time that an American artist named Ansel Adams (1902-1984) began photographing landscapes in the Southwest. He was a visionary figure in nature photography and wilderness preservation across America from 1923-1974. He is best known for his black and white photographs of California's Yosemite's Valley.

Earlier, however, some photographers thought that the detailed objectivity made photography less like art and more suited to science. So, they used a variety of techniques to undercut the objectivity of the camera in a movement called "pictorialism," producing photographs that were gauzy with images which seemed more like a painting, and therefore, more like art. An example of this is seen in Henry Peach Robinson's "Fading Away" (1858) in which the photographic artist conveys a sentimental story in a composite print created from five separate photographic negatives. (Getlein, p 219).

However, in France during the last third of the nineteenth century, a style of painting called "Impressionism" was introduced in which artists advocated capturing the impressions of light and shade characterized by the representation of a scene, object, or figure by applying of dabs of color in order to give an impression of the view rather than an accurate, photographic-like depiction." Many well-known photographers worked hard in making photography an accepted art photographer who was instrumental in forcing the art world to recognize photography "as a distinctive medium of individual expression," as seen in his famous photograph "The Steerage" (1907), a photograph of working class people crowding two decks of a transatlantic steamer. In 1920, he insisted that "photographs look like photographs" so that the medium of photography be considered with its own aesthetic credo and so separate it from other art forms such as painting thus, defining photography a "pure" fine art form and used the term "straight photography" in contrast to "pictorial photography" which practiced manipulation of the image before and after exposure.

In conclusion, photography changed the appearance of visual arts. As it provided visual artists a way to quickly capture a scene or duplicate a portrait of someone without having them sit in one position, often for long periods of time, as well as, provided other means of communication through other visual arts mediums.

1. Getlein, Mark. "Living with Art" Eighth Ed. (New York) McGraw-Hill (2007). Ch 9.

2. Wikipedia. Visual arts. URL: http://www.wikipedia.org/wiki/Visual_arts (3/01/2007).

3. Humanity Unit. "ARTS EDUCATION: Visual Arts 10, 20, 30" Saskachewan Education (1993). Regina, Saskachewan Canada. Curriculum and Instruction Branch (03/25/07).

Van Gogh, The Harvest

The Harvest

Activity #8: Blog It!

Gwendolyn Lane "Job Search" (2007) Photomontage medium, Found Text collage with Elmer's School Glue on white paper

My photomontage is a collage of found text (newspapers, magazines, and photographs) that employs basic visual elements of art including line in the placement of objects directing a path within the piece, value of lightness and darkness in each individual image, a variety of complementary color harmonies that are opposite each other on the color wheel (red and green, etc.), implied shape of text size in upper and lower case, an added value of light on white paper background enhances the value of space as it interacts with line, color, and shape to give definition to the piece. In conclusion, this artistic creation is a unique visual narrative art form in photo collage medium. It also includes the design principles of unity or, oneness and variety or, difference which adds interest to the repetitive pattern in support of an asymmetrically balanced abstract composition.

Gwendolyn Lane

Creative Blog #5: The Vietnam Veteran's Memorial - 25th Year Anniversary

The "Vietnam Veteran's Memorial" is a massive black granite sculpture (November 13, 1982) designed by Maya Lin as an abstract and contemplative in nature. I created this photomontage from old postcards in remembrance to America's fallen servicemembers in the Vietnam War by superimposing their symbolic rose and the famous Washington Monument scenic view of "The Wall." It relates to our current photo collage assignment and represents the themes of art in nature, as well as, art in politics and social order. Courtesy of Vietnam Veteran's Memorial Fund. Photos by Rajai Sood/VVMF

Submitted by: Gwendolyn Lane

Activity 7: Exhibition Catalogue Introduction

Welcome to a brief chronological time line of a theme in art history based on Politics and Social Order depicted in the preservation of land and property, the harsh reality of war, and the emotional conflicts in societies as interpreted by visual art terms in the six photo images - courtesy of Timeline of Art History. New York: The Metropolitan Museum of Art 2000-. http://www.metmuseum.org/ The compositions range from the mid-sixteenth through the nineteenth century.

The first piece is representative of human suffrage in the scio-political context of societies in Central Europe and was created in gouache on brown paper by Adam Elsheimer entitled, "Seated Young Woman" (German, 1578-1610 A.D.). Elsheimer employs gouache, a method of painting with opaque watercolors, to reflect the solitary mood of the young lady "seated in deep shadow" in the center focal point of this piece. The use of straight line, shade, and layers of hatching and cross hatching adds balance and unity and pattern of design principles to draw attention to the bleak, cold place where she is seated. These visual elements add another value of darkness surrounding the central figure. She is thought to be "Bathsheba, whom King David spied upon and seduced."

The next work of art featured is reflective of the preservation of land in a colorful forest scene by Thomas Gainsborough (Dutch) entitled "Wooded Upland Landscape" (1783). Gainsborough employs oil on canvas to create this composition in linear perspective that draws your eyes directly in the center of the landscape. Its vivid yellow-green hues add warmth value in this symmetrically balanced design. The road divides the piece into two identical views. Contour lines form tops of the trees in the foreground darkened in green and black colored foliage. Texture is emphasized by thick applications of paint that add a rugged appearance positioned on each side of the road colored in brownish-yellow hues with contour-design of the road positioned down the middle. The elements of design include balance, scale and proportion seen in this vast landscape. In the center focal point, two figures walk toward the house in the distant horizon in the foreground. The brightly colored road is emphasized in yellowish-orange hues in color harmonies of "delicate washes of pastel coloring" which were typical of that period. The artist utilized contour lines blending green, green-blue, and green-yellow to add value of sunlight in hues of blue at the top depicting cool, cloudy skies.

The third work of art is entitled "Evening: Landscape with an Aqueduct" (1818) by Jean-Louis-Andre-Theodore Gericault (French) relates to societies preservation of historic buildings. Gericault employs oil on canvas to create this work, "one of four monumental landscapes representing four times of day" for "decoration to be placed within the paneling of a specific room." A painting on consignment, "the aqueduct at Spolato in the Italian countryside was the artists great achievement of David's heroic but intellectualized imagery depicting deep currents of emotion," probably during a political conflict. This piece adds the visual elements of color contrasts in the sublime with shades of brown blended into the darkened landscape in asymmetrical balance. Our eyes are directed to the upper left where a lone tree is lodged outlined in contour line into the dark clouds to the left and a clearing of bright yellow hues that add implied sunlight. The light and dark values of the sky take little attention away from the geometric pattern of the buildings in the foreground, a figure in a red scarf that also adds variety in scale and proportion to the piece.

The fourth work of art entitled "The Lake of Zug" (1843) by Joseph Mallard William Turner (English) is based on the theme of preserving the environment in the public interest based on socio-political theme of art in politics and social order. Turner employs a medium of watercolor over graphite to add visual elements of "successive layers of color -- applied in fluent watercolors, drier washes, and semi-opaque mixtures -- while the hazy mist and glittering reflections were scraped out of already painted areas, recovering the smooth white surface of the paper." An Impressionistic artist, Turner "exhibited controversial technical prowess which he was celebrated... and, this view was commissioned" for solicitations to patrons for a business idea. The visual elements of complementary color harmonies added cooling colors of blue and blue-violet in the center of the piece which is emphasized with a darkened blue shaded area positioned in the focal point adding intensity and lightness (visual) to the lake. The bottom of the canvas is surrounded by vividly colored yellow-orange hues. The figures are positioned by the waters edge in scale and proportion to the massive water landscape. Additional hatching and cross-hatching pattern in straight lines express rugged surface of the hills upward into the horizon, blended with mixtures of yellow, orange and red on one side of the lake blend with blue, violet and orange on the other. The eyes are draw to the top as implied sunlight is added with smooth applications of light yellow-orange hues are thinly applied in the center to add contrast of lightness and darkness of the land and water.

In the fifth work of art depicts the harsh reality of war expressed in oil on canvas by Eugene Delacroix (French) "The Abduction of Rebecca" (1846). Delacroix employs the visual elements of color, contour line, shading, emphasis, and design principles of balance and unity, and variety. The colors are layered and darkened with black paint emphasizing the forest setting. The title character is the center focal point carried away by slaves of a nobleman who has coveted her throughout the war. The eyes are drawn to color pigment of light rosy red face and chest of Rebecca's in contrast to the dark brown faces and dull red, green, and blue attire worn by her captors. In the foreground, a figure is pointing at fire in the woods drawn in contour lines by red, yellow, and orange colors implying flames.

The last work of art is entitled "The Love Song" (1878) by Sir Edward Coley Burne-Jones (English). The artist created this piece in asymmetrical balance and utilized visual elements of vivid colors of red, orange, yellow on the right and black, maroon, greens and a red shash on the right arm of the young man adds variety to the left side of the piece. The central figure has added value of lightness in her clothing and complexion which stands out as the focal point, and the object of his affection. The duty of society is to protect and provide a healthy home with good quality of life found in the theme of politics and social order here. The figures are in love and the artist portrayed them looking indifferent to issues of any kind. Multi-colored flowers sit at their feet while in the distant foreground is a house in dark shades of green and brown stucco in two-point linear perspective to the three figures in the front which appear larger than the buildings near the horizon.

In conclusion, these issues continue to resonate in socio-political contexts related to human suffrage, romantic affairs, turbulence of war, and the preservation of a way of life throughout today's modern world. I hope you enjoyed the chronological time line in history through the selected compositions which were chosen for their aesthetic appeal as well as to evoke emotional connection with a brief moment in art history. Moreover, we hope your appreciation for the visual art forms were stimulated with the theme of art in politics and social order captured by the artists utilization of the basic elements of design including color relationships, perspective, line, and how their application of the principles of design, including balance, pattern, rhythm, emphasis, and scale operate within the selected pieces are remembered as one of many perceptions of the theme of art in our lives.

WORKS CITED

Getlein, Mark. "Getlein's Living with Art." Eighth Edition. New York, N.Y. (2007). Chapters 3-5.

Activity 6: ART101 Mid-Term Exhibition

Please review following compositions from the bottom:

Exhibit #5 (top left): Eugene Delacroix "The Abduction of Rebecca" Oil on canvas (1846). Exhibit #6 (last): Sir Edward Coley Burne-Jones "The Love Song" Oil on canvas (1868-?1873).















Exhibit #3 (center bottom): Jean-Louis-Theodore Gericault: "Evening: Landscape with an Aqueduct" Oil on canvas (1818). Exhibit #4 (center top) Joseph Mallord William Turner "The Lake of Zug" Watercolor over graphite (1843).








Exhibit #1 (bottom right): Adam Elsheimer's "Seated Young Woman" Gouache on paper (1578-1610). All Exhibits found online in Timeline of Art History. New York. The Metropolitan Museum of Art 2000-. Exhibit #2 (next): Thomas Gainsborough's "Wooded Upland Landscape" Oil on canvas (1783).

Creative Blog: Gwendolyn's Color Game - RE-EDIT2

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Creative Blog #4: Parrot Tulip Abstraction

The theme of art in this composition is art in nature. "Tulips have been the subject of paintings since the 1700s, when a huge fad took over the Netherlands (Holland). "Parrot Tulip Abstraction" Watercolor on paper (1993). Courtesty of Beakman Place in the Washington Post Comics Section. Washington, DC. February 25, 2007.

Activity 5: Themes and Purpose - RE-EDIT 2

The first image is Van Gogh "The Harvest" Pen and Brown Ink over Graphite ["Pencil"] (1888). Courtesy of the National Gallery of Art Online Museum in Washington, D.C. Copyright 2007.

Vincent van Gogh "The Emperor Moth" Oil Painting on canvas (1889), Van Gogh Museum Amsterdam (Vincent van Gogh Foundation) Historical Gallery of Art - Washington, D.C. Copyright 2007

The theme of art in Vincent van Gogh's "The Harvest" is art in daily life, looking outward: in the here and now. Van Gogh employs contrast, line, value, and balance in two-dimensional linear perspective showing images of haystacks on each side and humans in the center harvesting a wheat crop in the field larger than the town positioned in the center on the horizon in the foreground. The wide, smooth empty space positioned in the middle of the piece adds the value of texture depicting the long, winding road directing attention to the central focal point of the piece, the wheatfield. The town in scale and proportion is in the distant foreground drawn in thin, broad, and straight line with pencil and black ink depict stalks of wheat cut and dispersed about on the ground and compiled in haystacks awaiting transport. Van Gogh drew in black ink with a "quill pen made from the tail or wing feathers of a goose, swan, and crow that was cut at an angle in different lengths to give it a fine or broad point." The rural town sketched across the horizon has a railroad engine to the right, emphasized by a long trail of smoke outlined with contour lines and shaded gray in areas. He employs short to medium straight lines to depict a variety of geometrically shaped buildings as well. Visual values of lightness and darkness add less intensity than in "The Emperor Moth" but thick dynamic brushstrokes of black ink in areas provide pattern and variety to buildings made by thin and thick parallel lines(like hatching and cross-hatching without color). Clouds are outlined by contour lines of thin applications of black ink in swirling curlicues that are seen rising from smokestacks of factories, the trains engine, and from chimneys of homes suggest that the workday is not over. The random series of dots and dashes sketched with pen and brown ink adds the visual element of lightness, in contrast to darkness of "Emperor" and adds a bumpy appearance in areas on the ground that are not smooth textured. In conclusion Van Gogh has exhibited art in daily living in the here and now. This well-balanced asymmetrical landscape composition is created in scale and describes a theme of daily living in art depicting the everyday human experience of the harvest, in the town, and in the factories.

In contrast, the theme of art expressed in Van Gogh's "The Emperor Moth" is art and nature as in oneness of the here and now by the title and central figure, a colorful moth. It is common in nature, the male species of most non-humanoid animals are distinguished by a beautiful, bright coloring. Also, in contrast to the first this piece, Van Gogh's main figure is a brightly multi-colored in a variety of complementary color harmonies of green in its wings with four black ink dots adding natural beauty to the non color black and white pattern of a jagged-shaped thick line across the back of its wings. Van Gogh positions the title figure off center and adds interest of color and variety by inserting a cluster of brightly colored red berries at the top edge. The eyes are attracted to the group of three triangular-shaped, tertiated yellowish-green colored leaves directly above the moth that makes it the focal point and first attracts the eye to the moth. They direct the eyes upward to a cluster of vividly-colored red berries hanging above the moth at the top edge of the canvas. The background is covered in a variety complementary shades of dense foliage outlined in thin and thick contour lines resembling geometrical pattern adding a value of texture in a variety of green, green-blue leaf ed motif in this piece. The different color properties of tints and shades add the visual element of lightness as implied moonlight to the scene, relates the fact moths are nocturnal. In conclusion, Van Gogh expresses a balanced asymmetrically composition that creates a more dynamic feeling in this less formal piece. He shifts the small elements of the berries away from the center while he uses the intensity of colorful green shades and unusual shapes to pattern the background. Perhaps, he suggests a vision of its life cycle by providing the wild berries as a food source. Nonetheless, the brevity of life is envisioned in this interesting theme of art in nature of one of it's most illusive and mystical creatures of the night.

Gwendolyn Lane

Additional Works Cited

1. Artcyclopedia. MasterScans Online. URL located at, http://www.artcyclopedia.com/artists/van_gogh_vincent.html.

2. The Metropolitan Museum of Art. In Timeline of Art History. New York. URL located at, http://www.metmuseum.org/explore/van_gogh/glossary.html.

Creative Blog #3: Rainbow-colored Hot Air Balloon RE-EDIT

Van Gogh's "Wheatfield with Crows" (Auvers-sur-Oise, July 1890) Vincent van Gogh - Oil on canvas. Courtesy of Van Gogh Museum Foundation, Amsterdam/Vincent van Gogh Foundation

Van Gogh's oil painting is an example of the design principle balance in this asymmetrical composition. Van Gogh creates a dynamic feeling in this piece, and utilizes unity and variety in balancing the massive wheat field and the tiny images of crows.

"A woman inflates her balloon at Clark Field near Manila for the Philippine International Hot Air Balloon Festival" [Day in Photos at URL: http://www.washingtonpost.com/ Washington Post online (February 8, 2007)

The hot air balloon picture is an example of symmetrical balance design principle. Its single axis of symmetry creates a strong sense of balance and unity with the shadowed figure of a woman positioned in the center with perfect balance on each side.

Gwendolyn Lane

Activity 4: Principles of Design RE-EDIT

Principles of Design

Vincent van Gogh constructs "Wheatfield" Ink Drawing on paper (1889) with the following design principles of unity and variety, balance, emphasis, scale, and texture. He employs unity and balance among other visual elements to support the massive landscape pattern as a balanced asymmetrical composition. Working with a restricted palette, Van Gogh uses only a few color mixtures with the added value of texture and intensity to his two color schemed composition. His application of bold black ink emphasized in dynamic brushstrokes cover a lighted background of chroma or, saturated yellow-orange hues adding the value of implied light resembling sunlight in the entire piece. A repetitive pattern is seem that is formed throughout this piece as he adds mixtures of gray and the primary color yellow to associate the warmth of sunlight with the yellow-orange hues. He continues with the same hues giving the value of texture with the appearance of short thin yellowish brown lines that resemble fertile wheatfield landscape. The warm tints of yellow color depicts a seasonal effect and another visual element of implied sunlight. A thin black ink contour line attracts the eye to the top across the horizontal plane in the foreground which is off-center but, a focal point that draws attention upward. This motion representing shafts of wheat flying high into the air keeping the focus in the center of the piece. The clouds are small, short contour lines that are composed of thin, smooth black ink brushstrokes in contrast to thick, roughly applied light yellow-brownish color resembling wheat-covered ground. This composition supports balance and proportion as the smaller subordinate figures in the distant foreground are drawn to scale in proportion to a normal sized wheatfield with very thin black straight lines depicting haystacks that are positioned off center throughout the composition. In conclusion, Van Gogh's "Wheatfield" ink drawing on paper (1889) supports a symmetrically balanced composition design based on the fact that the focal point is directed toward objects that are at the top center of this piece.

In Vincent van Gogh" second piece, "The Emperor Moth" Oil Painting on Canvas (1889), he chose a similar design principles including, unity and variety, balance, emphasis, variety, proportion, rhythm, and scale. The figure of the moth in the center attracts the eye first to the subject matter positioned in the center. The eyes are drawn right above the moth by three broad contour-shaped yellow-green leafs adding value of proportion and scale to the moth's wings that are spread open revealing color value of broad black outlined green-blue tinted wings displaying the value pattern in the design on the moth's wing that comprised of three tiny, evenly spaced black dots on top of each wing. Van Gogh adds a second focal point that direct the eyes up to the top center of the edge of the piece to a cluster of vividly colored red berries, this adds another value of balance and oneness of design in this asymmetrical composition. It shows a variety of different shapes and textures as dense foliage in the background that provides the visual element of implied sunlight, dimmed cool lshade of the tertiary colored foilage of green and green-blue). Another visual element that adds the value of atmospheric perspective is introduced in duller shades of tertiary colors of yellow-green as cooling effect and with the small to medium-sized leaf clusters in scale and proportion to the moth. In conclusion, Van Gogh's "The Emperor Moth" asymmetrically balanced composition exhibits more intensity and movement based on the use of intense color, more unusual shapes, and more dynamic feeling created by its visual elements and principles of design.

Gwendolyn Lane

WORK CITED

1. Getlein, Mark. "Getlein's Living with Art" Eighth Ed. (McGraw-Hill, New York, N.Y.) Copyright 2008. (Chapters 4 and 5).

2. The National Gallery of Art Online. Washington, D.C. Located at URL: http://www.nga.gov/

Activity #3: Test Post

Image No. 1: Asymmetrical Composition

Image No. 2: Symmetrical Composition

Test Post

What are the two main balances the text in Chapter 5 describes? Symmetrical and asymmetrical composition are the two main balances described in Chapter 5 in our textbook, "Living with Art" by Mark Getlein, Eighth Edition. New York, N.Y. Copyright 2008.

Image No. 2: This photo of an ancient building is an example of a "symmetrical composition" based on the fact that the object is "positioned in the center of the work" with "perfect balance on each side". It is "the most important point in the composition that draws your eye to the center" of the work.


Image No. 1: This Japanese Bonzai tree photo is an example of a "balanced asymmetrical composition" created in nature. It is "more difficult to achieve" by an artist as it 'must create a dynamic feeling often seen as less formal... and positioned further away from the center in order to maintain balance" of the work of art.

Gwendolyn Lane

WORKS CITED

1. Getlein, Mark. "Getlein's Living with Art" Eighth Edition. (New York, N.Y.) Copyright 2008. (pp. 121-147).

2. JPG Images located at URL: http://www.architype.net/image.php Architype.net (free image website)

Creative Blog #2: Tut Ankh Amum

I received this picture postcard from my sister who was visiting throughout Africa. This image exhibits many attributes of a symmetrical composition discussed in Chapter 5 - Principles of Design, and read:

CAIRO EGYPTIAN MUSEUM
Tut Ankh Amum's Treasures
Second coffin, richly decrated with
gold and semi-precious stones

Post Card Egypt - 1995

-- M-( El-Amal El-Gaded - Amon

Activity #2: Write About It: RE-EDIT #3

Online Museum Visit

Vincent van Gogh "Wheatfield" Ink Drawing on paper 1889

I chose Vincent Willem van Gogh (1853-1890) "Wheatfield" in ink drawing for my first work.

JPEG Images from the National Gallery of Art, Online Museum, Washington, D.C.

Vincent van Gogh "The Emperor Moth" Oil Painting on Canvas 1889

For my second work of art, I chose another work created by Vincent Willem van Gogh entitled, "The Emperor Moth," an oil painting on canvas.

JPEG image from Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation) Copyright 2007 Historical Gallery of Art, Washington, D.C.

Gwendolyn Lane

Visual Elements

By choosing two works of art created by Vincent van Gogh, I compared how he utilized the same visual elements differently to express the attributes of his distinctly opposite compositions. The first entitled, "Wheatfield" Ink Drawing on paper 1889 and the second entitled, "The Emperor Moth" oil on canvas (1889). Created by the same artist, [Vincent Willem van Gogh (1853-1890) - Wikipedia Online, 2007] which are constructed in different mediums, ink drawing on paper and oil on canvas, respectively. While Van Gogh uses many of the same basic design elements in creating both of his compositions which include, color, line, space, texture, value, mass, shape, and light, in each he portrays two opposing exhibits of artistic impression. In "Wheatfield," Van Gogh employs color combinations to imply light, texture, and intensity by applying black straight lines in combination with yellow-orange straight and diagonal lines representing wheat laying on the ground at the bottom edge and directs your eyes to move to the top center foreground of the piece. With a mixture of yellow-orange hue that looks light to medium tan in color which adds the value of light throughout the composition giving it a warm appearance of a late summer season. Van Gogh uses the same colors throughout the piece not only to represent the sky, but also, depicting wheat by using pure primary color yellow blended with the secondary color orange depicting sunlight in this landscape piece. Van Gogh was one of the artists who "pioneered a change in the Post-Impressionistic period known as the birth of modern art between 1886 and 1892." Van Gogh using black ink drawing on paper created the somber feeling of a day's labor working in a wheatfield. And, by employing an upward swirling motion of wheat represented by thin and broad black ink lines in the center of the foreground, our attention is directed to the wind blowing the wheat toward the top of the composition.

Van Gogh uses a variety of color elements to evoke emotional effects differently in the oil painting of his composition of "The Emperor Moth." The figure of the moth is positioned in the center and is viewed in scale proportion of the normal size as the main focus of this work. The artist employs a variety of a thick black line that leads the eyes upward and away from the moth. This piece appears to have a smooth texture with the application of a thin black contour lines outlining the main figure that has three irregularly-shaped and colored with tertiary yellow-green leafs next to the moth, pointing upward within the area of thick cooling green and green-blue colored foliage. This is a distinct opposite comparison in contrast with the warm colors in "Wheatfield." In the "Emperor Moth," Van Gogh uses the contour lines outlining the figures of geometrically-shaped leafs in hues of green-blue and yellow-green next to the moth directing your attention directly to the moth. This combination employs movement in this piece as our eyes are drawn up to the center toward a cluster of vividly-colored red wild berries. This causes our eyes to shift our focus from the cool colors near the moth to an intense, colorful effect of the vividly-colored red berries at the top, away from the cooling effect given by the tertiary colors in the foliage between it and the moth. Also, the brightly-colored red berries provide an emotional effect of light captured on the oil canvass.

In conclusion, both pieces exhibit Van Gogh's reputation for dynamic brushwork and use of broad and thin contour lines depicting different types of atmospheric perspectives exhibited in both compositions I chose in Activity 1. Overall, I enjoyed my visit to the National Gallery of Art Online.

Gwendolyn Lane

WORK CITED

1. Getlein, Mark. "Getlein's Living with Art" Ed. 8. (McGraw-Hill, New York, N.Y.) Copyright 2008. (pp. 81-1200.

2. The National Gallery of Art Online. Located at http://www.nga.gov/.