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).