composing art - university of...
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Composing Art Vocabulary of Art
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Principles of Design
Unity
Variety
Repetition
Rhythm
Balance
Emphasis/Focal Point
Economy
Proportion/Scale
McGraw-Hill Higher Education, Inc.
©2008
The organization
of Elements is
called
Composition or
Design.
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Lawrence Going Home. 1946
Unity and Variety: Color and Shape
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Lines of Rhythm
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Lines of Rhythm
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de Hooch. Interior of a Dutch House 1658.
Unity and Variety: Pattern and
Design
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Structural Lines
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Balance Visual
Weight
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©2008
Symmetrical Balance: Mirror image
of Shapes/Forms on either side of an imaginary axial
dividing line.
Elements correspond to one another in size, shape, and
placement.
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McGraw-Hill Higher Education, Inc.
©2008
Emphasis: The viewer’s attention
will be centered more
on certain parts of
the composition
than on others.
Focal Point: A specific spot to which one’s
attention is directed.
Subordination: A less visually interesting
area.
Emphasis and Subordination
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Degas Jockeys before the Race 1878-9.
Emphasis: Directing our Eyes
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McGraw-Hill Higher Education, Inc.
©2008
Scale: Size in relation to a constant or “normal” size.
Proportion: Refers to size relationships between parts of
a whole or between two or more items perceived as a unit.
Proportion and Scale
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McGraw-Hill Higher Education, Inc.
©2008
Proportion and Scale
Egyptian. Palette of Narmer. Canon of hierarchic proportion
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McGraw-Hill Higher Education, Inc.
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Leonardo daVinci,
The Study of Human Proportions
According to Vitruvius, c. 1485-90.
Proportion and Scale
Doryphorous. Polykleitos
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Rembrandt Self Portrait. 1630. 2” x 1 7/8”
ACTUAL SIZE VERSUS
PERCEIVED SIZE
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Oldenberg & van Bruggen. Shuttlecocks. 1994.
Unexpected Proportion and
Scale
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McGraw-Hill Higher Education, Inc. ©2008
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Michelangelo Pieta 1501. Master of the Beautiful Madonna. Pieta. 1415
Compositional Impact of
Scale
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Introduction
• Unity refers to the imposition of order and harmony on
a design
• Variety is a kind of visual diversity that brings many
different ideas, media, and elements together in one
composition
• Balance refers to the distribution of elements, whether
unified or varied, within a work
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Unity
• Provides an artwork with its cohesiveness and helps
communicate its visual idea
• Artists are concerned with three kinds of unity:
compositional, conceptual, and gestalt (the complete
order and indivisible unity of all aspects of an artwork’s
design)
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Compositional Unity
• An artist creates compositional unity by organizing all
the visual aspects of a work
• Too much similarity of shape, color, line, or any single
element or principle of art can be monotonous and make
us lose interest
• Too much variety can lead to a lack of structure and the
absence of a central idea
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Compositional Unity
1.110 Three diagrams of compositional unity
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1.111 slide 1: Katsushika Hokusai, “The Great Wave off Shore at Kanagawa,” from Thirty-Six Views of Mount Fuji, 1826–33 (printed
later). Print, color woodcut. Library of Congress, Washington, D.C.
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1.111 slide 2: Graphics with Katsushika Hokusai, “The Great Wave off Shore at Kanagawa,” from Thirty-Six Views of Mount Fuji,
1826–33 (printed later). Print, color woodcut. Library of Congress, Washington, D.C.
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PART 1
FUNDAMENTALS
Gateway to Art:
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Hokusai, “The Great Wave off Shore at Kanagawa”
A Masterpiece of Unity and Harmony
• Created a unified composition by organizing repetitions of shapes,
colors, textures, and patterns to create a visual harmony, even
though the scene is chaotic
• Mount Fuji (A), in the middle of the bottom third of the work,
almost blends into the ocean
• Whitecaps on the waves (B) mimic the snow atop Mount Fuji
• Hokusai has also carefully selected the solids and voids in his
composition to create opposing but balancing areas of interest. As
the solid shape of the great wave curves around the deep trough
below it (C), the two areas compete for attention, neither possible
without the other
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1.112 Interior design,
I. Michael Interior
Design, Bethesda,
Maryland
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1.113 Linear evaluation
of elements in interior
design, I. Michael
Interior Design,
Bethesda, Maryland
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Interior design,
I. Michael Interior Design
• The interior has a balance of curved and straight lines that
complement each other
• The linear patterns of curved lines repeat (red), as do the other
directional lines
• Shapes are distributed throughout the scene (green)
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1.114 Marie Marevna (Marie Vorobieff-Stebelska), Nature morte à la bouteille, 1917. Oil on canvas with plaster, 19¾ x 24”
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Marie Marevna (Marie Vorobieff-Stebelska),
Nature morte à la bouteille
• The unifying features are the angular lines and flat areas of
color or pattern
• Marevna’s Cubist style breaks apart a scene and re-creates it
from a variety of different angles
• The entire work becomes unified because the artist paints
a variety of different viewing angles using flat areas of color
and pattern throughout
• Even though we view the still life from many different angles,
the artist was able to unify the composition by using similar
elements
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1.115 Piero della Francesca, The Flagellation, c. 1469. Oil and tempera on panel, 23 x 32”. Galleria Nazionale delle Marche, Urbino,
Italy
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Piero della Francesca,
The Flagellation
• The artist concentrates on two major areas: foreground and
background
• The organic human shapes in the foreground are
balanced against the geometric lines of the background
• Rather than communicating a feeling of tension
and violence, the composition is quiet and logical, emphasizing
the mood of detachment and contemplation
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1.116 Romare Bearden, The Dove, 1964. Cut-and-pasted printed papers, gouache, pencil, and colored pencil on board,
13⅜ x 18¾”. MOMA, New York
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Romare Bearden,
The Dove
• Some artists create compositional unity while gathering
together bits and pieces of visual information
• In this work we see snippets of faces and hands, city textures of
brick walls and fire escapes, and other associated images
assembled into a scene that, at first glance, seems frenetic and
chaotic
• Bearden reflects the order of the city with an underlying grid
made up of verticals and horizontals in the street below, and the
vertical street posts and buildings in the upper section of the
work
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Conceptual Unity
• Conceptual unity refers to the cohesive expression of
ideas within a work of art
• The expression of ideas may not look organized, but
an artist can still communicate them effectively by selecting
images that conjure up a single notion
• Artists bring their own intentions, experiences, and reactions to
their work. These ideas—conscious and unconscious—can also
contribute to the conceptual
unity of a work
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PART 1
FUNDAMENTALS
Interactive Exercises:
Click the image above to start
the interactive exercises
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Conceptual Unity
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1.117 Joseph Cornell,
Untitled (The Hotel Eden),
1945. Assemblage with
music box, 15⅛ x 15⅛ x
4¾”. National Gallery of
Canada, Ottawa
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Joseph Cornell,
Untitled (The Hotel Eden)
• The disparate shapes, colors, and other characteristics of
everyday things come together to form distinctive images
• Cornell has collected objects from life and sealed them in
a box
• Placed together, all the different objects in the box make and
express an idea greater than any one of them could suggest on
its own
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Gestalt Unity
• Gestalt is a German word for form or shape
• Refers to something in which the whole seems greater than
the
sum of its parts
• We get a sense of gestalt when we comprehend how
compositional unity and conceptual unity work together
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PART 1
FUNDAMENTALS
Interactive Exercises:
Click the image above to start
the interactive exercises
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
NOTE: Internet access is
required to view this material
Gestalt Unity
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1.118 Vishnu Dreaming the
Universe, c. 450–500 CE.
Relief panel. Temple of
Vishnu, Deogarh, Uttar
Pradesh, India
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Vishnu Dreaming the Universe
• The repetition of the human shapes that attend Vishnu creates
compositional unity
• The dualities of male/female, life/death, good/evil are
illustrated in the complex stories of the gods
• A religious idea provides profound conceptual unity
• The image, the religious idea that the image illustrates,
and the fervent belief of the artist who created the work
all interconnect
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Variety
• Variety is a collection of ideas, elements, or materials that
are fused together into one design
• Variety is about uniqueness and diversity
• Artists use a multiplicity of values, textures, colors, and
so on to intensify the impact of a work
• Variety can invigorate a design
• Variety is the artist’s way of giving a work of art a jolt
1.119 Variety of shapes and values set into a grid
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PART 1
FUNDAMENTALS
Interactive Exercises:
Click the image above to start
the interactive exercises
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
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Variety
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1.120 Robert Rauschenberg, Monogram, 1955–9. Mixed media with taxidermy goat, rubber tire, and tennis ball, 42 x 63¼ x 64½”.
Moderna Museet, Stockholm, Sweden
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Robert Rauschenberg,
Monogram
• Used variety to energize his artwork and challenge his viewers
• The work features a stuffed goat with a tire around its middle
standing on a painting
• By combining these objects, Rauschenberg creates an
outlandish symbol of himself as a rebel and outcast
• By using a variety of non-traditional art materials and
techniques, the work becomes a transgression against
traditional art and morals
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Using Variety to Unify
• Even while using a variety of different shapes, colors,
values, or other elements, an artist can create visual
harmony
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1.121 Album quilt,
probably by Mary Evans,
Baltimore, Maryland, 1848.
Appliquéd cottons with
inkwork, 9 x 9’. Private
collection
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Album quilt
• These carefully sewn quilts are named after the scrapbooks
kept by Baltimore girls
• Like a scrapbook, these quilts use a variety of images and fuse
them together into a finished work
• Because a strong structure is imposed on the many different
shapes through the use of a grid, the work holds together as a
unified whole
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Balance
• Just as real objects have physical weight, parts of a work
of art can have visual weight, or impact
• If the amount of visual weight does not have a reasonable
counterweight on the opposite side, the work may appear
to be unsuccessful or unfinished
• If there are reasonable visual counterweights the work
seems complete, and balance has been achieved
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PART 1
FUNDAMENTALS
Interactive Exercises:
Click the image above to start
the interactive exercises
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
NOTE: Internet access is
required to view this material
Balance
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Symmetrical Balance
• If a work can be cut in half and each side looks exactly
(or nearly exactly) the same, then it is symmetrically
balanced
• Near-perfect symmetry exists in the human body
• Because it is a part of our physical body, symmetry can
seem very natural and we can make natural connections to it
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Fig. 121 Luster Painted Bowl
Design, Color and Pattern: Contrast
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Giacometti Chariot 1950.
SYMMETRICAL BALANCE
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1.122 Ritual container from Gui, China, Shang Dynasty, 1600–1100 BCE. Bronze, 6¼ x 10¾”. University of Hong Kong Museum
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Ritual container from Gui, China
• Artists of ancient China designed a creature born of symmetry called the t’ao t’ieh
• The image of the creature in an artwork is not immediately apparent, because its form is “hidden” amongst many separate symmetrical shapes and forms
• It is as if a symmetrical collection of elements coalesces to reveal a monster mask
• The meaning of this motif is mysterious, but it may symbolize communication with the gods
• On each side of the central ridge are patterns that mirror each other
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Asymmetrical Balance
• When artists organize a composition they often use
different visual “weights” on each side of it
• This applies when the elements on the left and right sides
are not the same, but the combination of elements
counters each other
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1.123 Muqi, Six Persimmons,
Southern Song Dynasty, c.
1250. Ryoko-in, Dailoxu-ji,
Kyoto, Japan
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Muqi, Six Persimmons
• Chinese artists have used asymmetrical balance to reflect on life and spirituality
• Dark, light, and the subtle differences in shape are not distributed evenly between the left and right sides of the work
• The artist creates subtle variations in the placement of the persimmons on each side of the central axis
• Brilliantly counteracts the visual “heaviness” of the right side by placing one shape lower on the left
• The use of brush and ink was a form of meditation, through simple, thoughtful actions, in search of higher knowledge
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Asymmetrical Balance: Two sides that do not correspond to one another in size,
shape, and placement.
Gustav Klimt,
Death and Life, Before 1911-1915.
Assymetrical Balance
Haranobu. The Evening Glow of the Ando. Edo Period
(Japan).
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Radial Balance
• Radial balance (or symmetry) is achieved when all
elements in a work are equidistant from a central point
and repeat in a symmetrical way from side to side and top
to bottom
• Can imply circular and repeating elements
• Sometimes used in religious symbols and architecture
where repetition plays an important role in the design
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1.124 Andrea Palladio, part elevation/section and plan of the Villa Rotonda, Vicenza, Italy, begun 1565/6. From the Quattro Libri,
Book II
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Andrea Palladio, part elevation/section and plan of
the Villa Rotonda
• Although the term “radial” symmetry suggests a round shape, in fact any geometric shape can be used to create radial symmetry
• Palladio wanted people who lived in this building to be able to experience four views of the surrounding countryside from a single vantage point
• Loggias, or porch-like entrances, on all four facades; they are all equidistant from the center of the building
• The same elements are used on four sides
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1.125 Amitayas mandala
created by the monks of
Drepung Loseling Monastery,
Tibet
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PART 1
FUNDAMENTALS
Chapter 1.6 Unity, Variety, and Balance
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Amitayas mandala
• Is a diagram of the universe
• Shapes pointing in four different directions from the center are
symmetrical
• The creation of one of these sand paintings is an act of
meditation that takes many days, after which the work
is destroyed
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PART 1
FUNDAMENTALS
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 1.6 Unity, Variety, and Balance
Conclusion
• Unity, variety, and balance are central principles
that artists use to create visual impact
• Unity gives a work a certain oneness or cohesion
• Variety is expressed in contrast and difference
• Created by the use of different kinds of lines, shapes, patterns,
colors, or textures
• Balance is imposed on a work when the artist achieves an
appropriate combination of unity and variety
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Matisse Large Reclining Nude 1935.
EVOLUTION OF A DESIGN
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PART 1
FUNDAMENTALS
PowerPoints developed by CreativeMyndz Multimedia Studios
Chapter 1.6 Unity, Variety, and Balance
This concludes the PowerPoint slide set for Chapter 1.6
Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
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PART 1
FUNDAMENTALS
PowerPoints developed by CreativeMyndz Multimedia Studios
Chapter 1.6 Unity, Variety, and Balance
1.110 Ralph Larmann
1.111 Library of Congress, Washington, D.C. Prints & Photographs Division, H. Irving Olds collection, LC-DIG-jpd-02018
1.112 I. Michael Interior Design
1.113 Ralph Larmann
1.114 Courtesy Galerie Berès, Paris. © ADAGP, Paris and DACS, London 2011
1.115 Galleria Nazionale delle Marche, Urbino
1.116 Museum of Modern Art, New York, Blanchette Hooker Rockefeller Fund, Acc. no. 377.1971. Photo 2011, Museum of
Modern Art, New York/Scala, Florence. © Romare Bearden Foundation/DACS, London/VAGA, New York 2011
1.117 © The Joseph and Robert Cornell Memorial Foundation/DACS, London/VAGA, New York 2011
1.118 Photo John Freeman
1.119 Ralph Larmann
1.120 © Estate of Robert Rauschenberg. DACS, London/VAGA, New York 2011
1.121 Private Collection
1.122 The University of Hong Kong Museum
1.123 Photo Shimizu Kohgeisha Co., Ltd. Permission Ryoko-in Management
1.124 pl. XIII, Book II from Wade, I. (ed.) Palladio: Four Books of Architecture, 1738
1.125 Courtesy Drepung Loseling Monastery, Inc.
Picture Credits for Chapter 1.6