p118 datr 74 145p. art course arts; - eric · document resume ed 096 192 so 007 711 titlf studio in...
TRANSCRIPT
DOCUMENT RESUME
ED 096 192 SO 007 711
TITLF Studio in Art: A Comprehensive Foundation Course.INSTITUTTON New York State Education Dept., Albany. Bureau of
Secondary Curriculum Development.P118 DATr 74NOTr 145p.
TN'S PRICEDESCRIPTORS
MF-$0.75 HC-$6.60 PLUS POSTAGE*Activity Learning; *Aesthetic Education; ArtActivities; *Art Education; *Art Expression; Courserescriptions; Curriculum Guides; *Fine Arts;Humanization; Secondary Grades; Teaching Techniques;Visual Literacy
ABSTPACTThis secondary level art curriculum guide helps
students to individualize visual and plastic arts experience. It isdivided into sections on the naturo of art, elements of art, andmovements and trends in the world of art. Materials direct theteacher toward important events and concepts, useful exercises, andpertinent points for student development. The material, illustratedby student art and reproductions, is not intended as the substance oflectures but as an outline of areas of emphasis to be used by bothstudent and teacher in the development of a fleLible course based ona theme or principle of their choosing. A visual diary of informationand observations to help the student become visually sensitive and aportfolio of the student's work are kept as indications of studentperformance. The course is predicated on the availability of a studioand on access to genuine works of art. At the least, an atmosphere ofart, within the working environment is mandatory as is the presenceof an artist as teacher, Sources of materials from museums andcommercial producers are listed at the end of the guide, as arelitnrature references pertinent to the study of movements and trendsin art. (JH)
a co
mpr
ehen
sive
foun
datio
nco
urse
TH
E U
NIV
ER
SIT
Y O
F T
HE
ST
AT
E O
F N
EW
YO
RK
/ TH
E S
TA
TE
ED
UC
AT
ION
DE
PA
RT
ME
NT
BU
RE
AU
OF
SE
CO
ND
AR
Y C
UR
RIC
ULU
M D
EV
ELO
PM
EN
T/ A
LBA
NY
, NE
W Y
OR
K 1
2224
Jr"
7-
TH
E U
NIV
ER
SIT
Y O
F T
HE
ST
AT
E O
F N
EW
YO
RK
k.tj.
o1;
of
Ut
ftsti
1984
Jos
eph
W M
cGov
ern.
A B
., J
D.
1 H
.D.
11 D
.. D
C 1
,C
hanc
ello
rN
ev. Y
ork
1985
Eve
rett
J P
enny
, B C
.S. D
.0 S
. V
ice
Cha
ncel
lor
Whi
te P
lain
s
1978
Ale
xand
er J
Alla
n, J
rLL
D. L
itt.D
Tro
y
1987
Car
l H. P
orzh
eim
er. J
r., A
.B. M
.B.A
., D
.C.S
., H
.H.D
.P
urch
ase
1975
Edw
ard
M. M
. War
burg
. B.S
., L.
H D
.N
ew Y
ork
1977
Jos
eph
T. K
ing,
LL.
8.O
ueen
s
1974
Jos
eph
C. I
ndel
icat
o M
.D.
Bro
okly
n
1976
Mrs
. Hel
en B
. Pow
er. A
.B.,
Litt.
D..
L.H
.D.,
LL.D
.R
oche
ster
1979
Fra
ncis
W. M
cGin
ley.
B.S
., J.
D.,
LL.D
.G
lens
Fal
k19
86 K
enne
th B
. Cla
rk, A
.B..
M.S
.P
h.D
., LL
D.,
L.H
.D..
D.S
c.H
astin
gson
Hud
son
1983
Har
old
E. N
ewco
mb,
B.A
.O
weg
o
1981
The
odor
e M
. Bla
ck. A
.B.,
Litt.
D.
San
ds P
oint
1988
Will
ard
A. G
enric
h. L
LB..
L.H
.D.
Buf
falo
1982
Em
lyn
I.G
riffit
h, A
.B.,
J.D
..
Rom
e
Pre
side
nt o
f the
Uni
vers
ity a
nd C
omm
issi
oner
of E
duca
tion
Exe
cutiv
e D
eput
y C
omm
issi
oner
of E
duca
tion
Dep
uty
Com
mis
sion
er fo
r E
lem
enta
ry, S
econ
dary
, and
Con
tinui
ng E
duca
tion
Ass
ocia
te C
omm
issi
oner
for
Inst
ruct
iona
l Ser
vice
sE
. -I':
csis
tant
Com
mis
sion
er fo
r In
stru
ctio
nal S
ervi
ces
(Gen
eral
Edu
catio
n)
Dire
ctor
, Div
isio
n of
Sch
ool S
uper
visi
onE
Chi
ef, B
urea
u of
Sec
onda
ry C
urric
ulum
Dev
elop
men
t
Dire
ctor
, Div
isio
n of
the
Hum
aniti
es a
nd th
e A
rts
Chi
ef, B
urea
u of
Art
Edu
catio
nJ
z
I/1
VO
Ato
ft00
3t.t.
FO
RE
WO
RD
/.1
:1, 1
4,1
t:'t
Pt(
'tlIk
e% ii
ttlit
,
it.,,'
tit.
tI'la
ble.
the"
! tit
rAtil
e'N
N(h
.W
O 1
11tit
flu/ s
"te
leN
teli
,drb
i/1
. Ile
",Ii
fIthe
thiN
V:1
,"a
'hi
VI
aP!,
se,
tbat
the
:Wit
thla
grIl
%,P
1iP
atei
tr"
1(al
ei il
l/ a%
art
:4'1
11rt
rrlll
rlile
toriN
t.
adap
ted
from
a s
peec
h by
Prin
ceto
n so
ciol
ogis
tM
elvi
n T
umin
ST
UD
IO IN
AR
T is
a c
urric
ulum
gui
deto
a c
ompr
ehen
sive
stu
dy o
f the
vis
ual a
rts.
It is
inte
nded
to a
ssis
t the
teac
her
in d
evel
op-
ing
a hi
ghly
indi
vidu
aliz
ed p
rogr
am o
f stu
dio
expe
rienc
es th
at w
ill m
eet t
he n
eeds
of i
nter
-es
ted
stud
ents
at a
ll le
vels
of s
econ
dary
educ
atio
n.S
uch
a pr
ogra
m s
houl
d be
de-
sign
ed to
:E
nric
h th
e st
uden
ts' l
ives
:S
timul
ate
and
enco
urag
e th
e st
uden
ts'
crea
tive
grow
th:
Incr
ease
the
stud
ents
' Jrid
erst
andi
ngof
the
impo
rtan
ce o
f art
in c
onte
mpo
-ra
ry li
ving
and
in o
ur c
ultu
ral h
erita
ge:
Hel
p th
e st
uden
ts to
enj
oy. a
ppre
ck.i.
e.an
d co
me
to v
alue
wor
ks o
f art
:D
evel
op in
the
stud
ents
thos
e sk
ills.
tech
niqu
es, a
nd u
nder
stan
ding
s w
hich
are
esse
ntia
i for
qua
lity
wor
k in
the
visu
al a
rts;
Iden
tify
and
enco
urag
e st
uden
ts w
ithpa
r cu
lar
aptit
udes
for
the
visu
al a
rts:
and
Pro
vide
gui
danc
e fo
r st
uden
ts w
ith a
nin
tere
st in
the
voca
tiona
l or
avoc
atio
nal
aspe
cts
of th
e vi
sual
art
s.A
ccor
ding
ly. t
he m
ater
ial o
n th
e fo
llow
-in
g pa
ges
sugg
ests
that
' stu
dent
s be
giv
enan
opp
ortu
nity
to g
rasp
the
feel
of a
rtto
expe
rienc
e th
e ex
cite
men
t and
sat
isfa
ctio
nof
indi
vidu
al c
reat
ive
expr
essi
on a
nd to
ap-
prec
iate
the
visi
on, t
he s
kill,
and
the
achi
eve-
men
t :.if
the
artis
tthro
ugh
dire
ct c
onta
ctw
ith th
e va
rious
form
s, d
imen
sion
s, a
ndm
edia
of t
he v
isua
l and
pla
stic
art
s.It
pre-
supp
oses
the
avai
labi
lity
of a
stu
dio:
rea
dyac
cess
to g
enui
ne w
orks
of a
rt th
roug
h ga
l-le
ries,
mus
eum
s,an
din
stitu
tes:
and.
whe
reve
r po
ssib
le, c
onta
ct w
ith lo
cal a
rtis
tsan
d/or
art
ists
-in-r
esid
ence
.F
unda
rnen
tai
to it
s le
arni
ng p
roce
dure
s ar
e th
e pr
inci
-
pies
of r
elev
ance
. stu
dent
invo
lvem
ent a
ndpa
rtic
ipat
ion.
and
res
pect
for
indi
vidu
alvi
sion
and
exp
ress
ion.
ST
UD
IO IN
AR
T w
as p
repa
red
unde
r th
edi
rect
ion
of V
ince
nt J
. Pop
oliz
io. C
hief
of
the
Bur
eau
of A
rt E
duca
tion.
and
pub
lishe
din
tent
ativ
e fo
rm in
1966
.T
he o
rigin
alm
ausc
ript w
as w
ritte
n by
Min
erva
Mar
-ke
y.ch
airm
anof
the
art
depa
rtm
ent
atN
iaga
ra-W
heat
fielz
: Jun
iorS
enio
- H
igh
Sch
ool,
and
Ern
est A
ndre
w M
ills.
then
chai
rman
of t
he a
rt d
epar
tmen
t at M
ohon
-as
en C
entr
al S
choo
l and
now
ass
ocia
tein
ail
educ
atio
n. T
he fi
rst d
raft
was
edi
ted
byB
rita
Wal
ker,
ass
ocia
te p
rofe
ssor
of
art e
duca
tion
at th
e S
tate
Uni
vers
ity o
fN
ew Y
ork
at A
lban
y. a
nd r
evis
Pd
by M
r_P
opol
izio
and
Har
old
L. L
ayno
r, th
enas
-so
ciat
e in
art
edu
catio
n an
d no
w p
rofe
s-so
r of
art
at
Mill
ersv
ille
Sta
te C
olle
ge.
Mill
ersv
ille.
Pen
nsyl
vani
a.w
ithth
eas
-si
stan
ce o
f Ric
hard
G. D
ecke
r, a
ssoc
iate
inse
cond
ary
curr
icul
um.
Afte
rtr
ial
insc
hool
sys
tem
s th
roug
hout
New
Yor
k S
tate
.th
e m
anus
crip
t was
rew
ritte
n by
Rita
A_
Sat
or, a
ssoc
iate
in s
econ
dary
cur
ricul
um.
and
Mr_
Mill
s. A
ntho
ny H
aruc
h, a
rt c
hair-
man
of M
ahop
ac H
igh
Sch
ool,
Jam
esZ
atlu
kal,
form
erly
ass
ocia
te in
art
edu
ca-
tion
and
now
dire
ctor
of s
econ
dary
edu
-ca
tion
for
the
Syr
acus
e C
ity S
choo
l Dis
-tr
ict a
nd J
ames
V. G
illila
nd, a
ssoc
iate
inar
ted
ucat
ion.
prov
ided
addi
tiona
lm
a-te
rial.
Rob
ert A
. Rea
ls, a
ssoc
iate
in a
rted
ucat
ion.
rev
iew
ed th
e m
anus
crip
t.T
hepu
blic
atio
n's
layo
utan
dvi
sual
desi
gnar
e th
e w
ork
of M
r. G
illila
nd.
Gor
don
E. V
an H
oolt
Dire
ctor
,D
ivis
ion
ofS
choo
l Sup
ervi
sion
iii
CO
NT
EN
TS
i!rt
Is th
e ei
e- te
ireee
ot h
ie m
em e
ertg
. ere
the-
Om
it- z
ieirl
el :c
hit h
Pet
ah .c
alifs
te,7
?ii
it?l
aPu
V%
tile'
lief H
ier.
bet
wee
n ta
t 'A
ndIt
Is th
e ?r
id a
eni
en
tH
f hum
an li
te:
the
r. 'e
t Itiq
?dr
eshb
lera
arid
ret
ieze
at.
John
Gal
swor
thy
ST
UD
EN
T A
RT
WO
RK
CO
NT
RIB
UT
ED
BY
Alb
any
Hig
h S
choo
l. A
lban
y
Can
asto
ta H
igh
Sch
ool.
Can
asto
ta
Cas
e Ju
nior
Hig
h S
choo
l. W
ater
tow
n
Dee
r P
ark
Hig
h S
choo
l. D
eer
park
Hem
pste
ad H
igh
Sch
ool.
Hem
pste
adH
igh
Sch
ool o
f Mus
ic a
nd A
rt. N
ew Y
ork
Mac
Art
hur
Hig
h S
choo
l. Le
v to
wn
Nor
thpo
rt H
igh
Sch
ool.
Nor
thpo
rtR
ye H
igh
Sch
ool.
Rye
S.0
Mep
ham
Hig
h S
choo
l. B
ellm
ore
PH
OT
OS
FO
R R
EP
RO
DU
CT
ION
S O
F F
AM
OU
SW
OR
KS
OF
AR
T S
UP
PLI
ED
BY
San
dak.
Inc
.an
dM
useu
m o
f Mod
ern
Art
iv
in N, in 1".C\J CO d" LO
W
TH
E V
ISU
AL
AR
TS
Cro
at v
s C
rafts
A y
ear
lonj
intr
oduc
tion
to
the
fulc
lam
enta
ls o
f 3.
chm
ensi
onal
des
ign
thro
ugh
the
crea
tion.
of c
rafts
in
vario
us m
ater
ials
Exp
lorin
g th
e V
isua
l Art
sA
n ex
plor
ator
y co
urse
inte
nded
to m
eet t
he g
ener
alar
t req
uire
men
t for
stu
dent
s in
gra
des
7 an
d 8
enab
ling
them
to e
xper
imen
t with
the
vario
us fo
rms
and
med
ia o
fth
e vi
sual
art
s in
the
..z..n
tem
pora
ry w
orld
Stu
dio
in C
eram
ics
Stu
dio
in S
culp
ture
Stu
dio
in J
ewel
ry
Adv
ance
d C
reat
ive
Cra
fts
inde
pend
ent S
tudy
vi
CO
MP
RE
HE
NS
IVE
FO
UN
DA
TIO
N C
OU
RS
ES
Stu
dio
in A
rt
A y
ear;
ong
intr
oduc
tion
to
the
natu
re, f
unct
ion,
and
tech
niqu
es o
f the
vis
ual
arts
in th
e ()
rese
nt a
nd in
the
past
Stu
dio
in D
raw
ing
and
Pai
ntin
g
Stu
dio
in G
raph
ics
Stu
dio
in A
dver
tisin
gD
esig
n
it C
ostu
me
r al
ign
and
rash
ion
IClu
stra
tron
1
Stu
dio
in J
ewel
ry
Stu
dio
in P
rodu
ct D
esig
n
=11
Art
His
tory
end
App
reci
atio
st
A y
earlo
ng in
trod
uctio
n to
mar
.'s c
reat
ive
use
of th
evi
sual
art
s th
roug
hout
hrzI
oig.
with
con
stan
t
refe
renc
e to
the
pres
ent a
nd
impl
icat
ions
for
the
futu
re
AD
VA
NC
ED
ELE
CT
IV :;
OU
RS
ES
Stu
dio
in S
tage
Des
ign
: Anc
ient
Art
I
sio
Stu
dio
in in
terio
r D
esig
n
Sti:
dto
in S
culp
ture
Stu
dio
in C
eram
ics
Pho
togr
aphy
: Cin
emat
ogra
phy
t.
Inde
pend
ent S
tudy
S
O.
Titl
es e
nclo
sed
in d
otte
d lin
es a
re s
ugge
stio
ns fo
r lo
cally
deve
lope
d ad
vanc
ed e
lect
ive
cour
ses.
Eur
opea
n A
rtm
is
IA
rchi
tect
ure
Thr
ough
the
Age
s
r Est
hetic
s an
d A
rt..
r.
:c,
t,c,..
.,N
on-E
urop
ean
Art
..3
Mod
ern
Art
At o
f the
Am
eric
as3
a NO a
I
fr
Inde
pend
ent S
tudy
Mac
haria
ld O
nom
og a
nd
Ow
*.A
yea
r lo
ng in
trod
uctio
n to
a un
iver
tgr
aphi
c ta
tsjo
base
thro
ugh
111C
A s
tude
nts
expr
ess
thei
r id
eas
witt
lx
crea
tivity
. cla
rity.
and
exac
tnes
s
UM
es
Adv
ance
d M
echa
nica
l11
.D
raw
ing
and
Dts
.96
Arc
h-te
ctui
tal D
raw
ing
and
Des
ign
11
Imilu
stria
l Des
ign
4
Urb
an D
esig
n an
dC
omm
unsl
y P
lann
ing
asIn
depe
nden
t Stu
dy
INT
RO
DU
CT
ION
/11.
OH
111
find
Sr 1
1In
WI,
bill
th,
bli,c
al1,
1/1
1%N
ut/
II
r (W
IC%
If
I U
lf 1
. a11
11
(1,1
,1(1
1,.
Ole
nlb
,'id
!.1t
1
Joha
nnes
Men
ST
UD
IO IN
AR
T is
one
of a
ser
ies
ofcu
rric
ulum
gui
des
inte
nded
tohe
lp th
esc
hool
s in
New
Yor
k S
tate
cre
ate
high
lyin
divi
dual
ized
edu
catio
nal p
rogr
ams
that
will
enab
le e
ach
and
ever
y st
uden
tto
"bec
ome
all h
e is
cap
able
of b
eing
," th
atw
ill d
evel
op in
him
bot
h th
e m
eans
and
the
desi
re to
live
to th
e fu
llest
in a
wor
ldof
ran
dom
focu
s an
d to
impr
ove
the
con-
ditio
ns o
flif
ein
whi
ch h
e fin
ds h
imse
lf.T
he c
hief
pur
pose
of t
his
publ
icat
ion
isth
eref
ore
to a
ssis
t the
teac
her
in h
elpi
ngth
e st
uden
tT
o se
e,T
o fe
el,
To
thin
k,T
o ex
pres
s hi
s th
ough
ts a
nd fe
elin
gs,
To
mak
e ch
oice
s, a
ndT
o ev
alua
teth
roug
h a
wid
e va
riety
of s
tudi
o ex
per-
ienc
esin
the
visu
al a
nd p
last
icar
ts.
The
mat
eria
lon
the
follo
win
gpa
ges
has
been
arr
ange
d in
thre
e ca
tego
ries:
The
Nat
ure
of A
rtA
brie
f con
side
ratio
n of
the
esth
etic
prin
cipl
esth
atun
derli
eth
evi
sual
arts
The
Ele
men
ts o
f Art
An
indu
ctiv
e ap
proa
chto
the
ele-
rT
,lta
.L
it'.
`.. '
K.
!.e,
', _
_.:
.--
4.1-
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i011
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-:,...
CV
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,-
,,-
,i
p44I
fa.
illPR
4°
(ro
111
$
.
men
ts w
hich
com
pris
ea
wor
kof
art
Mov
emen
ts a
nd T
rend
sin
the
Wor
ldof
Art
A b
rief d
escr
iptio
n of
art
of t
he p
ast
and
pres
ent
inte
nded
toill
ustr
ate
the
use
of th
e el
emen
ts a
nd p
rin-
cipl
es o
f art
at v
ario
us ti
mes
in v
a-rio
us p
lace
s of
the
wor
ld.
Bot
h T
he N
atur
e of
Art
and
The
Ele
men
tsof
Art
incl
ude
intr
oduc
tory
stat
emen
ts,
exam
ples
of
the
kind
s of
activ
ities
the
teac
her
and
the
stud
ent m
ight
pla
nto
-ge
ther
for
clas
swor
k an
d/or
inde
pend
ent
stud
y,se
lect
edill
ustr
atio
nsan
dre
late
dto
pics
for
disc
ussi
on, a
nd a
ser
ies
of q
ues-
tions
desi
gned
tohe
lpth
ete
ache
rto
eval
uate
the
stud
ent's
deve
lopm
ent
inar
t.In
eve
ry c
ase,
how
ever
:T
hede
scrip
tive
mat
ter
isin
tend
edfo
r th
e te
ache
r, n
ot a
s th
e su
bsta
nce
of le
ctur
es fo
r th
e st
uden
ts.
The
stud
ioex
perie
nces
are
mer
ely
exam
ples
the
teac
her
is fr
ee to
use
them
whe
n th
ey a
pply
topa
rtic
ular
situ
atio
ns,
but
heis
gene
rally
ex-
pect
ed to
wor
k w
ithhi
s st
uden
tsin
devi
sing
new
one
s.Ill
ustr
ativ
em
ater
ials
have
been
in-
clud
edbe
caus
eth
eyar
eav
aila
ble
onsl
ides
;bu
tre
prod
uctio
nsar
era
rel,
good
subs
titut
esfo
rac
tual
wor
ks o
f art
, and
the
teac
her
is th
ere-
fore
enc
oura
ged
to u
se th
e of
ferin
gsof
resi
dent
artis
tsan
dof
ioca
lor
reas
onab
lyac
cess
ible
galle
ries
and
mus
eum
s as
ofte
n as
pos
sibl
e.T
he to
pics
for
disc
ussi
on h
ave
been
sugg
este
din
an
effo
rtto
sho
w th
atop
en d
ialo
gre
late
dto
the
stud
ents
'
expe
rienc
esin
art
shou
ldbe
est
ab-
lishe
d on
bot
h an
indi
vidu
al a
nd a
grou
p ba
sis.
Fin
ally
,th
equ
estio
nslis
ted
unde
rS
umm
ary
and
Eva
luat
ion
are
impo
r-ta
nt g
uide
s to
eac
h st
uden
t's d
evel
-op
men
t and
sho
uld
be u
sed
as p
art
ofa
cont
inuo
us m
onito
ring
syst
em,
rath
er th
an a
s m
easu
res
of a
chie
ve-
men
t at t
he e
nd o
f a g
iven
uni
t.
Mov
emen
ts a
nd T
rend
s in
the
Wor
ld o
fA
rt is
als
o in
tend
ed a
s a
reso
urce
for
the
teac
her,
not
as
mat
eria
l to
be r
epro
duce
dor
oth
erw
ise
pres
ente
d di
rect
ly to
the
stu-
dent
.H
opef
ully
,th
e te
ache
rw
illdr
awfr
om it
thro
ugho
ut th
e ye
ar a
nd th
e st
u-de
nt w
ill e
mer
ge fr
om h
is b
rief e
xpos
ure
with
a n
ew a
war
enes
s of
:T
he m
any
way
sin
whi
char
tists
ofva
rious
tim
es a
nd p
lace
s ha
ve u
sed
the
elem
ents
and
prin
cipl
eshe
iscu
rren
tly e
xplo
ring,
The
rela
tions
hip
ofva
rious
mov
e-m
ents
inth
eco
ntin
uous
deve
lop-
men
t of t
he v
isua
l art
s, a
ndT
he fu
nctio
n an
d im
port
ance
of a
rtin
hum
an li
fe.
Inan
yev
ent,
this
publ
icat
ion
isa
guid
e; a
ndth
e te
ache
ris
expe
cted
tous
ehi
spa
rtic
ular
exp
ertis
ein
deve
lop-
ing
with
eac
h of
his
stu
dent
s a
prog
ram
ofst
udio
expe
rienc
es.an
d ex
posu
re to
artis
ts a
nd/o
r ge
nuin
e w
orks
of a
rt th
atis
spec
ifica
llyge
ared
toth
est
uden
t'sne
eds
and
inte
rest
s,an
dth
atut
ilize
sco
mm
unity
con
ditio
ns a
ndre
sour
ces
asef
fect
ivel
yas
poss
ible
.T
hepr
ogra
msh
ould
incl
ude
a st
udy
of a
ll th
ree
area
sde
scrib
ed a
bove
, with
the
maj
or p
ortio
nof
the
lear
ning
tim
e de
vote
d to
the
natu
re
and
the
elem
ents
of a
rt, a
nd a
suf
ficie
ntam
ount
allo
cate
dto
mov
emen
tsan
dtr
ends
.H
owev
er, t
here
are
a v
arie
ty o
fw
ays
in w
hich
this
mig
ht b
e ac
com
plis
hed.
For
exa
mpl
e, th
e co
llage
of e
xper
ienc
esth
atev
olve
sfr
omco
ntin
uous
teac
her-
stud
ent p
lann
ing
mig
ht h
ave:
An
esth
etic
bas
eS
tudi
oac
tiviti
es a
nd e
xpos
ure
tore
late
d w
orks
of a
rt m
ight
be
de-
sign
edto
em
phas
ize
the
first
ofth
e th
ree
area
s, th
e na
ture
or
art.
An
elem
ents
bas
eIn
the
proc
ess
of d
isco
verin
g fo
rhi
mse
lf th
e pr
oper
ties
of a
nd th
eef
fect
s th
at c
an b
e ac
hiev
ed w
ithth
e el
emen
ts o
far
t,th
e st
uden
tm
ight
exa
min
e ho
w a
rtis
ts a
t la-
rious
perio
dsof
time
have
use
dth
eel
emen
tsan
dth
ees
i..!e
ticpr
inci
ples
for
thei
r ow
n pu
rpos
es_
A th
emat
ic b
ase
The
stud
ent
mig
htex
perim
ent
with
the
use
of th
e el
emen
ts a
ndpr
inci
ples
of a
rt to
exp
ress
his
ow
nth
ough
tsar
vffe
elin
gs,
and
then
exam
ine
how
art
ists
in v
ario
us p
e-rio
dsof
hist
ory
have
expr
esse
dsi
mila
r th
emes
_A
pro
blem
-sol
ving
bas
eT
hest
uden
tm
ight
exam
ine
the
wor
k of
artis
tspa
st a
nd p
rese
ntan
d ex
perim
ent w
ithth
eus
eof
the
elem
ents
and
prin
cipl
es o
f art
inap
proa
chin
g a
part
icul
arpr
ob-
lem
,su
chas
pers
onal
tens
ion;
envi
ronm
enta
lco
nditi
ons
inth
eho
me,
the
scho
ol, o
r th
e co
mm
u-ni
ty; p
opul
atio
n pr
essu
re a
nd h
uman
isol
atio
n;th
edi
fficu
lties
ofde
ci-
sion
mak
ing
inan
age
with
out
abso
lute
s.
..
The
re a
re o
ther
app
roac
hes,
as
wel
l; bu
tw
hate
ver
the
plan
of o
rgan
izat
ion,
(1)
ftsh
ould
evol
vefr
omth
eco
m-
bine
dch
arac
teris
tics
ofth
est
u-de
nts,
the
teac
her,
and
the
avai
l-ab
le r
esou
rces
; and
(2)
Itsh
ould
bere
adily
and
cont
in-
ually
ada
ptab
le.
The
bul
k of
the
stud
ent's
tim
e sh
ould
be s
pent
in c
reat
ive
activ
ity; b
ut th
is is
ilot
.0 im
ply
that
the
art c
lass
is a
"fr
eepe
riod"
dur
ing
whi
ch th
e st
uden
t rel
ieve
shi
s te
nsio
ns, f
oste
rs h
is e
go, o
r cu
ltiva
tes
h's
fant
asie
sand
doe
s lit
tleel
se.
Sec
-on
dary
sch
ool s
tude
nts
are
inte
rest
edin
rri r
e th
an s
elf-
expr
essi
on;
they
wan
t to
lear
n so
met
hing
, and
they
wan
t to
feel
the
satis
fact
ion
that
res
ults
from
invo
lve-
men
tin
genu
inel
ym
eani
ngfu
lex
per-
ienc
es.
It is
for
thes
e re
ason
s th
at te
ach-
ers
and
stud
ents
sho
uld
wor
kto
geth
erin
plan
ning
anin
divi
dual
ized
prog
ram
inal
:.A
nd a
lthou
gh h
e sh
ould
n't b
e.x
pect
edto
"rei
nven
tth
ew
heel
,"th
est
uden
t will
prof
it m
ost f
rom
an
educ
a-tio
nal o
roce
ss in
whi
ch h
e m
akes
his
ow
nch
oice
s,ob
serv
esth
eef
fect
sof
thos
ech
oice
s, d
isco
vers
for
him
self,
com
pare
s,dr
aws
hone
stco
nclu
sion
s,an
dth
ere-
fore
lear
ns_
A fi
nal n
ote
or tw
o. T
he s
tude
nt s
houl
dbe
requ
ired
toke
epa
visu
aljo
urna
lan
d a
port
folio
.-
The
vra
.i.al
jour
nal s
houl
d be
a d
iary
ofso
rt:;
whi
chin
clud
esus
eful
bits
ofin
form
atio
n,no
tes
abou
tre
fer-
ence
san
-iso
urce
s,su
gges
tions
for
proj
ects
crac
tiviti
es,
etc.
Inte
nded
to d
evel
op th
eha
bit
of o
bser
vatio
nan
dre
cord
ing,
ihe
jour
nal
shou
ld
bean
exte
nsio
nof
the
stud
ent's
anat
omy,
eve
r w
ithhi
mto
capt
ure
an im
age,
tore
cord
a p
assi
ng m
o-m
ent,
or to
vis
ualiz
e a
thou
ght.
- T
hepo
rtfo
liosh
ould
cont
ain
?.;-
of
the
stud
ent's
art
wor
kcar
eful
lyla
bele
d, d
ated
, and
sig
ned.
Inad
ditio
n,th
e te
ache
r sh
ould
sys
tem
-at
ical
lyre
cord
the
stud
ent's
wor
k35
m.m
. slid
es,
pref
erab
lyin
dupl
icat
e.E
vide
nce
of th
is s
ort i
s us
eful
in d
eter
min
-in
g th
e st
uden
t's fi
nal g
rade
; in
supp
ort-
ing
reco
mm
enda
tions
at a
late
r da
te;
inill
ustr
atin
g a
conc
ept f
or o
ther
stu
dent
s;an
d in
fulfi
lling
par
t of t
he S
tate
Edu
catio
nD
epar
tmen
t'sre
quire
men
tsfo
rR
egen
tscr
edit
in a
rt.
The
sug
gest
ions
offe
red
on th
e fo
llow
-in
gpa
ges
pres
uppo
se th
eex
iste
nce
ofa
stud
ioa
sepa
rate
and
cle
arly
def
ined
area
with
:A
dequ
ate
wor
king
, dem
onst
ratio
n, d
is-
play
, and
stc
..-ag
e sp
ace;
Pro
per
heat
and
ligh
ting
for
crea
tive
art w
ork;
Sin
ks w
ith h
ot a
nd c
old
runn
ing
wat
eran
d cl
ay tr
aps;
Fac
ilitie
sfo
rau
diov
isua
lpr
esen
ta-
tions
, whi
chin
clud
e w
ays
for
dark
-en
ing
the
room
;E
quip
men
t suc
h as
ease
ls,
prin
ting
pres
ses,
potte
r'sw
heel
s,ki
lns,
etc.
;A
wid
e va
riety
and
abu
ndan
ce o
f ma-
teria
ls w
ith w
hich
the
stud
ents
can
wor
k; a
ndm
ost i
mpo
rtan
tS
uffic
ient
staf
fing
tobe
mai
ntai
ned
as a
n op
en s
tudi
o fo
r in
tere
sted
per
-so
ns n
ot o
nly
from
the
scho
ol, b
utal
sofr
omth
eco
mm
unity
,w
heth
eren
rolle
dor
not e
nrol
led
insp
ecifi
car
t cla
sses
.
As
indi
cate
din
the
fore
wor
d, th
e m
ate-
rial
inth
ispu
blic
atio
nfu
rthe
rpr
esup
-po
ses
read
y ac
cess
to g
enui
ne w
orks
of
art;
freq
uent
vis
its to
gal
lerie
s, m
useu
ms,
and
inst
itute
s;an
dide
ally
pers
onal
cont
act
with
loca
lar
tists
orar
tists
-in-
resi
denc
e.B
ut w
heth
er o
r no
t the
se c
on-
ditio
nsar
eav
aila
ble,
the
wor
king
en-
viro
nmen
t sho
uld
have
the
atm
osph
ere
of a
rt, a
nd th
e te
ache
r sh
ould
be
an a
rtis
tin
eve
ry s
ense
of t
he w
ord_
The
teac
hing
art
ist k
now
s hi
s st
uden
tsas
wel
l as
he k
now
s hi
s ar
t.H
e ex
plor
esth
e ar
eas
in w
hich
they
live;
fie m
eets
the
peop
le w
ith w
hom
they
are
mos
t int
i-m
atel
y in
volv
ed; h
e co
mes
to u
nder
stan
dth
e co
nditi
ons
of th
eir
hyin
g, th
e va
lues
they
hol
d, a
nd th
e go
als
to w
hich
they
aspi
re.
He
is a
war
e th
at:
Act
iviti
es w
hich
util
ize
read
ily a
cces
-si
ble
mat
eria
ls s
harp
en o
ne's
aw
are-
ness
of h
is e
nviro
nmen
t and
of h
isow
n po
tent
ial f
or c
reat
ivity
.A
per
son'
s dr
ess
is o
ften
a ke
y to
his
inte
rest
s an
d at
titud
es_
One
'scu
ltura
lhe
ritag
eca
nbe
aso
urce
of p
ride
ina
plur
alis
ticso
-ci
ety,
but
or.!y
whe
nit
isfo
ster
edra
ther
than
forc
ed u
pon
him
.A
ppre
ciat
ive
atte
ntio
n m
akes
one
feel
wad
ed, a
nd h
e w
ill fo
llow
the
pers
onw
ho v
alue
s hi
m b
ecau
se h
e kn
ows
that
the
latte
r w
ill n
ever
allo
w h
imto
be
hurt
_"T
here
is n
o su
ch th
ing
as a
wro
ngpe
rcep
tion
inar
t,"an
dth
eref
ore
only
the
skill
with
whi
ch o
ne .1
nder
shi
s pa
rtic
ular
vis
ion
is a
val
id s
ub-
ject
for
criti
cism
,ne
ver
the
visi
onits
elf.
And
he
acts
acc
ordi
ngly
.3
TH
E N
AT
UR
E O
F A
RT
\)/r
illI p
l41,
11ilt
tl%1
it,tii
til't
r li
t'te
11,1
intli
aif)
1O
1 sl
it..
fltli
llis
ter!
to i'
tt% !I
M; e
rrrif
ilite
lir.N
ter\
4.1l
d
e I
elvI
Nti
llfPr
Igh
IC)
be e
lreilr
e''1
blgP
irN
%be
)eld
VNel
l. P
a i.1
! the
wttt
atri
et%
I ief
a. It
?U
nkno
wn
4
BE
ST
LO
VI ;
,4;1
;LA
!,'LE
ri
THENATUFE, OF ART
Art
is c
reat
ive
expr
essi
onin
any
of a
num
ber
offo
rms.
Dis
tingu
ishe
dfr
ombo
th s
cien
ce a
nd c
raft,
itis
usu
ally
cla
ssi-
fied
with
the
huru
aniti
es--
for
art
isa
func
tion
ofhu
man
perc
eptio
nba
sed
upon
hum
an v
alue
s an
d hu
man
exp
er-
ienc
e. A w
ork
ofar
tre
sults
from
a s
pira
lof
cre
ativ
e pr
oces
ses
whi
ch in
clud
es p
er-
cept
ion.
resp
onse
.in
terp
reta
tion,
ab-
stra
ctio
n, d
ecis
ionm
akin
g, a
nd in
tera
ctio
nw
ith a
med
ium
.A
lthou
gh s
ome
aspe
cts
ofit
may
sim
ply
"hap
pen,
" a
wor
k of
art i
s an
arr
ange
men
t of f
orce
s w
hich
in-
duce
s es
thet
ic e
xper
ienc
e.It
oper
ates
on
man
y le
vels
. may
ser
ve p
ublic
as
wel
l as
priv
ate
ends
, and
is v
alue
d fo
r a
varie
ty o
fre
ason
s:T
he a
rtis
t val
ues
his
wor
k if
it su
cces
s-fu
lly e
xpre
sses
wha
t he
wan
ts to
say
,if
the
proc
ess
of c
reat
ing
it w
as e
mo-
tiona
lly s
atis
fyin
g, a
nd if
the
audi
ence
of h
is c
hoic
e ap
prec
iate
s hi
s ac
hiev
e-m
ent.
- T
he v
iew
er v
alue
s th
e w
ork
if he
feel
sth
atit
com
mun
icat
es to
him
;if
heca
n em
path
ize
with
it; a
nd if
it dr
aws
him
bac
k ag
ain
and
agai
n, a
nd m
akes
him
wan
t it f
or h
imse
lf.T
hecr
itic
and
hist
oria
nva
lue
the
wor
kif
itca
ptur
esits
own
mili
eu,
and
cons
ider
ita
mas
terp
iece
ifit
help
s th
e pe
ople
of a
ny ti
me
and
any
plac
e to
und
erst
and
mor
e fu
lly w
hat
itis
to b
e a
hum
an b
eing
.T
he e
xten
t to
whi
ch a
rtw
ork
beco
mes
aw
ork
of a
rt d
epen
ds n
ot o
nly
upon
the
skill
and
insi
ght o
f the
artis
t,bu
t als
oup
on th
e m
odes
of p
erce
ptio
n av
aila
ble
both
to h
im a
nd to
his
aud
ienc
e.T
his
ison
e of
the
reas
ons
why
an
artis
t is
som
e-6
times
igno
red
or e
ven
disp
arag
edin
his
own
age.
yet
pra
ised
in th
e tim
es w
hich
follo
w.
A m
ode
of p
erce
ptio
n is
a w
ay o
f see
ing,
an a
venu
e to
und
erst
andi
ng.
Itis
gov-
erne
d by
the
man
ner
in w
hich
our
sen
sory
equi
pmen
t fun
ctio
ns a
nd b
y th
e m
anne
rin
whi
ch w
e've
bee
n "p
rogr
amed
" or
con
-di
tione
d by
exp
erie
nce.
Inge
nera
l,th
epr
oces
s of
per
cept
ion
is th
e sa
me
for
all
of u
s, b
ut:
We
see,
hea
r, fe
el, s
mel
l, an
d ta
ste
inva
ryin
gde
gree
s,an
dth
ese
diffe
r-en
ces
affe
ct o
ur c
once
pts
of th
e w
orld
abou
t us:
Our
sen
ses
are
part
of a
n in
terr
elat
edsy
stem
,so
that
wha
t we
perc
eive
thro
ugh
one
ofte
n af
fect
s th
e ot
hers
;S
ensa
tion
stim
ulat
es th
e im
agin
atio
nan
d so
met
imes
cre
ates
imag
es th
atse
em m
ore
real
than
thos
e th
at r
eally
are;
We
inte
rpre
t sen
sory
inpu
tin
term
sof
our
exp
erie
nce,
filte
ring
the
info
r-m
atio
n th
roug
h ou
rin
tere
sts,
need
s,an
d va
lue
syst
ems;
and
We
seek
ord
er a
nd m
eani
ngin
our
univ
erse
, and
ope
rate
at d
iffer
ent l
ev-
els
of a
bstr
actio
n.
For
thes
e re
ason
s, w
e te
nd to
see
wha
tw
e w
ant t
o se
e, w
hat w
e ex
pect
to s
ee,
or w
hat w
e ar
e le
d to
see
; and
eac
h of
us
perc
eive
s hi
mse
lf,hi
s su
rrou
ndin
gs, a
ndhi
s re
latio
nshi
ps to
his
fello
ws
and
the
thin
gs b
eyon
d hi
mse
lf in
diffe
rent
way
s.T
here
are
no
wro
ngpe
rcep
tions
,th
en;
but
we
can
incr
ease
our
sens
itivi
ty.
shar
pen
our
awar
enes
s, a
nd d
evel
op n
ewpe
rspe
ctiv
es b
y br
oade
ning
the
base
of
our
expe
rienc
e.
An
artis
t see
s th
e w
orld
in te
rms
of h
ishu
man
ity. b
ut a
lso
in te
rms
ofhi
s ar
t.th
atis
, he
is k
eenl
y aw
are
of s
ound
. or
spac
e, o
r co
lor,
or
rhyt
hm, o
r m
ovem
ent
-bec
ause
thes
e ar
e th
e co
nstit
uent
s of
his
art.
Sen
sitiv
e to
the
part
icul
ar q
ual-
ities
of h
is m
ediu
m, h
e dr
aws
from
his
perc
eptio
ns a
nd s
hape
s an
idea
.T
heco
mpo
nent
s w
ithw
hich
he w
orks
hav
ebe
en id
entif
ied
and
labe
led,
prim
arily
for
the
bene
fit o
f stu
dent
s an
d cr
itics
.T
heel
emen
ts o
f art
are
spa
ce. l
ight
and
col
or,
form
(sha
pe),
line,
and
text
ure.
The
sear
ear
rang
edac
cord
ing
toan
y or
all
ofth
efo
llow
ing
prin
cipl
esof
desi
gn:
rhyt
hm,
bala
nce,
harm
ony,
emph
asis
,va
riety
, and
uni
ty.
The
labe
ls fo
nts
con-
veni
ent h
andl
es fo
r gr
aspi
ng th
e co
ncep
tsan
art
ist e
ither
con
scio
usly
or
intu
itive
lyem
ploy
s.In
addi
tion,
they
prov
ide
ala
ngua
geth
roug
hw
hich
we
can
"tal
kab
out"
a w
ork
of a
rt.
And
mos
t im
por-
tant
ly,
they
ena
ble
usto
dev
elop
new
mod
es o
f per
cept
iont
o se
e ou
r liv
es in
term
s of
com
pone
nt p
arts
with
con
stan
tlych
angi
ngfo
rms
and
rela
tions
hips
.B
utth
e el
emen
ts a
nd p
rinci
ples
of a
rt s
houl
dbe
exa
min
ed w
ith c
are:
they
are
neith
eren
titie
s no
r ab
solu
tes.
they
are
not
sta
nd-
ards
for
criti
cal j
udgm
ent;
and
a kn
owl-
edge
of t
hem
will
mak
e ne
ither
an
artis
tno
r a
criti
c.F
or a
n ar
tist
islik
e th
ele
gend
ary
cook
who
cre
ates
a g
usta
tory
delig
ht b
y co
mbi
ning
"a
pinc
h of
this
"ith
"a
pinc
h of
that
" un
til th
e m
ixtu
re"f
eels
" rig
ht.
He
know
sand
the
proo
fis
in th
e pu
ddin
g.T
he c
ritic
, of c
ours
e,is
the
gour
met
who
se s
ense
s ha
ve b
een
culti
vate
d to
a fi
ne d
egre
e of
app
reci
atio
nfo
r th
e ex
perie
nce.
And
the
rest
of u
sbr
ing
to th
e fe
ast a
var
ied
pala
te.
Inad
ditio
nto
reco
gniz
able
elem
ents
such
as
line
or fo
rm o
r c
olor
and
the
way
sin
whi
chth
ese
elem
ents
see
m to
have
been
arr
ange
d. a
wor
k of
art
has
rea
dily
iden
tifia
ble
qual
ities
orch
arac
teris
tics
Tha
t we
tend
to g
roup
and
labe
l as
styl
e.E
iut l
ike
thos
e g.
ven
to th
e el
emen
ts a
ndpr
inci
ples
of a
rt. t
he te
rms
used
to id
entif
yst
yle
are
arbi
trar
y an
d ar
e th
eref
ore
pri-
mar
ily u
sefu
lin
talk
ing
abou
t a w
ork
ofar
t, or
in c
ompa
ring
wor
ks w
hich
see
m to
exhi
bit
sim
ilar
char
acte
ristic
s.T
he p
ar-
ticul
ar q
ualit
ies
of a
n ar
tist's
wor
k m
aybe
mar
kedl
y di
ffere
nt fr
om th
ose
of a
n-ot
her.
and
so
may
ser
ve a
s a
mea
ns o
fid
entif
icat
ion.
Ofte
n, a
nar
tist's
way
of
seei
ng a
nd /o
rhi
s ch
oice
of a
nd s
ensi
-tiv
ity.
to h
is m
ediu
m c
hang
e: a
nd th
e re
-.
suiti
ngch
ange
sin
feat
ure
orqu
ality
enab
le u
s to
cla
ssify
the
vario
us p
hase
sof
his
wor
k in
term
s of
sty
le.
Bef
ore
deve
l-1
-t
3pm
ents
in s
cien
ce a
nd te
chno
logy
mad
eth
e w
orld
a g
loba
l vill
age,
the
char
acte
r-is
tics
of a
rt in
par
ticul
ar h
isto
rical
per
iods
and
geog
raph
ical
are
as w
ere
so m
arke
dly
irai
lriz
41-
sim
ilar
that
crit
ics
esta
blis
hed
such
cat
e-go
ries
as C
lass
icis
m, R
oman
ticis
m, R
eal-
ism
,Im
pres
sion
ism
.F
auvi
sm,
Cub
ism
,E
xpre
ssio
nism
.S
urre
alis
m,
Con
stru
ctiv
-10
,
ism
, etc
.B
ut th
eid
entif
ying
feat
ures
t.,7
of c
onte
mpo
rary
wor
ks o
f art
are
so
varie
dth
at th
ey p
recl
ude
any
atte
mpt
to c
ate-
goriz
e an
def
fect
ivel
ypr
edic
t wha
tth
ene
xt m
ajor
mov
emen
t will
bea
situ
atio
n-
that
rei
nfor
ces
the
tht-
ory
that
art
is a
re-
dtvt
-top
oltr
it,, l
art
.ire
(11
,--,
crib
ed,f
;(,
tP
ot)li
t ano
np
..r-
1-L
Irri.
:".'1
1....
..'.
'''I
:,
t . r
S.'
t. 0
00.4
.-...
:
7
liabl
e ba
rom
eter
of i
ts a
ge. E
dmun
d B
urke
Fel
dman
's c
lass
ifica
tion
in A
RT
AS
IMA
GE
AN
D ID
EA
(P
rent
ice-
Hal
l,19
67)
ispr
ob-
ably
as
usef
ul a
s an
y. H
e de
scrib
es fo
urty
pes
of w
ork:
The
sty
leof
obje
ctiv
eac
cura
cy,
inw
hich
the
artis
t cre
ates
the
illus
ion
of r
ealit
y th
roug
h a
care
ful s
elec
tion
of s
enso
ry d
ata
inor
der
to p
rodu
cea
wor
kw
hich
impl
ies
muc
h m
ore
than
is v
isua
lly th
ere
and
thus
mak
esa
stat
emen
tT
he s
tyle
of f
orm
al o
rder
,in
whi
chth
e ar
tist a
rran
ges
sele
cted
ele
men
tsof
art
acc
ordi
ng to
prin
cipl
es o
fin
-te
llect
ual,
biom
orph
ic, o
r es
thet
icor
-de
rT
he s
tyle
of e
mot
ion,
inw
hich
the
artis
tin
tera
cts
with
his
med
ium
ac-
cord
ing
tohi
sem
otio
nal
resp
onse
tohi
ssu
bjec
t and
/or
his
atte
mpt
sto
elic
it an
em
otio
nal r
espo
nse
from
the
view
erT
he s
tyle
of fa
ntas
y,in
whi
chth
ear
tist e
xpre
sses
the
prod
ucts
of
his
imag
inat
iont
he d
ream
s, th
e vi
sion
s,or
the
hallu
cina
tions
that
soof
ten
expr
ess
or b
ecom
e re
ality
Fel
dman
's c
ateg
orie
s ob
viou
sly
incl
ude
both
the
maj
orm
ovem
ents
iden
tifie
dab
ove
and
the
less
eas
ily c
lass
ified
wor
ksof
con
tem
pora
ry a
rt.
The
sty
le o
f a w
ork
ofte
n he
lps
us to
find
the
cont
ent,
the
mea
ning
ben
eath
the
subj
ect m
atte
r,fo
rit
reve
als
muc
hab
out t
he a
rtis
t's w
ay o
f see
ing,
his
en-
viro
nmen
t, an
d hi
s cu
ltura
l mili
eu.
Sin
cede
velo
pmen
tsin
the
soci
alan
dbe
hav-
iora
lsc
ienc
es a
nd th
e hu
man
ities
hav
epr
ovid
ed u
s w
ith u
sefu
l too
ls a
nd a
con
-ce
ptua
l fra
mew
ork
with
whi
ch to
app
roac
h8
an a
naly
sis
of s
tyle
, we
are
incr
easi
ngly
able
to c
onst
ruct
a p
ictu
re o
f the
cha
ngin
g co
nditi
on o
f man
thro
ugh
an u
nder
-st
andi
ngof
his
art.
Hei
nric
hW
olffl
insp
ecifi
cally
rela
tes
artis
ticcr
eatio
nto
avai
labl
em
odes
ofpe
rcep
tion
inhi
sP
RIN
CIP
LES
OF
AR
TH
IST
OR
Y:
TH
EP
RO
BLE
M O
F T
HE
DE
VE
LOP
ME
NT
OF
ST
YLE
IN L
AT
ER
AR
T (
Dov
er, 1
950)
; and
Iren
eR
ice
Per
eira
dem
onst
rate
sth
eth
eory
that
the
use
of s
pace
in a
rt r
evea
lsm
an's
con
cept
of h
imse
lf an
d hi
s re
latio
nto
his
env
ironm
ent,
his
fello
ws,
and
wha
t-ev
er h
ebe
lieve
sin
beyo
ndhi
mse
lfin
a vo
lum
e en
title
d T
HE
NA
TU
RE
OF
SP
AC
E(C
orco
ran
Gal
lery
, 195
6).
Bot
hof
thes
ebo
oks
are
espe
cial
lyva
luab
le fo
r th
e vi
ewer
and
the
stud
ent
of a
rt c
ritic
ism
; but
Wol
fflin
's w
ork
mig
htal
so p
rove
hel
pful
to th
e te
ache
r in
und
er-
stan
ding
the
stud
ent's
cha
ngin
g vi
ew o
fhi
mse
lf, th
e w
orld
abo
ut h
im, a
nd h
is r
e-la
tion
toit.
Her
r W
olffl
inid
entif
ies
five
cate
gorie
sof
prog
ress
ion
whi
chre
veal
a sp
iral o
f gro
wth
in h
uman
thou
ght a
ndaw
aren
ess.
Inth
eea
rlyst
ages
ofhi
sde
velo
pmen
t, m
an s
ees
peop
le,
plac
es,
and
even
ts a
s di
scre
te e
ntiti
es th
at b
ear
aon
e-to
-one
rela
tion
tohi
mse
lf.A
she
gro
ws,
he
begi
ns to
see
that
thes
eite
ms
rela
teto
each
oth
er a
s w
ell
asto
him
, and
that
ther
e ar
esi
mila
ritie
san
d co
mm
onal
ities
as
wel
l as
diffe
renc
esam
ong
them
.H
e le
arns
that
fact
s, c
on-
clus
ior3
,an
dbe
liefs
are
subj
ect
toch
ange
.H
e be
com
es a
war
e of
oth
er d
i-m
ensi
ons
and
begi
nsto
expl
ore
and
expe
rimen
t.H
e di
scov
ers
alte
rnat
ives
,an
d co
mm
unic
ates
mor
e an
d m
ore
ofte
nin
the
shor
than
d of
sym
bol a
nd s
ugge
s-tio
n.B
ut th
e im
plie
d pr
ogre
ssio
n do
es
not m
ean
that
o:ie
mod
e of
per
cept
ion
orex
pres
sion
nece
ssar
ily s
uppl
ants
an-
othe
r,it
sim
ply
indi
cate
sth
athu
man
expe
rienc
e,in
divi
dual
ly a
ndco
llect
ivel
y,ha
s in
crea
sed
the
num
ber
of a
vaila
ule
alte
rnat
ives
from
whi
chm
anan
dth
eref
ore
the
artis
tis a
ble
to c
hoos
e.A
n aw
aren
ess
ofth
e al
tern
ativ
esav
ail-
able
to a
per
son
at a
giv
en a
ge o
r pe
riod
in ti
me
is n
ot im
port
ant t
o ou
r en
joym
ent
ofhi
s w
ork;
but
itis
esse
ntia
lto
our
appr
ecia
tion
of th
e m
easu
re o
f his
ach
ieve
-m
ent.
A w
ork
of a
rt is
the
prod
uct o
f cho
ice
and
as s
uch,
invo
lves
a n
umbe
r of
con
-si
dera
tions
.T
he a
rtis
t wor
ks w
ithhi
sm
ediu
mun
tilit
repr
esen
tsfo
rhi
m a
who
le, a
ges
talt.
In m
any
case
s,th
epr
oces
sal
onet
heex
ertio
nof
inte
l-le
ctua
l,em
otio
nal,
and
phys
ical
ene
rgy
inth
eac
tof
crea
tioni
ssu
ffici
ently
satis
fyin
g.T
he w
ork
is a
n ex
tens
ion
ofth
e m
an; a
nd w
hen
itis
fini
shed
, he
isco
mpl
ete.
Inot
hers
, the
art
ist r
equi
res
a re
spon
se, a
n in
tera
ctio
n w
ith h
isfe
l-lo
ws.
To
a ce
rtai
n ex
tent
, the
sty
le o
f aw
ork
influ
ence
sth
ena
ture
and
deg
ree
ofth
atin
tera
ctio
n.E
nviro
nmen
ts a
ndha
ppen
ings
dep
end
upon
it;lig
ht,
tex-
ture
,an
d m
ovem
ent o
ften
trig
gc:
kin-
esth
etic
res
pons
e; a
nd w
e te
nd to
iden
tify
with
natu
ralis
ticsu
bjec
tsan
dst
yles
mor
e ea
sily
than
with
abst
ract
effo
rts_
In a
ny e
vent
, art
is b
ecom
ing
an in
crea
s-in
gly
mea
ning
ful,
shar
edex
perie
nce_
Art
live
sin
ever
y se
nse
of th
e w
ord.
Itis
cre
ativ
e;it
invo
lves
a s
erie
s of
re-
late
dpr
oces
ses
and
requ
ires
anar
tist,
a m
ediu
m, a
nd a
n au
dien
ce,
in v
aryi
ngre
latio
nshi
ps;
it re
spon
ds to
, ref
lect
s, a
ndof
ten
proj
ects
the
cond
ition
s of
life;
and
beea
use-
like
life-
-itis
anex
perie
nce,
itis
nev
er th
e sa
me.
One
or
mor
e of
the
fcA
low
ing
type
s of
activ
itym
ight
prov
eus
eful
inhe
lpin
gth
e st
uden
ts to
incr
ease
unde
rsta
nd-
Ind
of th
e na
ture
of a
rt:
A v
arie
tyof
expe
rienc
es d
esig
ned
tosh
arpe
n th
eir
awar
enes
s of
:T
hese
nsor
yel
emen
tsof
thei
ren
-v;
ronm
ent,
such
aslig
ht,
soun
d,co
lor,
smel
l.te
xtur
e,m
ovem
ent,
etc
The
wea
lthof
thei
r su
rrou
ndin
gs a
sa
sour
ceof
insp
iratio
nan
dm
ate-
rial f
or w
ork
in a
rtT
hesi
mila
ritie
san
dco
mm
onal
ities
inse
emin
gly
diffe
rent
thin
gs,
and
the
diffe
renc
esbe
twee
nth
ings
that
seem
to b
e th
e sa
me
4241
15./
.411
11..
r
Rel
atio
nshi
psbe
twee
n pe
ople
, for
ex-
ampl
e;or
betw
een
form
and
colo
r,si
ght
and
soun
dor
touc
h,hu
man
and
nonh
uman
,ca
use
and
effe
ct,
thou
ght
and
exec
utio
n,te
chno
logy
and
art,
and
art a
nd li
feT
he e
ffect
s of
thin
gs u
pon
each
oth
er(e
.g.,
the
effe
cts
oflig
htan
dai
rup
on c
olor
, of s
ound
upo
n m
ood,
of
man
upo
n hi
s en
viro
nmen
t, of
tech
-no
logy
upo
nth
eco
nditi
ons
oflif
e,of
alte
rnat
ives
upo
n ch
oice
, of a
sens
eof
val
ue u
pon
attit
ude
and
beha
vior
)
Info
rmal
dis
cuss
ions
with
loca
l or
vis-
iting
artis
ts a
bout
the
natu
reof
art
and
how
an
artis
t wor
ks
Vis
its to
art
gal
lerie
s or
mus
eum
s an
d/or
slid
e pr
esen
tatio
ns a
nd d
iscu
ssio
nssu
crt
as th
e fo
llow
ing:
Exp
ose
the
stud
erifs
to a
ser
ies
ofw
orks
inw
hich
the
subj
ect
isth
esa
me,
but
the
cont
ent a
nd/o
r th
est
yle
are
diffe
rent
.F
or e
xam
ple:
Sub
ject
Inst
rum
ents
Geo
rges
Bra
que'
sM
US
ICA
L F
OR
M,
VIO
LIN
AN
D P
IPE
, GU
ITA
R, S
TIL
LLI
FE
: MU
SIC
SH
EE
TR
aoul
Duf
y's
TH
E Y
ELL
OW
VIO
LIN
,H
OM
AG
E T
O M
OZ
AR
TW
illia
m M
. Har
nett'
s T
HE
OLD
VIO
-LI
N9
Su
bjec
tWom
enF
ranc
ois
Bou
cher
's M
ME
. BE
RG
ER
ET
Jacq
ues
Loui
sD
avid
'sM
ME
.D
U-
GA
ZO
N A
S A
ND
RO
MA
CH
EE
ugen
e D
elac
roix
's M
MLE
_ JU
LIE
DE
LA B
OU
TR
AY
EV
ince
ntva
nG
ogh'
sLA
MO
US
ME
,M
LLE
. RA
VO
UX
Pab
loP
icas
so's
GE
RT
RU
DE
ST
EIN
Geo
rge
Rom
ney'
s M
RS
_ D
AV
EN
PO
RT
MA
DA
ME
DU
GA
ZO
N A
S A
ND
RO
MA
CH
E b
y Ja
cque
sLo
uis
Dav
id. O
il on
can
vas.
TH
E C
LEV
ELA
ND
MU
SE
UM
OF
AR
T. G
IFT
OF
GE
OR
GE
S. K
EN
DR
ICK
10
All works of art have been covered in
compliance with copyright law.
MA
DE
MO
ISE
LLE
RA
VO
UX
oy
Vin
cent
van
Gog
h. O
ilon
can
vas.
TH
il. C
LEV
ELA
ND
MU
SE
UM
OF
AR
T.
Pur
chas
e. L
EO
NA
RD
C H
AN
NA
. JR
BE
QU
ES
T
Jam
es A
_ M
cNei
ll W
hist
ler's
AN
AR
-R
AN
GE
ME
NT
IN G
RE
Y A
ND
BLA
CK
("W
hist
ler's
Mot
her"
),LA
DY
OF
LAN
GE
LIJ
SE
NT
hen
disc
uss
such
topi
cs a
s th
e fo
l-lo
win
g: The
mot
ives
the
artis
t may
hav
e ha
dfo
rse
lect
ing
the
part
icul
arsu
bjec
tof
his
wor
kT
he fu
nctio
n of
the
subj
ect i
n a
wor
kof
art
Spe
cific
char
acte
ristic
sof
the
wor
ks
MI I
tD
il A
B01
1 T
PA
YE
iry
E u
owle
.(J
r i
cwT
HE
(.1E
VE
E A
ND
MO
SE
UM
C)f
AR
TIN
ME
MO
RY
OF
MA
UL)
!-,T
AC
IER
EE
LS(O
F i
F 1
40k1
E4
PA
UG
HT
E
sele
cted
(e.g
.,th
e us
e of
spa
ceor
colo
r, a
bstr
act e
lem
ents
).
Com
pare
or
cont
rast
suc
h ite
ms
as th
efo
llow
ing:
- T
he a
rtis
t's in
terp
reta
tion
of h
is s
ub-
ject
- T
he a
rtis
t's u
se o
f one
or
mor
e of
tile
elem
ents
of a
rtT
he m
ood
crea
ted
byth
ear
tist
inse
lect
edw
orks
(e.g
.,W
hist
ler's
AR
-R
AN
GE
ME
NT
ING
RE
Y A
ND
BLA
CK
vs. v
an G
ogh'
s LA
MO
US
ME
or
MLL
E.
RA
VO
UX
, Edw
ard
Mun
ch's
SE
LF P
OR
-T
RA
IT O
N E
KE
LYvs
.E
dgar
Deg
as'
NIE
CE
S O
F T
HE
AR
TIS
T)
The
cha
ract
eris
tics
ofst
yle
inea
chof
the
vario
us w
orks
Dis
cuss
with
the
stud
ents
the
artis
t'sin
terp
reta
tion
of h
is s
ubje
ct, t
he e
le-
men
ts o
f art
and
the
prin
cipl
es o
f or-
gani
zatio
n he
em
ploy
ed, a
nd s
ome
ofth
e sp
ecifi
c ch
arac
teris
tics
of h
is s
tyle
in a
gro
up o
f pai
ntin
gs li
ke th
e fo
llow
-in
g: Joan
Miro
'sC
OM
PO
SIT
ION
(193
3)M
u-C
h'I's
SIX
PE
RS
IMM
ON
SK
enzo
Oka
da's
NO
. 2 (
1954
)P
ablo
Pic
asso
'sT
HE
ST
UD
IOor
VIE
W F
RO
M T
HE
ST
UD
IOR
embr
andt
van
Rijn
's T
HE
AR
TIS
TIN
HIS
ST
UD
IOJa
n V
erm
eer's
TH
E A
RT
IST
INH
ISS
TU
DIO
Usi
ng a
gro
up o
f pai
ntin
gs s
uch
as th
efo
llow
ing,
hel
p th
e st
uden
ts to
und
er-
stan
d ho
w a
n ar
tist a
chie
ves
unity
inhi
s co
mpo
sitio
n an
d th
us d
irect
s th
evi
ewer
's e
ye:
San
dro
Bot
ticel
li's
AD
OR
AT
ION
OF
TH
E M
AG
IA
gnol
o B
ronz
ino'
s P
OR
TR
AIT
OF
AY
OU
NG
MA
NP
aul C
ezan
ne's
LA
MO
NT
AG
NE
ST
E.
VIC
TO
IRE
And
re D
erai
n's
TH
RE
E T
RE
ES
Vin
cent
van
Gog
h's
TH
E S
TA
RR
YN
IGH
TA
rshi
leG
orky
'sW
AT
ER
OF
FLO
WE
RY
MIL
LM
inia
ture
s fr
om P
ersi
a or
Indi
aC
laud
e M
onet
's P
ON
D A
ND
CO
VE
R-
ED
BR
IDG
E
TH
E
Pab
loP
icas
so's
MA
JO
LIE
,S
TIL
LLI
FE
Thr
ough
exa
mpl
es d
raw
n fr
omco
n-te
mpo
rary
and
hist
oric
alpe
riods
ofar
t, he
lp th
e st
uden
ts to
und
erst
and
wha
t sty
leis
and
how
itre
late
s to
the
way
men
thin
k;th
em
ater
ials
avai
labl
eto
them
:an
dth
eso
cial
,po
litic
al, a
nd e
cono
mic
con
ditio
ns o
fth
eir
lives
.In
duct
ive
lear
ning
expe
rienc
esco
n-ce
rned
with
the
basi
c pr
inci
ples
of o
r-ga
niza
tion
and
desi
gnin
a v
arie
ty o
ftw
o- a
nd th
ree-
dim
ensi
onal
art f
orm
s.S
ome
of th
e fo
llow
ing
sugg
estio
ns m
ight
prov
e us
eful
:
Rhy
thm
Jean
Arp
'sLE
AV
ES
AN
D N
AV
ELS
,A
NC
HO
RS
, DE
SIG
N O
R N
AV
EL
Max
Bril
l's R
HY
TH
M IN
SP
AC
EJa
mes
Bro
oks'
BIX
BY
Hen
ryM
oore
'sR
EC
LIN
ING
FIG
UR
E19
52, T
WO
FO
RM
S,
KIN
G A
ND
QU
EE
N,
TW
O W
OM
EN
SE
AT
ED
,S
TA
ND
ING
FIG
UR
ES
Jose
deR
iver
a's
CO
NS
TR
UC
TIO
NN
O. 4
7, C
ON
ST
RU
CT
ION
NO
. 48
Bal
ance
Ale
xand
er C
alde
r's S
TIL
L F
ISH
, TW
OW
HIT
E D
OT
S IN
TH
E A
IR, H
EX
TO
-P
US
Edg
ar D
egas
' GIR
L D
AN
CE
R O
F 1
4,D
AN
CE
R O
N S
TA
GE
,F
R:F
IE O
FD
AN
CE
RS
Julio
Gon
zale
z'A
NG
EL,
WO
MA
NC
OM
BIN
G H
ER
HA
IR, P
ER
SO
N.IA
GE
Nor
bert
Kric
ke's
SP
AC
E S
CU
LPT
UR
E,
SP
AC
E T
IME
SC
ULP
TU
RE
Aug
uste
Rod
in's
LE
JON
GLE
UR
, ET
UD
E,
DA
NC
E M
OV
EM
EN
T E
11
PR
OC
ES
SIO
N b
y Ib
ram
Las
saw
. Wire
. cop
per,
var
ious
bron
zes.
and
silv
er.
CO
LLE
CT
ION
WH
ITN
EY
MU
SE
UM
OF
AM
ER
ICA
N A
RT
, NE
W Y
OR
K
Har
mon
yA
lexa
nder
Arc
hipe
nko'
;B
OX
ING
MA
TC
H, T
HE
SP
IRIT
OF
TH
IS C
EN
-12
TU
RY
, ST
AN
DIN
G G
IRL,
MO
DE
L-IN
G O
F L
IGH
TR
aym
ond
Duc
ham
p-V
illon
'sT
HE
HO
RS
EH
enri
Laur
ens'
AM
PH
ION
,S
EA
TE
DW
OM
AN
, YE
LLO
W A
CC
EN
TE
mph
asis
Ale
xand
er C
alde
r's S
TIL
L F
ISH
, SE
V-
EN
-FO
OT
ED
BE
AS
TIE
, A P
IEC
E O
F
MY
WO
RK
SH
OP
John
Hov
anne
s' fi
gure
stu
dies
Ibra
m L
assa
w's
PR
OC
ES
SIO
NV
arie
ty a
nd U
nity
Um
bert
o B
occi
oni's
UN
IQU
E F
OR
MS
OF
CO
NT
INU
ITY
INS
PA
CE
. TH
EC
ITY
RIS
ES
, ELA
ST
ICIT
YJu
an G
ris' H
AR
LEQ
UIN
, GU
ITA
R A
ND
FLO
WE
RS
, ST
ILL
LIF
E W
ITH
OP
EN
BO
OK
Hen
ri La
uren
s' T
HE
GU
ITA
R. H
EA
D,
SE
AT
ED
WO
MA
NJa
cque
sLi
pchi
tz'
MA
NW
ITH
AG
UIT
AR
, SA
UV
ET
AG
E,
RE
CLI
NIN
GN
UD
E W
ITH
GU
ITA
RS
eym
our
Lipt
on's
CR
UC
IBLE
Hen
ry M
oore
's IN
TE
RN
AL
AN
D E
X-
TE
RN
AL
FO
RM
SA
ppro
pria
te e
xam
ples
mig
htal
sobe
draw
n fr
omst
itche
ry,
plas
tics,
prin
t-in
g m
edia
, etc
.C
reat
ive
expe
rienc
es w
ith a
var
iety
of
med
ia.
For
exa
mpl
e:U
sing
past
els,
cont
ecr
ayon
s,w
axcr
ayon
s,in
ks,
felt
pens
,pr
intm
ak-
ing
mat
eria
ls,
etc.
,in
divi
dual
lyor
inco
mbi
natio
n,th
est
uden
tm
ight
deve
lop
a ch
arac
ter
stud
y of
som
e-on
e he
kno
ws
wel
la fr
iend
, a m
em-
ber
of h
is fa
mily
or
his
clas
s, e
ven
him
self.
The
stu
dy s
houl
d be
a p
er-
sona
lin
terp
reta
tion
ofth
esu
bjec
tw
hich
incl
udes
som
eof
the
sub-
ject
's u
niqu
e qu
aliti
es a
nd th
e st
u-de
nt's
feel
ings
tow
ard
him
.U
sing
clay
.pl
astic
ine,
orpl
aste
ran
dw
ire,
reed
,w
ood,
plas
tics,
orsi
mila
rm
ater
ials
,th
e st
uden
t mig
htde
velo
pa
nono
bjec
tive
thre
e-di
men
-si
onal
cons
truc
tion
whi
chin
corp
o-ra
tes
one
or m
ore
of th
e co
ncep
ts
and
prin
cipl
es o
f art
to w
hich
he
has
been
exp
osed
For
exa
mpl
e, h
is c
orm
posi
tion
mig
htill
ustr
ate
the
use
ofpo
sitiv
e an
d ne
gativ
e sp
ace.
Usi
ng te
mpe
ra, w
ater
colo
r, in
k, a
cryl
ic,
colla
gem
ater
ial,
etc.
,in
any
com
-bi
natio
n.th
est
uden
tm
ight
dev
elop
a pa
intin
g w
hich
mak
es fu
llus
eof
colo
r an
d or
gani
zatio
nin
expr
essi
nghi
s pe
rson
al fe
elin
gs a
bout
apa
rtic
-ul
ar a
spec
t of s
ocie
ty.
Usi
ng p
hoto
grap
hs,
illus
trat
ions
,fa
b-ric
s,fo
und
obje
cts,
lette
ring,
etc.
,in
com
bina
tion
with
dra
win
g or
pai
nt-
ing
mat
eria
ls, t
he s
tude
nt m
ight
de-
velo
pa
colla
ge,
aco
mpo
sitio
nof
foun
dob
ject
s,or
anex
hibi
tw
hich
emph
asiz
es o
ne o
r m
ore
of th
e va
rious
styl
es o
f art
(e.g
.. A
rt N
ouve
au).
Usi
ng fo
ldin
g br
isto
lboa
rd, c
ardb
oard
,pa
int,
ink,
felt
pens
, col
ored
pen
cils
,ce
lloph
ane,
etc.
,th
est
uden
tm
ight
rede
sign
the
pack
agin
gof
apr
od-
uct t
hat d
oes
not s
ell
itsel
f thr
ough
its o
wn
appe
aran
ce.
The
pro
ject
will
requ
ire s
ome
rese
arch
on
the
evol
u-tio
nof
con
tem
pora
ry p
acka
ging
and
anun
ders
tand
ing
ofth
epr
inci
ples
of o
rgan
izat
ion
and
desi
gn.
Usi
ngte
mpe
ra,
acry
lics,
past
els,
oil
cray
ons,
wat
erco
lors
,in
ks,
torn
pa-
per,
orna
yco
mbi
natio
nof
thes
e.th
e st
uden
tm
ight
dev
elop
adr
aw-
ing
or a
pai
ntin
g w
hich
illu
stra
tes
apa
rtic
ular
sty
le o
far
t, su
ch a
s C
ub-
ism
,F
opar
t,or
Abs
trac
t-ex
pres
sion
-is
m. O
ne o
f the
dra
win
gs in
his
ske
tch-
book
mig
ht s
erve
as
a po
int o
f dep
artu
re.
Inde
pend
ent s
tudi
o ex
perie
nces
in w
hich
the
stud
ent d
evel
ops:
A tw
o-or
thre
e-di
men
sion
al w
ork
ofar
t whi
chill
ustr
ates
one
of t
hefo
l-lo
win
g de
gree
s of
the
use
of s
ubje
ctm
atte
r:(1
) re
pres
enta
tiona
l(t
hesu
bjec
tis
clea
rly r
ecog
niza
ble)
(2)
abst
ract
(asp
ects
ofth
esu
b-je
ct a
re id
entif
iabl
eP
s. th
e ba
sis
for
the
desi
gn)
(3)
nono
bjec
tive
(the
sub
ject
can
not
be id
entif
ied
in th
e w
ork)
A p
aint
ing,
draw
ing,
prin
t,co
llage
,or
pie
ce o
f scu
lptu
rein
one
of t
hear
t sty
les
to w
hich
he
has
been
ex-
pose
d
A s
tudi
o pr
oble
min
pers
onal
inte
r-pr
etat
ion,
usi
ng m
edia
of a
ny ty
peIn
depe
nden
t res
earc
h pr
ojec
ts in
whi
chth
e st
uden
t lea
rns
abou
t:T
hear
tist's
cont
ribut
ion
toso
ciai
chan
geT
he d
evel
opm
ent a
nd a
pplic
atio
nof
the
"for
mfo
llow
sfu
nctio
n"co
n-ce
pt in
con
tem
pora
ry d
esig
nT
hesi
mila
ritie
san
ddi
ffere
nces
inth
e w
ay e
ach
of tw
o sc
ulpt
ors
hand
les
spac
e,fo
rm,
mat
eria
l, an
d so
me
ofth
epr
inci
ples
ofor
gani
zatio
nan
dde
sign
The
sig
nific
ant c
hara
cter
istic
s of
the
arch
itect
ural
styl
esde
velo
ped
bysu
chm
enas
Fra
nkLl
oyd
Wrig
ht,
Ludw
igM
ies
van
der
Roh
e,Lo
uis
Sul
livan
,E
dwar
d D
urre
llS
tone
,E
ero
Saa
rinen
,H
.H
. Ric
hard
son,
Le
Cor
-bu
sier
,P
hilip
Joh
nson
, and
R.
Buc
k-m
inst
er F
ulle
r
Sum
mar
y an
d E
valu
atio
nD
oes
the
disc
ussi
on in
dica
te th
at th
est
uden
t:
Has
exp
ande
d hi
s ho
rizon
s to
incl
ude
all
type
sof
art,
past
and
pres
ent,
rath
erth
anth
atw
hich
isju
st"p
retty
"?Is
aw
are
that
art
sho
uld
bear
the
im-
prin
t of t
he a
rtis
t?R
ealiz
esth
atco
mpo
sitio
nis
the
foun
datic
n of
all
art,
whe
ther
rep
re-
sent
ativ
eor
high
lyin
divi
dual
ized
?H
as b
ecom
e m
ore
rece
ptiv
eto
new
idea
s an
d ne
w w
ays
of s
eein
g?H
as d
isco
vere
d th
at h
e ha
s an
indi
-vi
dual
orun
ique
inte
rpre
tatio
nto
brin
g to
the
wor
ld o
f art
?D
oes
the
crea
tive
wor
k of
the
stud
ent:
Ref
lect
som
ethi
ngof
his
own
per-
sona
lity
or o
f his
ow
n fe
elin
gs to
war
dth
e su
bjec
t he
has
sele
cted
?In
dica
te th
at h
e re
aliz
es th
at a
rtis
not m
erel
y th
e re
cord
ing
of w
hat h
ese
es?
Ref
lect
an
unde
rsta
ndin
g of
the
prin
-ci
ples
of o
rgan
izat
ion
that
wer
e di
s-cu
ssed
in c
lass
?Is
the
stud
ent's
wor
k re
leva
nt?
Doe
s it
invo
lve
the
wor
ld h
e kn
ows?
Doe
s it
refle
ct th
e ki
nd o
f life
he
lead
s?D
oes
itre
flect
now
?Is
the
stud
ent
able
toco
mm
unic
ate
thro
ugh
art?
How
doe
s th
e cl
ass
resp
ond
tohi
sw
ork?
Doe
s th
e st
uden
t fee
l tha
t he
has
suc-
cess
fully
proj
ecte
dhi
sth
ough
ts?
If so
, why
? If
not,
why
not
?D
o ot
her
stud
ents
feel
that
he
has
been
suc
cess
ful?
Ifso
, why
?If
not,
why
not
?
13
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E E
LEM
EN
TS
OF
AR
T
14
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F.
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ark
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- V
BE
ST
tii
THEELEMENTS OF ART/
The
ele
men
ts o
f art
are
the
com
pone
nts
that
an
artis
tab
stra
cts
from
the
wor
ldab
out h
im a
nd th
en u
ses
as v
isua
l/tac
-til
e/ki
nest
hetic
lang
uage
for
the
expr
es-
sion
ofhi
spa
rtic
ular
vis
ion.
The
y ar
eva
rious
lyla
bele
d.O
n th
e pa
ges
whi
chfo
llow
, we'
ve id
entif
ied
spac
e,lig
ht a
ndco
lor,
form
(sha
pe),
line,
and
text
ure
as th
e el
emen
ts o
f art
; but
the
nam
es a
rear
bitr
ary.
Oth
ers
mig
ht a
rgue
:T
hat
mov
emen
tis
anel
emen
tw
e've
com
bine
dit
with
our
disc
us-
sion
of s
pace
;T
hat s
hape
is a
sep
arat
e ite
m b
ecau
seof
its tw
o-di
men
sion
ality
we'
ve c
on-
side
red
it an
asp
ect o
f for
m;
Tha
t val
ueis
an e
ntity
we'
vere
-la
ted
it to
ligh
t and
col
or; o
rT
hat t
he e
lem
ents
of a
rtar
ere
ally
line,
sha
pe, m
ass,
col
or, v
alue
,te
x-tu
re, e
tc.
The
cla
ssifi
catio
ns v
ary;
but
sin
ce th
ese
are
usua
lly u
nder
stoo
d th
roug
h th
e co
n-te
xt in
whi
ch th
ey a
ppea
r, th
e te
ache
r is
enco
urag
ed to
use
wha
teve
r la
belin
g ne
pref
ers.
The
impo
rtan
t thi
ngis
that
the
stud
ents
com
e to
und
erst
and
the
prop
-er
ties
and
pote
ntia
ls o
f the
var
ious
ele
-m
ents
of a
rt in
a fu
nctio
nal w
ay. T
he s
tudy
of s
truc
ture
and
syn
tax
ina
wor
k of
art
shou
ld e
nabl
e th
e st
uden
t to:
16
- "S
hift
gear
s" a
s he
look
s ab
out h
im,
and
sees
his
env
ironm
ent t
hrou
gh v
ar-
ious
per
spec
tives
;U
se th
e el
emen
ts o
f art
alo
ne a
nd in
com
bina
tion
asef
fect
ive
mod
esof
expr
essi
on; a
nd-
Und
erst
and
som
ethi
ng a
bout
the
de-
cisi
ons
an a
rtis
t mak
es a
s hi
s w
ork
evol
ves
from
idea
s th
at c
hang
e ev
enas
the
wor
k to
ach
ieve
them
pro
gres
ses.
The
re is
a p
atte
rn to
the
mat
eria
l whi
chfo
llow
s; b
ut th
at p
atte
rn w
as d
evis
edin
orde
r to
prin
t the
mat
eria
l in
usab
le fo
rm,
not t
o su
gges
t tha
t it b
e pr
esen
ted
that
way
in a
cla
ssro
om s
ituat
ion.
On
the
cont
rary
,th
e te
ache
r is
exp
ecte
d to
wor
k w
ith th
e el
e-m
ents
of a
rt in
way
s th
at:
Der
ive
from
his
ow
n un
ique
cap
abil-
ities
,th
e ob
serv
ed a
nd/o
r ex
pres
sed
need
s an
d in
tere
sts
of h
is s
tude
nts,
and
the
best
utili
zatio
nof
ava
ilabl
ere
sour
ces;
Affo
rd a
mpl
e op
port
unity
for
crea
tive
wor
k in
a v
arie
ty o
f med
ia; a
ndIn
clud
e co
nsid
erat
ion
of th
e ar
rang
e-m
ent o
f tho
se e
lem
ents
and
of t
hevi
ewer
'sin
tera
ctio
nw
ithth
ew
ork,
for
thes
epr
oduc
eth
eto
talit
yof
esth
etic
exp
erie
nce
whi
ch m
akes
the
who
le o
f a w
ork
of a
rt fa
r gr
eate
r th
anth
e su
m o
f its
par
ts.
SP
AC
E
Spa
ceis
fund
amen
tal
tocr
eatio
n.It
is a
pre
requ
isite
for
and
an in
tegr
al p
art
of th
e ph
ysic
al u
nive
rse.
Itis
real
,pe
r-ce
ptib
le,
infin
ite,
and
affe
ctiv
e.A
ndit
exis
ts in
the
min
d of
man
.T
he a
ppre
hens
ion
of s
pace
isdi
rect
lyre
late
dto
hum
anex
perie
ncei
ndiv
id-
ual a
nd c
olle
ctiv
e.It
begi
ns w
ith w
hat
we
see
with
in th
e fr
ame
of o
ur o
ptic
alfie
ldan
dde
velo
psfr
ompe
rcei
ved
re-
latio
nshi
ps b
etw
een
conc
rete
Gbi
ects
toab
stra
ctid
eas,
mod
els,
and
ext
ensi
ons.
As
ach
ildgr
ows,
his
wor
ldch
ange
s.R
oom
s an
d fu
rnitu
re b
ecom
e m
ore
pro-
port
iona
te;
bein
gal
one
isno
long
erfr
ight
enin
g; a
dults
see
m le
ss fo
rmid
able
:pl
aces
are
eas
ier
to g
et to
; str
ange
tt.:.
ngs
beco
me
fam
iliar
; and
see
min
gly
endl
ess
seas
ons
com
e to
an
end.
And
wit"
, the
deve
lopm
ent o
f his
per
sona
l con
cept
of
spac
e, th
ere
isa
corr
espo
ndin
g gr
owth
in a
ttitu
de a
nd w
ay o
f thi
nkin
g. In
sim
ilar
fash
ion,
man
's c
once
pt o
f spa
ce d
evel
ops
with
his
cul
ture
and
exp
erie
nce.
For
prim
-iti
ve m
an, t
he a
rea
beyo
nd h
is im
med
iate
envi
rons
was
a p
lace
of n
o re
turn
, and
the
skie
s be
long
ed to
the
supe
rnat
ural
.H
e pa
ttern
ed th
e la
nd h
e oc
cupi
ed, a
s-si
gnin
g to
eac
h sp
ace
a fu
nctio
n in
ac-
cord
ance
with
his
nee
ds, h
is v
alue
s, a
ndhi
sbe
liefs
.H
untin
g ex
pedi
tions
,cu
rios- 17
ity,
and
impr
oved
met
hods
of t
rans
por-
tatio
n ex
tend
ed m
an's
geo
grap
hica
llim
-its
;in
stru
men
ts o
f mea
sure
and
nav
iga-
tion
intr
oduc
ed a
third
dim
ensi
on; a
ndth
eco
lflic
tsof
adva
ncin
gci
viliz
atio
ndi
rect
edhi
s at
tent
ion
to th
e un
expl
ored
spac
ew
ithin
him
self.
Ulti
mat
ely,
new
mod
es o
f tra
vel,
the
use
of s
ymbo
l for
expr
essi
onan
d co
mm
unic
atio
n,th
ein
-cr
easi
ngly
rapi
dex
chan
geof
info
rma-
tion
and
idea
s, a
nd d
evel
opm
ents
in s
ci-
ence
and
tech
nolo
gy m
ade
the
wor
ld a
glob
alvi
llage
, add
ed th
e fo
urth
dim
en-
sion
of s
pace
-tim
e, a
nd p
ut a
hum
an im
-pr
int o
n th
e m
oon.
The
cha
nges
in m
an's
conc
ept
ofsp
ace
are
refle
cted
inhi
sth
ough
tand
in h
is a
rt.
Bot
h th
e na
ture
of s
pace
and
man
'sco
ncep
tion
of it
hav
e a
stro
ng e
ffect
upo
nhi
s at
titud
es a
nd b
ehav
ior.
Ext
rem
e ex
-am
ples
incl
ude
clau
stro
phob
ia (
the
fear
of c
lose
d sp
aces
) an
d ag
orap
hobi
a (t
hefe
ar o
f ope
n sp
aces
); b
ut th
ere
are
othe
ref
fect
s as
wel
l. C
ram
ped
quar
ters
bre
edte
nsio
n;sp
acio
usqu
arte
rssu
gges
taf
-flu
ence
and
wel
lbe
ing;
and
the
Ope
nla
nds
of M
arlb
oro
Cou
ntry
offe
r es
cape
to p
eace
and
rug
ged
indi
vidu
alis
m. V
io-
lenc
e,ch
ildab
use,
emot
iona
ldi
stur
b-an
ces
and
nerv
ous
diso
rder
s, th
e ex
ces-
sive
use
ofal
coho
lor
drug
s,po
llutio
nal
l of t
hese
in s
ome
way
rel
ate
to li
mi-
tatio
ns in
phy
sica
l spa
ce.
Man
and
part
icul
arly
the
artis
tha
s th
e ab
ility
to c
ontr
ol th
e us
e of
spa
cean
d its
effe
cts
upon
his
fello
ws
and
him
-se
lf. B
oys
and
girls
rea
rran
ge th
eir
room
s;m
en a
djus
t the
ir w
ork
spac
e; h
ouse
wiv
esan
d de
sign
ers
effe
ct th
e ill
usio
n of
spa
ceth
roug
hco
lor,
text
ure,
and
plac
emen
t;ar
chite
cts
cons
ider
bot
h ex
terio
r an
d in
-18
terio
r sp
ace
inpl
anni
ng b
uild
ings
; far
m-
ers,
effi
cien
cy e
ngin
eers
, and
urb
an p
lan-
ners
pat
tern
spa
cein
term
s of
prod
uc-
tivity
,fa
cilit
y,ef
fect
iven
ess,
and
need
;vi
sual
artis
tsor
gani
zean
dst
ruct
ure
spac
e in
two-
and
thre
e-di
men
sion
al c
om-
posi
tions
, hap
peni
ngs,
and
env
ironm
ents
;an
dgr
aphi
car
tists
,ad
vert
iser
s,ph
o-to
grap
hers
,fil
mm
aker
s,se
tde
sign
ers,
perf
orm
ing
artis
ts,
pain
ters
,sc
ulpt
ors,
etc.
,ex
ploi
t bot
h th
e ps
ycho
logi
cal a
ndes
thet
ic a
spec
ts o
f spa
ce to
cre
ate
vis-
ual e
ffect
s th
at in
volv
e th
e vi
ewer
_T
he ti
r-.;
has
com
e w
hen
man
mus
t:C
aref
ully
pla
n th
e us
e of
spa
ce, w
ithfu
llaw
aren
ess
of th
e ge
nera
tions
tofo
llow
;C
ontin
ue h
is e
xplo
ratio
nof
phys
ical
spac
eabo
ve th
e gr
ound
, in
the
sea,
and
beyo
nd th
e pl
anet
ear
th;
Dev
ise
new
way
s of
cre
atin
g th
eil-
lusi
on o
f spa
ce; a
ndE
xpan
d th
e us
e of
spa
ce w
ithin
his
min
d.T
he a
rtis
t can
mak
e a
uniq
ue c
ontr
ibu-
tion
to th
ese
effo
rts.
Thr
ough
his
cre
ativ
ew
ork,
he
can:
Dep
ict t
he c
ondi
tions
of h
is ti
me,
Pro
ject
the
effe
cts
ofco
ntem
pora
ryth
ough
t and
act
ion,
Incr
ease
pub
lic a
war
enes
s,In
fluen
ce d
ecis
ionm
akin
g, a
ndP
lay
an in
tegr
al p
art i
n so
lvin
gand
prec
ludi
ngth
epr
oble
ms
ofsp
ace.
And
bec
ause
the
stud
ent i
s a
mem
ber
of th
e ce
cisi
onm
akin
g pu
blic
, bec
ause
he
will
mak
e th
e ch
oice
s fo
rhi
spe
rson
alen
viro
nmen
t and
may
eve
n be
com
e an
artis
t, an
arc
hite
ct, a
city
pla
nner
, etc
.,
his
expe
rienc
e w
ith s
pace
sho
uld
be v
arie
dan
d ex
tens
ive.
Thi
s m
ight
incl
ude
som
eof
the
follo
win
g ty
pes
of a
ctiv
ity:
Exp
eri.-
tient
s de
sign
ed to
hel
p th
e st
u-de
nt t.
r...s
p th
e fe
el o
f his
bod
y in
spa
cean
dth
eef
fect
sof
mov
emen
tan
dch
ange
d po
sitio
ns o
n th
is fe
elin
g (g
jm-
nast
s, p
erfo
rmin
g ar
tists
, and
dra
ma
orph
ysic
al e
duca
tion
teac
hers
mig
ht b
ehe
lpfu
l her
e)E
xper
imen
tsw
ithsp
atia
lre
latio
nshi
ps
Exp
erim
ents
with
env
ironm
ents
, hap
pen-
ings
, and
kin
etic
art
Slid
e pr
esen
tatio
ns a
nd d
iscu
ssio
nsV
isits
toar
tga
llerie
s,in
stitu
tes,
mu-
seum
s, a
nd o
ther
sou
rces
of a
ppro
pria
teex
hibi
tsF
igur
e-gr
ound
exe
rcis
es a
nd s
imila
r ex
-pe
rimen
ts w
ithpo
sitiv
e an
dne
gativ
esp
ace
Exp
erim
ents
with
crea
ting
the
illus
ion
ofsp
ace
mtw
o-di
men
sion
alfo
rms
thro
ugh:
Def
inin
g m
ass,
whi
ch im
plie
s th
e sp
ace
nece
ssar
y to
con
tain
itC
onve
rgin
g lin
esLi
near
per
spec
tiveo
ne-p
oint
and
mul
-tip
le-p
oint
Aer
ial o
r at
mos
pher
ic p
ersp
ectiv
eP
oint
of v
iew
The
use
of p
ositi
ve a
nd n
egat
ive
spac
esP
ositi
onin
g sh
apes
or
form
sS
epar
atin
gan
dov
erla
ppin
gpl
anes
and
edge
sD
imin
ishi
ng s
hape
s or
form
sS
harp
enin
g or
sof
teni
ng d
etai
:T
he r
eces
sive
use
of c
olor
Cha
nges
in v
alue
Dim
inis
hing
gra
datio
ns o
f tex
ture
."1111111.111'rell
U
Exp
erim
ents
with
the
effe
cts
oflig
ht,
colo
r, m
ass,
text
ure,
pat
tern
, pro
port
ion,
etc.
, on
thre
edim
ensi
onal
spa
ceIn
form
alm
eetin
gs w
ithpe
ople
who
sew
ork
is d
irect
ly r
elat
ed to
the
plan
ned
use
of s
pace
(e.
g., a
dver
tisin
g de
sign
-er
s,ar
chite
cts,
com
mun
itypl
anne
rs,
grap
hic
artis
ts,
inte
rior
desi
gner
s, p
er-
form
ing
artis
ts,
scul
ptor
s,se
t des
ign-
ers)
Obs
erva
tion,
ske
tchb
ook
note
s, o
r ph
o-to
grap
hic
essa
ysco
ncer
ned
with
the
use
of s
pace
in th
e st
uden
t's im
med
iate
or c
omm
unity
env
ironm
ent
Invo
lvem
ent i
n pl
anni
ng e
ffort
sIn
depe
nden
tst
udio
and/
orre
sear
chpr
ojec
ts
Som
e of
the
follo
win
g su
gges
tions
mig
htbe
use
ful i
n th
e de
velo
pmen
t of a
n in
divi
d-ua
lized
lear
ning
prog
ram
inth
evi
sual
arts
:
ST
UD
IO E
XP
ER
IEN
CE
S
Usi
ng p
enci
l or
pen
and
Indi
a in
k, th
est
uden
t mig
ht m
ake
a nu
mbe
r of
en-
larg
edsk
etch
esof
com
mon
obje
cts
(e.g
.,pa
perc
lips,
penp
oint
s,ru
bber
-ba
nds)
and
then
use
them
as
the
basi
sfo
r a
draw
ing
whi
ch e
mph
asiz
es s
hape
sem
ergi
ng fr
om o
r re
cedi
ng in
to s
pace
.U
sing
bla
ck a
nd w
hite
cut
pap
er, t
hest
uden
t mig
ht e
xper
imen
t with
the
ar-
ticul
atio
n of
spa
ce o
n a
two-
dim
ensi
onal
surf
ace
thro
ugh
arra
ngem
ents
whi
chin
volv
e so
me
of th
e fo
llow
ing:
A s
ingl
e ge
omet
ric s
hape
in a
var
iety
of s
izes
Sm
all s
hape
s cu
t fro
m la
rger
, rel
ated
shap
esus
ing
all t
he p
iece
s20
"Lin
es"
form
edf-
.mth
inst
rips
ofva
ryin
g le
ngth
sG
eom
etric
sha
pes
of v
ario
us s
izes
A s
erie
s of
sha
pes,
eac
h of
whi
ch d
irect
sth
e vi
ewer
's e
ye to
the
next
The
sim
ulat
ion
ofad
vanc
ing
orre
-ce
ding
mov
emen
t on
a st
riped
fiel
dG
rids
of e
quis
pace
d cu
rves
sup
erim
-po
sed
on s
trai
ght
lines
to c
reat
e a
moi
re e
ffect
Tor
n pa
per
mig
ht b
e us
edin
the
sam
ety
peof
activ
ityto
achi
eve
inte
rest
ing
com
posi
tions
thro
ugh
less
pre
cise
sha
pes.
Usi
ng fo
und
obje
cts,
scra
psof
woo
dor
car
dboa
rd,
and
glue
,th
est
uden
tm
ight
cons
truc
ta
thre
e-di
men
sion
alst
ruct
ure
com
pose
dof
anu
mbe
rof
smal
l uni
ts a
rran
ged
inid
entif
iabl
e or
rand
om r
elat
ions
hips
.U
sing
trac
ing
pape
r an
d a
felt
pen
or a
soft
penc
il, th
e st
uden
t mig
ht in
vest
i-ga
te th
e pr
inci
ples
of l
inea
r pe
rspe
ctiv
eby
mak
ing
a se
ries
of tr
acin
gs o
f the
in-
terio
ror
exte
rior
view
sof
build
ings
from
larg
e m
agaz
ine
phot
ogra
phs.
Usi
ngap
prop
riate
mat
eria
ls,
the
stu-
dent
mig
ht d
evel
op a
larg
e dr
awin
g or
pain
ting
of a
sta
cked
con
stru
ctio
n of
foun
dob
ject
sw
ithin
the
room
(e.g
..st
ools
, cha
irs, e
asel
s).
His
wor
k m
ight
emph
asiz
e ne
gativ
e sh
apes
, col
or, a
ndor
gani
zatio
n.U
sing
draw
ing,
pain
ting,
and
colla
gem
ater
ials
,th
e st
uden
tm
ight
dev
elop
a se
ries
of c
ompo
sitio
ns w
hich
em
pha-
size
writ
ten
and
prin
ted
lette
r fo
rms
asfig
ures
aga
inst
a g
roun
d.U
sing
a v
arie
tyof
mat
eria
ls, a
sm
all
grou
pof
stud
ents
mig
ht c
onst
ruct
aki
netic
com
posi
tion
whi
ch d
epen
ds u
pon
RE
CLI
NIN
G N
UD
E W
ITH
GU
TA
FI b
y Ja
Lquo
-,ch
its. 1
928.
Bla
ck in
/it-s
tone
16
3 8
Ilion
at b
ase.
27 5
8-
x13
1:'-
.pr
orm
t.ed
gift
and
..xte
rided
loan
to T
HE
MU
SE
UM
OF
MO
DE
RN
AR
T N
EW
YO
RK
.F
RO
M M
RS
JO
HN
D R
OC
KE
FE
L I E
R. 3
rd
mec
hani
cal d
evic
es, a
ir cu
rren
ts, m
ag-
netic
or g
ravi
tatio
nal
forc
e. a
ndlo
r a
mov
ing
light
sou
rce
for
its e
ffect
s.U
sing
a v
arie
ty o
f mat
eria
ls. a
gro
upof
stu
dent
s m
ight
con
stru
ct a
n en
viro
n-m
ent w
hich
incl
udes
suc
hth
ings
as
mov
ing
and
stab
lefo
rms
insp
ace.
light
, col
or, a
nd s
ound
DIS
CU
SS
ION
S
Sho
w th
e st
uden
ts a
var
iety
of e
xam
ples
ofth
eus
eof
spac
ein
thre
e-di
men
-si
onal
form
s.S
ome
ofth
efo
llow
ing
item
s m
ight
be
incl
uded
Cha
rles
Eam
es' T
he C
harle
s E
ames
Hou
seN
aum
Gab
o's
CO
NS
TR
UC
TIO
NIN
SP
AC
E. S
PIR
AL
TH
EM
ES
idne
y G
ordi
n's
RE
CT
AN
GU
LAR
. NO
.5:
CO
NS
TR
UC
TIO
N N
O. 1
0D
avid
Har
e's
MA
N L
EA
RN
ING
TO
FLY
Bar
bara
Hep
wor
th's
FIG
UR
EJa
cque
sLi
Qch
itz'
RE
CLI
NIN
G N
UD
EW
ITH
GU
ITA
R.
BIR
TH
OF
TH
EM
US
ES
Sey
mou
rLi
pton
'sT
HE
CR
UC
IBLE
.T
HE
SO
RC
ER
ER
Lasz
loM
oho
ly N
agy'
sT
HE
SP
AC
EM
OD
ULA
TO
RS
Hen
ry M
oore
's R
EC
LIN
ING
FIG
UR
ELo
uise
Nev
elso
n's
FIR
ST
PE
RS
ON
AG
E.
RO
YA
L T
IDE
I
Eer
o S
aarin
en's
Dav
id S
. Ing
alls
Hoc
key
Rin
k at
Yal
e U
nive
rsity
Dav
id S
mith
's H
UD
SO
N R
IVE
R L
AN
D-
SC
AP
EF
rank
Llo
yd W
right
's T
he S
olom
on R
.G
u,ig
enhe
im M
useu
m in
New
Yor
kC
ityan
d re
pres
enta
tive
sele
ctio
ns fr
om la
nd-
scap
e ar
chite
ctur
e, fu
rnitu
re a
nd p
rod-
uct
desi
gn.
urba
npl
anni
ng,
min
imal
scul
ptur
e, e
nviro
nmen
ts, e
tc.
RE
CLI
NIN
G F
IGU
RE
by
Hen
ry M
oore
. UN
ES
CO
BU
ILD
ING
. PA
RIS
Suc
h to
pics
as
the
follo
win
g m
ight
then
prov
e us
eful
for
disc
ussi
on:
Hen
ry M
oore
's "
carv
ed s
pace
"T
he e
ssen
ce o
f the
hum
an fi
gure
insp
ace
as e
xpre
ssed
by
the
conn
ect-
ing
solid
s. d
eep
hollo
ws,
hol
es, a
ndde
nse
shad
ows
of w
orks
by
Bar
bara
Hep
wor
th.
Jacq
ues
Lipc
hitz
.an
dH
enry
Moo
reT
he u
se o
flin
e an
d/or
geo
met
ricfo
rm in
spa
ce b
y su
ch m
en a
s N
aum
Gab
o. S
idne
y G
ordi
n.D
avid
Har
e.an
d D
avid
Sm
ithA
com
paris
onof
Lasz
loM
ohol
y-N
agy'
s T
HE
SP
AC
E M
OD
ULA
TO
RS
with
rece
ntsc
ulpt
ures
byLo
uise
Nev
elso
nT
he fa
ctth
at m
any
ofth
eea
rlyle
ader
s in
the
field
of f
urni
ture
and
prod
uct d
esig
n w
ere
also
arc
hite
cts
HU
DS
ON
RIV
ER
LA
ND
SC
AP
E b
y D
avid
Sm
ith. S
teel
.C
OLL
FC
TIO
N W
HIT
NE
Y M
US
EU
M O
F A
ME
RIC
AN
AR
T. N
EW
YO
RK
21
22
Sno
w th
e st
uden
ts a
var
iety
of e
xam
ples
ot th
e -il
lusi
onof
spa
ce in
two
(Inn
ensi
onal
form
sS
ome
of th
e fo
llow
ing
seIe
ctio
ns m
ight
be
appr
opria
te:
San
cho
Bot
ticel
li's
BIR
TH
OF
VE
NU
S.
TH
E A
DO
RA
TIO
N O
F T
HE
MA
GI
Pie
ter
Bre
ughe
l the
Eld
er's
TH
E H
AR
-V
ES
TE
RS
Pau
l Cez
anne
's O
RA
NG
ES
, ST
ILL
LIF
EW
ITH
AP
PLE
S A
ND
OR
AN
GE
S, P
OT
OF
FLO
WE
RS
WIT
H P
EA
RC
hi C
h'en
's H
OR
SE
AN
D W
ILLO
W,T
RE
EIN
MO
ON
LIG
HT
Gio
rgio
de
Chi
rico'
s D
ELI
GH
TS
OF
TH
EP
OE
T. T
HE
NO
ST
ALG
IA O
F T
HE
IN-
FIN
ITE
. JU
AN
-LE
S-P
INS
Rob
ert D
unca
nson
's B
LUE
HO
LELI
TT
LE M
IAM
I RIV
ER
El G
reco
's G
ET
HS
EM
AN
EJa
n va
n E
yck'
s A
NN
UN
CIA
TIO
NLy
onel
Fei
ning
er's
VIA
DU
CT
, VIL
LAG
ES
TR
EE
TG
uerc
ino'
s "A
uror
a,"
inth
e B
aroq
uece
iling
of R
ome'
s C
asa
Ludo
visi
harv
est s
cene
s in
the
wal
l pai
ntin
g of
a to
mb
at T
hebe
sH
enri
Mat
isse
's L
AD
Y IN
BLU
EP
iet M
ondr
ian'
s C
OM
PO
SIT
ION
LO
N-
DO
NC
laud
e M
onet
's M
OR
NIN
G H
AZ
EP
arm
igia
nino
's M
AD
ON
NA
WIT
H L
ON
GN
EC
KP
ersi
an o
r In
dian
min
iatu
re w
ork
Pab
loP
icas
so's
LES
DE
MO
ISE
LLE
SD
'AV
IGN
ON
. TH
E N
OS
TA
LGIA
OF
TH
E IN
FIN
ITE
by
Gio
rgio
de
Chi
rico.
191
3 14
'. O
il on
can
vas.
53
14
x 25
1C
otle
ctio
n. T
HE
MU
SE
UM
OF
MO
DE
RN
AR
T. N
EW
YO
RK
. AD
VIS
OR
Y C
OM
MIT
TE
E F
UN
D
Jack
son
Pol
lock
's N
UM
BE
R 1
(194
8)R
apha
el's
MA
DO
NN
A A
ND
CH
ILD
`-.
NT
HR
ON
ED
WIT
H S
AIN
TS
Rom
an w
all p
aint
ings
from
Pom
peii
Jaco
bva
nR
uisd
ael's
TH
E W
IND
-M
ILL.
A R
OU
GH
SE
AW
ang
Shi
h-C
hian
g's
MO
UN
TA
IN L
AN
D-
SC
AP
EV
icto
r de
Vas
arel
y's
OP
AR
TJa
n V
erm
eer's
TH
E S
TU
DIO
Leon
ardo
da
Vin
ci's
TH
E L
AS
T S
UP
PE
R
Exa
mpl
es o
f the
illu
sion
of s
pace
in a
d-ve
rtis
ing
desi
gn,
serig
raph
y.ar
chite
c-tu
ral d
raw
ing.
etc
.. sh
ould
als
o be
in-
clud
ed.
Indi
vidu
al o
r cl
ass
disc
ussi
on m
ight
in-
clud
e su
ch it
ems
as th
e fo
llow
ing:
The
illus
ion
ofbo
undl
essn
ess
cre-
ated
by
Bre
ughe
l. de
Chi
rico.
and
van
Rui
sdae
lT
he il
lusi
on o
f dep
th o
r th
ree-
dim
en-
sion
al fo
rmin
Cez
anne
's O
RA
NG
ES
The
use
oflin
ear
pers
pect
ive
tocr
eate
the
illus
ion
of s
pace
in T
HE
LAS
T S
UP
PE
R a
nd M
AD
ON
NA
AN
DC
HIL
DT
heill
suio
nof
spat
ial
rece
ssio
ncr
eate
d by
Fei
nit g
er's
use
of o
ver-
lapp
ing
plan
es, t
rans
pare
ncie
s. a
ndpl
anes
that
app
ear
to m
ove
thro
ugh
one
anot
her
The
use
offig
ure-
grou
ndre
latio
n-sh
ips
in O
ptic
al A
rt. a
dver
tisin
g de
-si
gn. a
nd s
erig
raph
y an
d ot
her
form
sof
prin
tmak
ing
Sho
w th
est
uden
tsa
varie
tyof
ex-
ampl
es o
f act
ual m
ovem
ent a
nd th
e il-
lusi
onof
mov
emen
tin
spac
e.S
ome
of th
e fo
llow
ing
sele
ctio
ns m
ight
be
ap-
prop
riate
:
Ric
hard
Anu
s; k
iew
icz'
DE
GR
EE
OF
VIV
-ID
NE
SS
Gia
com
o B
alla
's D
OG
ON
A L
EA
SH
.S
PE
ED
ING
AU
TO
MO
BIL
EU
mbe
rto
Boc
cion
i's U
NIQ
UE
FO
RM
SO
F C
ON
TIN
UIT
Y IN
SP
AC
E, T
HE
CIT
YR
ISE
SA
lexa
nder
Cal
der's
LO
BS
TE
R T
RA
P A
ND
FIS
H T
AIL
, RE
D G
ON
G, W
HA
LEM
arce
l Duc
ham
p's
NU
DE
DE
SC
EN
D-
ING
A S
TA
IRC
AS
EE
llsw
-rth
Kel
ly's
GR
EE
N B
LUE
RE
DM
atta
's L
IST
EN
TO
LIV
ING
The
odor
e R
osza
k's
SP
EC
TR
E O
F K
ITT
YH
AW
KJe
anT
ingu
ely'
s H
OM
AG
E T
O N
EW
YO
RK
Vic
tor
de V
asar
ely'
s T
OR
KE
Som
e of
the
follo
win
g to
pics
mig
ht b
eus
eful
for
disc
ussi
on:
Fam
iliar
form
sof
mov
emen
tin
spac
e(e
.g.,
tree
bran
ches
,te
le-
phon
e w
ires,
or
cobw
ebs
mov
ing
inth
e w
ind;
the
hum
an fi
gure
in m
o-tio
nwal
king
,ru
nnin
g,be
ndin
g,da
ncin
g, s
wim
min
g, d
ivin
g,th
row
-in
g so
met
hing
, etc
.)T
he p
atte
rns
crea
ted
by e
nerg
yor
mov
emen
t in
spac
e, a
nd th
e ar
tist's
expr
essi
on o
f the
m (
e.g.
, Gia
com
oB
alla
, Mat
ta, a
nd M
arce
l Duc
ham
p)
SP
EE
DIN
GA
UT
OM
OB
ILE
byG
ianc
omo
Bal
la.
1912
. Oil
on w
ood.
21
7 *8
- x
27 1
Col
lect
ion.
MU
SE
UM
OF
MO
DE
RN
AR
T. N
EW
YO
RK
. Pur
chas
e 23
The
illu
sion
of m
ovem
ent i
n a
stab
lefo
rm. s
uch
as th
at c
reat
ed b
y sc
ull)
tors
Um
bert
oB
occi
oni.
The
odor
eR
osza
k. a
nd D
iego
de
Riv
era
The
illu
sion
of m
ovem
ent i
n O
ptic
alA
rt, a
s ex
empl
ified
by
the
wor
k of
Ric
hard
AnU
SIk
lew
icz,
Ells
wor
thK
elly
. Brid
get R
iley,
Vic
tor
de V
asar
ely.
and
oth
ers
Ale
xand
erC
alde
r'sco
ntrib
utio
nto
the
use
of s
pace
in a
rt (
e.g.
, cha
ngm
g sp
atia
lre
latio
nshi
ps a
ndpa
t.te
rns
prod
uced
by
the
mov
emen
t of
form
s in
spa
ce)
- T
he r
ole
of th
e vi
ewer
in O
ptic
al A
rt,
kine
ticar
t, en
viro
nmen
ts, a
nd h
ap-
peni
ngs.
and
the
resu
ltant
cha
nges
in th
e w
orld
of a
rtS
how
the
stud
ents
are
pres
enta
tive
sam
plin
g of
the
artw
ork
of v
ario
us c
ultu
res
from
ear
ly ti
mes
to th
e pr
esen
t,an
d he
lp th
em to
see
the
chan
ge in
man
'spe
rcep
tion
of s
pace
as
evid
ence
dby
his
art.
IND
EP
EN
DE
NT
ST
UD
IO A
ND
RE
SE
AR
CH
PR
OJE
CT
S
A p
icto
rial e
ssay
dev
elop
ed fr
om d
raw
-in
gsor
phot
ogra
phs
ofa
part
icul
arsh
ape
or fo
rm in
spa
ceA
vis
ual
pres
enta
tion
conc
erni
ngth
eef
fect
ive
use
of s
pace
in g
raph
ic d
esig
nA
n or
igin
al b
anne
r, b
ook
jack
et, p
oste
r,o'
othe
r ty
pe o
f gra
phic
art
whi
ch in
-co
rpor
ates
the
effe
ctiv
e us
e of
pos
itive
and
nega
tive
spac
e or
spa
tial r
elat
ion-
ship
s in
its d
esig
n
A v
isua
lpr
esen
tatio
nco
ncer
ning
the
use
oflin
ear
pers
pect
ive
by a
rtis
ts o
fth
e R
enai
ssan
ce
A v
isua
lpr
esen
tatio
n w
hich
illus
trat
esa
varie
ty o
f tec
hniq
ues
for
crea
ting
the
illus
ion
of a
third
and
/or
four
th d
imen
-si
on in
a tw
o-di
men
sion
al a
rt fo
rmA
per
sona
l int
erpr
etat
ion
of s
pace
An
effe
ctiv
e us
e of
the
hum
an fo
rm in
actio
n as
eith
er fi
gure
or
grou
nd in
an
orig
inal
dra
win
g, p
aint
ing,
or
serie
s of
prin
ts
An
effe
ctiv
esp
atia
lar
rang
emen
tof
opaq
ue,
tran
spar
ent,
and/
ortr
ansl
u-ce
nt p
lane
s an
d vo
lum
es in
an
orig
inal
,no
nobj
ectiv
e co
nstr
uctio
n
The
dev
elop
men
t of a
pro
blem
in a
rchi
-te
ctur
al,
land
scap
e,or
inte
rior
desi
gnto
whi
ch th
e ab
stra
ct s
patia
l stu
dies
whi
ch h
ave
been
com
plet
ed c
an b
e sp
e-ci
fical
ly a
pplie
dA
res
earc
hre
port
on
the
deve
lopm
ent
of u
rban
pla
nnin
g in
the
loca
l com
mu-
nity
, a p
artic
ular
city
, ano
ther
par
t of
the
Uni
ted
Sta
tes,
the
"new
tow
ns"
ofE
urop
e an
d A
mer
ica,
or s
uch
expe
ri-m
ents
as
Cha
ndig
rah
and
Bra
silia
A s
umm
ary-
anal
ysis
of G
yorg
y K
epes
',La
szlo
Moh
oly-
Nag
y's,
and
/or
Iren
e R
ice
Per
eira
'sid
eas
abou
tsp
ace,
shap
eor
form
, mot
ion,
and
vis
ion
as e
xpre
ssed
in th
eir
wor
k an
d w
ritin
gs
A b
ookl
et c
ompo
sed
of a
n or
dere
d se
ries
of "
fram
es"
whi
ch p
rodu
ce a
"m
otio
npi
ctur
e" w
hen
flipp
ed w
ith th
e ed
ge o
fon
e's
thum
bA
rep
ort
onth
ere
latio
nshi
pbe
twee
nst
robo
scop
ic o
r st
op-a
ctio
n ph
otog
raph
y
and
(a)
the
sim
ulta
neity
ofth
e C
ubis
ts. o
r (b
) th
e sp
ace
time
visu
aliz
atio
nof
the
Fut
uris
ts
SU
MM
AR
Y A
ND
EV
ALU
AT
ION
To
wha
t ext
ent d
o th
e ob
serv
atio
ns, r
e-sp
onse
s, a
nd c
reat
ive
wor
k of
the
stud
ent
reve
al th
at h
e:Is
aw
are
that
spa
ce is
a v
ery
real
ele
men
tof
exi
sten
ce?
Has
bot
h qu
alita
tive
and
quan
ti-ta
tive
char
acte
ristic
s an
d is
ther
e-fo
re p
erce
ptib
le?
Has
affe
ctiv
e pr
oper
ties?
Exi
sts
in th
e m
ind,
as
wel
l as
in th
eph
ysic
al u
nive
rse?
Is a
war
e th
at h
e no
t onl
y ca
n, b
ut m
ust
cont
rol t
he u
se a
nd e
ffect
s of
spa
ce?
Is a
war
e th
at m
an's
con
cept
of s
pace
isdi
rect
ly r
elat
ed to
the
deve
lopm
ent o
fhi
s co
nsci
ousn
ess
and
has
ther
efor
ech
ange
d th
roug
hout
the
ages
?Is
aw
are
that
man
y as
pect
s of
his
en-
viro
nmen
t are
thre
e-di
men
sion
al c
om-
posi
tions
in s
pace
?Is
abl
e to
org
aniz
e an
d co
nstr
uct a
thre
e-di
men
sion
al c
ompo
sitio
n in
spa
ce?
Und
erst
ands
the
fund
amen
tal
tech
-ni
ques
for
crea
ting
the
illus
ion
of s
pace
and/
or m
ovem
ent i
n tw
o-di
men
sion
alfo
rms?
Is a
ble
to c
reat
e th
e ill
usio
n of
spa
ce a
nd/
or m
ovem
ent i
n tw
o-di
men
sion
al fo
rms
effe
ctiv
ely
and
imag
inat
ivel
y?U
nder
stan
ds th
e na
ture
of p
ositi
ve a
ndne
gativ
e sp
ace?
Is a
ble
to u
se p
ositi
ve a
nd n
egat
ive
spac
eef
fect
ivel
y an
d im
agin
ativ
ely
in a
va-
riety
of t
wo-
and
thre
e-di
men
sion
al fo
rms?
Is a
ble
to u
se s
pace
cre
ativ
ely
in h
is o
wn
art w
ork?
BE
ST
CO
PY
Avf
,11;
,bLi
LIG
HT
AN
DC
OLO
R
It is
diff
icul
t for
sig
hted
peo
ple
to im
agin
ea
wor
ld w
ithou
t lig
ht a
nd c
olor
. The
se a
reth
e on
ly e
lem
ents
of a
rt w
hich
mus
t be
per-
ceiv
ed v
isua
lly; a
nd s
ince
ligh
t is
the
sine
qua
non
of v
isua
l exp
erie
nce,
and
col
or a
deriv
ativ
e of
ligh
t, it
seem
s ap
prop
riate
toco
nsid
er th
em to
geth
er_
In g
ener
al, t
he a
rtis
t wor
ks w
ith li
ght a
ndco
lor
on a
n in
tuiti
ve b
asis
. Tha
t is,
he
resp
onds
to w
hat h
e se
es in
a v
ery
pers
onal
way
, and
expe
rimen
ts fr
eely
with
var
ious
asp
ects
of
artis
tic e
xpre
ssio
n. H
owev
er, a
s he
bec
omes
awar
e of
the
effe
cts
he c
an a
chie
ve a
nd o
fth
e pr
oces
ses/
tech
niqu
es th
roug
h w
hich
he r
an a
chie
ve th
em, h
e be
gins
to w
ork
with
light
and
col
or in
an
incr
easi
ngly
cog
nitiv
eas
wel
l as
intu
itive
man
ner,
par
ticul
arly
as
he c
omes
to u
se th
ese
elem
ents
as d
irect
and
inde
pend
ent l
angu
age.
For
this
reas
on,
som
e kn
owle
dge
of th
e th
eory
of l
ight
and
colo
rbut
not
of r
ules
or
colo
r w
heel
shas
been
incl
uded
in th
e m
ater
ial w
hich
follo
ws.
Ligh
t is
a vi
sibl
e fo
rm o
f rad
iant
ener
gyw
hich
als
o in
clud
es in
frar
ed,
ultr
avio
let,
and
X-r
ays.
One
of t
hem
any
prop
ertie
s of
light
is c
olor
, a c
ircum
stan
ce w
hich
can
easi
lybe
pro
ved
by s
impl
e ex
perim
ent:
If "w
hite
"lig
ht p
asse
s th
roug
h a
drop
of w
ater
or a
pris
m, i
t is
disp
erse
d in
to a
rai
nbow
of c
ol-
ored
ligh
t; an
d if
the
resu
lting
spe
ctru
mpa
sses
thro
ugh
a se
cond
but
inve
rted 25
pris
m, t
he b
ands
of c
olor
will
com
bine
tofe
m w
hite
or
colo
rless
ligh
t aga
in. T
hus
colo
ris
a "f
requ
ency
phe
nom
enon
," a
nop
tical
sens
atio
npr
oduc
edby
radi
ant
ener
gy o
f par
ticul
ar w
avel
engt
hs a
ridin
.te
nsiti
es.
The
re a
re tw
o ty
pes
of c
olor
:C
hrom
atic
whi
ch in
clud
es th
e en
tire
visi
ble
spec
trum
, and
Ach
rom
atic
whi
ch in
clud
es o
nly
whi
te,
blac
k,an
dth
eva
rious
tints
and
shad
es o
f gra
y.C
hrom
atic
col
ors
have
thre
e at
trib
utes
or p
rope
rtie
s:H
ueth
at c
hara
cter
istic
ofa
give
nco
lor
for
whi
chit
is n
amed
;In
tens
ity o
r sa
tura
tiont
he p
urity
of a
hue;
and
Val
ueth
e br
illia
nce
of a
hue
as
mea
-su
red
on a
sca
le o
f gra
ys b
etw
een
the
two
extr
emes
of w
hite
and
bla
ck. A
sw
hite
is a
dded
to a
pig
men
t, its
col
-or
beco
mes
tight
eran
dth
eref
ore
"hig
her"
in v
alue
; as
blac
k is
add
-ed
, it b
ecom
es d
arke
r an
d th
eref
ore
"Icy
ver"
in v
alue
. Col
ors
with
val
ues
high
er th
an m
ediu
m g
ray
are
ofte
nca
lled
tints
, and
thos
e w
ith lo
wer
val
-ue
s ar
e ca
lled
shad
es. T
hus
lave
nder
is a
tint
of v
iole
t; an
-i m
aroo
n, a
shad
e of
red.
Add
ing
eith
er w
hite
or b
lack
less
ens
the
purit
yof
a h
uean
d m
akes
the
view
er m
ore
awar
eof
a c
olor
's v
alue
than
of i
ts h
ue a
sit
:app
roac
hes
eith
er e
nd o
f the
sca
le.
Ach
rom
atic
col
ors
diffe
r on
ly in
brill
ianc
eor
val
ue: t
hey
have
no
hue
and
ther
efor
eno
inte
nsity
or
satu
ratio
n.T
he c
hara
cter
-is
tics
of c
hrom
atic
aht
.;ac
hrom
atic
col
orar
e re
adily
dem
onst
rate
d by
adju
stin
g th
eb&
w/c
olor
and
brig
htne
ss le
vel k
nobs
on
26
a te
levi
sion
set
whe
n a
prog
ram
isbe
ing
pres
ente
d in
col
orC
hang
ing
the
colo
r of
ligh
t is
an a
dditi
vepr
oces
sth
atso
met
imes
Pro
duce
sra
ther
surp
risin
g re
sults
.F
or e
Xat
Ilpie
, whe
n th
ear
tist c
ombi
nes
red
light
with
gre
en in
the
prop
er in
tens
ities
, he
will
see
a p
ure
or m
ono
chro
mat
ic y
ello
wal
thou
gh th
at fr
eque
ncy
of r
adia
tion
is r
arel
y pr
esen
t. If
he a
cids
gre
ento
blu
e, th
e re
sult
is a
blu
e-gr
een
calle
d tu
rqu
oise
or
cyan
: but
blu
e an
d re
dpr
oduc
em
agen
taan
opt
ical
sen
satio
n th
at c
anno
tbe
foun
d in
the
spec
trum
ital
l!R
ed, g
reen
, and
blu
e ar
e th
e pr
imar
y co
l-or
s of
ligh
t bec
ause
, in
appr
opria
te m
ixtu
res
and
inte
nsiti
es, t
hey
form
all
the
colo
rs in
the
visi
ble
spec
trum
. Whe
n on
e of
thes
e is
adde
d to
ano
ther
, the
res
ultin
g co
lor
will
prod
uce
the
afte
rimag
e of
the
third
and
isth
eref
ore
cons
ioer
ed it
s co
mpl
emen
t (e.
g.,
if on
e st
ares
at a
con
cent
ratio
n of
blu
e lig
ht,
he w
ill s
ee a
n af
terim
age
of y
ello
w; t
he r
e-ve
rse
is a
lso
true
; eac
h of
the
colo
rs is
ther
e-fo
re th
e op
posi
te o
r co
mpl
emen
t of t
he o
ther
).Y
ello
w, c
yan,
and
mag
enta
com
pris
e th
ese
cond
ary
colo
rsof
light
.T
he c
ompl
e-m
enta
ry c
olor
s ar
e bl
ue/y
ello
w. r
ed/c
yan.
and
gree
n/m
agen
ta.
Incl
ose
prox
imity
. the
y te
nd to
enh
ance
one
ano
ther
: but
they
can
cel e
ach
othe
r ou
t in
com
bina
tion
ano
prod
uce
colo
rless
or
"whi
te"
light
, the
sum
of t
he s
pect
rum
in b
alan
ce. T
he c
om-
plem
ent o
f lig
ht is
dar
knes
s, o
r th
e ab
senc
eof
ligh
t.C
hang
ing
the
colo
r of
pig
men
t is
a su
b-tr
activ
e pr
oces
s, w
ith m
ore
pred
icta
ble
re-
sults
than
its
coun
terp
art i
n lig
ht. S
ince
pig
-m
ent i
s a
subs
tanc
e,it
can
only
be
seen
whe
n th
ere
is li
ghta
nd th
en it
abs
orbs
or
"sub
trac
ts"
som
e of
the
freq
uenc
ies
of r
adi-
atio
n an
d re
flect
s or
tran
smits
oth
ers.
For
exam
ple.
blu
e pa
int a
bsor
bs th
e re
d. o
rang
e .
and
yello
w b
ands
of t
he -
,pec
trun
i. re
tie(
isth
e gr
een,
blu
e. a
nd v
iole
t one
.an
d th
ere-
fore
app
ears
to b
e bl
ue. Y
ello
w p
aint
abs
orbs
blue
and
vio
let:
refle
cts
red.
ora
nge.
yel
low
.an
d gr
een:
and
ther
efor
e lo
oks
yello
w. A
mix
ture
of t
he tw
o ab
sorb
s al
l but
gre
en a
ridve
ry s
mal
l por
tions
of r
ed. o
rang
e. y
ello
w.
blue
, and
vio
let.
The
onl
y lig
ht r
efle
cted
by
both
col
ors
indi
vidu
ally
and
in c
ombi
natio
nis
gre
en, w
hich
ther
efor
e be
com
es th
e ch
arac
teris
tic c
olor
of t
he p
aint
. A w
ork
by ;f
in.
cent
van
Gog
h ill
ustr
ates
an
inte
rest
ing
appl
icat
ion
of th
ese
phen
omen
a: B
y ju
xta
posi
ng d
istin
ct b
rush
stro
kes
of b
lue
and
yel
low
pai
ntin
TH
E R
AV
INE
. he
caus
es th
evi
ewer
to s
ee b
lue
and
yello
w b
oth
as in
de.
pend
ent c
olor
s an
d as
gre
en. a
com
bina
tion
of th
e tw
o. T
his
delib
erat
e al
tern
atio
n of
the
view
er's
per
cept
ion
coup
led
with
the
stac
cato
rhy
thm
of t
he b
rush
stro
kes
pro.
duce
s a
colo
r vi
brat
ion
that
mak
es th
e tu
r-bu
lent
wat
er in
the
pain
ting
coni
c al
ive.
The
prim
ary
colo
rs o
f pig
men
t are
the
seco
ndar
y co
lors
oflig
ht:
yello
w.
cyan
.an
d m
agen
ta. A
s w
e've
just
see
n. y
ello
wpl
us c
yan
or b
lue
equa
ls g
reen
. Cya
n pl
usm
agen
ta e
qual
s vi
olet
. and
mac
ient
a pl
usye
llow
equ
als
oran
ge.
Gre
en. v
iole
t. an
dor
ange
ther
efor
e co
mpr
ise
the
seco
ndar
yra
nge
ofco
lors
:ar
id th
e co
mpl
emen
tary
pairs
incl
ude
yello
w/v
iole
t. cy
an/o
rang
e.an
d m
agen
ta/g
reen
.In
clos
epr
oxim
ity.
the
com
plem
enta
ry c
olor
s of
pig
men
t ten
dto
enh
ance
eac
h ot
her:
but
unl
ike
thos
eof
ligh
t, th
ey h
ave
a du
lling
effe
ct w
hen
mix
ed a
nd u
ltim
atel
y pr
oduc
e on
e of
the
man
y tin
ts o
r sh
ades
of g
ray.
Thu
s re
d an
dgr
een
light
will
pro
duce
yel
low
ligh
t: bu
tre
d an
d gr
een
pigm
ent l
ooks
like
mud
.T
he c
hara
cter
istic
s of
light
are
dete
r-m
ined
by
its s
ourc
e, a
con
ditio
n w
hich
ac-
rou
nt,,
tor
the
de u
.il r
-fec
t, ci
f tlv
i,ior
t.lig
ht ,h
ow,,.
Ant
i tirt
wor
ks o
n th
e F
our
th.J
uly
It fu
rthe
rlc
( M
ints
, for
the
rliffr
wbe
twee
n ii,
itura
l ant
i art
iftt:,
tllig
ht a
ridth
eref
ore
ofIi
irtic
ular
impo
rtan
ce to
ph,
togr
aphe
r, w
hose
sel
ectio
n of
film
. filt
er,.
and
flash
bulb
, I'.
(1,.p
eric
ierit
upo
n th
e go
ality
of l
ight
and
the
spec
ial e
ffect
, for
whi
chth
ese
it..n
is a
re to
bt.
used
In tu
rn, t
he n
atur
e of
ligh
t affe
cts
the
ap-
pear
ance
of t
hing
s ill
umin
ated
by
it. A
rtis
tsha
ve lo
ng e
xplo
ited
the
visu
al e
ffect
s of
inci
-de
nce,
inte
nsity
. and
col
or o
n pe
rson
s or
obje
cts
in m
otio
n or
at r
est.
A w
orki
ng k
now
l-ed
ge o
f the
se is
fund
amen
tal t
o bo
th th
evi
sual
and
the
perf
orm
ing
arts
, whi
ch d
epen
dup
on it
fs.,'
tie
stre
ngth
of t
heir
illus
ion.
As
mig
ht b
e e;
:pec
ted,
ligh
t has
its
grea
test
impa
ct o
n co
lora
n im
pact
that
ran
ges
from
the
wild
ly p
sych
edel
ic to
sim
ple
met
a-m
eris
m, t
he te
nden
cy o
f col
ored
sur
face
sto
::lo
k al
ike
in o
ne k
ind
of li
ght a
nd q
uite
diffe
rent
in a
noth
er. I
n ge
nera
l, w
e m
aint
ain
a fa
irly
norm
al p
erce
ptio
n of
col
or u
nder
very
diff
eren
t typ
es o
f illu
min
atio
n; b
ut a
naw
aren
ess
of th
e pr
inci
ples
invo
lved
ena
bles
the
artis
t/des
igne
r to
pro
duce
a v
arie
ty o
fop
tical
effe
cts
and
may
rem
ind
the
aver
age
cons
umer
to s
elec
t his
mat
eria
ls u
nder
the
sam
e co
nditi
ons
of li
ght a
s th
ose
in w
hich
they
are
to b
e se
en.
With
the
exce
ptio
n of
fluo
resc
ence
, the
colo
rs w
e as
crib
e to
a n
onlu
min
ous
bjec
t(e
.g.,
a flo
wer
, a le
mon
, a r
ug, o
r an
ythi
ngel
se th
at d
oesn
't pr
oduc
e its
ow
n lig
ht)
de-
pend
s up
on:
The
nat
ure
of th
e lig
ht w
hich
falls
upo
n it,
Wha
t the
obj
ect d
oes
to th
at li
ght,
The
med
ium
thro
ugh
whi
ch it
trav
els,
and
Ow
per
cept
ual a
ppar
atus
.
Sin
ce w
hite
ligh
t is
a ba
lanc
e of
the
full
visi
ble
spec
trum
, any
sub
stan
ce il
lum
inat
edby
it w
ill r
efle
ct a
nd/o
r tr
ansm
it so
me
of it
sco
lors
and
at-
sorb
oth
ers.
Col
ored
ligh
t lim
-its
the
rang
e of
freq
uenc
ies
that
can
be
re-
flect
ed, t
rans
mitt
ed, o
r ab
sorb
ed to
thos
eth
at c
ompr
ise
the
appa
rent
col
or o
f the
ligh
t.F
or th
ese
reas
ons,
a p
iece
of r
edpa
per
look
sre
d un
der
whi
te li
ght b
ecau
se it
ref
lect
s th
ere
d an
d or
ange
ban
ds o
f the
spe
ctru
m a
ndab
sorb
s al
l oth
ers.
It a
lso
look
s re
d in
red
light
. But
in y
ello
w li
ght,
the
pape
r ab
sorb
sal
l but
ver
y sm
all a
mou
nts
of r
ed, o
rang
e,an
d ye
llow
rad
iatio
n, a
nd th
eref
ore
appe
ars
to b
e bl
ack
or a
ver
y da
rk b
row
n. W
hite
mat
e-ria
ls a
lway
s re
flect
ligh
t in
the
sam
e pr
o-po
rtio
ns th
ey r
ecei
veth
us a
pie
ce o
f whi
tepa
per
look
s w
hite
in w
hite
ligh
t, re
d in
red
light
, yel
low
in y
ello
w li
ght,
and
brig
htor
dim
acc
ordi
ng to
the
brill
ianc
e of
the
light
whi
ch m
akes
it v
isib
le.
Soa
n ill
umin
ated
obj
ect c
an r
efle
ct,
tran
smit,
or
abso
rb o
nly
thos
e co
lors
incl
uded
in th
e lig
ht w
hich
falls
upo
n it;
but
the
sub-
stan
ce o
f whi
ch it
is m
ade
can
alte
r th
e ef
-fe
cts
of th
at li
ght i
n a
varie
ty o
fw
ays.
Col
-or
s of
the
sam
e in
tens
ity a
nd h
ue w
ill th
ere-
fore
look
qui
te d
iffer
ent i
n:A
pie
ce o
f gla
ss o
r ce
lloph
ane;
A b
owl o
f gel
atin
;A
vol
ume
of li
quid
;A
sw
atch
of v
elve
t, co
tton,
silk
, or
woo
l;A
Chr
istm
as tr
ee o
rnam
ent;
A s
trip
of e
nam
eled
woo
d or
alu
min
umsi
ding
;A
n en
amel
ed m
etal
dis
h;A
gla
zed
cera
mic
; or
A p
aint
ing
done
with
oil,
acr
ylic
, tem
-pe
ra, w
ater
colo
r, c
rayo
n, p
aste
l,et
c.,
alon
e or
in c
ombi
natio
n.A
nd s
ome
mat
eria
ls (
e.g.
, gol
dfo
il an
d
mot
or o
il) h
ave
the
adde
d pr
oper
ty o
f re.
flect
ing
one
colo
r an
d tr
ansm
ittin
g an
othe
r.B
oth
the
colo
r an
d th
e qu
ality
of l
ight
are
affe
cted
by
the
med
ium
thro
ugh
whi
chit
pass
eshe
nce
our
nacr
eous
daw
ns, b
lue
skie
s, a
nd fl
amin
g su
nset
s. T
he w
orld
of c
olor
fade
s on
fogg
y m
orni
ngs,
and
the
"rea
l"br
owns
and
gre
ens
of d
ista
nt h
ills
beco
me
an o
ptic
al g
rayi
sh-p
urpl
e. T
he O
ld M
aste
rsob
serv
ed th
ese
phen
omen
a an
d us
ed th
emto
adv
anta
ge in
cre
atin
g m
ood
and
the
illu-
sion
of d
epth
on
a tw
o-di
men
sion
al s
urfa
ce.
Pai
nter
s, p
otte
rs, a
nd g
lazi
ers
reco
gniz
edth
e pr
oper
ties
of s
ilico
nes
with
res
pect
tolig
ht a
nd r
aise
d th
eir
usag
e of
them
to a
hig
hle
vel o
f art
thro
ugh
such
pro
cess
es a
s gl
az-
ing,
crac
klin
g,et
c. T
he d
evel
opm
ent o
fpl
astic
s fu
rthe
r en
able
d ar
tists
to c
apita
l-iz
e up
on th
e vi
sual
effe
cts
prod
uced
by
the
inte
rnal
abso
rptio
n,tr
ansm
issi
on,
refle
c-tio
n,di
sper
sion
,di
stor
tion,
pola
rizat
ion,
and/
or in
terf
eren
ce o
f lig
ht w
aves
res
ultin
gfr
om th
e st
ruct
ure
and
com
posi
tion
of tr
ans-
pare
nt a
nd tr
ansl
ucen
t pla
nes
and
volu
mes
.In
the
final
ana
lysi
s, h
owev
er, t
he m
ost
sign
ifica
nt a
spec
t of l
ight
and
col
or is
our
visu
al p
erce
ptio
n of
them
; for
no
mat
ter
how
inde
pend
ently
they
may
exi
st in
the
phys
ical
univ
erse
, the
ir ch
ief i
mpo
rtan
ca to
us in
term
s of
life
and
art
is d
irect
ly r
elat
ed to
our
capa
city
for
seei
ng a
nd o
ur r
espo
nse
to w
hat
we
see.
The
pro
cess
of s
eein
g is
gen
eral
lyth
e sa
me
for
all o
f us;
but
ther
e ar
e di
ffere
nces
both
in w
hat w
e se
e an
d in
how
we
resp
ond
to w
hat w
e se
e. F
or e
xam
ple,
som
e of
us a
rem
ore
susc
eptib
le to
eye
fatig
ue th
an o
ther
s,or
are
sub
ject
to it
und
er d
iffer
ent c
ircum
-st
ance
s; a
nd b
ecau
se e
ye fa
tigue
pro
duce
saf
terim
ages
of c
ompl
emen
tary
col
or,
our
visu
al s
ensa
tions
are
som
etim
es d
isto
rted
.O
ne m
an in
10
and
one
wom
an in
100
is 27
"col
or b
lind'
: som
e se
e lit
tle d
iffer
ence
be-
twee
n pa
rtic
ular
sha
des
of b
lue
and
gree
n,ot
hers
bet
wee
n gr
een
and
red.
Indi
vidu
ally
and
colle
ctiv
ely,
we
tend
to a
ssoc
iate
col
orw
ith e
xper
ienc
e--a
con
ditio
n w
hich
is e
vi-
dent
in o
ur p
erso
nal p
refe
renc
es; i
n th
e vi
sual
tem
pera
ture
s w
e as
crib
e to
cer
tain
col
ors
(e.g
., th
e 'w
arm
" re
ds, y
ello
ws,
pin
ks, a
ndor
ange
s, a
nd th
e "c
ool"
blue
s, g
reen
s, g
rays
,an
d w
hite
s); i
n th
e co
lor
sym
bolis
m o
f va-
rious
cul
ture
s; a
nd m
ost r
ecen
tly,
in th
epr
oud
affir
mat
ion
"Bla
ckis
beau
tiful
!"In
tere
stin
gly
enou
gh, w
e ar
e no
t dis
turb
edby
ora
nge
skie
s an
d si
mila
r de
part
ures
from
the
real
in fi
lmed
car
toon
s or
adv
ertis
ing
disp
lays
; but
we
refu
se to
eat
are
even
sick
ened
byb
lue
mas
hed
pota
toes
, gre
enfr
ied
eggs
, and
sim
ilar
dist
ortio
ns o
f fam
il-ia
r fo
ods.
Thu
s w
e ex
perie
nce
not o
nly
visu
al.
but a
lso
emot
iona
l, ph
ysio
logi
cal,
psyc
he-
delic
, eve
n ha
lluci
noge
nic
effe
cts
from
cer
-ta
in c
ombi
natio
ns o
f lig
ht a
nd c
olor
. Mor
eof
ten
than
not
, our
res
pons
es a
re p
redi
ctab
lein
term
s of
sci
entif
ic la
ws
and
prin
cipl
es;
but a
sig
nific
ant n
umbe
r of
them
stil
l see
mun
ique
.F
or th
ese
reas
ons,
the
stud
ent s
houl
dbe
enc
oura
ged
to d
isco
ver
for
him
self
thro
ugh
dire
ct e
xper
ienc
e in
a fr
ee, i
mag
i-na
tive,
and
sel
f-st
rUct
ured
way
with
out
the
use
of s
et r
ules
and
col
or w
heel
s:-
The
app
ropr
iate
ness
of l
ight
and
col
oras
a m
ediu
m o
f exp
ress
ion
in th
e w
orld
of N
OW
, a w
orld
whi
ch b
ypas
ses
inte
r-na
lized
per
cept
ion
in fa
vor
of a
dire
ctat
tack
on
the
sens
es in
tend
ed to
elic
itan
imm
edia
te, a
ll-at
-onc
e,no
nrep
eat-
able
res
pons
e:T
he p
ower
of t
he im
agin
ativ
e us
e of
light
and
col
or to
vis
ualiz
e on
e's
own
perc
eptio
ns a
nd to
cha
nge
the
view
er's
28
mod
e of
con
scio
usne
ss a
s w
ell;
The
effe
cts
of th
ese
elem
ents
upo
n th
eap
pare
nt s
ize,
sha
pe o
r fo
rm, w
eigh
t,an
d sp
atia
l rel
atio
nshi
ps o
f ite
ms
with
ina
wor
k of
art
;T
he e
ffect
s of
the
quan
tity
of c
olor
, the
shap
e of
the
colo
r ar
ea, t
he s
ymbo
licor
psy
chol
ogic
al a
spec
ts o
f col
or, a
ndth
e m
anne
r in
whi
ch it
has
bee
n ap
plie
don
the
over
all e
ffect
of c
olor
and
upo
nw
arm
/coo
l,ad
vanc
ing/
rece
ding
,ex
-pa
ndin
g/co
ntra
ctin
g, e
tc.,
rela
tions
hips
;T
he r
ange
of e
xpre
ssio
n av
aila
ble
tohi
m th
roug
h th
e ch
oice
of s
ubje
ctiv
eor
opt
ical
col
or, a
s op
pose
d to
loca
l,re
al, o
r ob
ject
ive
colo
r;T
he e
mot
iona
l as
wel
l as
visu
al s
ensa
-tio
ns e
voke
d by
tona
lity,
a li
mite
d pa
l-et
te, o
r a
myr
iad
of c
olor
s;T
hedi
ffere
nces
betw
een
the
effe
cts
achi
eved
thro
ugh
a th
orou
gh m
ixin
gof
pai
nts
or p
igm
ents
, and
thos
e re
sult-
ing
from
a fr
ee a
nd te
xtur
ed h
andl
ing
of th
em;
The
qua
lity
and
effe
cts
of c
ontr
olle
dill
umin
atio
n, r
egar
dles
s of
the
actu
allig
htin
g co
nditi
ons
in w
hich
the
wor
kw
as d
evel
oped
or
is v
iew
ed; a
ndT
he u
se o
f lig
ht a
nd c
olor
for
unity
, har
-m
ony,
and
bal
ance
.It
is w
ith th
ese
thou
ghts
in m
ind
that
the
bibl
iogr
aphi
cre
fere
nces
on
page
s 35
-36
have
bee
n in
clud
ed.
ST
UD
IO E
XP
ER
IEN
CE
S
Usi
ng c
ardb
oard
rec
tang
les
of th
e sa
me
size
. the
stu
dent
mig
ht d
evel
op a
n ac
h-ro
mat
ic v
alue
sca
le a
nd th
encr
eate
a m
atch
ing
scal
e in
col
or.
In a
dditi
on.
hem
ight
exp
erim
ent
with
visu
alef
-fe
cts
prod
uced
bypl
acin
gre
ctan
gles
ofth
e sa
me
size
but
diffe
rent
colo
rson
var
ious
col
ored
back
grou
nds.
Usi
ng a
cryl
ic. t
empe
ra. o
r oi
l pai
nt, t
hest
uden
tm
ight
exp
erim
ent
free
lyw
ithco
lor
mix
ing
and
disc
over
,pe
rhap
s.ho
w m
any
varia
tions
of a
sin
gle
colo
rhe
can
pro
duce
.
Usi
ng a
wid
e va
riety
of p
aint
s, p
aste
ls.
inks
, and
art
pap
ers,
the
stud
ent m
ight
expl
ore
the
uniq
ue q
ualit
ies
of e
ach
med
ium
(e.g
..tr
ansp
aren
cy.
opaq
uene
ss.
fluid
ity. c
over
ing
pow
er. t
extu
re)
and
the
vario
us e
ffect
s he
can
pro
duce
with
them
.T
hest
uden
tm
ight
expe
rimen
tw
ithul
trav
iole
t or
blac
k lig
ht o
n flu
ores
cent
colo
red
surf
aces
.
The
stud
ent
mig
htex
perim
ent
with
the
effe
cts
of c
olor
on
our
eatin
g ha
b-its
bypr
epar
ing
food
sin
unfa
mili
arco
lors
, ser
ving
them
to h
is fr
iend
s, a
ndob
serv
ing
the
resu
lts.
Usi
ngca
rdbo
ard
orco
rrug
ated
pape
rbo
xes
and
tem
pera
orac
rylic
pain
t,th
e st
uden
t mig
ht c
onst
ruct
a th
ree-
dim
ensi
onal
form
whi
chex
pres
ses
a
pers
onal
feel
ing
orem
otio
nth
roug
hth
e ef
fect
ive
use
of c
olor
.T
hest
uden
tm
ight
deve
lop
apa
int-
ing
in w
hich
col
or is
use
d in
unu
sual
or u
nnat
ural
way
s (e
.g.,
gree
n fa
ces,
purp
le fi
re h
ydra
nts,
blu
e ba
nana
s, o
r-an
ge s
kies
).
The
stu
dent
mig
htde
sign
and
con-
stru
ct s
tabi
les
or m
obile
s of
tiss
ue p
a-pe
r,ce
lloph
ane,
mag
azin
epa
ges.
orot
her
colo
red
mat
eria
ls.
The
stu
dent
mig
ht c
reat
ein
tere
stin
g
two
and
ttlftt
' dim
ensi
onal
form
s of
col
ored
gla
ss. c
ello
phan
e. o
r pl
astic
pla
nes.
1he
stud
ent '
nigh
t exp
erim
ent w
ith th
eef
fect
s of
col
or a
nd m
otio
n. u
sing
:S
mal
l squ
ares
of c
ompl
emen
tary
col
.or
atta
ched
toth
e sa
me
corn
erof
For
rc 7
-4 2
alte
rnat
e pa
ges
in a
boo
k:C
olor
ed d
iscs
slit
from
cen
ter
toci
r-cu
mfe
renc
e an
d at
tach
ed to
a re
volv
-in
g tu
rnta
ble
or p
otte
r's w
heel
: or
Pat
ches
of c
olor
atta
ched
to th
e bl
ades
of a
n el
ectr
ic fa
n.
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.. V
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IrA
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a3.
Ai
.411
-"'
'If. "
tAtr
a 4(t
446,
-Nei
'-
-"s
es-
-;
I
CO
VI
The
stud
ent
mig
htex
perim
ent
with
achi
evin
glig
htan
dco
lor
effe
cts
inph
otog
raph
yth
roug
hth
eim
agin
ativ
eus
e of
f-st
ops.
filte
rs, a
nd s
uppl
emen
-ta
ry il
lum
inat
ion.
The
stu
dent
mig
ht e
xper
imen
t with
ligh
tsh
ows,
env
ironm
ents
, and
ligh
ting
de-
sign
as
itap
plie
s to
inte
riors
, adv
er-
tisin
gdi
spla
ys,
and
live
thea
ter
per-
form
ance
s.
Usi
ng a
var
iety
of c
olor
com
bina
tions
,th
e st
uden
t mig
ht d
esig
n a
war
drob
efo
r a
teen
age
boy
and/
or g
irl.
The
stu
dent
mig
ht c
reat
ein
tere
stin
gco
mpo
sitio
ns b
y ar
rang
ing
such
mat
e-ria
ls a
s st
ring,
cel
loph
ane,
wax
cra
yon
shav
ings
, Vas
elin
eet
c.,
in 2
x2 g
lass
slid
em
ount
sor
betw
een
piec
esof
heav
y ce
llulo
id: s
ealin
g th
em w
ithta
pe;
and
then
proj
ectin
gth
em a
ssl
ides
.(T
he h
eat f
rom
the
proj
ecto
r w
illm
elt
the
Vas
elin
e an
d cr
ayon
. with
rath
erun
usua
l res
ults
.)
The
stu
dent
mig
ht e
xper
imen
t with
the
colo
r ef
fect
s of
fuse
d gl
ass
by c
reat
ing
a si
mpl
e gl
azed
cla
y di
sh fo
rm o
r a
shap
e su
itabl
e fo
r ha
ngin
g.
Usi
ng tr
ansp
aren
t ena
mel
the
stud
ent
mig
ht e
xper
imen
t with
col
or in
a d
ish
or p
enda
nt b
yre
firin
gse
vera
lco
lors
over
and
ove
r.
Usi
ng s
pong
es. s
trin
g, to
othp
icks
, tw
igs,
pops
icle
stic
ks,
toot
hbru
shes
,ca
rd-
boar
dst
rips,
foun
dob
ject
s,te
mpe
ra,
and
a va
riety
of p
aper
s, th
e st
uden
tm
ight
exp
erim
ent w
ith b
rush
less
pai
nt-
ing
in b
ack,
whi
te, a
nd th
e pr
imar
yco
lors
of p
igm
ent.
Usi
ng p
aper
and
bla
ck a
nd w
hite
tem 29
pera
.th
e st
uden
t mig
ntill
ustr
ate
the
conc
ept o
f val
ue b
y tr
ansl
atin
g a
sub
ject
from
his
ske
tchb
ook
into
a v
arie
tyof
sim
ple,
flat.
achr
omat
ic p
lane
s.T
he s
tude
nt m
ight
des
ign
a w
oodc
utor
an
etch
ing
whi
ch il
lust
rate
s th
e us
eof
line
to a
chie
ve v
alue
.T
he s
tude
nt m
ight
dev
elop
a p
aint
ing
in w
hich
val
ueis
the
chie
f sou
rce
ofdr
amat
ic o
r em
otio
nal i
mpa
ct.
DIS
CU
SS
ION
S
Exa
min
e w
ith th
e st
uden
ts a
var
iety
of
exam
ples
of t
he u
se o
f lig
ht a
nd c
olor
:In
adv
ertis
ing
and
pack
agin
g;In
man
mad
e en
viro
nmen
ts s
uch
as
hom
es,
scho
ols,
chur
ches
,m
useu
ms,
galle
ries,
shop
s, m
unic
ipal
build
ings
,m
anuf
actu
ring
cent
ers,
etc
.; an
dIn
clo
thin
g an
d ac
cess
orie
s, b
oth
his-
toric
al a
nd c
onte
mpo
rary
.T
hen
disc
uss
with
the
stud
ents
suc
hto
pics
as
the
follo
win
g:T
he u
se o
f col
or fo
r ey
e ap
peal
and
emph
asis
inm
arke
ting
and
adve
rtis
-in
g;T
he u
se o
f lig
ht a
nd c
olor
in a
rchi
tec-
ture
and
inte
rior
desi
gn,
incl
udin
glo
cal e
xam
ples
as
wel
l as
thos
e fr
omot
her
cultu
ral o
r ge
ogra
phic
al a
reas
;T
he u
se o
f col
or in
clo
thin
g an
d ac
-ce
ssor
ies,
agai
nin
clud
ing
loca
lex
-am
ples
as
wel
l as
thos
e fr
om o
ther
cultu
ral o
r ge
ogra
phic
al a
reas
;T
he fa
ct th
at c
erta
in c
olor
s ar
e fla
t-te
ring
to c
erta
in p
eopl
e, a
nd o
tner
sar
e no
t;T
he e
ffect
sof
colo
r as
opp
osed
tobl
ack
and
whi
te in
pho
togr
aphs
, film
s,an
d/or
tele
visi
on p
rogr
ams.
30
Sho
w th
e st
uden
ts a
var
iety
of w
orks
of
art w
hich
illu
stra
te th
e ef
fect
ive
use
oflig
ht a
nd c
olor
. Som
e of
the
follo
win
gm
ight
be
incl
uded
:Jo
sef
Alb
ers'
HO
MA
GE
TO
TH
ES
QU
AR
E: A
SC
EN
DIN
GR
ober
t Cam
pin'
s A
LTA
RP
IEC
EM
ary
Cas
satt'
s M
OT
HE
R A
ND
CH
ILD
,T
HE
LO
DG
EP
aul C
ezan
ne's
PIN
ES
AN
D R
OC
KS
,C
HE
ST
NU
T T
RE
ES
AT
JAS
DE
BO
U F
FA
N
Mar
c C
haga
ll's
I AN
D T
HE
VIL
LAG
E,
BIR
TH
DA
YG
erar
d D
avid
's T
RIP
TY
CH
OF
ST
. JO
HN
TH
E B
AP
TIS
TS
tuar
t Dav
is' L
UC
KY
ST
RIK
EA
ndre
Der
ain'
s LO
ND
ON
BR
IDG
ER
aoul
Duf
y's
CA
SIN
O D
E N
ICE
, SA
IL-
BO
AT
AT
SA
INT
E-A
DR
ES
SE
Lyon
el F
eini
nger
's G
ELM
ER
OD
AV
ince
nt v
an G
ogh'
s S
UN
FLO
WE
RS
El G
reco
's S
T. J
OH
N'S
VIS
ION
Chi
lde
Has
sam
's C
OLU
MB
US
AV
E-
NU
E, B
OS
TO
N: R
AIN
Y D
AY
; WIN
TE
RN
IGH
TF
ALL
IN T
HE
CIT
YH
ans
Hof
man
n's
BLU
E R
HA
PS
OD
YE
dwar
d H
oppe
r's N
IGH
TH
AW
KS
Was
sily
Kan
dins
ky's
BLU
E (
NO
. 393
),C
OM
PO
SIT
ION
NO
. 2F
ranz
Klin
e's
SIE
GF
RIE
D;
BLA
CK
,W
HIT
E A
ND
GR
AY
Geo
rges
de
La T
bur's
ED
UC
AT
ION
OF
TH
E V
IRG
IN
Ligh
t scu
lptu
res
Sey
mou
r Li
pton
's C
RU
CIB
LEF
ranz
Mar
c's
BLU
E H
OR
SE
SH
enri
Mat
isse
's G
RA
ND
INT
ER
IEU
RR
OU
GE
, RE
D S
TU
DIO
May
an B
onam
pak
Tem
ple
fres
coes
Joan
Miro
'sM
AN
,W
OM
AN
, AN
D
CH
ILD
; TH
E M
OO
NC
laud
e M
onet
's H
AY
ST
AC
KS
, RO
UE
NC
AT
HE
DR
AL
Hen
ry M
oore
's IN
TE
RN
AL
AN
D E
X-
TE
RN
AL
FO
RM
SI.
Ric
e P
erei
ra's
LA
ND
SC
AP
E O
F T
HE
AB
SO
LUT
EP
ablo
Pic
asso
's L
E G
OU
RM
ET
, HA
R-
LEQ
UIN
Mau
rice
Pre
nder
gast
'sLO
WT
IDE
,B
EA
CH
MO
NT
; CE
NT
RA
L P
AR
KA
brah
am R
attn
er's
AP
RIL
SH
OW
ER
ST
illm
an R
eim
ensc
hnei
der's
alta
rpie
ces
and
scul
ptur
eA
ugus
te R
enoi
r's L
AD
Y W
ITH
PA
RA
SO
LR
embr
andt
van
Rijn
's P
OR
TR
AIT
OF
A Y
OU
TH
, TH
E N
IGH
T W
AT
CH
Die
go R
iver
a's
FLO
WE
R V
EN
DO
RM
ark
Rot
hko'
s P
AIN
TIN
G (
1953
-54)
,E
AR
TH
AN
D G
RE
EN
Geo
rges
Rou
alt's
DE
AD
CH
RIS
T, O
LDK
ING
, A C
LOW
N, T
HR
EE
JU
DG
ES
Hen
riR
ouss
eau'
sT
HE
SLE
EP
ING
GY
PS
Y
Geo
rges
Seu
rat's
SU
ND
AY
AF
TE
R-
NO
ON
ON
TH
E IS
LAN
D O
F L
AG
RA
ND
E J
AT
TE
, AT
TH
E C
ON
CE
RT
EU
RO
PE
EN
Alfr
edS
isle
y's
BA
NK
SO
FO
ISE
,E
AR
LY S
NO
W O
F L
OU
VE
CIE
NN
ES
Sta
ined
glas
s w
indo
ws
inC
hart
res
Cat
hedr
al a
nd o
ther
sT
itian
'sV
EN
US
AN
DT
HE
LUT
EP
LAY
ER
Toh
aku'
s B
OO
M O
F M
AP
LES
AN
DF
LOW
ER
SJo
hann
es V
erm
eer's
YO
UN
G W
OM
AN
WIT
H A
WA
TE
R J
UG
, TH
E A
RT
IST
'SS
TU
DIO
Jean
Ant
oine
Wat
teau
's E
MB
AR
KA
-T
ION
FO
R C
YT
HE
RA
Yor
uba
danc
e m
asks
Suc
h ite
ms
as th
e fo
llow
ing
mig
ht th
enbe
dis
cuss
ed:
The
inte
nsity
of t
he c
olor
s us
ed b
y va
nG
ogh
The
use
of c
ool,
subd
ued
colo
r in
Pi-
cass
o's
LE G
OU
RM
ET
and
HA
RLE
QU
INT
he u
se o
f bla
ck m
asse
s an
d ou
tline
sfo
rse
para
tion
ofco
lor
and
"vis
ual
shoc
k"T
he c
omm
ent t
hat H
enri
Mat
isse
, the
info
rmal
lead
er o
f the
Fau
ves.
"w
asfa
irly
wel
l con
vinc
ed th
at c
olor
imita
-tio
n or
exa
ctitu
de n
ot o
nly
faile
d to
conv
ey th
e em
otio
ns fe
lt by
the
artis
t,bu
t con
stitu
ted
inst
ead
an im
pedi
men
tto
suc
cess
ful e
xpre
ssio
n."
The
theo
ry o
f col
or d
emon
stra
ted
byth
e Im
pres
sion
ists
and
the
Poi
ntill
ists
A c
ompa
rison
of t
he u
se o
f lig
ht a
ndco
lor
by th
e O
ld M
aste
rs a
nd th
e Im
-pr
essi
onis
tsK
andi
nsky
's c
ompa
rison
of c
olor
and
pain
ting
with
mus
ical
not
es a
nd c
om-
posi
tirm
The
sta
tem
ent t
hat "
Rot
hko
appe
ars
to b
e se
ekin
g a
way
of c
hang
ing
the
view
er's
mod
e of
con
scio
usne
ss th
roug
hco
lor.
..
.he
wan
ts p
aint
ing
to s
eize
the
cons
ciou
snes
s, to
get
beh
ind
man
'sth
ough
t and
feel
ing.
"T
he v
ario
us te
chni
ques
for
appl
ying
pain
t em
ploy
ed b
y C
haga
ll, v
an G
ogh,
Rem
bran
dt, S
eura
t, an
d T
itian
.
CA
RD
INA
L. D
ON
FE
RN
AN
DO
NIN
O d
e G
UE
VA
RA
by
E I
Gre
co. 0
11 o
n ca
nvas
. TH
E M
ET
RO
PO
LIT
AN
MU
SE
UM
OF
AR
T. B
EQ
UE
ST
OF
MR
S H
0 H
AV
EM
EY
ER
. 192
9. T
HE
H0.
HA
VE
ME
YE
R C
OL
LEC
TIO
N
31
The
str
ong
emph
asis
giv
ento
col
oras
non
verb
al la
ngua
ge b
y su
ch g
roup
sor
mov
emen
ts a
s O
rphi
sm, D
ie B
ruck
e(T
he B
ridge
), D
er B
laue
Rei
ter
(The
Blu
e R
ider
), a
nd p
sych
edel
ic a
rt.
Hav
e th
e st
uden
ts e
xam
ine
the
use
ofva
lue
in a
var
iety
of a
rt fo
rms:
adv
ertis
-in
gde
sign
,ar
chite
ctur
e,fa
shio
nde
-
sign
, pai
ntin
g, p
rintm
akin
g, p
rodu
ct d
e-si
gn, s
culp
ture
, etc
. Som
e of
the
follo
w-
ing
exam
ples
mig
ht b
e in
clud
ed:
Har
ry B
erto
ia's
WA
LL P
IEC
EG
eorg
es B
raqu
e's
ST
ILL
LIF
E F
RU
IT,
ST
ILL
LIF
E W
ITH
GR
AP
ES
, ST
ILL
LIF
E: B
LUE
PLU
MS
, LE
JO
UR
Ale
xand
er C
alde
r's m
obile
sG
iorg
io d
e C
hiric
o's
NO
ST
ALG
IA O
FT
HE
INF
INIT
E,
DO
UB
LE D
RE
AM
OF
SP
RIN
G, J
UA
N-L
ES
-PIN
S,
AN
-T
IQU
E E
RA
Her
bert
Fer
ber's
TH
E F
LAM
EJu
anG
ris' G
UIT
AR
AN
D F
LOW
ER
S;
LE P
AQ
UE
T D
E T
AB
AC
; LA
CO
M-
PO
TIE
R, S
TIL
L LI
FE
Geo
rge
Inne
ss' A
UT
UM
N O
AK
SR
ay K
omai
's s
ide
chai
rG
eorg
es d
e La
Tou
r's T
HE
FO
RT
UN
ET
ELL
ER
Fer
nand
Leg
er's
TH
E C
ITY
, TH
E B
LUE
BA
SK
ET
, TH
RE
E W
OM
EN
Edo
uard
Man
et's
TH
E F
IFE
R, T
HE
DE
AD
TO
RE
AD
OR
, TH
E G
UIT
AR
IST
ST
ILL
LIF
E b
y Ju
an G
T IS
. 191
1, O
il on
can
vas.
231
2-x
19'4
". C
olle
ctio
n.T
HE
MU
SE
UM
CF
MO
DE
RN
AR
T. N
EW
YO
RK
. AC
QU
IRE
D T
HR
OU
GH
TH
E L
ILLI
EP
BLI
SS
BE
QU
ES
T
32
Pet
er M
ax's
con
tem
pora
ry p
oste
rsH
enry
Moo
re's
scu
lptu
res
Geo
rge
Nel
son'
s ch
airs
Loui
seN
evel
son'
s C
AT
HE
DR
AL
NO
.1-
6, R
OY
AL
TID
E I
Pab
loP
icas
so's
DO
G A
ND
CO
CK
,H
AR
LEQ
UIN
ON
HO
RS
EB
AC
K,
WO
ME
N O
F A
LGIE
RS
, MA
JO
LIE
ST
ILL
LIF
E, V
IOLI
N A
ND
GR
AP
ES
PS
YC
HE
DE
LIC
WE
T (
film
)
Rem
bran
dt v
an R
ein'
s T
HE
DE
SC
EN
TF
RO
M T
HE
CR
OS
S, A
RIS
TO
TLE
CO
N-
TE
MP
LAT
ING
TH
E B
US
T O
F H
OM
ER
Ludw
ig M
ies
van
der
Roh
e's
Sea
gram
Bui
ldin
gE
ero
Saa
rinen
's T
WA
Flig
ht C
ente
r at
Ken
nedy
Inte
rnat
iona
lA
irpor
t, th
eG
ener
alM
otor
sT
echn
ical
Cen
ter
Ser
vice
Sec
tion,
cha
irY
ves
Tan
guy'
sM
AM
A,
PA
PA
ISW
OU
ND
ED
!T
itian
's T
HE
TR
IBU
TE
1A
ON
EY
, VE
NU
SA
ND
TH
E L
UT
E P
LAY
ER
Geo
rge
Too
ker's
TH
E S
UB
WA
Y
Suc
h ite
ms
as th
e fo
llow
ing
mig
ht th
enpr
ove
usef
ul fo
r di
scus
sion
:T
he r
elat
ions
hip
of v
alue
to h
ue a
nd in
-te
nsity
The
impo
rtan
ce o
f val
uein
post
ers,
traf
fic s
igns
, adv
ertis
ing
disp
lays
, etc
.T
he e
ffect
s of
sur
face
s on
ligh
t, co
lor,
and
valu
e (c
f.fa
bric
s, fa
shio
n ac
ces-
sorie
s, a
nd th
e w
orks
of H
arry
Ber
toia
,H
enry
Moo
re,
Loui
seN
evel
son,
Lud-
wig
Mie
s va
n de
r R
ohe,
and
Eer
o S
aar-
inen
)T
he d
ram
atic
effe
cts
ofill
umin
atio
nac
hiev
ed b
y R
embr
andt
. La
Tou
r, a
ndT
itian
The
use
of v
alue
to in
terp
ret s
pace
and
moo
d
The
nat
ure,
func
tion,
and
effe
cts
ofch
iaro
scur
oT
he d
iffer
ence
s be
twee
n th
e ab
stra
ctus
e of
val
ue to
cre
ate
the
illus
ion
ofsp
ace,
as
illus
trat
ed b
y th
e pa
intin
gsof
Geo
rges
Bra
que
and
Juan
Gris
, and
the
mor
e re
alis
tic u
se o
f it i
n th
e w
orks
of G
eorg
e In
ness
The
illo
gica
l use
of d
arks
and
sha
dow
sin
the
pain
tings
of G
iorg
io d
e C
hiric
o
IND
EP
EN
DE
NT
ST
UD
IO A
ND
RE
SE
AR
CH
PR
OJE
CT
S
A v
isua
l pre
sent
atio
n of
the
effe
cts
oflig
ht o
n co
lor
A c
olor
and
ligh
t sho
w p
rodu
ced
and
pres
ente
d by
a fe
w s
tude
nts
for
the
en-
tire
clas
s or
sch
ool
A li
ghtin
g de
sign
for
a sc
hool
or
com
-m
unity
thea
ter
prod
uctio
nA
pai
ntin
g or
prin
t dev
elop
ed fr
omse
-le
cted
colo
rco
mbi
natio
ns,
such
asw
arm
orco
olco
lors
,co
mpl
emen
tary
colo
rs, a
nalo
gous
col
ors,
etc
.A
pai
ntin
g de
velo
ped
from
sev
eral
col
-or
s, a
ll of
the
sam
e va
lue
A v
isua
l pre
sent
atio
n of
rec
ent t
rend
sin
the
use
of c
olor
for
pack
agin
g an
dad
vert
isin
g de
sign
A s
erie
s of
exp
erim
ents
in th
eus
e of
colo
r fo
r fig
ure/
grou
nd c
ontr
ast (
pos-
itive
and
neg
ativ
e sh
apes
)A
vis
ual a
naly
sis
of th
e ps
ycho
logi
cal
or e
mot
iona
l.ip
ects
oflig
ht,
colo
r,an
d va
lue
A v
isua
l pre
sent
atio
n or
a la
yout
whi
chill
ustr
ates
the
use
of c
ontr
astin
g va
lues
to a
chie
ve v
italit
y in
adv
ertis
ing,
fash
-
33
WA
TE
R L
ILLI
ES
by
Cla
ude
Mon
et. c
. 192
0. O
il on
canv
as. E
6'2
" x
19' 7
' 2".
Col
lect
ion.
TH
E M
US
EU
MO
F M
OD
ER
N A
RT
, NE
W Y
OR
K. M
RS
. SIM
ON
GU
GG
EN
-H
EIM
FU
ND
34
ion
and
inte
rior
desi
gn,
arch
itect
ure,
pain
ting,
or
scul
ptur
eA
vis
ual a
naly
sis
of th
e w
ork
of th
e Im
-pr
essi
onis
ts,
the
Fau
ves,
the
Poi
ntill
-is
ts,
the
Cub
ists
,an
d/or
any
othe
rgr
oup
of a
rtis
ts c
once
rned
with
the
cre-
ativ
e us
e of
ligh
t, co
lor,
and
val
ueA
vis
ual a
naly
sis
of O
ptic
al, o
r O
p A
rtA
col
lage
or
pain
ting
base
d up
on th
eco
lor
theo
ries
of a
par
ticul
ar a
rtis
t or
mov
emen
t in
art
A c
ompo
sitio
nw
hich
invo
lves
mov
e-m
ent a
s w
ell a
s co
lor
A m
inia
ture
orfu
ll-si
zeen
viro
nmen
t,in
volv
ing
light
,co
lor,
mov
emen
t, an
dbo
thtw
o- a
ndth
ree-
dim
ensi
onal
de-
sign
A th
ree-
dim
ensi
onal
str
uctu
re o
rre
lief
in w
hich
col
or is
an
inte
gral
par
t of t
heto
tal d
esig
nA
vis
ual p
rese
ntat
ion
of th
e us
e of
col
orin
arch
itect
ure
and
envi
ronm
enta
l de-
sign
An
inte
rior
desi
gn fo
r an
apa
rtm
ent,
aho
me,
a s
choo
l, a
"hou
se o
f the
futu
re,"
a co
mm
unity
bui
ldin
g, e
tc.
A p
aint
ing
whi
ch il
lust
rate
s th
e us
e of
light
and
dar
k va
lues
for
dram
atic
ef-
fect
A s
erie
s of
exp
erim
ents
with
a v
arie
tyof
way
s of
exp
ress
ing
valu
e, s
uch
assm
udgi
ng, r
ubbi
ng,
orbl
endi
nglin
esw
ith c
harc
oal;
wet
and
dry
tech
niqu
es;
and
com
bina
tions
of w
ater
colo
r, in
ks,
and
othe
r m
edia
A v
isua
l pre
sent
atio
n of
tech
niqu
es fo
r
achi
evin
gva
lue
inva
rious
form
sof
prin
tmak
ing
SU
MM
AR
Y A
ND
EV
ALU
AT
ION
To
wha
t ext
ent d
o th
e ob
serv
atio
ns,
re-
spon
ses,
and
cre
ativ
e w
ork
of th
e st
uden
tre
veal
that
he:
Und
erst
ands
the
natu
re a
ndpr
oper
-tie
s of
ligh
t and
col
or, a
nd th
e re
latio
n-sh
ip b
etw
een
them
?Is
aw
are
that
ligh
t and
col
or a
re in
tegr
alto
his
env
ironm
enta
nd h
as d
evel
oped
the
abili
ty to
see
that
env
ironm
ent i
nte
rms
of th
ese
two
elem
ents
, whe
n he
choo
ses
to d
o so
?U
nder
stan
dsth
ena
ture
ofva
lue
and
its r
elat
ions
hip
to c
olor
and
ligh
t?U
nder
stan
ds th
eim
plic
atio
nsof
the
natu
re a
nd p
rope
rtie
s of
ligh
t for
pho
-to
grap
hy a
nd th
e ot
her
visu
al a
rts?
Is a
war
e of
the
varie
ty o
f effe
cts
that
can
be a
chie
ved
thro
ugh
the
imag
ina-
tive
use
of li
ght,
colo
r, a
nd v
alue
?U
nder
stan
ds th
at th
ese
effe
cts
depe
ndno
t onl
} up
on th
e ar
tist's
per
cept
ion
and
use
of th
e el
emen
ts w
hich
pro
duce
them
, but
als
o up
on th
e vi
ewer
's c
a-pa
city
for
seei
ng, h
is le
vel o
f sen
sitiv
-ity
, and
bot
h hi
s pe
rson
al a
nd c
ultu
ral
expe
rienc
epar
ticul
arly
with
colo
r?Is
c w
are
of th
e po
wer
of c
olor
and
ligh
tto
affe
ct h
uman
sen
sibi
lity,
and
of t
hefu
ll si
gnifi
canc
e of
that
pow
er?
Is a
war
e of
cur
t tre
nds
in th
e us
e of
thes
eel
emen
tsin
clud
ing
thei
rus
eas
a p
sych
olog
ical
forc
ein
the
wor
ldab
out h
im?
Is a
war
e of
the
incr
ease
d ra
nge
of c
olor
and
med
ia p
rodu
ced
by m
oder
n te
ch-
nolo
gy?
Is a
ble
to u
se c
olor
abs
trac
tly a
ndno
n-ob
ject
ivel
y, a
s w
ell a
s re
pres
enta
tion-
ally
?Is
aw
are
of th
e m
any
way
s in
whi
char
tists
use
valu
e:fo
rm
odel
ing,
in-
terp
retin
g sp
ace,
cre
atin
g m
ood
and
illus
ion,
deve
lopi
ngpa
ttern
,et
c.?
Und
erst
ands
the
impo
rtan
ce o
f val
uean
d lig
ht in
thre
e-di
men
sion
al d
esig
n?E
njoy
s ex
perim
entin
g w
ith li
ght,
colo
r,an
d va
lue
in a
var
iety
of m
edia
, and
obse
rves
the
effe
cts
he c
an p
rodu
cew
ith th
em?
Is a
ble
to m
ix, c
ontr
ol, a
pply
, and
oth
er-
wis
e us
e th
ese
elem
ents
imag
inat
ivel
yan
d cr
eativ
ely
in h
is o
wn
art w
ork?
RE
FE
RE
NC
ES
Alb
ers,
Jos
ef. T
he in
tera
ctio
n of
col
or. (
Apo
rtfo
lio o
f col
or p
rints
). Y
ale
Uni
v.19
62.
Ber
lin. B
rent
. & P
aul K
ay. B
asic
col
or te
rms;
the'
i uni
vers
ality
and
evo
lutio
n. Il
lus.
Uni
v. o
f Cal
iforn
ia.
1969
.B
illm
eyer
, F. W
. Jr.
& M
ax S
altz
man
. Prin
-ci
ples
of c
olor
tech
nolo
gy.
Inte
rsci
-en
ce P
ub.
1966
.B
irren
, Fab
er. C
olor
, for
m a
nd s
pace
.Ill
us.
Rei
nhol
d.19
66.
Col
orin
You
rW
orld
.C
c lie
r.M
acm
illan
.19
66. p
a.C
olor
psy
chol
ogy
and
colo
r th
ere-
apy;
a fa
ctua
l stu
dy o
f the
influ
ence
of c
olor
on
hum
an li
fe.
Illus
. Uni
v.B
ooks
.19
61.
Cre
ativ
e co
lor.
Illus
.R
einh
old.
1961
. His
tory
of c
olor
in p
aint
ing,
with
new
prin
cipl
esof
colo
r ex
pres
sion
.Ill
us. R
einh
old.
1965
.Li
ght,
colo
ran
den
viro
nmen
t.V
an N
ostr
and-
Rei
nhol
d.19
69.
35
Prin
cipl
es o
f col
or: a
rev
iew
of p
ast
trad
ition
san
dm
oder
nth
eorie
sof
colo
r ha
rmon
y.Ill
us.
Van
Nos
tran
dR
einh
old.
1969
.B
rook
s. W
alte
r. e
d. T
he a
rt o
f col
or m
ixin
g.O
rig. I
llus.
Gol
den
Pre
ss.
1966
. pa.
Buc
hana
n, N
orm
an. P
aint
ing
and
the
joy
of c
olor
.Ill
us. W
arne
.19
68.
Che
vreu
l. M
. E. T
he p
rinci
ples
of h
arm
ony
and
cont
rast
of c
olor
s an
d th
eir
appl
i-ca
tion
to th
e ar
ts;
intr
o.by
Fab
erB
irren
.Ill
us.
Rei
nhol
d.19
67.
Cib
a F
ound
atio
n S
ympo
sium
.C
olou
r: v
i-si
on:
phys
iolo
gyan
dex
perim
enta
lps
ycho
logy
. Will
iam
s &
Wilk
ins.
1965
.C
olem
an. H
. W..
eci.
Col
or te
levi
sion
: the
busi
ness
of c
olor
cast
ing.
Illus
.H
ast-
ings
. 196
8. (
Cor
Imun
icat
ion
art b
ooks
).D
i Val
entin
, Mar
ia, &
Lou
is.
Col
or in
oil
pain
ting.
Illus
. Ste
rling
.19
65.
Fab
ri, R
alph
. Col
or: a
com
plet
e gu
ide
for
artis
ts.
Illus
. Wat
son-
Gup
till.
1967
.G
arei
s. R
airn
o, &
T. M
. She
erer
.C
reat
ive
colo
rph
otog
raph
y:ex
posu
re,
dark
-ro
om, e
xper
imen
ts.
Dis
t. by
Has
tings
.A
mph
oto.
1970
.G
atz.
Kon
rad.
& G
erha
rd A
chte
rber
g.C
ol-
our
and
arch
itect
ure.
Illus
. Arc
hite
c-tu
ral B
ook.
1966
.G
aunt
. Leo
nard
. Tak
e co
lor.
Dis
t. by
Has
t-in
gs. A
mph
oto.
1970
.vo
n G
oeth
e. J
ohan
n.T
heor
y of
col
ours
;tr
ans.
by
C. L
. Eas
tlake
.18
70.
MIT
.pa
.H
a Is
e, A
. 0. T
he u
se o
f col
or in
inte
riors
.Ill
us. M
cGra
w.
1968
.H
icke
thie
r, A
lfred
. Col
or m
ixin
g by
num
bers
.Ill
us.
Van
Nos
tran
d-R
einh
old.
1969
.M
en. J
ohan
nes.
The
art
of c
olor
: the
sub
-je
ctiv
e ex
perie
nce
and
obje
ctiv
era
-tio
nale
of c
olor
; tra
ns. b
y E
rnes
t van
36
Haa
gnIll
usR
einh
old
I!3fi1
Ele
men
ts o
f col
or.
Vai
l Nos
irand
Rei
nhol
d.19
10Li
fe E
dito
rs. e
d. C
olor
. Tim
e Li
te.
19/0
Mac
adam
. D. L
.. ed
. Sou
rces
of c
olor
sci
-en
ces.
MIT
.M
unse
ll. A
. H. A
gra
mm
ar o
f col
or: a
bas
ictr
eatis
e on
the
colo
r sy
stem
of
Al-
bert
H_
Mun
sell;
intr
o. b
y F
aber
Birr
en.
Illus
.V
an N
ostr
andR
einh
old.
1969
.O
stw
ald.
Wilh
elm
. The
col
or p
rimer
: a b
asic
trea
tise
on th
e co
lor
syst
em o
f Wilh
elm
Ost
wal
d; e
d. b
y F
aber
Birr
en.
(Orig
.tit
le: D
ie fa
rben
fibel
)Ill
us. V
an N
os-
tran
d-R
einh
old.
1969
.R
iord
an. J
ames
. Dyn
amic
s of
col
orco
n-tr
ol a
nd h
arm
onic
s. V
anta
ge.
1970
.R
oss.
R. J
. Col
or fi
lm fo
r co
lor
tele
visi
on.
Has
tings
.19
70.
Rot
hste
in. A
rthu
r. C
olor
pho
togr
aphy
now
.Ill
us. D
ist.
by C
hilto
n. A
mph
oto.
197
0.S
aler
nme.
L.A
.C
olor
exe
rcis
es fo
rth
epa
inte
r. W
atso
n-G
uptil
l. 19
70.
She
ppar
d. J
.J.
Hum
an c
olor
per
cept
ion.
Am
Els
evie
r. 1
968.
Slo
ane.
Pat
ricia
. Col
our:
bas
ic p
rinci
ples
[and
] new
dire
ctio
ns. O
rig. i
llus.
Rei
n-ho
ld.
1967
.(S
tudi
oV
ista
/Rei
nhol
dar
t pap
erba
ck)
Spe
ars.
C W
. How
to w
ear
colo
rs: w
ithem
phas
is o
nda
rksk
ins.
Bur
gess
.19
65. p
a.T
aube
s.F
rede
ric. T
he m
aste
ry o
fco
lor.
Pitm
an. 1
970.
pa.
Trit
ten.
Got
tfrie
d. T
each
ing
colo
r an
d fo
rm.
Illus
.V
anN
ostr
and-
Rei
nhol
d.19
70.
Wrig
ht. W
. 0. M
easu
rem
ent o
f col
our.
4th
ecL9
. Illu
s.V
anN
ostr
and-
Rei
nhol
d.19
69.
Yul
e. J
. A. P
rinci
ples
of c
olor
rep
rodu
ctio
n.W
iley.
196
7.
BE
1C
o
FO
RM
(S
HA
PE
)
For
m is
a s
egm
ent o
f spa
ce o
r su
bsta
nce
with
dis
tingu
isha
ble
boun
darie
s.It
can
bea
plan
e, a
thre
e-di
men
sion
al im
age
on a
flat
surf
ace,
a v
olum
e, a
con
stru
ctio
n, a
n op
ensp
atia
l str
uctu
reev
en n
egat
ive
spac
e or
a vo
id.
Tw
o-di
men
sion
al fo
rms
are
ofte
nca
lled
shap
es a
nd a
re u
sual
ly d
efin
ed b
ycl
osed
line
s; b
ut th
ey a
lso
emer
ge fr
omar
eas
of c
olor
, ove
rlapp
ing
plan
es, a
nd c
on-
tras
ts o
f tex
ture
or
valu
e.T
hree
-dim
en-
sion
al fo
rms
are
defin
ed b
y th
ee: m
ass
orst
ruct
ure
and
by p
atte
rns
of li
ght o
r m
ove-
men
t, an
d of
ten
requ
ire th
e vi
ewer
's to
uch
for
thei
r ef
fect
iven
ess
as e
sthe
tic e
xpre
s-si
on.
Like
the
othe
r el
emen
ts o
f art
, for
ms
are
ever
ywhe
re. T
hey
are
larg
e or
sm
all,
sim
-pl
e or
com
plex
, rou
nded
or
poin
ted,
con
-ve
x or
con
cave
, per
fect
or
irreg
ular
, airy
or m
assi
ve, s
tatic
or
mob
ile, a
nd o
ftell
tang
ible
as
wel
l as
visi
ble.
The
re a
re tw
om
ajor
type
s:B
iom
orph
ic fo
rms
are
roun
ded,
ovo
id,
amor
phou
s.T
hey
rese
mbl
e th
e or
-ga
nic
aspe
cts
of n
atur
e an
d th
ere-
fore
rel
ate
to li
fe a
nd p
rimal
sou
rces
_G
eom
etric
form
s ar
e pe
rfec
t,po
inte
dor
circ
ular
, mat
hem
atic
al.
The
y re
-se
mbl
eth
ein
orga
nic
aspe
cts
ofna
ture
, are
ofte
n pr
oduc
ed b
y in
stru
-m
ents
dev
ised
by
man
, and
ther
efor
e 37
LA
sugg
est
inte
llect
ual,
abst
ract
,an
dm
echa
nica
l qua
litie
s.In
gen
eral
, the
"m
eani
ng"
of a
sha
pe o
rfo
rm a
nd t
e re
spon
ses
it ev
okes
hav
e a
basi
sin
com
mon
hum
an e
xper
ienc
e. B
ut b
ecau
seth
e pr
oper
ties
of th
ese
elem
ents
as
we
en-
coun
ter
them
in li
fe a
cqui
re a
new
mea
ning
whe
n th
ey a
re u
sed
in c
onju
nctio
n w
ith o
ther
elem
ents
in a
com
posi
tion;
bec
ause
the
sig-
nific
ance
of o
bjec
ts a
nd a
ctio
ns d
iffer
s fr
omcu
lture
to c
ultu
re; a
nd b
ecau
se th
e vi
ewer
brin
gs to
a w
ork
of a
rt h
is p
erso
nal e
xper
-ie
nce,
his
ow
n le
vel o
f sen
sitiv
ity, a
nd h
isow
n w
ay o
f see
ing,
the
impa
ct o
f the
sha
pes
or fo
rms
in a
giv
en a
chie
vem
ent w
ill v
ary.
The
art
ist s
elec
ts, t
rans
form
s, o
r cr
eate
s.fo
rms
that
see
m m
ost a
ppro
pria
te fo
r hi
spu
rpos
e. F
or e
xam
ple:
He
may
see
k to
red
efin
e th
e pr
oper
ties
of fo
rms;
He
may
atte
mpt
to c
aptu
re th
e es
senc
eof
his.
subj
ect t
hrou
gh a
rep
rese
nta-
tiona
l or
abst
ract
use
of f
orm
;H
e m
ay u
se th
e sy
mbo
lic v
alue
of p
ar-
ticul
ar fo
rms
as a
mea
ns o
f exp
ress
ion
or c
omm
unic
atio
n;H
e m
ay c
reat
e no
nobj
ectiv
e fo
rms
whi
chst
imul
ate
dire
ctse
nsor
yre
actio
ns;
He
may
org
aniz
e a
varie
ty o
f for
ms,
or
varia
tions
of o
ne in
con
vent
iona
l way
s;O
r He
may
del
iber
atel
y di
stor
t, ju
xtap
ose,
orus
efa
mili
ar fo
rms
inun
fam
iliar
way
sas
Pic
asso
doe
s in
GU
ER
NIC
Ain
ord
er to
mak
e a
pers
onal
sta
te-
men
t or
to e
licit
part
icul
ar ty
pes
of r
e-sp
onse
.
In a
ny e
vent
, the
art
ist's
use
of s
hape
or
form
is a
mat
ter
of c
hoic
e an
d th
eref
ore
serv
es a
s an
impo
rtan
t clu
e to
the
mea
ning
38
of th
e w
ork
as a
who
le.
It al
so te
lls u
s so
met
hing
of t
he a
rtis
t'sm
ilieu
, sin
ce th
e sh
apes
and
form
s in
art
are
rela
ted
to th
e m
ater
ials
,pr
oces
ses,
and
prev
ailin
g at
titud
es o
f the
tim
e.F
orpr
imiti
ve m
an, s
hape
s of
ten
had
relig
ious
sign
ifica
nce
and
thre
e-di
men
sion
al fo
rms
wer
e ph
ysic
al e
mbo
dim
ents
of t
he g
ods,
rath
er th
an m
ere
repr
esen
tatio
ns o
f the
m.
Ear
ly w
orks
like
the
pyra
mid
s an
d th
e S
phin
x,th
e C
olos
sus
of R
hode
s, th
e A
nglo
-Sax
ons'
Sto
nehe
nge,
and
the
mon
olith
s of
Eas
ter
Isla
nd a
re m
assi
ve s
truc
ture
s m
ade
of s
tone
and
mea
nt to
serv
ere
ligio
us,
polit
ical
,an
d/or
com
mem
orat
ive
purp
oses
.T
here
is a
pei
man
ence
abo
ut th
em th
at s
pans
both
wor
lds.
Late
r w
orks
wer
eca
rved
,m
olde
d, c
ast,
cons
truc
ted,
ass
embl
ed, e
tc.,
of m
arbl
e, w
ood,
terr
a co
tta, b
ronz
e, w
ax,
wire
, pol
yest
er, t
rans
pare
nt a
nd tr
ansl
ucen
tpl
astic
, fou
nd it
ems
even
ice.
The
y re
-le
ased
the
form
s an
d m
eani
ngs
that
wer
e"im
pris
oned
" in
the
mat
eria
l, or
cap
ture
dth
e hu
man
form
, or
cele
brat
ed th
e di
vine
,or
sai
d so
met
hing
abo
ut th
e hu
man
con
di-
tion,
or
defin
ed a
n el
emen
t of t
he p
hysi
cal
univ
erse
, or
serv
ed a
func
tiona
l pur
pose
,or
exp
loite
dte
chno
logi
cal d
evel
opm
ents
,or
lodg
ed a
pro
test
. Con
tem
pora
ryfo
rms
refle
ct th
e ch
angi
ng n
atur
e of
life
: the
y ar
eno
nobj
ectiv
e,ki
netic
,am
orph
ouse
ven
liqui
d. A
nd r
ecen
t wor
ks g
o fu
rthe
r ye
t by
stre
ssin
g th
e he
re-a
nd-n
ow, t
he o
ne-t
ime-
only
, the
dire
ct s
ensa
tion
of th
e 70
's in
bal
-lo
on s
truc
ture
s th
at s
elf-
dest
ruct
and
insc
ulpt
ures
of i
ce th
at m
elt i
n th
e m
akin
g.A
s w
ith th
e ot
her
elem
ents
of a
rt, t
hest
uden
t's e
xper
ienc
e w
ith fo
rm s
houl
d be
varie
d an
d ex
tens
ive.
Som
e of
the
follo
w-
ing
type
s of
act
ivity
mig
ht b
e in
clud
ed; b
utin
any
eve
nt, t
he s
tude
nt s
houl
d be
en-
cour
aged
to r
einf
orce
his
vis
ual p
erce
ptio
nof
thin
gs b
y to
uchi
ng o
r fe
elin
g th
em w
hen-
ever
pos
sibl
e.D
irect
expe
rienc
ew
itha
varie
tyof
med
ia th
roug
h w
hich
the
stud
ent c
andi
scov
er:
The
phy
sica
l pro
pert
ies
of fo
rms
The
sym
bolic
pro
pert
ies
of s
hape
s an
dfo
rms
The
vis
ual a
nd/o
r sy
mbo
lic e
ffect
s of
vario
us a
rran
gem
ents
of s
hape
s an
d/or
form
s-
The
effe
cts
oflig
htan
d/or
mov
e-m
ent o
n fo
rms,
or
spec
ific
arra
ngem
ents
of th
emT
he r
elat
ions
hip
betw
een
form
s an
dth
e m
ater
ials
and
pro
cess
es u
sed
inde
pict
ing,
tran
sfor
min
g,or
crea
ting
them
The
var
iety
of p
urpo
ses
whi
ch fo
rms
can
serv
eT
he e
ffect
s on
e ca
n ac
hiev
e w
ith fr
ag-
men
ted
form
s
Exp
erim
ents
incr
eatin
gth
ree-
dim
en-
sion
al im
ages
on
a fla
t sur
face
Exp
erim
ents
in a
bstr
actin
g th
roug
h th
eco
nver
sion
ofth
ree-
dim
ensi
onal
form
sto
two-
dim
ensi
onal
shap
esin
varie
dpe
rspe
ctiv
es
Ske
tchi
ng s
essi
ons
desi
gned
to s
harp
enth
e st
uden
t's a
war
enes
s of
the
type
s,fu
nctio
ns, a
nd a
rran
gem
ents
of s
hape
sor
form
s:-
In th
e w
hole
hum
an fi
gure
, or
in e
n-la
rged
det
ails
of t
hat f
igur
e;In
mac
hine
s an
d m
achi
ne p
arts
;In
or
abou
t the
sch
ool b
uild
ing;
In th
e na
tura
l env
ironm
ent;
Insh
oppi
ngar
eas,
offic
ebu
ildin
gs.
stre
ets,
nei
ghbo
rhoo
ds;
In a
rt g
alle
ries
and
scul
ptur
e ga
rden
s:In
phot
ogra
phs,
adv
ertis
emen
ts,
tele
-vi
sion
com
mer
cial
s; e
tc.
Film
orsl
ide
pres
enta
tions
,vi
sits
tocu
ltura
lin
stitu
tes
and
exhi
bits
,an
dop
en d
iscu
ssio
nsIn
form
alm
eetin
gsw
ithar
chite
cts,
scul
ptor
s,in
terio
r de
sign
ers,
indu
stria
len
gine
ers,
gra
phic
art
ists
, and
/or
oth-
ers
who
se o
ccup
atio
ns in
volv
e de
pict
-:r
ig,
tran
sfor
min
g,or
crea
ting
shap
esan
d fo
rms
The
follo
win
gsu
gges
tions
are
mor
esp
ecifi
c:
ST
UD
IO E
XP
ER
IEN
CE
S
The
stu
dent
mig
ht c
reat
e a
moo
d co
m-
posi
tion
with
sha
pes
of v
ario
us s
izes
cut o
rto
rn fr
om c
olor
edpa
per
and
past
ed o
n m
ount
ing
boar
d.T
he s
tude
nt m
ight
cre
ate
a se
ries
ofde
sign
s ba
sed
on s
impl
e or
gani
c fo
rms
by m
akin
g a
rubb
ing
on te
xtur
ed p
aper
or c
loth
.T
he s
tude
ntm
ight
dev
elop
a si
mpl
efo
rm b
y pi
nchi
ng, a
ddin
g, s
ubtr
actin
g,or
othe
rwis
em
odel
ing
terr
aco
tta,
clay
,or
plas
ticin
eun
tila
satis
fyin
gde
sign
has
bee
n ac
hiev
ed.
The
stu
dent
mig
ht c
onst
ruct
a s
tabi
leof
brig
htly
colo
red
rect
iline
arca
rd-
boar
d,ce
llulo
id,
orpl
astic
sha
pes.
The
stud
ent
mig
htbu
ilda
thre
e-di
-m
ensi
onal
cons
truc
tion
ofsh
apes
carv
edor
cut f
rom
scr
aps
ofst
yro-
foam
orge
nolit
ean
dte
xtur
edw
itha
burn
ing
tool
and/
orov
ersp
raye
dw
ith p
aint
.
The
stu
dent
mig
ht c
arve
a s
impl
e ha
ndsc
ulpt
ure
that
appe
als
toth
eto
uch
and
brin
gs o
ut th
e gr
ain,
cur
ve, a
ndch
arac
ter
of th
e w
ood.
The
stu
dent
mig
ht d
evel
op a
nono
b-je
ctiv
epa
intin
gor
col
lage
whi
chin
-co
rpor
ates
the
use
of tr
ansp
aren
t ove
r-la
ppin
gpl
anes
ora
com
bina
tion
ofm
edia
.
The
stu
dent
mig
ht s
potli
ght
ase
ries
of in
tere
stin
g fo
rms
from
a v
arie
ty o
fan
gles
and
dire
ctio
ns, a
nd o
bser
ve th
eef
fect
sof
chan
ges
inlig
htin
gup
onth
e ap
pear
ance
of t
he it
ems
and
the
shap
es a
nd v
alue
s of
the
shad
ows
itca
sts.
The
stud
ent
mig
htcr
eate
sim
plifi
edfo
rms
by d
rapi
ng o
r w
rapp
ing
an o
b-je
ct, o
r a
grou
p of
obj
ects
, in
shee
ting
or th
in m
ater
ial.
The
stud
ent
mig
htill
ustr
ate
am
ul-
tiple
vie
w o
f a s
impl
e ob
ject
or
pape
rsc
ulpt
ure.
The
stu
dent
mig
ht c
reat
ea
thre
e-di
-m
ensi
onal
stud
yof
the
sim
ple
geo-
met
ric s
hape
s an
d fo
rms
in a
sea
ted
or r
eclin
ing
hum
an fi
gure
..U
sing
dow
el r
ods,
toot
hpic
ks, a
nd n
ylon
fishi
ng li
ne, t
he s
tude
nt m
ight
cre
ate
ast
yliz
ed fi
gure
or
anim
al fo
rm w
ith m
any
open
and
clo
sed
spac
es.
Usi
ng d
isca
rded
mec
hani
cal a
dver
tisin
gdi
spla
ym
ater
ial,
the
stud
ent
mig
htcr
eate
a k
inet
ic s
culp
ture
.
a.
39
DIS
CU
SS
ION
S
1hro
ugh
film
s, s
lides
, and
vis
its to
art
galle
ries,
mus
eum
s, S
etilp
ture
gar
dens
,an
d sh
oppi
ngar
eas,
exp
ose
the
stu
dent
s to
a v
arie
ty o
f thr
ee-d
imen
sion
alfo
rms.
The
se m
ight
iocl
ude
hats
,je
w-
elry
, cer
amic
s, s
ilver
war
e, fu
rnitu
re, a
c-ce
ssor
ies.
prim
ary
stru
ctur
es,
envi
ron-
men
ts, a
rchi
tect
ure.
and
suc
h re
pres
en-
tativ
e w
orks
of a
rt a
s:A
fric
ansc
ulpt
urep
artic
ular
lyfr
omth
e C
ongo
,th
e B
akon
go a
ndB
ason
ge s
tyle
Jean
Arp
's R
ELI
EF
, HU
MA
N C
ON
CR
E-
TIO
N, D
ES
IGN
Leon
ard
Bas
kin'
s S
EA
TE
D M
AN
WIT
HO
WL
BIR
TH
OF
AT
HE
NA
(re
lief o
n th
e ea
st-
ern
pedi
men
t of t
he P
arth
enon
)C
hine
se d
eitie
sC
onst
antin
Bra
ncus
i's B
IRD
IN S
PA
CE
,F
ISH
Lynn
Cha
dwic
k's
TE
DD
Y B
OY
AN
DG
IRL
DIS
CO
BO
LOS
("T
heD
iscu
sT
hrow
-er
")F
rank
Gal
lo's
SW
IMM
ER
Lore
nzo
Ghi
bert
i'sbr
onze
doo
rs fo
rth
e ba
ptis
try
at F
lore
nce
LAN
GU
ED
OC
FIG
UR
E O
F C
HR
IST
Alb
erto
Gia
com
etti'
sC
ITY
SQ
UA
RE
,H
EA
D O
F T
HE
AR
TIS
T'S
MO
TH
ER
,T
HE
CA
RT
HE
AD
WIT
H H
OR
NS
. AF
RIC
AN
. BA
ULE
. Ano
nym
ous.
19th
cen
tury
. Ivo
ry. C
OLL
EC
TIO
N P
ET
ER
PO
LLO
CK
. NE
W Y
OR
K
Sid
ney
Gor
din'
s C
ON
ST
RU
CT
ION
NO
ifT
orn
Har
dy's
BIS
ON
Indi
an te
mpl
e sc
ulpt
ure
Gas
ton
Lach
aise
's T
OR
SO
Edr
noni
a Le
wis
' FO
RE
VE
R F
RE
EJa
cque
s Li
pchi
tz' R
EC
LIN
ING
NU
DE
WIT
HG
UIT
AR
,B
IRT
HO
FT
HE
MU
SE
S, F
IGU
RE
Mic
hela
ngel
o's
MO
SE
S.
HE
AD
OF
DA
VID
, PIE
TA
Hen
ry M
oore
's T
WO
FO
RM
S, R
EC
LIN
-IN
G F
IGU
RE
Isam
u N
oguc
hi's
CR
ON
OS
And
rew
O'C
onno
r's H
EA
D O
FLI
N-
CO
LNJo
se d
e R
iver
a's
CO
NS
TR
UC
TIO
N 5
6,C
ON
ST
RU
CT
ION
"BLU
EA
ND
BLA
CK
"Lu
ca d
ella
Rob
bia'
s M
AD
ON
NA
AN
DC
HIL
D, M
AD
ON
NA
WIT
HLI
LIE
S,
MA
DO
NN
A D
EL
RO
SE
TO
Aug
usta
Sav
age'
s G
AM
INT
opic
s lik
e th
e fo
llow
ing
mig
ht th
en b
edi
scus
sed:
The
var
iety
of m
ater
ials
use
d in
thre
e-di
men
sion
al fo
rms
The
use
of fo
rmin
jew
elry
,ac
ces
sory
, pro
duct
, and
furn
iture
des
ign
The
inte
rpre
tatio
n of
the
hum
an fo
rmin
Gre
ek a
nd A
fric
ansc
ulpt
ure,
and
inth
e w
ork
ofre
pres
enta
tive
artis
ts(e
.g.,
Bas
kin,
Gal
lo,
Ghi
bert
i,G
iaco
-m
etti,
Lac
hais
e, L
ipch
itz, M
iche
lang
elo,
M .o
re, O
'Con
nor,
del
la R
obbi
a)A
com
paris
orof
the
biom
orph
icfo
rms
used
by
Jean
Arp
and
Isam
uN
oguc
hi a
nd th
e ge
omet
ric fo
rms
inth
e w
ork
of J
ose
de R
iver
a an
d S
idne
yG
ordi
n
RE
LIE
F b
y Je
an A
rp 1
938
39. a
fter
a re
lief o
f 193
4.35
. Woo
d. 1
9 1
? x
19 5
5-,
Col
lect
ion.
TH
E M
US
EU
MO
F M
OD
ER
N A
RT
. NE
W Y
OR
K. G
IFT
OF
TH
E A
D-
VIS
OR
Y C
OM
MIT
TE
E (
by
exch
ange
)C
RO
NO
S b
y Is
amu
Nog
uchi
. Bal
sa w
ood.
ST
AB
LE G
AL
LER
Y. N
EW
YO
RK
41
TA
LIE
SIN
WE
ST
. Ter
race
. Fra
nk L
loya
Wrig
ht. 1
938,
SC
OT
TS
DA
LE. A
RIZ
ON
A
TH
E B
US
DR
IVE
R b
y G
eorg
e S
egal
, 196
2. F
lure
of p
last
er r
r.,e
r ch
eese
clot
h: b
us p
arts
incl
udin
g co
inbo
x. s
teer
ing
whe
el. d
river
's s
eat.
raili
ng. d
ashb
oard
.et
c.. F
igur
e 53
1 /2
- x
26 7
'8"
x 45
". w
oode
n pl
atfo
rm5
1 '8
- x
51 5
.8"
x 75
5.8
" ov
eral
l hei
ght 7
5". C
olle
ctio
n. T
HE
MU
SE
UM
OF
MO
DE
RN
AR
T. N
EW
YO
RK
.P
HIL
IP C
. JO
HN
SO
N F
UN
D.
42
The
cont
ribut
ions
ofsu
ch m
en a
sC
harle
s E
ames
, Pau
l McC
obb,
Geo
rge
Nak
ashi
ma,
Jan
s R
isom
,E
ero
Saa
r-in
en, a
nd H
ans
Weg
ener
to fu
nctio
nal
desi
gnT
he .m
port
ance
of f
orm
in fu
nctio
nal
desi
gnT
he u
se o
f for
m, s
truc
ture
, and
spa
cein
the
arch
itect
ural
desi
gns
ofR
.
Buc
kmin
ster
Ful
ler,
Phi
lipJo
hnso
n,Le
Cor
busi
er, O
scar
Nie
mey
er, L
udw
igM
ies
van
der
Roh
e, P
aolo
Sol
ervi
, Ed-
war
d D
urre
ll S
tone
. and
Fra
n% L
loyd
Wrig
htT
he r
elat
ions
hip
betw
een
the
view
eran
d th
ree-
dim
ensi
onal
form
sin
rep-
rese
ntat
ive
wor
ks o
f art
from
var
ious
perio
ds
Sho
w th
e st
uden
ts a
var
iety
of e
xam
-pl
es o
f the
use
of f
orm
in le
tterin
g, a
d-ve
rtis
ing
desi
gn,
fabr
ican
dw
all-/
orw
rapp
ing
pape
rde
sign
,m
echa
nica
l
draw
ing,
pho
togr
aphy
, prin
tmak
ing,
and
such
two-
dim
ensi
onal
artw
ork
asth
efo
llow
ing:
Bet
tyB
layt
on's
CO
ND
UC
TIV
E M
IND
Rom
are
Bea
rden
's F
AM
ILY
Aub
rey
Bea
rdsl
ey's
TH
E B
LAC
K C
AP
E(f
rom
SA
LOM
E)
Geo
rges
Bra
que'
s M
AN
WIT
H A
GU
I-T
AR
, WO
MA
N W
ITH
A M
AN
DO
LIN
,W
OM
AN
WIT
H A
VIO
LIN
Wan
g C
hien
's W
HIT
E C
LOU
DS
OV
ER
HS
IAO
AN
D H
SIA
NG
Gus
tave
Cou
rbet
's T
HE
ST
ON
EB
RE
AK
-E
RS
, TH
E Q
UA
RR
Y, T
HE
BE
AC
H A
TE
NT
RE
TA
TJu
anG
ris' G
RA
PE
S A
ND
WIN
E, L
AC
OM
PO
TIE
R, H
AR
LEQ
UIN
Ern
stK
irchn
.:r's
ST
RE
ET
SC
EN
EJa
cob
Law
renc
e's
PR
AY
ING
MIN
IS-
TE
RS
Fer
nand
Leg
er's
TH
E C
ITY
, TH
E D
I-V
ER
S, T
HR
EE
MU
SIC
IAN
SP
iet M
ondr
ian'
s B
RO
AD
WA
Y B
OO
GIE
WO
OG
IE, P
AIN
TIN
GI,
RE
D A
ND
YE
LLO
WP
ablo
Pic
asso
'sW
OM
AN
WIT
HA
GU
ITA
R, G
IRL
WIT
H A
MA
ND
OLI
N,
TH
E T
HR
EE
MU
SIC
IAN
S, G
IRL
BE
-F
OR
E A
MIR
RO
R, S
EA
TE
D W
OM
AN
Hor
ace
Pip
pin'
s JO
HN
BR
OW
N G
O-
ING
TO
HIS
HA
NG
ING
Kay
Sag
e's
NO
PA
SS
ING
Geo
rge
Seg
al's
TH
E B
OW
ER
YB
enS
hahn
'sH
AN
DB
ALL
,F
AT
HE
RA
ND
CH
ILD
PA
LM S
UN
DA
Y P
RO
CE
SS
ION
by
Rom
are
Bea
rden
.C
olla
ge. C
OR
DIE
R A
ND
EK
ST
RO
M. I
NC
.. N
EW
YO
RK
43
Hen
ride
AV
RIL
Uta
mar
o's
LAD
Y
Tou
lous
e-La
utre
c's
JAN
E
BU
ST
OF
A B
EA
UT
IFU
L
Top
ics
like
the
follo
win
g m
ight
then
be
disc
usse
d:-
The
impo
rtan
ce o
f sha
pes
and
form
sin
adve
rtis
ing,
illus
trat
ion,
phot
og-
raph
y, p
rodu
ct a
nd s
tage
des
ign,
and
scul
ptur
eT
he m
eani
ngs
asso
ciat
ed w
ith th
e sh
apes
and
form
s on
e en
coun
ters
inhi
s en
-vi
ronm
ent a
nd in
art
The
inte
rpre
tatio
n of
the
hum
an fo
rmin
repr
esen
tativ
ew
orks
by
Cou
rbet
,Le
ger,
Pic
asso
, Sha
hn, a
nd T
oulo
use-
Laut
rec
The
use
and
effe
cts
of s
impl
ifica
tion,
over
lapp
ing,
reor
gani
zatio
n,an
dsi
-m
ulta
neity
inre
pres
enta
tive
wor
ks b
yB
eard
en, B
layt
on, B
raqu
e, G
ris, L
eger
,P
icas
so, a
nd S
age
44
IND
EP
EN
DE
NT
ST
UD
IO A
ND
RE
SE
AR
CH
PR
OJE
CT
S
ase
ries
ofde
sign
sba
sed
upon
the
crea
tive
use
of h
andw
ritin
g an
d le
tter
form
s
A p
icto
rial e
ssay
dev
elop
ed fr
om d
raw
-irg
sor
phot
ogra
phs
ofa
part
icul
arfo
rm a
s se
en fr
om a
var
iety
of p
ersp
ectiv
es
A s
erie
s of
dra
win
gs o
r pa
intin
gs w
hich
illus
trat
e th
e vi
sual
effe
cts
of s
tret
ch-
ing
or c
ompr
essi
ng fa
mili
ar s
hape
s or
form
s
An
orig
in&
dra
win
g, p
aint
ing,
or
serie
sof
ske
tche
s of
the
hum
an fo
rm in
act
ion,
with
emph
asis
upo
n m
ass
and
posi
-tiv
e/ne
gativ
e sh
apes
A n
onob
ject
ive
cons
truc
tion
com
pose
dof
opa
que,
tran
spar
ent,
and/
or tr
ans-
luce
nt p
lane
s or
vol
umes
A r
elie
f scu
lptu
re c
ompo
sed
of p
lane
sag
ains
t a b
ackg
roun
dA
vis
ual o
r m
ultim
edia
pre
sent
atio
n co
n-ce
rned
with
a to
pic
such
as
the
follo
w-
ing: An
art m
ovem
ent i
nvol
ved
with
the
ab-
stra
ctio
n of
form
The
3-F
phi
loso
phy
ofF
rank
Lloy
dW
right
"For
m F
ollo
ws
Fun
ctio
n"T
he c
ontr
ibut
ions
of t
he W
eim
ar B
au-
haus
to th
e so
lutio
nof
pro
blem
s in
prac
tical
des
ign
The
rel
atio
nshi
p be
twee
n de
si jn
and
the
corp
orat
e im
age
The
rel
atio
nshi
p be
twee
n ar
chite
ctur
alde
sign
and
eco
logy
SU
MM
AR
Y A
ND
EV
ALU
AT
ION
To
wha
t ext
ent d
o th
e ob
serv
atio
ns, r
e-sp
onse
s, a
nd c
reat
ive
wor
k of
the
stud
ent
reve
al th
at h
e:U
nder
stan
ds th
ena
ture
and
pro
per-
ties
of fo
rm?
Is a
war
e of
sha
pes
and
form
s in
his
sur
-ro
undi
ngs,
and
of t
heir
impo
rtan
ce to
his
life?
Rea
lizes
that
the
effe
ct o
f a g
iven
sha
peor
form
is d
epen
dent
not
onl
y up
on th
eus
e to
whi
ch it
is p
ut, b
ut a
lso
upon
the
view
er's
cul
tura
l bac
kgro
und,
per
sona
lex
perie
nce,
leve
l of s
ensi
tivity
, and
way
of s
eein
g?Is
abl
e to
use
var
ious
type
s of
med
iain
thre
e-di
men
sion
al d
esig
n?Is
abl
e to
cre
ate
a th
ree-
dim
ensi
onal
imag
e on
a fl
at s
urfa
ce?
Is a
ble
to u
se s
hape
s an
d fo
rms
ab-
stra
ctly
and
non
obje
ctiv
ely,
as
wel
l as
repr
esen
tatio
nally
?Is
abl
e to
use
sha
pes
and
form
s cr
e-at
ivel
yin
orig
inal
two-
/and
thre
e-di
-m
ensi
onal
des
ign?
r
4
41
4A
UST
..!
LIN
E
A li
ne is
a g
raph
ic o
r st
ruct
ural
mod
e of
PY
pres
s o
n w
ith a
var
iety
of u
ses
and
char
-ac
teris
tics:
Itha
s tw
o di
men
sion
slen
gth
and
wid
thI
begi
ns w
ith a
poi
nt o
r do
t and
mov
esin
any
dire
ctio
nsom
etim
es d
ivid
ing
and
som
etim
esun
ifyin
gsp
ace,
but
alw
ays
lead
ing,
limiti
nc,
enla
rgin
g,or
othe
rwis
eaf
fect
ing
the
view
er's
perc
eptio
n.It
can
be m
ade
with
a p
en, a
pen
cil,
a br
ush,
a c
rayo
n, a
twig
, a fe
athe
r,a
strin
g; a
nd m
ay b
e lo
ng, s
hort
, thi
ck,
thin
,ha
rd,
soft,
clea
r,fu
zzy,
wav
er-
ing,
prec
ise,
brok
en,
cont
inuo
us,
rhyt
hmic
,er
ratic
,ho
rizon
tal,
vert
ical
,ob
lique
,st
raig
ht,
curv
ed,
bent
,ja
g-ge
dacc
ordi
ng to
the
artis
t's c
hoic
ean
d us
e of
tool
s an
d m
edia
.It
can
be a
forc
e or
mov
emen
t; th
e co
n-to
ur o
f a s
hape
or
form
; a p
assi
ve d
e-m
arca
tion
betw
een
cont
rast
ing
colo
rs,
valu
es, a
nd v
olum
es o
r ar
eas
of m
ass
or s
pace
.It
may
be
visi
ble
or im
plie
d.A
ndas
wor
ks li
ke A
lexa
nder
Cal
der's
TH
E H
OS
TE
SS
so
clea
rly il
lust
rate
it ca
n ex
ist i
n sp
ace
as w
ell a
s on
a s
ur-
face
; for
a s
tand
ing
stru
ctur
e of
wire 45
46
or s
trin
g is
act
ually
a li
ne d
raw
ing
inth
reed
imen
sion
al fo
rm.
Like
the
othe
r el
emen
ts o
f art
, lin
e is
an
inte
gral
part
of m
an's
env
ironm
ent a
ndde
rives
its
"mea
ning
" fr
om c
omm
on h
uman
expe
rienc
e w
;th o
bser
ved
real
ity.
For
ex-
ampl
e, h
oriz
onta
l lin
es o
ften
conv
ey a
feel
-in
gof
sol
idar
ity, p
erm
anen
ce, o
r pe
ace,
beca
use
they
rel
ate
to th
e gr
ound
ben
eath
one'
s fe
et, r
oads
, fou
ndat
ions
, the
hor
izon
(for
whi
ch th
ey're
nam
ed),
a b
ed, .
..nd
slee
por
dea
th. V
ertic
al li
nes
sugg
est l
ife, r
each
-in
g,di
gnity
,an
d so
met
imes
resi
stan
ce,
beca
use
they
are
vis
ible
in th
e up
right
form
sof
men
, tre
es, b
uild
ings
, sup
port
s, a
nd o
b-st
ruct
ions
. A c
ombi
natio
n of
the
two
resu
ltsin
bala
nce:
right
ang
les
are
inte
llect
ual,
mat
hem
atic
al,
prec
isea
ndth
eref
ore
impl
y a
reas
oned
con
trol
of n
atur
al fo
rce;
whi
le d
oorf
ram
es, g
oalp
osts
, and
the
let-
ter
H s
ugge
st v
aryi
ng d
egre
es o
f sta
bilit
y.D
iago
nals
are
prec
ario
uslik
ele
anin
gto
wer
s of
Pis
a or
ladd
ers
with
out s
uppo
rtun
less
they
sta
biliz
e ea
ch o
ther
in th
efo
rm o
f tria
ngle
s. T
he ja
gged
line
s of
ligh
t-ni
ng b
olts
, cra
cks
in s
tone
or
woo
d or
pla
ster
wal
ls, r
ips
from
bar
bed
wire
, or
the
gapi
ngw
ound
s in
the
eart
h's
surf
ace
prod
uced
by q
uake
s or
oth
er d
isas
ters
are
viv
id e
x-pr
essi
ons
of te
nsio
n, d
ange
r, h
igh
volta
ge,
and
sudd
en c
atas
trop
he. C
urve
d lin
es, o
nth
e ot
her
hand
, are
gra
cefu
l, flu
id, c
alm
and
ofte
n fe
min
ine
in n
atur
e. W
hen
they
form
circ
les,
they
see
m p
erfe
ct o
r re
peti-
tious
; whe
n th
ey a
re o
void
or
ellip
tical
,th
ey r
emin
d on
e of
egg
s an
d th
eref
ore
sug-
gest
fert
ility
,po
tent
ial,
and
biom
orph
icpr
oper
ties;
and
whe
n th
ey s
pira
l, th
ey s
ym-
boliz
e gr
owth
, pro
gres
sion
, asc
ent,
upw
ard
mob
ility
, asp
iratio
nand
the
reve
rse.
Writ
ten
lang
uage
was
ana
tura
lou
t-gr
owth
of c
omm
on v
isua
l exp
erie
nce.
Prim
-
itive
peo
ple
soon
dis
cove
red
that
they
cou
ldco
mm
unic
ate
by s
impl
e m
arks
or
diag
ram
sm
ade
with
a p
oint
ed o
bjec
t on
a di
rt s
urfa
ce.
Alo
ne o
r in
com
bina
tion,
line
s an
d do
tsco
uld
be u
sed
to id
entif
y pe
rson
s, p
lace
s,or
thin
cs a
ndto
expr
ess
rela
tions
h;ps
,m
ovem
ents
,di
rect
ions
,co
ncep
ts,
idea
sev
en e
mot
ions
,m
oods
,or
attit
udes
.P
icto
grap
hs,
ideo
gram
s,hi
erog
lyph
ics,
cune
iform
sign
s an
d sy
mbo
ls o
f one
sor
tor
ano
ther
wer
e de
velo
ped
as a
mea
ns o
fre
cord
ing
and
tran
smitt
ing
info
rmat
ion.
To
date
, lan
guag
e se
ems
to h
ave
pass
edth
roug
h fo
ur s
tage
s of
dev
elop
men
t: pi
cto-
grap
hic,
syl
labi
c, a
lpha
betic
, and
bin
ary;
and
its n
atur
e an
d us
e ar
e st
rong
indi
cato
rsof
adv
ance
s in
civi
lizat
ion.
But
whe
ther
verb
al a
nd v
isua
l, or
pur
ely
visu
al, l
angu
age
can
be u
sed
not o
nly
to c
omm
unic
ate
orre
cord
, but
als
o to
cre
ate
esth
etic
exp
er-
ienc
eand
the
basi
c el
emen
t is
line.
Cer
tain
line
s an
d lin
e co
mbi
natio
ns p
ro-
duce
unu
sual
per
cept
ual e
ffect
s as
wel
l.F
or e
xam
ple:
Ver
tical
line
s ap
pear
to b
e lo
nger
than
horiz
onta
l lin
es o
f equ
al le
ngth
.D
iago
nal
lines
'lovi
ng o
utw
ard
from
the
ends
of a
hor
izon
tal l
ine
mak
e a
line
term
inat
ed b
y di
agon
allin
es m
ovin
gto
war
d th
e ce
nter
app
ear
to b
e sh
ort-
er,
alth
ough
the
lines
are
equa
lin
leng
th (
the
Mul
ler-
Lyer
illu
sion
).P
aral
lel
lines
cro
ssed
by
a se
ries
ofop
posi
te p
aral
lel l
ines
see
m to
div
erge
in th
e sa
me
dire
ctio
n th
at th
e cr
oss
stro
kes
conv
erge
.C
onve
rgin
glin
escr
eate
the
illus
ion
of d
ista
nce.
Line
s of
equ
al le
ngth
flan
ked
by u
n-eq
ual p
airs
of d
arke
r lin
es a
ppea
r to
be u
nequ
al in
leng
th.
Equ
al d
iago
nal
orob
lique
lines
at-
tach
ed to
a b
asel
ine
appe
ar to
be
un-
equa
l in
leng
th if
the
angl
es th
ey fo
rmw
ith th
e ba
selin
e ar
e un
equa
l.Ite
ms
of e
qual
hei
ght a
ppea
r to
be
uneq
ual w
hen
plac
edin
diffe
rent
lo-
catio
ns o
na
syst
emof
conv
ergi
nglin
es.
The
sid
es o
f a s
quar
e su
perim
pose
don
a p
atte
rn o
f con
cent
ric c
ircle
s ap
-pe
ar to
bow
tow
ard
the
cent
er o
f the
figur
e.S
trai
ght l
ines
sup
erim
pose
d on
a g
ridof
inte
rsec
ting
diag
onal
s se
em to
ben
d_C
once
ntric
circ
les
supe
rimpo
sed
on a
patte
rn o
f dia
gona
l lin
es a
ppea
r to
be
dist
orte
d.S
pace
div
ided
by
lines
app
ears
to b
esm
alle
r th
an s
pace
whi
chis
unlin
ed.
Iden
tical
pai
rs o
f eye
s ap
pear
to g
aze
indi
ffere
ntdi
rect
ions
,ac
cord
ing
toth
e or
ient
atio
n of
the
low
er p
art o
f the
face
.T
he e
ffect
s of
line
and
line
com
bina
tions
such
as
thos
e de
scrib
ed a
bove
ena
ble
the
artis
t to
crea
te th
e ill
usio
n of
dep
th o
r th
ree-
dim
ensi
onal
spa
ce o
n a
flat s
urfa
ce, t
he il
lu-
sion
of m
otio
n in
sta
ble
med
ia, t
he il
lusi
onof
life
in in
anim
ate
form
s, a
nd a
var
iety
of
othe
r vi
sual
effe
cts,
acc
ordi
ng to
his
ow
nin
tent
s an
d pu
rpos
es. F
or th
e ar
tist u
ses
line
as h
e do
es th
e ot
her
elem
ents
of a
rtob
ject
ivel
y or
sub
ject
ivel
y; fo
r re
pres
enta
-tio
nal,
abst
ract
, or
nono
bjec
tive
wor
kto
expr
ess
his
own
visi
on in
his
ow
n w
ay.
Som
e of
the
follo
win
g su
gges
tions
mig
htbe
use
ful i
n de
velo
ping
with
the
stud
ent
a w
ide
varie
ty o
f rel
evan
t exp
erie
nces
with
line:
ST
UD
IO E
XP
ER
IEN
CE
S
The
stud
ent
mig
htex
perim
ent
with
draw
ing
a nu
mbe
r of
fast
, fre
e lin
es o
na
larg
e sh
eet o
f pap
er w
ith a
sof
t pen
cil
held
any
man
ner
not n
orm
ally
use
dfo
r w
ritin
g.T
hest
uden
tm
ight
expe
rimen
tw
ithdr
awin
g ex
pres
sive
lines
with
a w
ide
varie
tyof
med
ia,
incl
udin
gm
ater
ials
not
norm
ally
asso
ciat
edw
ithdr
aw-
ing
(e.g
.,m
atch
stic
ks,
toot
hpic
ks,
twig
s).
Usi
ng s
trip
s of
con
stru
ctio
n pa
per,
tist
uden
t mig
ht e
xper
imen
t with
org
aniz
-in
g lin
es in
a u
nifie
d ge
omet
ric c
ompo
-si
tion
whi
ch e
mph
asiz
es s
patia
lre
la-
tions
hips
in th
e m
anne
r of
Mon
dria
n.
The
stu
dent
mig
ht c
onst
ruct
a s
tand
ing
figur
e or
ani
mal
form
from
a c
ontin
uous
piec
e of
wire
.T
he s
tude
nt m
ight
mak
e a
ser.
esof
sim
ple
brus
h dr
awin
gs o
f ani
mal
s, p
eo-
ple,
plan
ts, m
achi
nery
,bu
ildin
gs,
etc.
The
stu
dent
mig
ht m
ake
larg
e dr
awin
gsfr
om li
near
pat
tern
s in
nat
ure,
suc
h as
woo
d gr
ain,
a fi
nger
prin
t, a
fern
leaf
.a
smal
l bra
nch
from
a tr
ee, d
ried
wee
ds.
cut s
ectio
ns o
f fru
it or
veg
etab
les,
etc
.
The
stu
dent
mig
ht m
ake
a nu
mbe
r of
sket
ches
of t
he s
ame
scen
e, e
mph
asiz
-in
g ho
rizon
tal l
ines
in o
ne, v
ertic
al li
nes
in a
noth
er, e
tc.
The
stu
dent
mig
ht m
ake
a se
ries
of c
on-
tour
dra
win
gs o
f obj
ects
or
hum
an b
e-in
gs w
ithou
t rem
ovin
g th
e to
ol fr
om th
eM
AN
OF
PE
AC
Et)
Lt.n
rirla
rdB
,i11
97,2
) W
irocl
cur
pr,n
ttql
('olle
t' tw
n T
HE
MU
pape
r.
SE
UM
OF
Mi.)
;)E
PN
AR
T N
EW
YO
RK
. AB
BY
ALD
RIC
HU
sing
suc
h m
ater
ials
as
wire
, dow
elin
g,F
?OC
KE
FE
ILE
P F
UN
Dst
rips
of w
ood,
ree
d, s
trin
g, th
read
, etc
..
the
stud
ent m
ight
con
stru
ct a
sta
bile
com
pose
d of
man
y cu
rved
or
stra
ight
lines
org
aniz
esas
a u
nifie
d co
mpo
si-
tion.
DIS
CU
SS
ION
S
Hav
e th
e st
uden
ts e
xam
ine
the
artis
t'sus
e of
line
and
dot
in a
var
iety
of t
wo-
dim
ensi
onal
form
s of
exp
ress
ion.
The
sem
ight
incl
ude
adve
rtis
emen
ts.
aqua
-t:n
ts. c
allig
raph
y, c
arto
ons.
cav
e dr
aw-
ings
,C
hine
sean
dJa
pane
sebr
ush
pain
tings
.et
chin
gs.
iHus
trat
ions
.lin
edr
awin
gs. m
ezzo
tints
. pai
ntin
gs.
prin
ts.
woo
dcut
s. a
nd th
e w
orks
of
the
Old
Mas
ters
as
wel
l as
thos
e of
con
tem
pora
ryar
tists
.F
or e
xam
ple:
Leoh
ard
Bas
kin'
s M
AN
OF
PE
AC
EM
ary
Cas
satt'
s T
HE
FIT
TIN
GP
aul
Cez
anne
'sH
OU
SE
AM
ON
GT
RE
ES
.T
HE
ST
OC
KA
DE
. CH
ES
T.
NU
T T
RE
ES
AT
JA
S D
E B
OU
FF
AN
Lu C
hih'
s R
OC
KY
LA
ND
SC
AP
ED
EE
R S
CR
OLL
pain
ting
by S
otat
su.
calli
grap
hy b
y K
oets
uV
ince
nt v
an G
ogh'
s P
OP
LAR
S O
N A
HIL
L. C
YP
RE
SS
LA
ND
SC
AP
E. C
OR
N-
FIE
LDW
ITH
CY
PR
ES
SE
S.
RO
AD
WIT
H P
OP
LAR
SA
rshi
le G
orsk
y's
BE
TR
OT
HA
L H
Mor
ris G
rave
s' L
ITT
LE K
NO
WN
BIR
DIk
kosa
i Hos
ei's
A R
US
SIA
NF
ranz
Klin
e's
CH
IEF
Will
emde
Koo
ning
'sW
OM
AN
.W
OM
AN
IfJo
hn M
arin
's W
oolw
orth
Bui
ldin
gP
iet
Mon
dria
n's
CO
MP
OS
ITIO
NIN
BLA
CK
AN
D W
HIT
E A
ND
RE
D. O
P-
PO
SIT
ION
OF
LIN
ES
. WH
ITE
AN
DR
ED
47
48
I mile
Nol
des
TH
E P
RO
PH
ET
Cha
rles
Will
son
Pea
le's
BE
NJA
MIN
FR
AN
KLI
NP
ablo
Pic
asso
's S
EA
TE
D W
OM
AN
Jack
son
Pol
lock
's A
UT
UM
N R
HY
TH
M:
NU
MB
ER
ON
E. 1
948
Mau
rice
Pre
nder
gast
's T
HE
RY
DE
RG
eorg
es S
eura
t's C
AF
E C
ON
CE
RT
Ch'
a S
hihP
iao'
s S
PR
ING
Mar
k T
obev
's L
YR
ICB
radl
eyW
alke
rT
omlin
'sN
O. 3
-19
48Ja
mes
A.
McN
eill
Whi
stle
r's B
LAC
KLI
ON
WH
AR
FS
uch
topi
cs a
s th
e fo
llow
ing
mig
ht th
enbe
dis
cuss
ed:
The
text
ure
and
patte
rncr
eate
d by
line
or d
ot in
the
wor
ks o
f Pab
lo P
i-ca
sso,
Mau
rice
Pre
nder
gast
, and
Geo
rges
Seu
rat
The
use
of m
easu
rem
ent t
o or
gani
ze li
nean
d sp
atia
l rel
atio
nshi
ps in
the
wor
ksof
Pie
t Mon
dria
nT
he c
hara
cter
of l
ine
in C
hine
se a
ndJa
pane
se a
rt, a
nd in
the
draw
ings
of
cont
empo
rary
art
ists
and
Old
Mas
ters
The
uni
que
qual
ity o
f lin
e in
gra
phic
art
The
pow
er o
f lin
e to
lead
the
view
er's
eye
in a
dver
tisin
g de
sign
The
use
of l
ine
in w
oodc
uts
by L
eona
rdB
aski
n,E
mile
Nol
de,
and
Japa
nese
artis
ts Ik
kosa
i Hos
ei o
r S
hoko
kuT
he c
ontr
ast b
etw
ecn
the
sere
ne, p
as-
sive
line
of P
aul C
esan
ne a
nd M
ary
Cas
satt
and
the
swin
ging
line
ofV
ince
nt v
an G
ogh.
as
a m
eans
of e
mo-
tiona
l exp
ress
ion
The
vita
lity
of li
ne in
the
"act
ion
pain
t-in
g"of
the
abst
ract
-exp
ress
ioni
stm
ovem
ent,
espe
cial
ly th
at o
f Jac
kson
Pol
lock
,F
ranz
Klin
e, a
nd W
illem
de
Koo
ning
Sho
w th
e st
uden
ts a
var
iety
of e
xam
ples
of th
e us
e of
line
and
dot
in th
ree-
dim
ensi
onal
form
s.S
ome
of th
e fo
llow
-in
g ite
ms
mig
ht b
e in
clud
ed:
Ale
xand
er A
rchi
penk
o's
TH
E S
PIR
ITO
F T
HIS
CE
NT
UR
Y "
MO
DE
LIN
G O
FLI
GH
T"
Har
ry B
erto
ia's
FLO
WE
RA
lexa
nder
Cal
der's
TH
EH
OS
TE
SS
,S
PIN
Y S
TA
BIL
E, S
PR
ING
Jose
de
Riv
era'
s C
ON
ST
RU
CT
ION
NO
.47
, HO
MA
GE
TO
TH
E W
OR
LD O
FM
INK
OW
SK
IC
harle
s E
ames
' lou
nge
chai
r an
d ot
to-
man
Nau
m G
abo'
s M
ON
UM
EN
T F
OR
AP
HY
SIC
SO
BS
ER
VA
TO
RY
,LI
NE
AR
CO
NS
TR
UC
TIO
N #
1, L
INE
AR
CO
N-
ST
RU
CT
ION
IN S
PA
CE
Sid
ney
Gor
din'
s C
ON
ST
RU
CT
ION
NO
.10
Gun
ter
Hae
se's
IN T
IBE
TD
avid
Har
e's
SU
NR
ISE
Ibra
mLa
ssaw
'sP
RO
CE
SS
ION
,S
I-R
IUS
, ME
TA
MO
RP
HO
SE
SJa
cque
sLi
pchi
tz's
PR
OM
ET
HE
US
ST
RA
NG
LIN
G T
HE
VU
LTU
RE
Len
Lye'
s F
OU
NT
AIN
Kon
stan
tin M
ilona
dis-
FLO
WE
R G
AR
-D
EN
Hen
ry M
oore
's K
ING
AN
D Q
UE
EN
Geo
rge
Nak
ashi
ma'
s ta
ble
and
chai
rA
ntoi
neP
evsn
er's
DE
VE
LOP
AB
LEC
OLU
MN
, CO
NS
TR
UC
TIO
N IN
TH
EE
GG
, FA
UN
A O
F T
HE
OC
EA
NE
ero
Saa
rinen
's c
onfe
renc
e ch
air
Dav
id S
mith
's H
UD
SO
N R
IVE
R L
AN
D-
SC
AP
E, R
OY
AL
BIR
DR
icha
rd S
tank
iew
icz'
EU
RO
PA
ON
A
CY
CLE
, FIS
H L
UR
KIN
GT
akes
' SIG
NA
L R
OC
KE
Tan
d ap
prop
riate
sel
ectio
ns fr
om a
rchi
tec-
tura
l, in
terio
r, s
tage
, fur
nitu
re, p
rodu
ct,
cost
ume,
and
jew
elry
des
ign.
Suc
h to
pics
as
the
follo
win
g m
ight
then
be d
iscu
ssed
:T
he a
ppar
ent i
mpa
ct o
f sci
ence
and
tech
nolo
gy u
pon
the
scul
ptur
e of
this
cent
ury
Dav
;c1
Sm
ith's
atte
mpt
to"p
aint
" a
land
scap
e in
spa
ce w
ith li
ne a
lone
The
con
tras
t bet
wee
n th
e"s
tory
tell-
ing"
line
of D
avid
Sm
ith, J
acqu
es L
ip-
chitz
, and
Hen
ry M
oore
, and
the
Con
-st
ruct
ivis
t use
of l
ine
by A
ntoi
ne P
evs-
ner
and
Sid
ney
Gor
din
The
use
of p
oint
or
dot i
n th
e sc
ulpt
ure
of G
unte
r H
aese
and
Har
ry B
erto
iaT
he s
tron
g lin
ear
qual
ity in
the
arch
i-te
ctur
e of
suc
h m
en a
s F
rank
Llo
ydW
right
,Lu
dwig
Mie
s va
n de
rR
ohe,
and
Eer
o S
aarin
enT
he c
ontr
ast b
etw
een
the
func
tiona
llin
es u
sed
inth
e de
sign
of m
oder
nw
ashi
ng m
achi
nes,
ref
riger
ator
s, a
uto-
mob
iles,
etc
., w
ith th
ose
in e
arlie
r m
od-
els
The
em
phas
is o
n bo
thes
thet
ic a
ndut
ilita
rian
need
s in
the
use
of c
lean
,fu
nctio
nal
lines
by
cont
empo
rary
de-
sign
ers
SU
MO
WR
ES
TI E
RS
by
Kat
suka
wa
Shu
nko.
late
18t
hce
ntur
y. W
ood
bloc
k, G
EM
INI S
MIT
H. I
NC
. N
EW
YO
RK
49
IND
EP
EN
DE
NT
ST
UD
IO A
ND
RE
SE
AR
CH
PR
OJE
CT
S
A s
erie
s of
ges
ture
dra
win
gs o
f the
hum
anfig
ure
in a
ctio
nA
ser
ies
of li
ne d
raw
ings
or
pain
tings
deve
lope
d fr
om a
pre
viou
sly
cons
truc
t-ed
thre
e-di
men
sion
al c
ompo
sitio
nA
num
ber
of e
xper
imen
tal l
ine
com
po-
sitio
ns u
sing
wet
on
wet
, dry
on
wet
,dr
y on
dry
, and
wet
on
dry
mat
eria
lsA
ser
ies
of d
esig
ns fo
r je
wel
ry d
evel
op-
ed w
ith li
ne a
lone
A s
erie
sof
adv
ertis
ing
layo
uts
whi
chem
phas
ize
line
and
type
A b
anne
r or
post
erin
whi
ch "
scrip
tw
ritin
g" is
use
d to
com
mun
icat
e a
mes
-sa
ge
Mod
els
of fu
nctio
nal,
thre
e-di
men
sion
alco
mpo
sitio
nsw
hich
emph
asiz
elin
e(e
.g.,
arch
itect
ure,
furn
iture
, mon
umen
-ta
l scu
lptu
re)
An
illus
trat
ed r
epor
t on
the
use
of li
nein
the
desi
gn o
f Vic
toria
n an
d co
ntem
-po
rary
furn
iture
.
A v
isua
lpr
esen
tatio
n w
hich
com
pare
sth
e co
ntem
pora
ry u
se o
f lin
ein
prin
t-m
akin
g w
ith th
at in
ear
ly fo
rms,
incl
ud-
ing
the
wor
k of
suc
h di
vers
e ar
tists
as
Dau
mie
r,D
urer
,M
unch
,C
orita
Ken
t,Jo
an M
iro, e
tc.
An
illus
trat
ed r
epor
t on
the
use
of li
nein
con
tem
pora
ry s
culp
ture
50
SU
MM
AR
Y A
ND
EV
ALU
AT
ION
To
wha
t ext
ent d
o th
e ob
serv
atio
ns, r
e-sp
onse
s, a
nd c
reat
ive
wor
k of
the
stud
ent
reve
al th
at h
e:U
nder
stan
ds th
e na
ture
and
pro
pert
ies
of li
ne?
Is a
war
e th
at li
ne c
an b
e im
plie
d as
wel
l as
visi
ble,
and
that
it m
ay e
xist
in s
pace
as
wel
l as
on a
sur
face
?Is
aw
are
that
line
is in
tegr
al to
one
'sen
viro
nmen
t and
has
dev
elop
ed th
eab
ility
to s
ee h
is e
nviro
nmen
t :n
term
sof
line
, whe
n he
cho
oses
to d
o so
?is
aw
are
of th
e ve
rsat
ility
of l
ine
and
the
resu
ltant
var
iety
of i
ts u
ses?
Enj
oys
expe
rimen
ting
with
vario
uski
nds
of li
ne a
nd w
ith v
ario
us ty
pes
of m
edia
in c
reat
ing
line?
Per
ceiv
es th
e di
ffere
nce
betw
een
line
as d
ecor
atio
nor
em
belli
shm
ent a
ndlin
e as
an
inte
gral
par
t of c
ompo
sitio
n?Is
abl
e to
use
line
to e
xpre
ss m
ove-
men
t; to
def
ine
volu
me
as w
ell a
sar
ea;
tore
veal
a c
ondi
tion,
a c
har-
acte
ristic
,or
an
emot
ion;
tore
pre-
sent
a s
ubje
ct o
r a
situ
atio
n; to
sym
-bo
lize
an id
ea;
or o
ther
wis
e to
con
-ve
y an
inte
nded
mes
sage
or
to c
reat
ea
desi
red
effe
ct?
Is a
ble
to u
se li
ne c
reat
ivel
yin
his
own
art w
ork?
TE
XT
UR
E
Tex
ture
is b
oth
a vi
sual
and
a ta
ctile
ele
-m
ent o
f art
. Tra
ditio
nally
, the
sim
ulat
ion
ofte
xtur
e w
as a
prim
e in
gred
ient
in a
n ar
tist's
wor
k. R
enai
ssan
ce p
aint
ers
labo
red
to c
re-
ate
real
istic
illus
ions
of n
atur
al te
xtur
es;
Rap
hael
's T
HE
SC
HO
OL
OF
AT
HE
NS
and
DIS
PU
TA
have
pain
ted
"arc
hite
ctur
alfr
ames
";an
dB
aroq
uear
tists
wer
ere
-no
wne
d fo
r th
eir
skill
in m
akin
g fla
t woo
dan
d pl
aste
r w
alls
app
ear
to h
ave
gold
or
mar
ble
mol
ding
s, p
ilast
ers,
eng
aged
col
-um
ns, o
r si
mila
r th
ree-
dim
ensi
onal
dev
ices
.La
ter
atte
mpt
s to
sim
ulat
e te
xtur
e in
pai
nt-
ing
wer
e so
suc
cess
ful t
hat t
hey
"dec
eive
dth
e ey
e" a
nd e
arne
d su
ch s
tylis
tic la
bel-
ings
astr
ompe
I'oei
l,ill
usio
nism
,an
dm
agic
or
phot
ogra
phic
rea
lism
. The
med
-iu
m w
as a
lway
s su
bjec
t to
the
man
, and
one
of th
e m
easu
res
of h
is g
eniu
s as
an
artis
t was
the
exte
nt to
whi
ch h
e co
uld
con-
vert
that
med
ium
to h
is p
urpo
se. T
he m
arks
of h
is to
ols
wer
e ex
pect
ed to
be
rem
oved
,co
vere
d, o
r ot
herw
ise
disg
uise
d in
the
fin-
ishe
d w
ork.
Thu
s th
e lim
bs o
f DA
VID
are
mar
velo
usly
sm
ooth
and
the
surf
ace
ofan
aca
dem
ic p
aint
ing
has
the
look
of g
lass
.W
ith th
e ad
vent
of t
he Im
pres
sion
ists
and
such
inno
vato
rs a
s P
aul C
ezan
ne. V
in-
cent
van
Gog
h, F
erna
nd L
eger
, and
Pau
lK
lee,
art
ists
beg
an to
exp
lore
the
effe
cts
of a
ctua
l rat
her
than
sim
ulat
ed te
xtur
e in 51
a w
ork
of a
rt. A
nd th
ere
wer
e ot
her
deve
l-op
men
ts a
s w
ell:
- T
he u
niqu
e ch
arac
teris
tics
of th
e ar
t-is
t's m
ediu
m a
nd th
e m
arks
of h
is to
ols
cam
e to
be
rega
rded
as
effe
ctiv
e m
eans
of e
xpre
ssio
n in
and
of t
hem
selv
es.
Old
mat
eria
ls w
ere
used
indi
ffere
ntw
ays,
end
item
s un
rela
ted
to a
rt a
s"b
eaut
y" b
ecam
e th
e ne
w m
edia
for
artis
tic e
xpre
ssio
n.F
or e
xam
ple,
pai
ntor
pig
men
t was
impo
rtan
t not
onl
y in
term
s of
col
or,
but a
lso
beca
use
ofop
erat
ions
don
e w
ithit
or in
itaf
ter
itha
d be
enap
plie
d; a
nd s
uch
ele-
men
ts o
f mod
ern
civi
lizat
ion
as s
trin
g,ta
pe,
nails
,ju
nk, a
nd o
ther
"fo
und"
obje
cts
cam
e to
be b
oth
tool
s an
dbu
ildin
gm
ater
ials
for
cont
empo
rary
wor
ks o
f art
.-
Pho
togr
aphy
, ele
ctro
nic
imag
ery,
and
othe
rte
chno
logi
cal
adva
nces
less
en-
ed th
e ne
ed fo
r th
e ar
tist a
s hi
stor
ian,
illus
ioni
st, a
nd im
agem
aker
.M
useu
ms
and
galle
ries
cam
e al
ive
with
wor
ks d
esig
ned
to b
e to
uche
d an
d ex
-pe
rienc
ed, a
s w
ell a
s vi
ewed
.A
nd s
uch
esth
etic
expe
rienc
e se
ems
to in
volv
e th
e w
hole
sen
soriu
m, i
t was
thou
ght t
o be
ach
ieve
d m
ost e
ffect
ivel
yfo
r bo
thth
ear
tist
and
the
view
er-
now
-par
ticip
ant
thro
ugh
the
proc
ess
of a
rt,
in w
hich
cas
e th
e w
ork
itsel
fbe
com
es a
rel
ativ
ely
insi
gnifi
cant
re-
min
der
of th
e ex
perie
nce.
Pai
ntin
g m
erge
d w
ith s
culp
ture
; the
vi-
sual
and
pla
stic
art
s, w
ith th
e dr
amat
icar
ts;
and
repr
esen
tatio
n,w
ithre
alex
perie
nce.
As
a re
sult,
con
tem
pora
ry w
orks
incl
ude
both
sim
ulat
ed a
nd a
ctua
l for
ms
of te
x-tu
re. F
or e
xam
ple,
thos
e in
film
s an
d ph
oto-
52
grap
hs a
re v
isua
l onl
y; b
ut p
aint
ings
ofte
nha
ve ta
ngib
le te
xtur
es a
chie
ved
thro
ugh
imag
inat
ive
met
hods
of a
pply
ing
pigm
ent
(cf.
the
varie
d te
chni
ques
of M
ax E
rnst
,N
iki d
e S
aint
Pha
lle, a
nd J
acks
on P
ollo
ck,
amon
g ot
hers
) an
d je
wel
ry, c
raft,
cer
amic
s,sc
ulpt
ure
thes
e m
ore
than
eve
r de
pend
upon
the
view
er's
sen
se o
f tou
ch a
s w
ell a
ssi
ght f
or th
eir
effe
ctiv
enes
s. N
o lo
nger
re-
stric
ted
to a
sin
gle
med
ium
, the
art
ist o
ften
inco
rpor
ates
rea
l obj
ects
rat
her
than
rep
re-
sent
atio
ns o
f the
m in
his
wor
k. T
he m
ore
fam
iliar
form
s of
mul
timed
ia c
ompo
sitio
nin
clud
e co
llage
, ass
embl
age,
frot
tage
, gra
t-ta
ge, d
ecal
oman
ia, a
rchi
tect
ural
sur
face
s,an
d en
viro
nmen
ts.
Tex
ture
has
com
e in
to it
s ow
nnot
onl
yas
a m
eans
of r
epre
sent
atio
n, b
ut a
lso
asan
effe
ctiv
e to
ol a
nd a
n in
depe
nden
t ele
-m
ent o
f exp
ress
ion
and
desi
gn. T
he s
tude
ntsh
ould
ther
efor
e be
enc
oura
ged
to e
xper
i-m
ent w
ith a
wid
e va
riety
of t
extu
res
and
tact
ile s
ensa
tions
in a
free
,im
agin
ativ
e,an
d no
nstr
uctu
red
way
. As
his
wor
k in
art
prog
ress
es, s
ome
of th
e fo
llow
ing
type
s of
activ
ity m
ight
be
incl
uded
:
ST
UD
IO E
XP
ER
IEN
CE
S
Blin
dfol
ded,
the
stud
ent m
ight
exp
lore
the
surf
ace
text
ures
of b
ooks
, tab
leto
ps,
glas
swar
e, fa
bric
s, fu
rs, l
ogs
or b
ranc
hes,
frui
t, flo
wer
pet
als,
drie
d w
eeds
, gra
ss,
rock
s an
d st
ones
, soi
l, ce
men
t, m
etal
,pl
astic
,sp
onge
,sa
ndpa
per,
etc.
,an
dth
en d
iscu
ss h
is r
eact
ions
with
the
othe
rm
embe
rs o
f the
cla
ss.
Usi
ng a
ny s
urfa
ce th
at le
nds
itsel
fto
the
activ
ity,
the
stud
ent m
ight
mak
ea
num
ber
of s
mal
l sur
face
rub
bing
s an
d
then
mou
nt th
em to
geth
er o
n a
!arg
epa
per
or b
oard
.T
he s
tude
nt m
ight
cre
ate
a co
mpo
si-
tion
base
d on
text
ures
ach
ieve
d th
roug
hth
e us
e of
oil,
acr
ylic
, or
tem
pera
pai
ntan
d a
varie
ty o
f too
ls (
e.g.
, pie
ces
ofsp
onge
, scr
een,
woo
d gr
ain,
sty
rofo
am,
strin
g).
Usi
ng it
ems
from
his
ske
tchb
ook
as a
poin
t of d
epar
ture
, the
stu
dent
mig
htex
plor
e th
e te
xtur
al p
ossi
bilit
ies
of b
oth
the
med
ium
and
the
wor
king
sur
face
as h
e de
velo
ps a
pai
ntin
g w
ith a
cryl
ic,
oil,
wat
erco
lor,
or
past
el.
The
stud
ent
mig
htcr
eate
aco
llage
from
a v
arie
ty o
f rea
dym
ade
mat
eria
lsw
ith s
imila
r or
con
tras
ting
text
ures
.
Usi
ng n
atur
al a
nd/o
r m
anm
ade
"fou
nd"
mat
eria
ls,
the
stud
ent m
ight
dev
elop
a re
lief s
culp
ture
or
mos
aic
whi
ch e
mph
a-si
zes
the
actu
al s
urfa
ce te
xtur
e of
eac
hite
m, a
nd th
en s
tudy
the
effe
ct o
f lig
hton
the
com
posi
tion.
Usi
ng p
en a
nd in
kon
ly,
the
stud
ent
mig
htm
ake
ate
xtur
alst
udy
ofa
sing
le o
bjec
t suc
h as
an
appl
e, a
kno
tted
piec
e of
clo
th, a
pie
ce o
f drif
twoo
d, e
tc.
The
stu
dent
mig
ht c
reat
e a
slab
con
-st
ruct
ion
of c
lay
in w
hich
app
lied
or in
-ci
sed
surf
ace
text
ure
isan
impo
rtan
tpa
rt o
f the
tota
l com
posi
tion.
The
stu
dent
mig
ht e
xper
imen
t with
sim
u-la
ted
text
ures
in a
ser
ies
of m
onop
rints
mad
e fir
st w
ithlin
es a
lone
, and
then
with
pie
ces
of s
tron
gly
text
ured
mat
e-ria
l tha
t will
alte
r th
e su
rfac
e of
the
ink
befo
re th
e pr
int i
s "p
ulle
d."
The
stu
dent
mig
ht c
reat
e fa
csim
iles
offa
mili
ar o
bjec
ts w
ith m
ater
ials
hav
ing
surf
ace
text
ures
that
con
tras
t with
thos
e,
norm
ally
ass
ocia
ted
with
the
obje
cts.
The
stu
dent
mig
ht d
esig
n an
d co
nstr
uct
a se
nsor
ium
.
DIS
CU
SS
ION
S
Exa
min
e w
ith th
e st
uden
ts a
var
iety
of
exam
ples
of t
he a
rtis
t's u
se o
f act
ual t
ex-
ture
in s
culp
ture
, arc
hite
ctur
e, fu
nctio
nal
desi
gn, c
eram
ics,
fabr
ics,
and
oth
er m
an-
mad
e or
nat
ural
item
s. S
ome
of th
e fo
l-lo
win
g m
ight
be
incl
uded
:A
ztec
scu
lptu
reLe
onar
d B
aski
n's
WA
LKIN
G M
AN
Har
ry B
erto
ia's
loun
ge c
hair,
FLO
WE
RB
ronz
e he
ads
from
Ben
in C
ourt
, Ni-
geria
Cha
rles
Eam
es' a
rmch
air
Tom
Har
dy's
BIS
ON
A H
indu
tem
ple
cove
red
with
scu
lptu
reLe
Cor
busi
er's
Le
Cou
vent
Ste
. Mar
ieS
eym
our
Lipt
on's
CR
UC
IBLE
Mic
hela
ngel
o's
HE
AD
OF
MO
SE
SH
enry
Moo
re's
RE
CLI
NIN
G F
IGU
RE
Geo
rge
Nak
ashi
ma'
s m
ira c
hair
Loui
se N
evel
son'
s R
OY
AL
TID
EI
Sel
ecte
d pa
intin
gs o
f Rob
ert R
ausc
hen-
berg
Aug
uste
Rod
in's
MO
NU
ME
NT
TO
BA
LZA
CLu
dwig
Mie
s va
n de
r R
ohe'
s ap
artm
ent
hous
esT
heod
ore
Ros
zak'
s S
PE
CT
RE
OF
KIT
TY
HA
WK
Eer
o S
aarin
en's
loun
ge c
hair
and
otto
-m
anS
hang
Dyn
asty
bro
nze
vess
els
.4
f
PO
P A
RS
ON
A H
ILL
by V
ince
nt v
an G
ogh.
Orlo
n ca
nvas
.T
HE
CLE
VE
LAN
D M
US
EU
M O
F A
RT
. Pur
chas
e.LE
ON
AR
D C
HA
NN
A. J
R. B
EQ
UE
ST
54
Fra
nk L
loyd
Wrig
htK
aufm
an h
ouse
or
Tat
iesi
n, W
est
Will
iam
Zor
ach'
s H
EA
D O
F C
HR
IST
The
n di
scus
s w
ith th
e st
uden
ts s
uch
sub-
ject
s as
the
follo
win
g:T
he u
niqu
e su
rfac
equ
aliti
esof
the
obje
cts
and
mat
eria
ls e
xam
ined
The
rea
ctio
ns o
ne m
ight
hav
e if
fam
iliar
obje
cts
had
text
ures
that
wer
e di
ffere
ntfr
om th
ose
expe
cted
The
gro
win
g em
phas
is o
n ta
c*ile
sen
sa-
tion
in c
onte
mpo
rary
art
(e.
g., n
ot o
nly
is th
e vi
ewer
invi
ted
to to
uch
the
wor
k,bu
t his
par
ticip
atio
n in
this
man
ner
isin
tegr
al to
it)
The
fact
that
wor
ks o
f art
pos
sess
bot
hth
e te
xtur
e in
dige
nous
to th
e m
ediu
man
d a
surf
ace
text
ure
that
res
ults
from
the
artis
t's h
andl
ing
ofit
Fra
nk L
loyd
Wrig
ht's
use
of n
ativ
e m
a-te
rials
in th
eir
natu
ral s
ettin
gT
he te
xtur
al d
iffer
ence
s in
the
scul
ptur
alw
orks
of M
iche
lang
elo,
Hen
ry M
oore
,an
d H
arry
Ber
toia
The
text
ural
diff
eren
ces
inth
e m
etal
scul
ptur
es o
f Har
ry B
erto
ia, T
om H
ardy
,S
eym
our
Lipt
on, a
nd T
heod
ore
Ros
zak
Dis
play
, pro
ject
, or
othe
rwis
e ex
pose
the
stud
ents
to a
var
iety
of e
xam
ples
of t
hear
tist's
use
of s
imul
ated
text
ure,
or
of a
com
bina
tion
of a
ctua
l and
sim
ulat
ed te
x-tu
re in
dra
win
g, p
aint
ing,
pho
togr
aphy
,pr
intm
akin
g, a
nd o
ther
form
s of
two-
di-
men
sion
al a
rtw
ork.
Som
e of
the
follo
w-
ing
item
s m
ight
be
incl
uded
:A
jant
a ca
ve p
aint
ing
Blo
ck p
rints
by
cont
empo
rary
Jap
anes
ear
tists
(e.g
.,A
oyam
a,M
ikum
o,S
aito
)M
arc
Cha
gall'
s B
IRT
HD
AY
Jean
-Bap
tiste
Sim
eon
Cha
rdin
's B
LOW
-IN
G B
UB
BLE
ST
hom
as C
ole'
s LA
ND
SC
AP
E W
ITH
TR
EE
TR
UN
KS
Edg
arD
egas
' DA
NC
ER
ON
ST
AG
E,
WO
MA
N W
ITH
CH
RY
SA
NT
HE
MU
MS
,LA
DA
NS
EU
SE
, DA
NC
ER
RE
ST
ING
,D
AN
CE
RS
IN P
INK
Rao
ul O
ufy'
s S
AIL
BO
AT
AT
SA
INT
E-
AD
RE
SS
EV
ince
nt v
an G
ogh'
s W
ALK
AT
TW
I-LI
GH
T, C
YP
RE
SS
BY
MO
ON
LIG
HT
,P
OP
LAR
S O
N A
HIL
L, H
OU
SE
S A
TA
UV
ER
SA
dolp
hG
ottli
eb's
TH
RU
ST
1959
,F
RO
ZE
N S
OU
ND
SW
illia
m H
arne
tt's
AF
TE
R T
HE
HU
NT
Cla
ude
Mon
et's
PA
LAZ
ZO
DA
MU
LA,
RE
D B
OA
TS
, CLI
FF
S A
T E
TR
ET
AT
Geo
rgia
O'K
eeffe
's W
HIT
E G
AR
DE
NIA
I. R
ice
Per
eira
's G
RE
EN
DE
PT
HP
ablo
Pic
asso
's P
IPE
, GLA
SS
, BO
TT
LEO
F R
UM
; MA
N W
ITH
A H
AT
; LA
TO
ILE
TT
ES
en N
an P
'ing'
s D
EE
R IN
PIN
E F
OR
ES
TJa
ckso
n P
ollo
ck's
AU
TU
MN
RH
YT
HM
,N
O. 2
7:19
50, N
O. 1
7, N
O. 1
2
Aug
uste
Ren
oir's
ON
TH
E T
ER
RA
CE
,LA
DY
WIT
H A
PA
RA
SO
L, L
E B
AL
AB
OU
GIV
AL
Mar
k R
othk
o's
YE
LLO
W O
VE
R P
UR
PLE
,V
ES
SE
LS O
F M
AG
IC, O
RA
NG
E A
ND
YE
LLO
WG
eorg
es S
eura
t's T
HE
PA
RA
DE
, A S
UN
-D
AY
AF
TE
RN
OO
N O
N T
HE
ISLA
ND
OF
LA
GR
AN
DE
JA
TT
EE
dwar
d S
teic
hen'
s ph
otog
raph
yS
titch
ery
by M
aris
ka K
aras
z an
d ot
hers
Tex
tile
appl
ique
wor
k by
the
San
Bla
sIn
dian
sT
ie a
nd d
ye w
ork
by In
dian
art
ist R
i-
tend
ra M
ozum
dar
and
othe
rsM
ark
Tob
ey's
TH
RE
AD
ING
LIG
HT
; RE
DM
AN
, WH
ITE
MA
N, B
LAC
K M
AN
:E
AR
TH
CIR
CU
S; L
YR
IC
Som
e of
the
follo
win
g to
pics
mig
ht b
eus
eful
for
disc
ussi
on:
The
impo
rtan
ce o
f tex
ture
in c
reat
ing
the
illus
ion
of d
epth
or
spac
e (c
f. th
ew
ork
of T
hom
as C
ole)
The
rea
listic
use
of t
extu
re b
y su
ch a
rt-
ists
as
Har
nett
and
Cha
rdin
, as
oppo
sed
to it
s de
cora
tive
use
by m
en li
ke D
ufy
and
Cha
gall
The
man
ner
in w
hich
Impr
essi
onis
t and
post
-Im
pres
sion
ist
pain
ters
such
asE
dgar
Deg
as, V
ince
nt v
an G
ogh,
Cla
ude
Mon
et, A
ugus
te R
enoi
r, a
nd G
eorg
esS
eura
t ach
ieve
d bo
th a
ctua
l and
sim
u-la
ted
text
ure
thro
ugh
thei
r ap
plic
atio
nof
pig
men
tT
he u
se o
f tex
ture
in te
xtile
s (a
ppliq
ue,
batik
, stit
cher
y, ti
e an
d dy
e, e
tc.)
The
use
of t
extu
re (
achi
eved
thro
ugh
ex-
agge
rate
d di
rect
iona
lst
roke
s,in
the
case
of v
an G
ogh)
to e
xpre
ss e
mot
ions
,se
nsat
ions
, or
idea
sT
he r
easo
ns w
hy c
onte
mpo
rary
pai
nt-
ers
such
as
Ado
lph
Got
tlieb
, Pab
lo P
i-ca
sso,
Jac
kson
Pol
lock
, Mar
k R
othk
o,an
d M
ark
Tob
ey fo
und
text
ure
ar id
eal
mea
ns o
f exp
ress
ion
for
abst
ract
and
nono
bjec
tive
art
55
IND
EP
EN
DE
NT
ST
UD
IO A
ND
RE
SE
AR
CH
PR
OJE
CT
S
A s
erie
s of
dra
win
gs b
ased
upon
item
sin
the
stud
ent's
ske
tchb
ook
and
emph
a-si
zing
sim
ulat
ed te
xtur
eA
vis
ual p
rese
ntat
ion
or a
pho
togr
aphi
ces
say
whi
ch e
xam
ines
the
use
of s
urfa
cete
xtur
e in
,ario
us fo
rms
of a
rchi
tect
ure
with
in th
e co
mm
unity
A s
erie
s of
hea
vily
text
ured
cla
y til
esA
wal
l han
ging
mad
e w
ith s
titch
ery
and
appl
ique
A p
aint
ing
whi
ch s
imul
ates
the
text
ures
,co
lors
, and
val
ues
used
in a
col
lage
A p
hoto
grap
hic
essa
y w
hich
rev
eals
the
beau
ty to
be
foun
d in
the
vario
us te
x-tu
res
of o
ne's
env
ironm
ent
A s
erie
s of
prin
ts "
pulle
d" fr
om a
n in
ked
colla
ge (
collo
grap
h)A
tact
ile c
hart
whi
ch a
lso
has
visu
al a
ppea
l
A w
oodc
ut p
atte
rned
with
line
s of
var
ious
dens
ities
A d
epth
stu
dy o
f an
artis
t who
mad
e pa
r-tic
ular
ly e
ffect
ive
use
of s
urfa
ce te
xtur
ein
his
wor
k
56
SU
MM
AR
Y A
ND
EV
ALU
AT
ION
To
wha
t ext
ent d
o th
e ob
serv
atio
ns,
re-
spon
ses,
and
cre
ativ
e w
ork
of th
e st
uden
tre
veal
that
he:
Is s
ensi
tive
to te
xtur
e, a
nd a
war
e of
itin
his
sur
roun
ding
s?Is
aw
are
that
eve
ry s
ubst
ance
has
tex-
ture
, and
is a
ble
to s
ee h
is e
nviro
nmen
tin
term
s of
text
ure
whe
n he
cho
oses
todo
so?
Is a
war
e th
at te
xtur
e ca
n be
act
ual,
sim
ulat
ed, o
r a
com
bina
tion
of th
e tw
oan
d un
ders
tand
s th
e di
ffere
nce
be-
twee
n th
em?
Is a
war
e of
the
varie
ty o
f effe
cts
that
can
be a
chie
ved
thro
ugh
the
imag
inat
ive
use
of te
xtur
e, a
nd o
fits
impo
rtan
ceto
art
ists
and
des
igne
rs?
Enj
oys
expe
rimen
ting
with
a w
ide
va-
riety
of t
extu
res
and
text
ural
effe
cts?
Is s
ensi
tive
to th
e te
xtur
al c
hara
cter
-is
tics
of h
is m
edia
and
mat
eria
ls?
Can
use
bot
h ac
tual
and
sim
ulat
ed te
x-tu
re im
agin
ativ
ely
and
crea
tivel
y in
his
own
art w
ork?
41111111e....x_.;
11
/I
p
t a`I ." 1.111111.
5'
MO
VE
ME
NT
S A
ND
TR
EN
DS
IN T
HE
WO
RLD
OF
AR
T
..
.w
hen
we
rile
wit
ness
ing
t h e
Ue
Mal
in ta
eft,
/tuto
r', a
ndc
not v
et ,g
ener
aliz
eon
cpa
,to
far
(*A
pe?l
ent e
. all
ther
e (a
t et:u
ric%
be«
nue
ty)a
ttoe
d.ti
etar
t we,
lim
a he
IVpi
t al e
xam
/,lc
ofPi
( as
M.
ult i
t is
to e
aten
h e
di ;-
erse
man
ifes
tatio
ns o
f on
e ,g
en i
usto
the
logi
cal l
ita
t ion
s of
.)ne
his
tori
cal c
at e
gory
.h
e ar
tist,
ask
eats
sai
dof
the
poet
, has
ach
amel
eon
nat u
re,
apt t
o sh
ock
the'
vir
t uou
s ph
iloso
pher
. Ile
has
no id
entit
yhe
is c
ontin
ually
infO
rmin
g an
dfi
lling
som
e ot
h e
r bo
dy. T
hat i
s to
say
, in
prac
-tic
e' th
e ar
tist I
end
s in
tuiti
vely
to id
entif
y hi
m-
self
with
the
purp
ose
arid
ae
hiev
emen
t of
ever
yot
her
artis
t. an
d on
ly b
y an
eff
ort c
onfi
nes
hce
ll to
a (
har
acte
rist
it m
ode
ofex
pres
sion
. Thi
sm
ay s
eem
like
an
excu
se f
or p
lagi
aris
m, a
ndm
uch
plag
iari
sm th
ere
has
been
, in
even
. (pu
bof
art
. But
it is
als
o 1/
1e e
xpla
natio
n of
all
his-
tori
cal d
evel
opm
rut
in a
rt, a
nd a
n in
dica
tion
ofth
e co
mpl
exity
. and
eve
n of
the
fals
ity, o
fal
llo
gica
l«I
tego
riev
.
Her
bert
Rea
d
TH
RE
E M
US
ICIA
NS
by
Pab
lo P
icas
so. 1
921
(sum
-m
er).
011
on
canv
as. 6
'7"
x 7'
334"
. Col
lect
ion.
TH
EM
US
EU
M O
F M
OD
ER
N A
RT
. NE
W Y
OR
K. M
RS
, SIM
ON
GU
GG
EN
HE
IM F
UN
D.
58
I
F
Sin
ce th
ere
are
man
y ex
celle
nt a
rt h
isto
ry b
ooks
ava
ilabl
e in
mos
t sch
ools
. thi
sse
ctio
n is
dev
oted
to e
stab
ilsnn
g a
philo
soph
ical
intr
oduc
tion
to th
is m
ater
ial,
and
to p
rovi
ding
alis
tof
sug
gest
ed a
reas
of
stul
y w
hich
mig
ht b
e in
clud
ed:
a gl
ossa
ryof
mov
emen
ts a
nd tr
ends
of a
rt in
the
mod
ern
wor
ld, a
nd a
list
of a
ppro
pria
te r
efer
ence
s,re
adin
gs, a
nd s
ourc
es fo
r vi
sual
mat
eria
ls.
The
teac
her
is e
ncou
rage
c: to
intr
oduc
ean
d di
scus
s se
vera
l sel
ecte
d ar
eas
b-ie
fly,
rath
er th
an a
ttem
ptin
g to
sur
vey
all t
hat
rs li
sted
with
in th
is s
ectio
n. L
istin
gs w
hich
are
cons
ider
ed p
artic
ular
ly ti
mel
y or
ap-
prop
riate
,m
ight
be
purs
ued
ingr
eate
rde
pth.
BA
CK
GR
OU
ND
Mor
e ha
s ha
ppen
ed in
the
wor
ld o
f art
durin
g th
e pa
st 3
0 ye
ars
than
dur
ing
any
prev
ious
cen
tury
. One
can
not f
ully
und
er-
stan
d or
app
reci
ate
the
art o
f tod
ay w
ith-
out s
ome
fam
iliar
ity w
ith w
hat h
as g
one
befo
re.
Eve
ry a
rt m
ovem
ent c
ame
abou
tas
an
exte
nsio
n of
, or
a re
actio
n ag
ains
tth
at w
hich
pre
cede
dit.
The
dev
elop
men
t of a
rt h
as p
rodu
ced
a w
orld
pan
oram
a fr
om th
e ea
rlies
t cre
atio
nsof
the
cave
pai
nter
s to
the
abst
ract
exp
res-
sion
ists
and
env
ironm
enta
l art
ists
of r
ecen
t
60
year
s. In
the
past
. mos
t wes
tern
his
torie
sof
art
hav
e on
ly e
mph
asiz
ed th
e ar
t of w
est-
ern
man
. In
keep
ing
with
the
"tot
al w
orld
conc
ept.'
of t
oday
, it i
s es
sent
ial t
hat a
ll of
the
art o
f the
pas
t and
the
pres
ent b
e ex
-pl
ored
on
a gl
obal
bas
is.
A w
orld
his
tory
of a
rt c
anno
t ne
o-ga
niie
dch
rono
logi
cally
with
any
deg
ree
of c
oord
i-na
tion
sinc
e cu
lture
s ha
ve n
ot b
een
at th
esa
me
stag
e of
evo
lutio
n at
the
sam
e po
int
in ti
me.
The
sug
gest
ed a
reas
of s
tudy
whi
chfo
llow
will
hel
p th
e te
ache
r an
d th
e st
uden
tco
mpr
ehen
d th
e va
st p
anor
ama
whi
chis
the
wor
ld o
f art
. The
are
as o
f stu
dy "
Anc
ient
Art
" th
roug
h "A
rt o
f the
Am
eric
as"
are
mer
ely
listin
gs w
hich
giv
e so
me
indi
catio
nof
the
glob
al a
spec
ts o
f the
pai
ntin
g, s
culp
-tu
re. a
nd a
rchi
tect
ure
of th
ose
perio
ds. A
good
art
his
tory
text
will
hel
p st
uden
ts e
x-pl
ore
each
of t
hese
are
as in
gre
at d
etai
l and
prov
ide
mea
ning
ful r
efer
ence
mat
eria
l for
the
teac
her.
The
sec
tion
entit
led
"Mov
e-m
ents
and
Tre
nds
in A
rt o
f the
Mod
ern
Wor
ld"
(18t
h-20
th c
entu
ries)
, has
bee
n ex
-pa
nded
toin
clud
e ba
ckgr
ound
mat
eria
lan
d a
glos
sary
of t
erm
s. T
he tr
aditi
onal
art
appr
ecia
tion
and
hist
ory
cour
se h
as o
ften
been
taug
htch
rono
logi
cally
with
little
emph
asis
pla
ced
upon
the
art o
f thi
s ce
n-tu
ry. P
erha
ps it
is ti
me
to a
band
on th
istr
aditi
on a
nd e
mph
asiz
e th
e ar
t of t
oday
.
to
.
..
3
II
D & .
:
mo
A G
LOS
SA
RY
OF
TE
RM
S
It is
vita
l tha
t the
teac
her
keep
abr
east
with
the
curr
ent a
rt s
cene
so
that
he
may
intr
oduc
e an
d di
scus
s th
e la
test
mov
emen
tsin
art
with
out p
erso
nal b
ias.
"T
he la
test
"w
ill n
ever
be
foun
d in
an
art h
isto
ry b
ook
or in
cur
ricul
um g
uide
s. It
will
onl
y be
foun
dby
taki
ng th
e cl
ass
to c
urre
nt a
rt s
how
s,ar
t gal
lerie
s, a
nd m
useu
ms
and
thro
ugh
the
cont
inua
l use
of a
rt p
erio
dica
ls.
Sin
ce it
is o
ften
diffi
cult
to lo
cate
info
r-m
atio
n an
d ex
ampl
euf
the
mor
e re
cent
form
s of
art
, thi
s gl
ossa
ry h
as b
een
form
u-la
ted
as a
rea
dy r
efer
ence
for
the
teac
her. 61
Abs
trac
t Art
A g
ener
al c
lass
ifica
tion
for
nonr
epre
sen-
tatio
nal w
orks
of a
rt. T
he m
ajor
diff
eren
cebe
twee
nab
stra
ctan
dre
pres
enta
tiona
lpa
intin
g or
scu
lptu
reis
that
the
form
erm
ust b
e so
met
hing
in a
nd o
f its
elf,
whe
reas
the
latte
r is
a v
isib
le a
nd/o
r ta
ngib
le im
age
of s
omet
hing
els
e. T
here
are
var
ious
, deg
rees
of a
bstr
actio
n ra
ngin
g fr
om th
e se
mia
b-st
ract
, in
whi
ch a
spec
ts o
f the
sub
ject
are
iden
tifia
ble
in th
e w
ork
(e.g
., P
icas
so's
TH
ET
HR
EE
MU
SIC
IAN
S),
to th
e no
nobj
ectiv
e,in
whi
ch th
e su
bjec
t can
not b
e id
entif
ied
at a
ll(e
.g.,
Kan
dins
ky's
PA
NE
L [4
], al
soca
lled
SP
RIN
G).
The
re a
re v
aria
tions
in th
epu
rpos
e of
abs
trac
tion
as w
ellin
som
eca
ses,
the
artis
t may
wan
t to
depi
ct th
ees
senc
e of
his
sub
ject
, or
a pa
rtic
ular
cha
r-ac
teris
tic o
f it;
in o
ther
s, h
e m
ay in
tend
tocr
eate
his
sub
ject
thro
ugh
an a
ppro
pria
tear
rang
emen
t of l
ight
, lin
e, t.
olo
r, fo
rm, t
ex-
ture
, etc
. Alth
ough
the
elem
ents
of a
bstr
ac-
tion
have
bee
n us
ed in
art
wor
k an
d de
cora
-tio
n fr
om p
rehi
stor
ic ti
mes
to th
e pr
esen
t,th
e es
thet
icpr
inci
ple
of a
bstr
actio
n di
dno
t com
e in
to b
eing
unt
il th
e de
velo
pmen
tof
Cub
ism
in th
e ea
rly p
art o
f the
20t
h ce
n-tu
ry.
Abs
trac
t Exp
ress
ioni
sm',
labe
l giv
en to
a fo
rm o
f non
repr
esen
-ta
tiona
l pai
ntin
g w
hich
com
bine
s ab
stra
ctfo
rm w
ith e
xpre
ssio
nist
em
otio
n& v
alue
.S
timul
ated
by
the
wor
k of
Ars
hile
Gor
kyan
d th
e co
nver
genc
e of
a r
emar
kabl
e gr
oup
of E
urop
ean
expa
tria
tes
in N
ew Y
ork
City
durin
g W
orld
War
II, t
he m
ovem
ent t
owar
dab
stra
ct e
xpre
ssio
nism
:D
omin
ated
the
inte
rnat
iona
l art
sce
nein
the
1950
's;
Rei
ntro
duce
d th
e hu
ge c
anva
s;62
Em
ploy
ed a
cre
ativ
e st
rate
gy th
at r
e-je
cted
pla
nned
out
com
es in
favo
r of
spon
tane
ous
exec
utio
nC
eleb
rate
d th
e in
divi
dual
ity o
f the
art
ist;
Con
side
red
both
the
proc
ess
of p
aint
-in
g an
d th
e m
arks
of t
he to
ol a
s in
-te
gral
par
ts o
f the
wor
k;R
equi
red
not o
nly
a vi
sual
, but
als
oa
kine
sthe
tic r
espo
nse
from
the
view
er;
and
ther
efor
eP
rodu
ced
a si
gnifi
cant
cha
nge
in th
ew
ay a
pai
ntin
g w
as s
uppo
sed
to o
pera
tein
term
s of
the
artis
t, th
e se
tting
, and
the
view
er.
Am
ong
the
grea
test
exp
onen
ts o
f abs
trac
tex
pres
sion
ism
are
Will
emde
Koo
ning
,A
otA
ph G
ottli
eb, M
ark
Rot
hko,
Fra
nz K
line,
Phi
lip G
usto
n, a
nd R
ober
t Mot
herw
ell.
(See
Neo
-Exp
ress
ioni
sm.)
Act
ion
Pai
ntin
gA
type
of a
bstr
act e
xpre
ssio
nism
in w
hich
the
exec
utio
n of
the
pain
ting
is th
e re
al s
ub-
ject
of t
he w
ork.
Pig
men
t is
appl
ied
with
forc
eful
, im
puls
ive
brus
hstr
okes
or
drip
ped,
spla
shed
, hur
led,
and
eve
n fir
ed fr
om a
rifle
ont
o th
e pa
intin
g su
rfac
e. A
s a
resu
lt,th
e fo
rm a
nd c
onte
nt o
f the
wor
k ar
e go
v-er
ned
mor
e by
impu
lse
than
by
cons
ciou
sef
fort
, and
the
artis
t's m
etho
d be
com
es h
isid
entif
ying
cha
ract
eris
tic.
The
chi
ef p
rac-
titio
ners
of a
ctio
n pa
intin
g or
its
Fre
nch
equi
vale
nt,
tach
ism
e, w
ere
Jack
son
Pol
-lo
ck, (
who
is s
uppo
sed
to h
ave
coin
ed th
eph
rase
) an
d W
illem
de
Koo
ning
.
Ana
lytic
al C
ubis
mT
he la
bel g
iven
to a
n ea
rly p
hase
of C
ub-
ism
(19
10-1
2) d
evel
oped
by
Gor
ges
Bra
que
and
Pab
lo P
icas
so b
ecau
se o
f the
geo
met
-ric
al a
ppea
ranc
e of
thei
r w
ork.
To
som
eex
tent
the
labe
l is
a m
isno
mer
: for
alth
ough
the
foun
ders
of t
he s
tyle
gen
eral
ly b
elie
ved
that
the
visi
ble
diffe
renc
es in
mat
ter
wer
em
erel
y su
perf
icia
l va
'ions
of c
omm
onge
omet
rical
form
s.in
t,th
at th
e el
emen
tsde
rived
from
a g
iven
sub
ject
C01
1id
be u
sed
to b
uild
a. n
ew s
truc
ture
cap
able
of a
ffect
ing
hum
an s
ensi
bilit
y th
roug
h its
ow
n po
wer
arid
coh
eren
ce, A
naly
tical
Cub
ism
was
nev
erre
ally
bas
ed o
n an
alys
is. B
ut it
did
pre
sent
anot
her
Nay
of l
ooki
ng a
t thi
ngs
and
was
of m
ajor
sig
nific
ance
bec
ause
itsh
ifted
the
emph
asis
in a
rt fr
om v
isua
l nar
rativ
eto
the
arra
ngem
ent o
f for
ms
in w
hich
the
form
, whe
n re
aliz
ed, "
is th
ere
to li
ve it
s ow
n
Art
Nou
veau
An
orna
te s
tyle
of a
rt th
at o
rigin
ated
inE
ngla
nd d
urin
g th
e fin
al d
ecad
es o
f the
19th
cen
tury
and
late
r sp
read
to E
urop
ean
d A
mer
ica.
Der
ived
from
suc
h va
ried
in-
fluen
ces
as th
e ar
ts a
nd c
rafts
mov
emen
t.C
eltic
art,
roco
cost
yles
,O
rient
alca
lli-
grap
hy. a
nd J
apan
ese
art a
nd a
rchi
tect
ure,
it w
as c
hara
cter
ized
by:
Cur
sive
, exp
ress
ive
lines
:F
low
ing,
swel
ling,
reve
rse,
and
whi
p-la
sh c
urve
s:P
lant
and
flow
er m
otifs
in n
atur
alis
ticfo
rms:
and
, in
a co
ncur
rent
phr
ase.
Str
aigh
t lin
es a
nd r
ecta
ngul
ar m
otifs
.T
he m
ost p
rom
inen
t exa
mpl
es o
f art
nouv
eau
can
he fo
und
inth
e dr
awin
gs o
f Aub
rey
Bea
rdsl
ey. t
he p
oste
rs o
f Alp
hons
e M
ucha
.th
e gl
assw
are
of L
ouis
Com
fort
Tiff
any.
the
furn
iture
ofC
harle
s R
enni
e M
acki
ntos
h.th
ear
chite
ctur
alor
nam
ent
and
inte
rior
deco
ratio
n of
Hen
ri V
an d
e V
elde
and
Lou
isS
ulliv
an.
and
the
build
ings
ofA
nton
ioG
aud!
and
Vic
tor
Hor
ta.
Con
side
red
part
of th
e -A
esth
etic
Mov
emen
t.' in
Eng
land
.
art
was
als
o kn
own
as th
e ya
chtin
gst
yle
in F
ranc
e, th
e Ju
gend
stil
in G
erm
any.
the
Sez
essi
on in
Aus
tria
, and
the
Stil
e Li
b-er
ty in
Italy
.A
shca
n S
choo
l, T
he(S
ee T
he E
ight
.)
Ass
embl
age-
-T
he te
chni
que
of c
ombi
ning
var
ious
ele
-m
ents
, suc
h as
foun
d ob
ject
s or
rea
dym
ades
,in
to a
n in
tegr
at!c
l thr
ee-d
imen
sion
al w
ork
or a
rt: a
lso,
a w
ork
so c
onst
ruct
ed. A
n as
-se
mbl
age
may
be
eith
er fr
eest
andi
ng o
r in
relie
f, an
d m
ay in
clud
e va
rious
par
ts w
hich
have
bee
n ca
rved
, pai
nted
(or
oth
erw
ise
alte
red)
, or
left
in th
eir
natu
ral s
tate
.A
rt-
ists
: Lou
ise
Nev
elso
n, D
anie
l Spo
erri,
and
Josp
eh C
orne
ll.B
arhi
7on
Sc
h oo
lA
nam
e gi
ven
to a
gro
up o
f lan
dsca
pepa
inte
rs w
ho fo
rmed
an
info
rmal
art
col
ony
in th
e vi
llage
of B
arbi
zon,
Fra
nce,
and
ac-
tivel
y pa
inte
d in
that
are
a fr
om a
bout
183
0th
roug
h 18
80. T
he B
arbi
zon
pain
ters
wer
eth
e fir
st to
go
into
the
coun
trys
ides
and
fore
sts
to p
aint
dire
ctly
from
nat
ure
rath
erth
an p
aint
ing
thei
r la
ndsc
apes
in a
Par
isst
udio
.A
lthou
gh m
ost p
aint
edre
alis
tic.
rura
l sce
nes
arid
cha
ract
ers.
Cor
ot's
land
-sc
apes
wer
e le
ss r
ealis
tic a
nd m
ore
suffu
sed
with
ligh
t, th
us fo
resh
adow
ing
the
Impr
es-
sion
ists
.A
rtis
ts:
The
odor
eR
ouss
eau,
Cha
rles
Fra
ncoi
s D
aubi
gny,
Cam
ille
Cor
ot,
and
Fra
ncoi
s M
illet
.B
aroq
ueA
dyn
amic
thea
tric
al s
tyle
that
dom
i-na
ted
Eur
opea
nar
tan
dar
chite
ctur
eth
roug
hout
the
17th
and
ear
ly 1
8th
cen-
turie
s.Its
effe
cts
wer
e ac
hiev
ed b
y us
ing
real
ism
.ill
usio
nism
,or
nam
enta
tion,
and
a bl
endi
ng o
f the
art
s. Il
lusi
onis
tic fr
esco
63
ceili
ng p
aint
ings
des
igne
d to
riw
rge
with
elab
orat
e m
oldi
ngs
and
CO
riliC
e, w
are
exan
11,1
1.O
f the
Hig
h B
aroq
ue in
Ital
y. [l
abor
atel
(tw
iste
d ar
id c
urve
d fo
rms
and
stro
ngco
ntra
s'ts
als
o ch
arac
teriz
ed th
e ne
w fr
eedo
m o
f Bar
oque
art
. Bar
oque
art
in it
s pu
rest
form
is fo
und
in th
e w
ork
of G
ianl
oren
zoK
erw
in,
F r
ance
sco
Bor
rom
ini.
Pie
tro
daC
orto
na. a
ridin
pai
ntin
gs o
f Mic
hela
ngel
oA
mer
ighi
Car
avag
cno.
Jac
opo
Rob
ust'
Tin
tore
tto.
Gio
vann
iB
attis
taT
iepo
lo.
arid
Pao
lo V
eron
ese.
Bau
haus
A s
choo
l of i
ndus
tria
l des
ign
esta
blis
hed
at W
eim
ar in
191
9 un
der
the
dire
ctio
n of
Ger
man
arc
hite
ct W
alte
r G
ropi
us. B
auha
uspr
ovid
ed m
oder
n ar
tists
with
"a
know
ledg
eof
sci
ence
, eco
nom
ics,
and
cra
ftsm
ansh
ip:
arid
inth
is m
anne
r, in
dust
rial d
esig
ners
as w
e kn
ow th
em w
ere
first
trai
ned.
In 1
925.
the
Bau
haus
left
Wei
mar
and
ree
stab
lishe
dits
elf a
t Des
sau.
whe
re a
new
facu
lty, n
owco
mpo
sed
of B
auha
us g
radu
ates
. com
bine
dth
e te
chni
cian
and
art
ist i
n th
e sa
me
in-
stru
ctor
.T
he s
choo
l bec
ame
an e
xper
i-m
enta
l wor
ksho
p in
whi
ch m
odel
s fo
r m
ass
prod
uctio
n w
ere
cont
inua
lly b
uilt.
rev
ised
.an
dim
prov
ed.-
Dis
tinct
ions
wer
eno
tm
ade
amon
g th
e sk
ills
of p
aint
ers.
scu
lp-
tors
. cra
ftsm
en, a
nd a
rchi
tect
s, s
ince
the
new
art
ist o
r de
sign
er m
ight
em
ploy
sev
-er
al o
f the
se s
kills
in th
e pr
oces
s of
cre
atin
gan
obj
ect.
The
Bau
haus
was
driv
en o
ut o
fG
erm
any
in 1
933
whe
n th
e N
azis
cam
e to
pow
er. a
nd s
ubse
quen
tly o
ne o
f its
you
nger
inst
ruct
ors.
Lasz
loM
ohol
y-N
agy.
esta
b-lis
hed
an A
mer
ican
bra
nch,
the
Inst
itute
of D
esig
n in
Chi
cago
. whe
re it
was
eve
ntu-
ally
abs
orbe
d in
to th
e Ill
inoi
s in
stitu
te o
fT
echn
olog
y.-
The
Bau
haus
per
man
ently
64
influ
ence
d th
e ed
ucat
ion
of a
rtis
ts th
roug
hou
t the
wor
ld
Bla
ue R
eite
r, D
er (
The
Blu
e R
ider
)T
he n
ame
of a
gro
up o
f abs
trac
t exp
res-
s,un
ists
in M
unic
h w
ho. t
oget
her
with
agr
oup
ofre
pres
enta
tiona
lex
pres
sion
ists
in D
resd
en. e
xert
ed a
pro
foun
d in
fluen
ce o
nth
e de
velo
pmen
t of m
oder
n ar
t.F
ound
edin
1911
by
Was
sily
Kan
dins
ky a
nd F
ranz
Mar
c. D
er B
laue
Rei
ter
also
incl
uded
Pau
lK
lee.
Ale
xei v
on J
awle
nsky
. and
Aug
uste
Mac
ke.
Bru
cke,
Die
(T
he B
ridge
)T
he n
ame
of a
gro
up o
f art
ists
in D
resd
enw
ho d
evel
oped
a r
epre
sent
atio
nal f
orm
of
expr
essi
onis
m th
at d
irect
ly c
ontr
ibut
ed to
the
rise
of m
oder
n ar
t in
Ger
man
y an
d a
re-
viva
l of i
nter
est i
n th
e gr
aphi
c ar
ts. F
ound
edin
1905
by
Ern
st L
udw
ig K
irchn
er.
Frit
zB
leyl
. Eric
h H
ecke
l, an
d K
arl S
chm
idt R
oil-
luff,
the
grou
p al
so in
clud
ed E
mile
Nol
de.
Max
Pec
hste
m. K
ees
van
Don
gen.
and
Otto
Mue
ller.
The
y w
ere
stro
ngly
influ
ence
d by
van
Gog
h. G
augu
in. M
unch
, the
Fau
ves.
and
a co
ntem
pora
ry v
ogue
for
the
Prim
itive
and
the
exot
ic.
In 1
913,
two
year
s af
ter
the
foun
ding
of D
er B
laue
Rei
ter
with
its
coun
ter
philo
soph
y of
abs
trac
t exp
ress
ion-
ism
, the
gro
up d
isso
lved
.
Cal
ligra
phic
Pai
ntin
g (L
ettr
ism
e or
Wor
dA
rtT
he in
corp
orat
ion
of w
ords
. num
bers
, or
frag
men
ts o
f let
ters
in a
pai
ntin
g or
com
-po
sitio
n. T
he le
tters
, wor
ds. o
r nu
mbe
rs a
reas
impo
rtan
t as
any
othe
r el
emen
t in
the
desi
gn. T
he w
ork
of J
aspe
r Jo
hns.
Rob
ert
Indi
ana.
Eug
enio
Car
mi.
Cor
ita K
ent.
and
Larr
y R
iver
s re
flect
this
idio
m.
Cam
p A
rtA
t,.it
tittit
it th
at p
rizes
that
whi
ch h
astw
cti t
irliV
er',,
Iiiy
cond
emne
d by
rrio
->t
crit
a al
opi
nion
.1-
,tr
a.tr
rdin
prim
itive
re
mon
s ar
id c
ultu
ral b
ackw
oods
. or
has
been
thro
ri ou
tbN
,ho
useh
olds
. mus
eum
s. o
rru
mm
age
shop
sfY
lost
of P
op A
rtrt
..
cairi
p\,-
atti
tude
The
trite
.ar
id b
anal
,ir
elev
ated
,I11
(1 b
eCor
l1C
ti ar
tA
rtis
tsI u
cas
S ii
i iris
arid
Ku-
1011
)1.,
refle
cts
garis
h.-o
bjts
F d
ard
Cla
ssic
ism
Any
em
bodi
men
t of t
he s
tyle
of c
lass
ical
Gre
ok (
ind
Rom
an a
rtA
lso.
the
adh?
renc
eto
sta
ndar
ds o
f sim
plic
ity.
rest
rain
t. an
dpr
opor
tion
whi
ch c
hara
cter
ize
clas
sica
l art
.C
lass
icis
m h
as b
een
a re
curr
ent i
nflu
ence
on w
este
rn a
rt a
nd a
rchi
tect
ure
sinc
eth
eR
enai
ssan
ce.
Col
lage
F r
oan
the
Fre
nch
verb
(m
iler
-to
past
e.to
dlu
e. P
aper
. clo
th. o
ther
flat
mat
eria
lsar
e at
tach
ed to
a fi
atsu
rfac
e;i1
.(1
used
inco
mbi
natio
n w
ith p
arrit
ing
or d
raw
ing.
An
asse
mbl
age
coul
d be
con
side
red
a'0
1 re
e
dim
ensi
onal
col
lage
.K
urt S
chw
itter
s, J
uan
MiN
Ern
st. P
ablo
Pic
asso
. and
Geo
rges
Bra
que
are
note
dfo
rth
eir
wor
kin
this
med
ium
.
Con
stru
ctiv
ism
Ano
nobj
ectiv
ear
tm
over
nt't
that
evol
ved
in R
ussi
a fr
om a
rat
her
inte
r c:
stin
gco
mbi
natio
nof
influ
ence
s(K
andi
nsky
'sth
eorie
s of
com
posi
tion,
the
elem
ents
ofge
omet
ric a
bstr
actio
n us
ed in
Cub
ism
and
Fut
uris
m, c
onte
mpo
rary
dev
elop
men
tsin
scie
nce
and
tech
nolo
gy, a
nd th
e fu
nctio
n-al
ist/p
rodu
ctiv
ist
trai
tsof
Tat
linis
m)
to
whi
ch A
ntoi
ne P
evsn
er a
dded
his
art
istic
tech
niqu
es a
nd N
aum
Gab
o, h
is s
cien
tific
appr
oach
to m
ater
ials
and
form
. Offi
cial
lybe
gun
with
a m
anife
sto
publ
ishe
d on
Aug
-us
t 5, 1
920,
the
mov
emen
t:A
band
oned
the
figur
ativ
e an
d m
ono
lithi
c tr
aditi
on in
scu
lptu
re fo
r th
e us
eof
spa
ce, l
ines
of f
orce
, and
geo
met
ricsh
apes
and
vol
umes
;T
reat
ed o
pen
spac
e as
ifit
wer
e pa
rtof
a c
ontin
uum
of m
atte
r, r
athe
r th
anas
som
ethi
ng a
lien
toit;
Use
d ne
gativ
e as
wel
l as
posi
tive
form
sfo
r th
e ex
pres
sion
of m
atte
r;In
trod
uced
indu
stria
l mat
eria
ls in
to s
e-rio
us s
culp
tura
l pra
ctic
e; a
ndA
ttem
pted
to b
ring
scul
ptur
e in
to h
ar-
mon
y w
ith n
ew c
once
pts
insc
ienc
ean
d, c
a en
gine
erin
g, w
ith p
rodu
ctio
nan
d in
dust
rial d
esig
n.Its
prin
cipa
lch
arac
teris
tics
wer
e dy
nam
-is
m, a
bstr
actio
n, a
nd th
e in
tegr
al u
se o
fsp
ace.
Alth
ough
sup
port
e:1
in it
s ea
rly s
tage
sby
the
gove
rnm
ent o
f Rus
sia,
the
mov
e-m
ent w
as p
rosc
ribed
in 1
922
alon
g w
ithot
her
styl
es o
f abs
trac
t art
, and
its
advo
-ca
tes
left
for
Eur
ope
whe
re th
eir
thin
king
cont
ribut
ed to
suc
h ef
fort
s as
the
Ger
man
Bau
haus
. The
chi
ef e
xpon
ents
of C
onst
ruc-
tivis
m w
ere
Vla
dim
ir T
atlin
, Ale
xand
er R
od-
chen
ko,
El
(Las
ar)
Mar
kovi
tch
Liss
itsky
,La
szlo
Moh
oly-
Nag
y, a
nd th
e tw
o br
othe
rsw
ith d
issi
mila
r na
mes
who
aut
hore
d th
em
anife
sto,
Ant
oine
Pev
sner
and
Nau
mG
abo.
Cub
ism
A r
evol
utio
nary
art
mov
emen
t tha
t de-
velo
ped
in F
ranc
e be
twee
n 19
07 a
nd19
14.
Influ
ence
d by
the
"rat
iona
lity"
of A
fric
anN
egro
scu
lptu
re a
nd C
ezan
ne's
theo
ries
of in
terp
retin
g na
ture
in te
rms
of th
e cy
l-in
der,
the
sphe
re, a
nd th
e co
ne, t
he m
ove-
men
t beg
an w
ith a
gro
up o
f Fre
nch
pain
t-er
s w
ho m
et in
Pic
asso
's "
float
ing
laun
dry"
in M
ontm
artr
e; m
oved
thro
ugh
two
clea
rlyid
entif
iabl
e, b
ut in
extr
icab
ly r
elat
ed p
hase
s(s
ee A
naly
tical
Cub
ism
and
Syn
thet
ic C
ub-
ism
); a
nd h
ad a
maj
or im
pact
on
late
r de
-ve
lopm
ents
in a
rt.
Its a
dvoc
ates
bel
ieve
dth
at a
wor
k sh
ould
be
som
ethi
ng in
itse
lf,no
t a r
endi
tion
of s
omet
hing
els
e; th
at it
shou
ldaf
fect
hum
an s
ensi
bilit
yth
roug
hco
ncep
tual
stru
ctur
esun
encu
mbe
red
byat
tem
pts
at r
epre
sent
atio
n w
hich
dis
trac
tth
e vi
ewer
with
com
paris
on a
nd p
erso
nal
asso
ciat
ions
;an
dth
atth
eco
mpo
sitio
nits
elfth
e or
gani
zatio
n of
form
and
col
orw
ith a
giv
en s
pace
was
the
artis
t's o
nly
perc
ept.
Acc
ordi
ngly
, the
chi
ef c
hara
cter
-is
tic o
f Cub
ist p
aint
ing
wer
e:A
rea
rran
gem
ent o
f the
sha
pes,
colo
rs,
and
text
ures
of t
he m
otif;
Sim
ulta
neou
s re
nditi
on o
f a v
arie
tyof
pers
pect
ives
;T
rans
pare
nt tr
eatm
ents
of o
paqu
e ob
-je
cts;
Vio
latio
ns o
f lig
ht a
nd c
olor
in w
hich
shad
ows
are
som
etim
eslig
hter
and
brig
hter
in c
olor
than
the
obje
cts
whi
chca
st th
em; a
nd, p
artic
ular
ly b
etw
een
1912
and
191
4,A
n em
phas
is o
n te
xtur
es c
reat
ed b
yfla
t-pa
ttern
ing,
col
lage
, and
mat
eria
lslik
e sa
nd o
n th
e ca
nvas
.Le
d by
Geo
rges
Bra
que
and
Pab
lo P
icas
so,
the
Cub
ist p
aint
ers
incl
uded
Max
Jac
ob,
Mar
ie L
aure
ncin
, And
re S
alm
on, M
auric
eR
ayna
l, Ju
an G
ris, R
ober
t Del
auna
y, a
ndF
ranc
isP
icab
ia. C
ubis
m d
evel
oped
sep
-ar
atel
y in
scu
lptu
re, a
lthou
gh s
ome
of P
i-ca
sso'
s th
ree-
dim
ensi
onal
still
lifes
and
65
cons
truc
tions
mad
e w
ith b
ric-a
-bra
c fr
omst
udio
s or
caf
es m
ay h
ave
brid
ged
the
gap.
The
prin
cipa
l exp
onen
ts o
f Cub
ism
in s
culp
-tu
re w
ere
Ray
mon
d D
ucha
mp-
Vill
on, J
ulio
Gon
zale
z,A
lexa
nder
Arc
hipe
nko,
Hen
riLa
uren
s, C
onst
antin
Bra
ncus
i, an
d Ja
cque
sLi
pchi
tz.
Dad
aism
A m
ovem
ent
that
evol
ved
from
the
thou
ghts
and
act
iviti
es o
f an
inte
rnat
iona
lgr
oup
of a
rtis
tem
igre
s w
ho d
rifte
din
toZ
uric
h du
ring
Wor
ld W
arI.
Am
ong
the
"fou
nder
s" w
ere
Han
s A
rp. M
arce
l Jan
ko.
and
Han
s R
icht
er; b
ut la
ter
expo
nent
s in
-cl
uded
Mar
cel D
ucha
mp.
Fra
ncis
Pic
abia
.G
eorg
e G
rosz
, Max
Ern
st, K
urt S
chw
itter
s,an
d M
an R
ay. O
rigin
ally
occ
upie
d w
ith th
ede
velo
pmen
t of c
abar
et e
nter
tain
men
ts in
ava
riety
of f
orm
s, th
e gr
oup
cons
ider
ed th
em-
selv
es "
a ra
llyin
g po
int f
or a
bstr
act e
ner-
gies
and
a la
stin
g sl
ings
hot f
or th
e gr
tin
tern
atio
nal
artis
ticm
ovem
ents
But
"the
art
ists
of t
he C
abar
et V
olta
ire a
ctua
l-lc
had
no id
ea w
hat t
hey
wan
tedt
he w
isps
of 'm
oder
n ar
t' th
at a
t som
e tim
e or
oth
erha
d cl
ung
to th
e m
inds
of t
hese
indi
vidu
als
wer
e ga
ther
ed to
geth
er a
nd c
alle
d D
ada"
a w
ord
they
stu
mbl
ed u
pon
in 1
916
whi
lelo
okin
g fo
r so
met
hing
els
e in
a G
erm
an-
Fre
nch
'dic
tiona
ry. T
hey
wer
e se
lf-pr
ocla
im-
ed a
ctiv
ists
, cau
ght b
y th
e w
ar, w
ides
prea
ddi
sillu
sion
men
t,M
arin
etti'
sin
flam
mat
ory
prop
agan
da, a
nd th
e B
olsh
evik
rev
olut
ion.
The
mov
emen
t was
cha
ract
eriz
ed b
y:A
con
scio
us in
tern
atio
nalis
m;
The
inve
rsio
n of
est
ablis
hed
norm
s;A
flam
boya
nt a
void
ance
of "
beau
ty"
and
conv
entio
nal a
rtis
tic fo
rm;
The
use
of'n
onar
t'm
etho
ds a
nd66
mat
eria
ls(e
.g..
dood
ling.
colla
ge.
"fou
nd"
arid
"re
adym
ade-
obj
ects
):-
Inte
ntio
nal
nonm
eani
ngan
dab
sur
day:
Wei
rd h
umor
and
ape
culia
rly n
ega-
tive
wit:
and
A n
arro
win
g of
the
gap
betw
een
art
and
life.
Am
ong
the
best
exa
mpl
es o
f Dad
aar
t are
Duc
ham
p's
phot
ogra
ph o
f the
Mon
a Li
saw
ith a
mus
tach
e an
d T
HE
FO
UN
TA
IN(a
porc
elai
nur
inal
).P
R :a
ria's
pain
tings
ofab
surd
mac
hine
s. a
ndS
chw
itter
s' M
erz
bild
er a
nd M
erzb
au c
onst
ruct
ions
.
De
Stij
l, (T
he S
tyle
)A
Dut
ch m
ovem
ent p
rimar
ily c
once
rned
with
func
tiona
lism
and
the
inte
grat
ion
ofpa
intin
g an
d sc
ulpt
ure
with
arc
hite
ctur
ean
d de
sign
con
cept
s.T
he c
reed
of t
hede
Stij
lgr
oup
was
"utte
rsi
mpl
icity
."O
rigin
ated
by
The
o va
n D
oesb
urg
and
Pie
tM
ondr
ian.
(S
ee N
eo-P
last
icis
m.)
Eig
ht, T
heA
gro
up o
f pai
nter
s w
ho d
evel
oped
the
habi
t of v
ivid
rep
ortin
g an
d ac
cura
te s
ocia
lde
scrip
tion
whi
le w
orki
ng a
sill
ustr
ator
sfo
r N
ew Y
ork
City
per
iodi
cals
bef
ore
the
wid
espr
ead
use
of p
hoto
grap
hy. A
lso
know
nas
the
"Ash
can
Sch
ool"
beca
use
they
de-
pict
ed p
role
taria
n su
bjec
ts r
athe
r th
an th
em
ore
fash
iona
ble
ones
of s
alon
art
, The
Eig
htin
clud
edR
ober
tH
enri,
Mau
rice
Pre
nder
gast
, Art
hur
B. D
avie
s, G
eorg
e Lu
ks,
Will
iam
Gla
cken
s, J
ohn
Slo
an, E
rnes
t Law
-so
n, a
nd E
vere
tt S
hinn
. The
gen
eral
cha
r-ac
teris
tics
of th
e gr
oup
can
be fo
und
inth
e w
ork
of R
ober
t Hen
ri, w
ho fo
unde
d T
heE
ight
in 1
908
and
exer
ted
the
stro
nges
tin
fluen
ce u
pon
its th
ough
ts a
nd e
ffort
s.
Env
ironm
enta
l Art
(E
nviro
nmen
ts)
Gre
w o
ut o
f the
ass
embl
ages
and
the
type
s of
eve
nts
crea
ted
by th
e D
adai
sts.
The
Ger
man
art
ist,
Kur
t Sch
witt
ers
(188
7-19
48),
one
of t
he fi
rst
to u
se d
isca
rded
obje
cts
as a
rt, m
odifi
ed th
e in
terio
r of
his
hom
e in
Han
over
usi
ng r
efus
e an
d fo
und
obje
cts
as s
truc
tura
l and
dec
orat
ive
ele-
men
ts. H
e ga
ve th
is w
ork
the
title
CA
TH
E-
DR
AL
OF
EX
OT
IC M
ISE
RY
. Env
ironm
ents
on th
e co
ntem
pora
ry s
cene
may
be
rega
rded
as a
form
aliz
ed v
ersi
on o
f the
Dad
aist
s'ev
ents
and
the
antia
rt o
f the
192
0's.
Tod
ay's
artis
ts m
ay d
uplic
ate
ever
yday
pla
ces
and
even
ts to
the
last
deta
il. T
HE
BE
AN
ER
Y(1
965)
by
Edw
ard
Kie
nhol
z is
a c
ompl
ete
dine
r.T
HE
DIN
NE
R T
AB
LE (
1962
),by
Geo
rge
Seg
al, i
nclu
des
tabl
e, c
hairs
, foo
d,an
d gu
ests
.O
ther
env
ironm
er+
s m
ay b
ear
eas
that
are
cha
nged
by
the
obse
rver
. An
exam
ple
of th
is is
MIR
RO
RE
D R
OO
M (
1966
)by
Luc
as S
amar
as.
(See
Hap
peni
ngs.
)
Exp
ress
ioni
smA
n ar
t In
whi
ch th
e in
tens
ity o
f the
art
ist's
inne
r em
otio
ns a
nd id
eas
over
rides
the
tra
(tal
onof
port
rayi
ngac
tual
appe
aran
ces.
resu
lting
in d
isto
rtio
ns o
f lin
e. s
hape
, and
colo
r.T
his
mov
emen
t was
bro
ught
into
prom
inen
ce b
y su
ch p
aint
ers
as V
ince
ntva
n G
ogh,
Pau
l Gau
guin
. and
Hen
ri M
atis
sean
d ca
rrie
d in
to fu
ll bl
oom
by
artis
ts p
aint
-in
g in
Ger
man
y du
ring
the
first
qua
rter
of
the
20th
cen
tury
.A
mon
g th
e pr
omin
ent
early
exp
ress
ioni
sts
wer
e E
dwar
d M
unch
,E
rnst
Ludw
igK
irchn
er,
Max
Bec
kman
n,Ja
mes
Ens
or.
Osk
arK
okos
chka
.E
mile
No
Ide,
Was
si ly
Kan
dins
ky, G
eorg
es R
ou-
alt.
Pau
l Kle
e. K
arl H
ofer
. and
Max
Pec
kste
in.
(See
als
o: F
auvi
sm, D
ie B
ruck
e an
d D
erB
laue
Rei
ter.
)
Fau
vism
One
of s
ever
al e
arly
30t
h ce
ntur
y m
ove.
mer
its c
once
rned
with
colo
r as
an
inde
pend
ent l
angu
age
of m
eani
ng a
nd e
rno
trop
. The
wor
d de
rives
from
Fau
ves
or "
Wild
Bea
sts,
" a
labe
l giv
en b
y a
cont
empo
rary
criti
c to
Hen
ri M
atis
se a
nd h
is fe
llow
Fre
nch
pain
ters
bec
ause
of t
heir
arbi
trar
y an
d fla
m-
boya
nt u
se o
f col
or. I
nflu
ence
d by
Cez
anne
,va
n G
ogn,
and
Gau
guin
, the
Fau
ves
reje
cted
the
trad
ition
alre
pres
enta
tion
ofcl
early
outli
ned
obje
cts
in a
ppar
ent o
r "n
atur
al"
colo
rs,
the
frag
men
tatio
nof
Impr
essi
on-
ist
tech
niqu
es, a
nd th
e m
onoc
hrom
atis
mth
at c
hara
cter
ized
man
y of
the
deve
lop-
men
ts in
Fre
nch
abst
ract
ion.
The
ir m
otto
"Exa
ctitu
de is
not
Tru
th"
beca
me
the
dom
-in
ant t
hem
e of
mod
ern
art,
and
thei
r ef
-fo
rts
pave
d th
e w
ay fo
r a
new
con
cept
of
pain
ting
as a
n "a
rt o
f col
or"
in w
hich
line
,sh
ape,
sym
bol,
etc.
, pla
yed
only
sup
port
-in
g ro
les,
if a
ny.
In a
dditi
on to
Mat
isse
, the
info
rmal
gro
up o
f frie
nds
and
pain
ters
in-
clud
ed A
ndre
Der
ain,
Mau
rice
de V
lam
inck
,A
lber
t Mar
quet
, Rao
ul D
ufy,
and
Geo
rges
Rou
au It
.F
olk
Art
Any
art
, cra
ft, o
r or
nam
enta
tion
prod
uced
by p
eopl
e w
ho m
ay h
ave
had
no fo
rmal
trai
ning
in a
rt, b
ut w
ho h
ave
an e
stab
lishe
dtr
aditi
onof
styl
esan
dcr
afts
man
ship
.(S
ee P
rimiti
ve.)
Fou
nd O
bjec
t Scu
lptu
re(S
ee A
ssem
blag
e.)
Fun
k A
rtA
gro
up o
f San
Fra
ncis
co a
rtis
ts b
orro
wed
the
nam
e fr
om a
jazz
idio
m o
f the
late
195
0's
whe
n "f
unky
" de
scrib
ed m
usic
that
was
sugg
estiv
e of
the
old
eart
hy N
ew O
rlean
sho
t blu
es. T
his
San
Fra
ncis
co a
nd B
ay A
rea
art f
orm
eve
ntua
lly s
prea
d ac
ross
the
coun
-t
67
LA
ND
CA
Pf W
ITH
TM
Eov
Oil
UM
of
AP
TPH
Onf
AN
DSC
HO
OI
Of
Of
'YG
N
684.
try
F u
nk a
rt is
ear
thy.
org
anic
. Plo
mor
phic
.of
ten
ugly
.an
dan
ti B
auha
us-
the
idea
and
the
feel
ing
are
mor
e in
ipor
tant
than
the
prod
uct.
Art
ists
: Rob
ert A
rnes
on. B
ruce
Con
ner.
Cla
es O
lden
burg
. and
Dav
id G
ilho
oly.
Fut
uris
mA
brie
f (19
09 1
4). f
unda
men
tally
sym
.bo
lic m
ovem
ent d
edic
ated
to th
e ex
pres
sion
of"t
he v
orte
xof
mod
ern
life-
-alif
eof
stee
l,fe
ver.
prid
e, a
nd h
eadl
ong
spee
d."
Con
ceiv
ed a
nd p
rocl
aim
ed b
y Ita
l-ia
n po
et F
ilipp
o T
omas
so M
arin
etti
in th
efir
stof
sev
eral
man
ifest
os, F
utur
ism
was
part
icul
arly
conc
erne
d w
ithtim
e,m
ove-
men
t, an
d m
echa
niza
tion.
Sou
nd b
ecam
ea
succ
essi
on o
f wav
es; c
olor
, a p
rism
atic
rhyt
hm; a
nd m
ovem
ent,
a se
rial o
r ra
dial
a;ra
ngem
ent o
f mul
tiple
lim
bs. A
mon
g its
chie
fex
pone
nts
Car
loC
arra
.U
mbe
rto
Boc
cion
i,Lu
igi
Rus
solo
, Gia
com
oB
alla
,G
ino
Sev
erin
i,an
d M
arce
l Duc
ham
pit
was
Duc
ham
p w
ho e
xhib
ited
the
grea
test
unde
rsta
ndin
g of
the
mov
emen
t whe
n he
desc
ribed
his
NU
DE
DE
SC
EN
DIN
G A
ST
AIR
-C
AS
E a
s "a
n or
gani
zatio
n of
kin
etic
ele
-m
ents
. an
expr
essi
on o
f tim
e an
d sp
ace
thro
uah
the
abst
ract
pre
sent
atio
n of
mo-
tion.
"B
utth
eF
utur
ists
'co
ncep
ts w
ere
depi
cted
with
in th
e st
atic
con
vent
ions
of
pain
ting
and
scul
ptur
ethe
y w
ere
neve
rin
tegr
al to
the
form
s th
emse
lves
; and
thus
the
wor
ks b
ecam
e co
ncep
tual
sym
bols
,ra
ther
than
rep
rese
ntat
ions
of t
heir
them
es.
Alth
ough
the
mov
emen
t fai
led
to s
urvi
veW
orld
War
I.it
was
sig
nific
ant t
o su
ch la
ter
deve
lopm
ents
as
Dad
a an
d S
urre
alis
m, a
ndit
stim
ulat
ed a
new
art
istic
sen
sibi
lity
for
the
preo
ccup
atio
ns o
f the
tim
e: s
peed
and
the
mac
hine
.
Gen
re P
aint
ing
A s
tyle
of p
aint
ing
that
rep
rese
nts
som
eph
ase
of e
very
day
life.
suc
h as
a r
ural
vii
lage
sce
ne o
r a
won
ian
at w
ork
in th
e ki
tche
n.
Geo
met
ric A
bstr
actio
nA
sty
le o
f abs
trac
t pai
ntin
g w
hose
sha
pes
are
thos
e of
sim
ple
geom
etry
(th
e lin
e, th
eci
rcle
, the
squ
are,
the
tria
ngle
, etc
.) S
ome-
times
ref
erre
d to
as
Cla
ssic
al A
bstr
actio
n.K
asim
ir M
alev
ich
and
Pie
t Mon
dria
n w
ere
amon
g th
e pi
onee
rs o
f thi
s m
ovem
ent.
Hap
peni
ngs
Are
of s
hort
dur
atio
n an
d us
ually
cal
l for
a sc
ript t
hat i
s us
ed to
mot
ivat
e th
e ob
ser-
vers
who
bec
ome
dire
ct p
artic
ipan
ts in
the
even
t. S
ound
, phy
sica
l mov
emen
ts, s
peec
h,an
d od
ors
as w
ell a
s a
visu
al a
nd ta
ctile
envi
ronm
ent a
ll be
com
e pa
rt o
f thi
s ar
tistic
expe
rienc
e.A
llan
Kap
row
, Jam
es D
ine,
and
Rob
ert W
hitm
an a
re n
oted
for
the
hap-
peni
ngs
they
hav
e st
aged
.(S
ee E
nviro
n-m
enta
l Art
.)
Har
d E
dge
Pai
ntin
g(S
ee M
inim
al A
rt a
nd O
p A
rt.)
Hud
son
Riv
er S
choo
lA
nam
e ap
plie
d to
a g
roup
of
19th
-ce
ntur
yro
man
ticA
mer
ican
land
scap
epa
inte
rs w
ho li
ved
in th
e vi
cini
ty o
f the
Hud
-so
n R
iver
, alth
ough
they
als
o pa
inte
d in
vario
us o
ther
sta
tes
and
coun
trie
s. S
ever
alm
embe
rs o
fth
is g
roup
pos
sess
ed g
reat
nativ
e ab
ility
as
wel
l as
tech
nica
lpr
ofi-
cien
cy w
hich
was
gai
ned
chie
fly fr
om th
ein
fluen
ce o
f the
Bar
bizo
n pa
inte
rs.
Art
ists
:T
hom
as C
ole,
Fre
deric
k C
hurc
h. A
sher
B.
Dur
and,
Alb
ert
Bre
rsta
dt, J
ohn
Fre
deric
kK
ense
tt, T
hom
as D
ough
ty, a
nd T
hom
asM
oran
.
Impr
essi
onis
mA
mov
emen
t whi
ch b
egan
in F
ranc
e in
the
1860
's a
nd is
gen
eral
ly c
onsi
dere
d to
be th
e fir
st g
reat
mod
ern
art m
ovem
ent.
The
Fre
nch
Impr
essi
onis
ts w
ere
prim
arily
conc
erne
d w
ith th
e su
rfac
e pl
ay o
f lig
ht o
nna
ture
and
the
hidd
en e
ffect
s of
col
or w
ithin
shad
ow a
reas
.T
he a
rtis
ts d
isco
vere
d th
ebr
illia
ncy
of c
olor
that
occ
urre
d w
hen
dots
or s
trok
es o
f col
or w
ere
plac
ed n
ext t
o ea
chot
her
on th
e ca
nvas
so
that
the
eye
blen
dsth
e co
lors
inst
ead
of th
e co
lors
bei
ng m
ixed
onth
epa
lette
.A
lthou
ghIm
pres
sion
ist
pain
tings
did
not
con
form
to h
ow n
atur
eha
d be
en tr
aditi
onal
lyre
pres
ente
d, th
eyw
ere
in fa
ct r
eal a
ttem
pts
at p
ortr
ayin
gna
ture
as
it re
ally
isa
feel
ing,
an
atm
o-sp
heric
impr
essi
on! T
he e
xhib
ition
s of
the
Impr
essi
onis
ts in
Par
is in
the
1870
's a
ndth
e 18
80's
wer
e re
ceiv
ed w
ith g
reat
hos
-til
ity a
nd r
idic
ule.
It w
as n
ot u
ntil
the
grou
p br
oke
up, e
ach
to c
ontin
ue in
his
own
indi
vidu
al a
rtis
tic d
evel
opm
ent,
that
reco
gniti
on w
as a
chie
ved.
Cla
ude
Mon
etw
as th
e ac
know
ledg
ed le
ader
of t
he m
ove-
men
t.O
ther
Impr
essi
onis
tar
tists
wer
e:C
amill
eP
issa
rro,
Alfr
edS
isle
y,E
dwar
dM
anet
(in
his
late
r w
ork)
, Ber
the
Mor
isot
,P
ierr
e A
ugus
t Ren
oir,
and
to s
ome
exte
nt,
Edg
ar D
egas
and
Pau
l Cez
anne
as
wel
l as
the
youn
ger
artis
ts, V
ince
nt v
an G
ogh
and
Pau
l Gau
guin
.
Junk
Art
(See
Ass
embl
age.
)
Kin
etic
Art
An
art i
n w
hich
the
aspe
cts
of m
ovem
ent
dom
inat
e.K
inet
icar
t beg
anin
Eur
ope
and
even
tual
ly g
rew
to b
e in
tern
atio
nal i
nsc
ope.
The
art
ist s
eeks
to e
xplo
re n
ewre
latio
nshi
psbe
twee
nsc
ienc
e,ar
t,an
d
tech
nolo
gy.
The
mac
hine
, the
com
pute
r,th
e m
agne
t, op
tical
effe
cts,
and
free
-mov
-in
g pi
eces
hav
e al
l bee
n us
ed b
y ki
netic
artis
ts.
Art
ists
: Ale
xand
er C
alde
r, G
eorg
eR
icke
y, J
ohn
Whi
tney
, Jes
us R
afae
l Sot
o,Je
an T
ingu
ey, a
nd P
ol B
ury.
Lum
inal
Art
An
art w
hich
dev
elop
ed d
urin
g th
e 19
60's
whi
ch u
ses
light
as
an e
lem
ent o
f com
po-
sitio
n in
com
bina
tion
with
oth
er m
edia
or
light
-is.
Flu
ores
cent
tube
s, p
roje
cted
ligh
t,an
d in
cand
esce
nt li
ghts
are
trea
ted
as a
rtob
ject
s. T
hom
as W
ilfre
d, C
an F
lavi
n, E
arl
Rei
back
, and
Chr
yssa
hav
e w
orke
dex
-te
nsiv
ely
in th
is m
ediu
m.
Lyric
al A
bstr
actio
nA
n ar
t mov
emen
t of t
he 1
960'
s aw
ayfr
om g
eom
etric
, har
d-ed
ge, a
nd m
inim
alar
t tow
ard
the
lyric
al a
nd s
ensu
ous,
with
an e
mph
asis
upo
n th
e"a
rtis
t's to
uch"
and
"pai
nter
lyqu
ality
."A
rtis
ts:
Dar
byB
arrn
ard,
Ral
phH
umph
rey,
Ron
nie
Land
field
,La
rry
Poo
ns,
Mar
kR
othk
o,an
d K
enne
th S
how
ell.
Mag
ic R
ealis
mT
he19
th-c
entu
rytr
ompe
l'oei
l'ta
kes
com
mon
plac
e ob
ject
s an
d th
roug
h al
mos
tph
otog
raph
ic p
rese
ntat
ion
of d
etai
ls g
ives
an o
ptic
al r
epor
t of w
hat h
as b
een
obse
rved
.W
illia
m M
. Har
nett
(184
8-92
) w
as A
mer
-ic
a's
mos
t fam
ous
19th
-cen
tury
art
ist
tous
e th
is te
chni
que.
The
sur
real
ists
mod
i-fie
d "m
agic
rea
lism
- to
thei
r ow
n ne
eds.
Obj
ects
are
por
tray
ed w
ith g
reat
fide
lity.
but i
n un
usua
l set
tings
or
unre
al p
lace
sto
exc
ite th
e em
otio
ns o
f the
vie
wer
. Geo
rge
Too
ker
and
Ber
nard
Per
lin's
pai
ntin
gs h
ave
this
mys
terio
us. r
eal-u
nrea
l effe
ct.
And
rew
Wye
th h
as a
lso
been
cal
led
a "m
oder
nm
agic
rea
list-
by
som
e cr
itics
.
Man
neris
mA
n ar
tistic
sty
le w
hich
dev
elop
ed in
re
actio
n to
the
aust
ere
harm
ony
and
clas
sica
lba
lanc
e of
the
Koh
Ren
aiss
ance
. Pre
val-
ent i
n Ita
ly in
the
last
hal
f of t
he 1
6th
cen-
tury
. Man
neris
m w
as c
hara
cter
ized
by
anem
otio
nal p
ortr
ayal
of s
ubje
ct m
atte
r, e
x-ag
gera
ted
pers
pect
ive,
and
rath
ervi
vid
colo
r. F
orm
s w
ere
ofte
n el
onga
ted
as in
man
y pa
intin
gs o
f El G
reco
, who
with
Tin
-to
retto
was
am
ong
the
fore
mos
t exp
onen
tsof
this
sty
le. M
uch
of th
e la
ter
wor
k of
Mic
hel-
ange
lo h
as a
lso
been
con
side
red
by s
ome
criti
cs to
fall
into
the
Man
neris
t cat
egor
y.O
ther
s as
soci
ated
with
Man
neris
m w
ere
Agn
olo
Bro
nzin
o an
dth
esc
ulpt
or a
ndgo
ldsm
ith. B
enve
nuto
Cel
lini.
Min
imal
Art
The
art
ist r
educ
es e
sthe
tic c
once
rn to
the
basi
c el
emen
ts o
f des
ign.
Line
, sha
pe,
spac
e, a
nd c
olor
are
the
mos
t im
port
ant
aspe
cts
in th
e pa
intin
g or
scu
lptu
re. T
hese
elem
ents
are
the
subj
ect.
In th
e 19
60's
,Jo
sef
Alb
ers.
Bar
nett
New
man
, and
Ad
Rei
nhar
dt m
ade
colo
rth
eir
subj
ect
for
pain
ting.
Oth
er p
aint
ers.
Fra
nk S
tell
and
Ells
wor
th K
elly
. are
con
cern
ed w
ith th
e re
-la
tions
hip
of c
olor
to th
e sh
ape
of th
e pi
c-tu
re p
lane
.S
culp
tors
Rob
ert M
urra
y an
dT
ony
Sm
ith w
ork
with
prim
ary
stru
ctur
es.
usin
gin
dust
rial
mat
eria
ls a
nd p
roce
sses
to fa
bric
ate
enor
mou
s w
orks
.T
he s
culp
-tu
res
prod
uced
by
this
met
hod
are
mon
u-m
enta
l. sm
ooth
-sur
face
d, a
nd u
niqu
e fo
rth
eir
clar
ity o
f str
uctu
re.
Mob
iles
Thi
s ty
pe o
f scu
lptu
re, i
n w
hich
the
part
sm
ove,
was
inve
nted
by
the
Am
eric
an s
culp
-to
r A
lexa
nder
Cal
der
in th
e 19
30's
. The
slig
htes
t mov
emen
t of
air
activ
ates
his
72
scul
ptur
es. C
alde
r su
cces
sful
ly in
tegr
ates
mot
ion
into
art
with
out s
acrif
icin
g th
e es
-se
ntia
l tra
its o
f scu
lptu
re. A
mob
ile is
set
in m
otio
n by
nat
ural
forc
es. a
s op
pose
dto
a k
inet
ic s
culp
ture
in w
hich
mov
emen
tis
gen
eral
ly c
ause
d by
mot
ors
or m
agne
ts.
Oth
er a
rtis
ts n
oted
for
thei
r m
obile
s ar
eG
eorg
e R
icke
y, T
akis
Vas
sila
kis
and
Kon
.st
antin
e M
ilona
dis.
Moi
re P
atte
rnT
his
term
com
es fr
om th
e F
renc
h w
ord
moi
re m
eani
ng "
wat
ered
.'' a
nd w
as o
riqin
ally
use
d to
des
crib
e sh
imm
erin
g si
lk fa
teric
whi
ch h
as a
wav
y. w
ater
ed a
ppea
ranc
e.M
oire
pat
tern
s ar
e se
en w
hene
ver
are
-pe
titiv
e st
ruct
ure
is o
verla
id w
ith a
noth
erst
ruct
ure
and
the
line
elem
ents
are
nea
rlysu
perim
pose
d.S
uch
com
mon
obj
ects
as
over
lapp
ing
inse
ct w
indo
w s
cree
ns. f
olds
inny
lon
curt
ains
,w
ire tr
ash
cans
, and
wire
mes
h fe
nces
pro
duce
thes
e pa
ttern
s.M
oire
patte
rns
are
effe
ctiv
ely
used
bym
any
of th
e O
p ar
tists
suc
h as
Brid
get R
iley.
(See
Op
Art
.)
Nab
is, L
eT
his
nam
emea
ning
"pr
ophe
ts"
in H
e-br
eww
as ta
ken
by a
gro
up o
f Fre
nch
'inte
rs w
ho b
ande
d to
geth
er in
188
8 to
char
ge th
e si
mpl
e sc
enes
of l
ife w
ith a
per
-va
ding
sen
se o
f mys
ticis
m.
Thi
s gr
oup
was
gre
atly
influ
ence
d by
Deg
as a
nd C
ez-
anne
, as
wel
l as
the
Sym
bolis
t pai
ntin
gsof
Gau
guin
. Am
ong
the
mos
t not
ed m
em-
bers
of t
his
grou
p w
ere
Pie
rre
Bon
nard
and
Edw
ard
Viu
llard
,w
hose
land
scap
esan
d or
dina
ry ,u
bjec
ts w
ere
pain
ted
with
aso
ft, d
ream
y, p
oetic
ligh
t.O
ther
art
ists
:M
auric
e D
enis
, Pau
! Ser
usie
r, P
aul R
anso
n,an
d K
er-X
avie
r R
ouss
el.
Neo
-Cla
ssic
ism
A s
tyle
in w
hich
the
artis
t was
not
onl
y in
-flu
ence
d by
cla
ssic
alar
t but
ofte
n to
okcl
assi
cal t
hem
es fo
rhi
f.su
bjec
t mat
tei;
prev
alen
: in
Fra
nce
in th
e 18
th a
nd e
arly
19th
cen
turie
s. T
he p
a;nt
ers
Jacq
ues
Loui
sD
avid
and
Jea
n In
gres
, and
scu
lpto
r A
n-to
nio
Can
ova
wor
ked
in th
is s
tyle
.N
eo-E
xpre
ssio
nisn
i--T
his
term
is g
ener
ally
use
d to
incl
ude
all f
orm
s of
abs
trac
t art
whi
ch a
re d
eter
min
edby
emot
iona
l,ac
cide
ntal
,or
impu
lsiv
efo
rces
as
oppo
sed
to th
e m
ore
met
icul
ousl
yar
rang
ed c
ompo
sitio
ns o
f Geo
met
ric A
b-st
ract
ion.
Thi
s ar
t for
m s
tem
s fr
om th
ew
ork
of E
urop
ean
pain
ter
Was
sily
Kan
din-
sky.
Neo
-Pla
stic
ism
(See
De
Stij
l.)N
onob
ject
ive
Art
A ty
pe o
f abs
trac
t or
nonr
epre
sent
atio
nal
art i
n w
hich
the
subj
ect c
anno
t be
iden
tifie
d.T
he e
sthe
tic e
xper
ienc
e is
inte
nded
to r
e-su
lt fr
om a
dire
ct a
ttack
on
the
view
er's
sens
ibili
ties,
una
ided
and
unh
inde
red
byth
e cu
stom
ary
aven
ues
of r
ecog
nitio
n. A
lex-
ande
r R
odch
enko
is s
aid
to h
ave
used
the
term
as
anot
her
labe
lfo
r S
upre
mat
ism
;bu
t the
sty
le is
usu
ally
ass
ocia
ted
with
Was
-si
ly K
andi
nsky
, who
is c
redi
ted
with
hav
ing
deve
lope
d th
e fir
st n
onob
ject
ive
pain
ting
in 1
909.
(See
Abs
trac
t Art
.)
Op
Art
or
Opt
ical
Illu
sion
Art
A r
ecen
t sty
le o
f art
in w
hich
sha
rp e
dge
abst
ract
pat
tern
s st
imul
ate
a re
actio
n on
the
retin
a of
the
eye
resu
lting
in a
n ill
usio
nof
da.
77le
or
mov
emen
t. T
he ju
xtap
ositi
onof
com
plem
enta
ry c
olor
s en
hanc
es th
isda
zzlin
g ef
fect
(se
e M
oire
Pat
tern
). O
p A
rtm
ay a
lso
invo
lve
mec
hani
cal m
otio
n, s
hift-
ing
imag
es, l
ight
filte
red
thro
ugh
pris
ms,
and
othe
r te
chni
cal e
ffect
s as
wel
l as
"har
ded
ge"
pain
ting.
The
chr
omat
ic v
ener
atio
nsof
the
squa
re b
y Jo
seph
Alb
ers
and
the
colo
r di
visi
onis
m o
f Seu
rat w
ere
prec
urs-
ors
of O
ptic
al A
rt.
Art
ists
: Vic
tor
de V
a-sa
rele
y,B
ridge
t Rile
y,R
icha
rd A
nusz
kie-
wic
z, A
gam
(Y
aaco
v G
ipst
ein)
, and
Ger
ald
Ost
er.
(See
Min
imal
Art
.)O
rphi
smA
wor
d us
ed b
y F
renc
h po
et a
nd a
rt c
ritic
Gui
llaum
e A
potli
naire
to d
escr
ibe
a ty
peof
non
obje
ctiv
e pa
intin
gin
whi
ch c
olor
alon
e w
as b
oth
form
and
sub
ject
. Cha
ract
er-
ized
bybr
illia
ntco
lors
inov
erla
ppin
gpl
anes
, the
sty
le e
mer
ged
from
a p
reoc
cu-
patio
n w
ith th
e co
loris
tic a
spec
ts o
f Cu-
bism
, cap
italiz
ed u
pon
the
quas
i-sci
enti-
ficex
perim
ents
ofIm
pres
sion
ism
,an
dac
hiev
ed it
s ef
fect
s th
roug
h a
geom
etric
alex
ploi
tatio
nof
the
refr
activ
e qu
ality
of
light
. The
bes
t exa
mpl
es a
re th
e "f
rag-
men
ted
rain
bow
s"of
foun
der
Rob
ert
Del
auna
y in
191
2-13
, and
sel
ecte
d w
orks
by F
erna
nd L
eger
, Fra
ncis
Pic
abia
, Mar
cel
Duc
ham
p, a
nd F
rank
(F
rant
isek
) K
upka
.
Poi
ntill
ism
(P
oint
illis
me
or D
ivis
ioni
sm)-
-T
his
was
an
exte
nsio
n or
bra
nch
of Im
-pr
essi
onis
m in
whi
ch th
e ch
ief f
ocus
was
the
prin
cipl
e of
bro
ken
colo
r (o
ptic
al m
ix-
ture
).C
olor
s w
ere
appl
ied
in ti
ny d
ots
orst
roke
s so
that
, whe
n vi
ewed
at a
dis
tanc
e,th
e ey
e w
ould
ble
nd th
e co
lor,
cre
atin
gvi
sual
mas
ses
and
outli
nes.
Geo
rges
Seu
-ra
t, w
ho in
vent
ed p
oint
illis
m, a
nd G
eorg
esS
igna
c w
ere
the
lead
ing
figur
es o
f thi
sm
ovem
ent.
Pop
Art
Com
icst
rips,
bran
d-na
me
prod
ucts
,m
ovie
star
s,si
gns,
Ben
day
dots
,ha
m-
73
burg
ers,
and
act
ual o
bjec
ts a
ll ar
e im
ages
of P
op A
rt.
Thi
s m
ovem
ent i
n pa
intin
g an
dsc
ulpt
ure
gain
ed m
omen
tum
in th
e U
nite
dS
tate
s in
the
1960
's, b
ut w
as b
orn
inde
-pe
nden
tly in
Eng
land
in th
e 19
50's
.P
opA
rtre
flect
sth
eiro
nies
of c
onte
mpo
rary
cultu
re in
all
aspe
cts,
in b
oth
a cr
itica
l and
a de
tach
ed m
ood.
Am
ong
the
char
acte
r-is
tics
whi
ch a
re a
n im
port
ant p
art o
f the
Pop
Art
str
ateg
y ar
e la
rge
scal
e, a
nony
mity
.re
petit
ion,
the
com
mon
plac
e, th
e ab
surd
.th
e m
ass
med
ia, a
nd a
gen
eral
rid
icul
e of
cont
empo
rary
Am
eric
an v
alue
s. T
he r
oots
of th
e P
op A
rt m
ovem
ent h
ave
been
trac
edto
suc
h di
vers
e fa
ctor
s as
Fol
k A
rt, D
ada-
ism
,C
olla
ge,
Ass
embl
age,
Sur
real
ism
.S
tuar
tD
avis
, and
Fer
nand
Lege
r.(S
eeC
amp
Art
.)A
rtis
ts: R
oy L
iclit
enst
em, A
ndy
War
hol,
Cla
es O
lden
burg
, Jam
es R
osen
-qu
ist,
Tom
Wes
selm
an, E
dwar
d K
ienh
olz.
Pet
er S
aul,
Red
Gro
oms.
Way
ne T
hieb
aud,
Jam
es D
ine,
Jas
par
John
s. M
aris
ol, R
ob-
ert R
ausc
henb
urg,
and
Geo
rge
Seg
al.
Pos
t-Im
pres
sion
ism
Thi
s is
a g
ener
al te
rm w
hich
incl
udes
all t
rend
s in
art
from
188
0 to
the
early
1900
's w
hich
wer
e a
reac
tion
to Im
pres
sion
-is
m. M
ost n
oted
am
ong
the
artis
ts o
f thi
spe
riod
wer
e V
ince
nt v
an G
ogh
and
Pau
lG
augu
in, w
ho w
ere
conc
erne
d w
ith th
e su
b-je
ctiv
e or
em
otio
nal c
onte
nt o
f wha
t the
y
TH
EF
AM
IL Y
.M
AR
ISO
Lt M
AR
ISO
L. E
SC
OB
AR
).1!
)(i:)
Pat
ine(
) w
(mci
and
oth
er m
ater
ials
inth
ree
tinns
f4,;)
;)x
1:)
... (
olle
ctio
n. T
HI M
US
E U
MO
f MO
D/ R
N A
RT
NE
W Y
OR
K A
DV
ISO
RY
CO
MM
ITT
EE
FU
ND
74
saw
. and
Geo
rges
Stq
l rat
. who
cre
ated
for-
mal
com
posi
tions
whi
le fu
rthe
r re
finin
g th
epr
inci
ple
of b
roke
n co
lor.
(See
Poi
ntill
ism
.)
Prim
ary
Str
uctu
re(S
ee M
inim
al A
rt.)
Prim
itive
A te
rm w
hich
is u
sed
to d
escr
ibe
an a
rtis
tw
ho is
sel
f-ta
ught
and
not
influ
ence
d by
othe
r ar
tists
or
tren
ds, h
isto
ric o
r cu
rren
t.H
enri
Rou
ssea
u w
as th
e be
st k
now
n F
renc
hpr
imiti
ve.
Alth
ough
he
lived
and
pai
nt-
ed w
hile
Impr
essi
onis
m w
as in
full
bloo
m,
his
uniq
ue s
tyle
of p
aint
ing
does
not
re-
flect
the
Impr
essi
onis
ts' t
heor
ies,
or
othe
rtr
ends
that
pre
cede
d th
em.
Am
ong
the
note
d A
mer
ican
prim
itive
s w
ere
Edw
ard
Hic
ks, G
rand
ma
Mos
es, a
nd H
orac
e P
ippi
n.T
he te
rm p
rimiti
ve a
lso
pert
ains
to th
ear
t of g
roup
s of
peo
ple
who
adh
ere
to c
us-
tom
or
a tr
aditi
onal
pat
tern
of t
heir
cul-
ture
with
out r
egar
dfo
ror
kno
wle
dge
ofso
cial
or
artis
tic c
hang
es in
the
rest
of t
hew
orld
. Thi
s ty
pe o
f prim
itive
art
was
ofte
ncr
eate
d fo
r re
ligio
us o
r tr
ibal
pur
pose
s, a
ndap
pear
s in
the
art o
f Afr
ica,
Indi
a, N
ewG
uine
a. A
lask
a. a
nd A
mer
ica.
Psy
ched
elic
Art
Firs
tin
trod
uced
inth
e U
nite
d S
tate
sin
196
6. th
e cu
rvili
near
sty
le s
eem
s to
hav
eev
olve
d fr
om A
rt N
ouve
au. D
ecor
ativ
e. a
b-st
ract
sha
pes
and
brill
iant
col
ors
are
es-
sent
ial e
lem
ents
of t
his
art f
orm
. The
de-
velo
pmen
t of t
he n
ew in
tens
e co
lors
, ink
s,an
d dy
es h
ave
help
ed a
rtis
ts s
uch
as P
eter
Max
not
onl
y in
pai
ntin
g, b
ut a
lso
in d
esig
n-in
g po
ster
s, c
loth
ing,
and
hou
seho
ld o
bjec
tsin
this
bril
liant
ly c
olor
ed s
tyle
.P
uris
mA
mov
emen
t tha
tre
ject
edth
eov
erly
deco
rativ
e an
d fa
ntas
tic a
spec
ts o
f Cu-
bism
in fa
vor
of s
impl
er, m
ore
func
tiona
ldu
i:lin
es. B
egun
with
"Afte
r C
ubis
m,"
am
anife
sto
publ
ishe
din
1918
by
Fre
nch
pain
ter
Arn
edee
Oze
nfan
t and
arch
itect
Cha
rles
Edo
uard
Jea
nner
et (
Le C
orbu
sier
),P
uris
m r
etai
ned
man
y of
the
prin
cipl
es o
fth
eea
rlier
mov
emen
t, bu
t str
esse
dth
eie
cogn
izab
le d
epic
tion
of s
ubje
cts
and
was
gene
rally
cha
ract
eriz
ed b
y pr
ecis
ely
draw
n,ge
omet
rical
ly s
impl
ified
form
s in
pur
e co
l-or
s an
d so
me
degr
ee o
f sty
lizat
ion.
Scu
lp-
tor
Con
stan
tin B
ranc
usi h
as a
lso
been
iden
ti-fie
d w
ith th
e P
uris
ts.
Rea
dym
ades
--(S
ee A
ssem
blag
e.)
Rea
lism
An
art m
ovem
ent i
n F
ranc
e w
hich
was
are
actio
n ag
ains
t the
idea
lized
sub
ject
mat
ter
of R
oman
tic a
nd N
eocl
assi
cal p
aint
-in
g.T
he R
ealis
ts p
aint
ed s
ubje
cts
from
ever
yday
life
in a
"na
tura
listic
" m
anne
r.G
usta
ve C
ourb
et, t
he m
ost n
oted
of t
his
grou
p, o
rgan
ized
the
first
Rea
list e
xhib
itin
185
5.T
he te
rm R
ealis
m is
als
o us
ed to
des
crib
eth
e de
pict
ion
of r
eal o
bjec
ts, s
cene
s, a
ni-
mal
s, a
nd h
uman
figu
res
as th
ey a
ctua
llyap
pear
in n
atur
ewith
out s
tyliz
atio
n,in
-te
rpre
tatio
n, o
r di
stor
tion.
Oth
er te
rms
also
used
to d
escr
ibe
this
type
of a
rt a
re r
epre
-se
ntat
iona
l,ob
ject
ive,
natu
ralis
tic,
and
phot
ogra
phic
.
Roc
oc o
A g
ay, d
elic
ate,
ref
ined
sty
le o
f art
and
inte
rior
deco
ratin
g fo
und
in F
ranc
e in
the
18th
cen
tury
whi
ch r
epre
sent
ed a
rea
ctio
nag
ains
t the
hea
vy B
aroq
ue s
tyle
, but
whi
chre
duce
d m
any
of th
ese
elab
orat
e,cu
rvi-
linea
r fo
rms
of th
e B
aroq
ue to
a s
mal
ler
75
scal
e.In
pai
ntin
g, th
is s
tyle
was
dev
oted
to li
ght,
friv
olou
s, r
athe
r ar
tific
ial v
iew
s of
cour
t life
dur
ing
that
per
iod.
Art
ists
: Jea
nA
ntoi
ne W
atte
au, J
ean
Hon
ore
Fra
gona
rd,
and
Fra
ncoi
s B
ouch
er.
Rom
antic
ism
A 1
9th-
cent
ury
mov
emen
t whi
ch a
rose
as a
rea
ctio
n ag
ains
t Neo
clas
sici
sm. T
hesp
irit
ofre
volu
tion
whi
chch
arac
teriz
edth
at a
ge w
as o
ften
embo
died
in th
e w
ork
of th
ese
artis
ts. T
he R
oman
ticis
ts c
reat
edpe
rson
al, d
ram
atic
, em
otio
nal s
tate
men
tsth
roug
h th
e us
e of
his
toric
, exo
tic, o
r lit
er-
ary
subj
ect m
atte
r. In
Fra
nce,
the
pain
ters
The
odor
e G
eric
ault
and
Eug
ene
Del
acro
ix,
and
the
scul
ptor
Ant
oine
Lou
is B
arye
wer
ele
adin
g fig
ures
in th
is m
ovem
ent.
In E
ng-
land
, the
lead
ing
pain
ter
was
J.
M. W
.T
urne
r.
Soc
ialis
t Rea
lism
The
art
ists
try
to m
irror
soc
iety
, ofte
nw
ith s
atire
. Jac
k Le
vine
(19
15-
) ho
lds
up a
mirr
or to
the
corr
upt p
oliti
cal o
r ci
vic
lead
er.
His
peo
ple
are
to b
e de
test
ed, n
otla
ughe
d at
.O
ther
soc
ial r
ealis
ts s
uch
asJa
cob
Law
renc
e,Is
aac
Soy
er, a
nd J
ohn
Slo
an d
epic
t soc
ial c
ondi
tions
with
out c
orn-
men
t, ne
vert
hele
ss r
evea
ling
a br
oad
hu-
man
sym
path
y. T
he M
exic
an a
rtis
ts D
avid
Alfa
ro S
ique
ros
(189
8-),
Die
goR
i-vi
era
(188
6-19
57),
and
Jose
Cle
men
teO
rozc
o (1
883-
1949
) us
e th
eir
pain
ting
asid
eolo
gica
l ins
trum
ents
to b
ring
abou
t po-
litic
al c
hang
e. A
rtis
ts: G
eorg
e T
ooke
r, B
erta
Mar
goul
ies,
Ern
est
Bar
lach
,Lo
uis
Bos
a,E
dwar
dH
oope
r,A
aron
Boh
rod,
Will
iam
Gro
pper
, Geo
rge
Gro
sz, B
en S
hahn
.S
ev-
eral
mem
bers
of T
he E
ight
mig
ht a
lso
bete
rmed
Soc
ial R
ealis
ts.
76
Soc
ial R
ealis
mT
he o
ffici
al s
tyle
of S
ovie
t art
est
ablis
hed
in 1
932
whe
n th
e go
vern
men
t res
umed
the
spon
sors
hip
and
supe
rvis
ion
ofV
ultu
ral
activ
ity o
rigin
ally
per
form
ed b
y P
role
tcul
t,th
e O
rgan
izat
ion
for
Pro
leta
rian
Cul
ture
.Its
chi
ef c
hara
cter
istic
s ar
e:-
An
emph
asis
on
soci
al c
omm
enta
ry;
Fun
ctio
nalis
min
arch
itect
ure
and
prod
uct d
esig
n; a
ndA
gen
eral
ly c
onse
rvat
ive,
repr
esen
-ta
tiona
l app
roac
h to
pain
ting
and
scul
ptur
e,al
tere
dw
ithin
rece
ntye
ars
by a
lim
ited
degr
ee o
f exp
eri-
men
tatio
n an
d ab
stra
ctio
n.
Sup
rem
atis
m .
A n
onob
ject
ive
art m
ovem
ent b
egun
inM
osco
w in
191
3 by
Rus
sian
pai
nter
Kas
i-m
ir M
alev
ich,
who
pro
noun
ced
that
:R
ealit
y in
art
is th
e se
nsat
iona
l effe
ctof
col
or it
self;
Obj
ects
in th
emse
lves
are
mea
ning
less
and
the
idea
s of
the
cons
ciou
s m
ind,
wor
thle
ss;
- F
eelin
g is
the
deci
sive
fact
or; a
ndT
hrou
gh b
asic
form
s an
d si
mpl
e co
lors
conc
eive
d in
term
s of
"pu
re fe
elin
g,"
art a
rriv
es a
t non
obje
ctiv
e re
pres
enta
-tio
n or
Sup
rem
atis
m.
Mal
evic
h's
WH
ITE
ON
WH
ITE
was
the
ulti-
mat
e ex
pres
sion
of
his
thes
is.
Vla
dim
irT
atlin
and
Ale
xand
er R
odch
enko
wer
e al
soas
soci
ated
with
the
mov
emen
t, bu
t the
irfta
rictio
nalis
t/pro
duct
ivis
tle
anin
gsso
ondr
ove
them
to C
onst
ruct
ivis
m.
Afte
r th
eS
ovie
t pro
scrip
tion
in 1
922,
man
y of
the
Sup
rem
atis
ts w
ent t
o P
aris
whe
re th
ey c
on-
trib
uted
to th
e de
velo
pmen
t of G
eom
etric
Abs
trac
tion.
Sur
real
ism
A m
ovem
ent d
eriv
ed fr
om a
mod
e of
crea
tive
writ
ing
defin
edby
exp
erim
ente
rA
ndre
Bre
ton
as "
pure
psy
chic
aut
omat
ism
..
,fr
ee fr
om a
ny c
ontr
ol b
y th
ere
ason
, ind
e-pe
nden
t of a
ny e
sthe
tic o
r m
oral
preo
ccu-
patio
n."
Nam
ed "
in h
omag
e to
Gui
llaum
eA
polli
naire
." w
ho h
ad u
sed
the
wor
d in
desc
ribin
g on
e of
his
pla
ys, a
nd o
ffici
ally
laun
ched
in 1
924
with
the
"Firs
t Sur
real
ist
Man
ifest
o,"
the
mov
emen
t atte
mpt
edto
"libe
rate
pic
toria
l ide
as fr
om th
eir
trad
i-tio
nal a
ssoc
iatio
ns"
and
tous
e sp
onta
n-eo
us im
puls
es fr
om th
e su
bcon
scio
us m
ind
as a
sou
rce
of c
reat
ivity
.In
gen
eral
, Sur
-re
alis
t wor
ks e
ither
dep
icte
d th
e qu
iet f
an-
tasi
es o
f dre
ams
and
tran
celik
e st
ates
orem
ploy
ed a
del
iber
ate
stra
tegy
of p
sych
o-lo
gica
l sho
ck in
tend
ed to
res
truc
ture
"cu
s-to
mar
y ha
bits
of p
erce
ptio
n in
the
act o
fex
perie
ncin
g th
e w
ork.
"T
hey
wer
e ch
ar-
acte
rized
by:
- A
kin
d of
"su
per
real
ism
" w
ithin
an
atm
osph
ere
of h
aunt
ing,
som
etim
es r
e-pe
llent
, irr
atio
nalit
y:-
Unn
atur
al ju
xtap
ositi
ons
and
com
bina
-tio
ns o
f im
ages
;T
he il
lusi
on o
f inf
inite
spa
ce;
Som
e of
the
earli
er D
ada
tech
niqu
es,
such
as
the
use
of fo
und
obje
cts;
and
An
unde
rlyin
gco
ncer
nfo
rthe
abso
-lu
te fr
eedo
m o
f the
min
d.Its
chie
f exp
onen
ts w
ere
foun
der
Bre
ton
and
Sal
vado
r D
ali,
Gio
rgio
de
Chi
rico,
Max
Ern
st.
Yve
s T
angu
y. H
ans
Arp
.F
ranc
isP
icab
ia, J
oan
Miro
, and
film
mak
er L
uis
Bun
uel,
who
se L
E C
HIE
N A
ND
ALO
U (
1929
)an
d L'
AG
E D
'OR
(19
31)
are
"Sur
real
ist
man
ifest
atio
ns o
f the
mos
t typ
ical
kin
d."
Late
rad
here
nts
incl
ude
Ren
eM
agrit
te,
And
re M
asso
n, G
iaco
met
ti, a
nd o
ther
pai
nt-
ers
in B
russ
els,
Pra
gue,
Bel
grad
e, L
ondo
n,D
enm
ark,
Jap
an, a
nd th
e U
nite
d S
tate
s.
Syn
thet
ic C
ubis
mT
he la
bel g
iven
to a
form
of C
ubis
mde
-ve
lope
d be
twee
n 19
14 a
nd 1
918
by J
uan
Gris
and
/or
Fer
nand
Leg
er.
Gris
com
bine
d "t
he 'c
ompo
sitio
n af
ter
natu
re' w
ith th
e au
tono
mou
s st
ruct
ure
of th
e pi
ctur
e sp
ace"
by
plan
ning
the
fram
ewor
k fo
rhi
s pa
intin
g an
d th
enim
posi
ng h
is s
ubje
ct u
pon
it.Le
ger
"inve
nted
a s
pace
with
out
per-
spec
tive
:n w
hich
he
set h
is g
eom
etri-
cize
d el
emen
ts."
Syn
thet
ic C
ubis
m w
as c
hara
cter
ized
byth
e ar
bitr
ary
use
of c
olor
and
text
ure,
but
alw
ays
with
inits
ow
n lo
gic
of fo
rm a
ndsp
ace.
Tro
mpe
I'oe
ilT
his
Fre
nch
term
, whi
ch m
eans
"de
-ce
ptio
n of
the
eye,
" is
app
lied
toa
type
of
pain
ting
so d
etai
led
and
phot
ogra
phic
ally
real
istic
that
the
obse
rver
mig
ht fe
elth
atth
e ob
ject
s po
rtra
yed
are
"act
ual"
rath
erth
an p
aint
ed. T
he p
aint
er c
reat
es th
eill
u-si
on o
f rea
lity.
Tro
mpe
l'oe
il is
a ch
arac
ter-
istic
of M
agic
Rea
lism
and
ofte
nan
ele
-m
ent u
sed
in S
urea
lism
.A
rtis
ts: W
illia
mH
arne
tt an
d A
aron
Boh
rod.
Vor
t ic
ism
A b
ranc
h of
Fut
uris
m fo
unde
d in
Eng
land
by W
yndh
am L
ewis
in 1
912
and
nam
ed fr
omth
e ce
ntra
l cla
use
in B
occi
oni's
man
ifest
o,w
hich
adv
ocat
es "
a cl
ean
swee
p.
.of
all
stal
e an
d th
read
bear
sub
ject
-mat
ter
inor
-de
r to
exp
ress
the
vort
ex o
f mod
ern
life
..
." It
s ch
ief a
dher
ents
wer
e W
illia
m R
ob-
erts
, Fre
deric
k E
tche
lls, E
dwar
d W
adsw
orth
,C
.R
. W. N
evin
son,
Jac
ob E
pste
in, a
ndH
enri
Gau
dier
-B
rzes
ka; i
ts c
redo
sw
ere
pub-
lishe
din
two
issu
es o
f an
item
cal
led
"Bla
st";
and
its
wor
ks w
ere
prim
arily
ab-
stra
ctan
dno
nobj
ectiv
e.A
lthou
ghth
e"G
reat
Eng
lish
Vor
tex"
invo
lved
onl
ya
smal
l gro
up o
f writ
ers,
pai
nter
s, a
nd s
culp
-to
rs, b
y th
e tim
e it
ende
d in
191
5, th
em
ove-
men
t had
suc
ceed
ed in
brin
ging
the
com
-bi
ned
influ
ence
s of
Fre
nch
Cub
ism
and
Italia
n F
utur
ism
to B
ritis
h ar
t_
77
ks.
a
-%
-11t -xt,11
-..
rye),
1,1141100
*: 6
.1.11.ama
4
Is
.
'S
-41
'Iv '
SE
LEC
TE
D S
OU
RC
ES
OF
MR
IMS
AN
D S
RV
ICE
SM
useu
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galle
ries,
and
sim
ilar
nonp
rofit
inst
itutio
nsof
fer
aw
ide
varie
ty o
f edu
catio
nal m
ater
ials
and
ser
vice
s at
littl
e or
no
cost
to s
choo
ls.
Tea
cher
s ar
e en
cour
aged
to m
ake
exte
nsiv
e us
e of
loca
lre
sour
ces,
sup
plem
entin
g th
em w
ith s
lides
,pr
ints
,re
plic
as,
etc.
,of
sign
ifica
ntbu
t oth
erw
ise
inac
cess
ible
wor
ks w
hich
can
be
secu
refr
om s
uch
natio
nally
rec
ogni
zed
inst
itutio
ns a
nd c
omm
erci
al e
nter
-'pr
ises
as
thos
e lis
ted
belo
w.
Alb
right
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x A
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ork
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Am
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The
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Can
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y. J
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Mai
nstr
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mod
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art.
Hol
t, R
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art &
Win
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.19
59.
Che
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She
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ioni
sm in
art
: rev
. ed.
Live
right
.19
/0.
A n
ew w
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his
tory
of a
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ev. e
d. V
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ress
.19
56.
A p
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of m
oder
n ar
t;re
v. e
d. P
rent
ice
Hal
l19
65.
Liv
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ht.
1970
.
Cra
ven.
Way
ne. S
culp
ture
in A
mer
ica.
Cro
wel
l19
68.
Day
°, M
axim
. Tw
enty
cen
turie
s of
gre
at E
urop
ean
pain
tings
.S
terli
ng.
1957
.
Fau
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r. R
ay. E
dwin
Zie
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d. &
Ger
ald
Hill
Art
toda
y. H
olt.
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Win
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and
idea
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Hal
l.19
67.
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Art
s an
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eas:
ed.
Hol
t. R
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art &
Win
ston
.19
68.
Gar
dner
. Hel
en. A
rt th
roug
h th
e ag
es: r
ev e
d.H
arco
urt B
race
.19
70.
82
1.1r
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Vy
His
tory
of a
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Ir
The
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1.11
119
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Pre
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all.
hitW
rtA
con
cise
his
tory
of m
oder
n sc
ulpt
ure.
Pra
eger
196.
1.
Si l
linnl
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earc
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lf di
scov
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rev
ed.
Inte
rnat
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lT
ex t
book
1
Sie
ber.
Arn
old
The
scu
lptu
re o
f bla
ck A
fric
a.B
o'-t
on B
ook.
1968
.
Vi.i
tttr,
,on
.Joe
nti
Arc
hite
ctur
e: a
sho
rt h
isto
ry. W
W. N
orto
n.19
68.
PE
RIO
DIC
ALS
Am
eric
an A
rtis
tA
rchi
tect
ural
For
umA
rt in
Am
eric
aA
rt In
tern
atio
nal
Art
Jou
rnal
Art
New
sA
rts
Cra
ft H
oriz
ons
83