Chapter 4.5 Art, Illusion, and Transformation

PART 4

THEMES

Copyright © 2015 Thames & Hudson

Introduction

Illusionism: artistic skill to make something look real

Trompe l’oeil (French for “fool the eye”): two-dimensional artworks that convincingly appear to be three-dimensional objects

Artists suggest transformation of objects and ideas through illusion

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.5 Art, Illusion, and Transformation

Art as an Illusionistic Window

Ancient story of Greek painters Zeuxis and Parrhasius reveals the millennia-old effort by artists to create convincing illusions

Leon Battista Alberti wrote in his treatise On Painting that artists should design their paintings as illusionary windows

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.5 Art, Illusion, and Transformation

As ancient Roman author Pliny the Elder tells it, Zeuxis’s painting of grapes was so realistic that birds flew down to peck at them

Parrhasius in turn painted such a convincing curtain that Zeuxis reached for the drapery, hoping to see the painting on which his rival was working

After being fooled, Zeuxis conceded that Parrhasius had won the competition

Leon Battista Alberti (1404–1472) was an architect and thinker

Artwork: Andrea Mantegna, detail of central oculus

4.5.1 Andrea Mantegna, detail of central oculus, ceiling of the Camera degli Sposi. Fresco, 8’9” diameter. Ducal Palace, Mantua, Italy

Chapter 4.7 Art, War, and Revolution

PART 4

THEMES

Copyright © 2015 Thames & Hudson

Introduction

Art about war may: educate, inspire, or shock

Can be rich sources of historical information

Should be treated with caution: artists may manipulate scenes to promote a specific political point of view

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.7 Art, War, and Revolution

Artists choose the subjects of revolution or war for a variety of reasons: to educate us about the realities of conflict, to inspire us through the depiction of heroism, or to shock us into opposing violence.

2

Documenting the Tragedies of War

Artworks can document an event

Artworks can also distort facts or relay a bias

Even photographs and video can be manipulated to persuade the viewer toward a certain interpretation of an event

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.7 Art, War, and Revolution

It is important to assess the art of war with great care and attention as to the context in which the work was created.

3

Artwork: Timothy O’Sullivan, Harvest of Death […]

4.7.1 Timothy O’Sullivan, Harvest of Death, Gettysburg, Pennsylvania, July 1863. Photograph. Library of Congress, Washington, D.C.

Chapter 4.6 Art of Political Leaders and Rulers

PART 4

THEMES

Copyright © 2015 Thames & Hudson

Introduction

Artworks have been used to assert a leader’s power and influence

Highlight their right to rule

Portrayed in an idealized way

Project an image of military strength

Propaganda tool

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.6 Art of Political Leaders and Rulers

Sometimes leaders claim their authority has been granted by the gods

They are often dressed in elaborate clothing, placed centrally in the composition, depicted larger than other figures, and positioned so that the viewer looks up at them

Such images are also potentially revealing of what a society might be looking for, or expecting, from its leader

2

Iconic Portraiture of Leaders

Artists have developed ways to show leaders with power and authority

Portraits vary in accuracy

May instead convey qualities the leader wants to be perceived to embody

Iconic portraits are recognizable worldwide

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.6 Art of Political Leaders and Rulers

What image comes to mind when you think of a great leader?

The portraits of Queen Elizabeth I, George Washington, and Napoleon Bonaparte have become iconic—recognizable worldwide for so strikingly depicting the historical impact of the leaders they represent (see Gateways to Art pp.627-629)

Consider whether there is a difference in the way the woman is portrayed and what the image suggests about her power

Consider the way the images of male leadership convey their qualities as rulers

3

Artwork: Jean-Antoine Houdon, George Washington

4.6.1 Jean-Antoine Houdon, George

Washington, 1788–92. Marble, height 6’2”. Virginia State Capitol, Richmond, Virginia

4 Steps to Critiquing Art Work Developed by Edmund Feldman


 Description


­



Analysis



­


Interpretation


­



Evaluation



 Describe
 This
stage
is
like
taking
inventory.
You
want
to
come
up
with
a
list
of
everything
you
see
in
the
 work.
Stick
to
the
facts.
Imagine
that
you
are
describing
the
artwork
to
someone
over
the
 telephone.

Express
what
you
see
in
detail.
 
 Analyze
 Try
to
figure
out
what
the
artist
has
done
to
achieve
certain
effects.
Consider
different
elements
 and
principles
used
by
the
artist
and
why
the
artist
might
have
chosen
to
incorporate
these
 essentials.


• Questions
to
consider:
 o Use
the
vocabulary
you
learned
in
class.
For
example,
if
you’re
looking
at
mostly


red,
yellow
and
blue
refer
to
the
colors
as
primary
colors.
 o How
are
the
elements
of
art
(color,
shape,
line,
texture,
space,
form,
value)
and


the
principles
of
design
(balance,
harmony,
emphasis,
movement/rhythm,
unity,
 variety)
used
in
this
artwork?


o What
do
you
notice
about
the
artist's
choice
of
materials?
 o What
grabs
your
attention
in
the
work,
why?

 o Do
you
see
any
relationship
to
the
things
you
listed
during
the
description
stage?



 Interpret
 Try
to
figure
out
what
the
artwork
is
about.
Your
own
perspectives,
associations
and
experiences
 meet
with
"the
evidence"
found
in
the
work
of
art.
All
art
works
are
about
something.
Some
art
 works
are
about
color,
their
subject
matter,
and
social
or
cultural
issues.
Some
art
works
are
very
 accessible
—
that
is,
relatively
easy
for
the
viewer
to
understand
what
the
artist
was
doing.
 Other
works
are
highly
intellectual,
and
might
not
be
as
easy
for
us
to
readily
know
what
the
 artist
was
thinking
about.


• Questions
to
consider:
 o What
is
the
theme
or
subject
of
the
work?

(What
from
the
artwork
gives
you


that
impression?)
 o What
mood
or
emotions
does
the
artwork
communicate?
 o What
is
the
work
about;
what
do
you
think
it
means
or
what
does
it
mean
to


you?
(What
from
the
artwork
gives
you
that
impression?)
 o Why
do
you
think
that
artist
created
this
work?



 Evaluate
 This
is
a
culminating
and
reflecting
activity.
You
need
to
come
to
some
conclusions
about
the
 artwork
based
on
all
the
information
you
have
gathered
from
your
description,
analysis,
and
 interpretation.


• Questions
to
consider:
 o What
are
your
thoughts
on
the
artwork
based
on
the
three
steps
above
and
why?
 o Why
do
you
like
or
dislike
the
artwork
(explain).
 o 
What
have
you
seen
or
learned
from
this
work
that
you
might
apply
to
your
own


artwork
or
your
own
thinking?


Art Criticism Worksheet 
 Artist:
 
 Title:
 
 Date:
 
 Medium:
 
 


1. Describe
(What can be seen in the artwork? Facts only)

2. Analyze
(What elements/principles are incorporated in the artwork, why?)

3. Interpret
(What is the meaning of the artwork, based on steps 1 and 2?)

4. Evaluate
(What is your evaluation of the work, based on steps1, 2, 3?)