Chapter 5 Space 09 19 2012 Shape a flat 2 D area height and width Donald Sultan LEMONS May 16 1984 By outline By yellow black ground By tar plaster Yellow lemons figure in the foreground Positive shape Black square ground in the background Negative shape Figure ground relationship o Mass form Solid 30 D area Volume Height and width and depth SELF Martin Puryear Our perceptual experience depends on recognition of spatial relationships between object and surrounding space o Space Depth technique to show deep space on 2 D surface Foreground Background Middle ground 3 D sculpture Barbara Hepworth 2 standing vertical masses Negative space positive space 2 Dimensional Space One creates the illusion of space o Use of scale o Overlap o Perspective Jenny Saville Rogier Van der Wyden DEPOSITION Overlap Bright Colors o Raphael SCHOOL OF ATHENS Shows perspective o Olafur Eliasson Suney 1995 Perspective Steven Dibenedetto DELIVERANCE Overlap Perspective One point perspective using a single VANISHING POINT o Frontal recession o Diagonal recession Linear perspective technique that makes use of line to create illusion of depth on a 2 D surface Vanishing Point point at which converging lines meet Atmospheric Perspective technique used to create the illusion of air and space and depth Duccio ANNUNCIATION OF THE DEATH OF THE VIRGIN Fear that dominated the church Made figures not human like Used angles Leonardo da Vinci THE LAST SUPPER Perspective Focus on Christ Two point perspecive using multiple Vanishing points Frontal recession Diagonal Recession Gustave Caillebotte Place de I Europe on a Rainy Day Multiple Vanishing points Clear Pieter Brueghei the Elder THE WEDDING DANCE Frontal recession Peter Paul Rubens THE KERMIS Implied vanishing point Foreshortening the artistic adjustment of dimensions in order to make up for distortion created by point of view Albrech Durer DRAFTSMAN DRAWING A RECLINING NUDE Foreshortening Mantegna THE DEAD CHRIST Foreshortening Paul Strand Abstraction Porch Shadows 1916 Henri Matisse HARMONY IN RED THE RED ROOM Paul Cezanne MME CEZANNE IN A RED ARMCHAIR Lack of space Chapter 5 Space Book Notes 09 19 2012 Chapter 5 Space Shape and Two Dimensional Space A shape is flat Boundaries can be measured in terms of height and width A form or mass is a solid that occupies a three dimensional volume Donald Sultan Lemons Contains two shapes the square black background and the yellow figure The ground is known as a negative shape while the figure that commands our attention is known as a positive shape Three Dimensional Space Negative spaces is called because they are empty spaces that acquire a sense of volume and form by means of the outline or frame that surrounds them Barbara Hepworth Two Figures Negative Spaces are white The top round indentation suggests a head the middle hollow a breast and the bottom hole a belly with the Elmwood wrapping around the figure like a cloak The negative space formed by the bowl of the ceremonial spoon of the Dan people native to Liberia and the Ivory Coast o Martin Puryear Self Olafur Eliasson Suney Representing Three Dimensional Space A sense of depth of three dimensions can be achieved on a flat canvas or paper only by means of illusion There are many ways to create the illusion of deep space and most are used simultaneously as in Steve DiBendetto s Deliverance Steve DiBendetto Deliverance Recognize that objects close to us appear larger than objects farther away so that the juxtaposition of a large and small helicopter suggests deep space between them The use of line also adds to the illusion as the tightly packed finer lines of the round pad pull the eye inward The presence of a shadow supplies yet another visual clue that the figures possess dimensionality o Linear Perspective Perspective is a space on a two dimensional surface Perspective is a system known to the Greeks and Romans but not mathematically codified until the Renaissance that in the simplest terms allows the picture plane to function as a window through which a specific scene is presented to the viewer One point linear perspective lines are drawn on the picture plane in such a way as to represent parallel lines receding to a single pint on the viewer s horizon vanishing point Vantage Point where the viewer is positioned the recession is said to be Frontal If the vanishing point is to one side or the other the recession is said to be diagonal Duccio Perspective Analysis of Annunciation of the Death of the Virgin from the Maesta Altarpiece Leonardo da Vinci The Last Supper Employs a fully frontal one point perspective system This system focuses our attention on Christ since the perspective lines appear almost as rays of light radiating from Christ s head When there are two vanishing points in a composition a more dynamic composition often results Eric Bulatov Happy End The drawing suggests that the Soviet Union must follow the lead of the United States Vera Muhkina Worker and Collective Farm Worker The complex illusion of real space that perspective makes possible is evident in Gustave Caillebotte s Place de l Europe on a Rainy Day Gustave Caillebotte Place de I Europe on a Rainy Day A series of multiple vanishing points organize a complex array of parallel lines emanating from the intersection of the five Paris streets depicted Moving across and through these perspective lines are the implied lines of the pedestrian s movements across the street and square Caillebotte imposes order on this scene by dividing the canvas into four equal rectangles formed by the vertical lamp post and the horizon line Some other Means of Representing Space Linear perspective creates the illusion of three dimensional space on a two dimensional surface Oblique projection is commonly found in Japanese art As in axonometric projection the sides of the object are parallel but in this system one face is parallel to the picture plane as well Kumano Mandala Kamakura Period The hanging scroll depicts in oblique perspective the three sacred Shinto Buddhist shrines of Kumano south Osaka Japan In addition to oblique projection the artist employs two other derives to give a sense of spatial depth As in common in traditional perspective each shrine appears smaller the farther away it is Spatial depth is also indicated here by position the farther away the shrine the higher it is in the composition A related means of projecting space is axonometric projection commonly employed by architects and engineers The