COURSE: HISTORY OF ART

CLASS: FAD Y2S1

DATE: 1st SEPTEMBER 2022
LECTURER: Ms. M. MOOROSI
TUTORIAL: THE FUNDAMENTALS OF ART
EXTRA MATERIAL: SOFTCOPY NOTES

THE FUNDAMENTALS OF ART

Works of art are unique arrangements of the obvious and the not so obvious. In order to understand any art
object, you must be willing to go beyond the obvious and examine the not so obvious as well. You need to know
what to look for; you must understand the language of art. Art has a language of its own: that is words that refer
to the visual elements or basic parts, the principles, and the various ways of putting these parts together. One of
the most important things to look for in works of art is the way in which those works have been designed, or
planned. This involves knowing the fundamentals of art, beginning with what the elements and principles of art are
and how they are used to create art objects.
THE ELEMENTS OF ART & PRINCIPLES OF DESIGN

Elements of Art: The elements of art are the main characteristics of an artwork. They are visible, noticeable and
separately identifiable. There are seven basic elements of visual art, which when combined in various ways create
a work of art.

Principles of Design: The principles of design describe the ways that artists use the elements of art in an
artwork. There are eight principles and the way in which these are applied affects the expressive content and the
message of the work.
 Fashion Design Tutorial

LINE
Line is the foundation of all drawing. It is the first and most versatile of the visual
elements of art. Line in an artwork can be used in many different ways. It can be
used to suggest shape, pattern, form, structure, growth, depth, distance, rhythm,
movement and a range of emotions.
SHAPE
A two-dimensional (2D), flat enclosed area. When a line crosses over itself it
creates a shape. It is often related to simple geometric figures such as triangle,
square, rectangle, circle or various polygons. At the same time, it can emulate any
of the outlines found in nature, depicting silhouettes of different animals, objects,
people or plants. Shape cannot exist without other basic elements of art. Shapes can
be used to control your feelings in the composition of an artwork.

VALUE
Value is the lightness or darkness of an object. The tonal values of an artwork can
be adjusted to alter its expressive character, to create a contrast of light and dark, to
create the illusion of form, to create a dramatic or tranquil atmosphere or to create a
sense of depth and distance.
SPACE
The element of art that refers to the emptiness or area around or within objects.
Positive space refers to the part of the artwork that takes up space. Negative space
is the area around that object.

COLOUR
The element of art derived from reflected or absorbed light. Colour adds interest to
a work of art, it is the visual element that has the strongest effect on our emotions.
Colour is used to create the mood or atmosphere of an artwork.

TEXTURE
Texture is the surface quality of an artwork - the roughness or smoothness of the
material from which it is made.
 Fashion Design Tutorial

BALANCE
CONTRAST
EMPHASIS
MOVEMENT
PATTERN
PROPORTION
RHYTHM
UNITY
The principles of design are the concepts used to organize or arrange the structural
elements of design. The way in which these principles are applied affects the expressive
content and the message of the art work.

BALANCE
Balance is the concept of visual equilibrium, and relates to our physical sense of
balance. It is a reconciliation of opposing forces in a composition that results in
visual stability either symmetrically or asymmetrically.
CONTRAST
Contrast is the juxtaposition of opposing elements, e.g. opposite colours on the
colour wheel such as red & green, contrast in tone or value such as light & dark, as
well as contrast in direction such as horizontal & vertical.

EMPHASIS
Emphasis creates a focal point in a design; it is how we bring attention to what is
most important. Emphasis is what catches the eye and makes the viewer stop and
look at the image.

RHYTHM
Rhythm can be described as timed movement through space - an easy, connected
path along which the eye follows a regular arrangement of motifs. The presence of
rhythm creates predictability and order in a composition.
MOVEMENT
Motion or movement in a visual image occurs when objects seem to be moving in
an image. Movement in an image comes from the kinds of shapes, forms, lines,
and curves that are used. Diagonal lines tend to create the illusion of movement
or motion.

PATTERN
Pattern is a decorative design such as that which can be found on wallpaper,
ornaments, frames...etc. Planned or random repetitions of colours, lines, values
and textures are used to create patterns.

PROPORTION
Proportion refers to the relative size and scale of the various elements in a design. It
is the relationship of two or more elements in a design and how they compare with
one another. Proportion is said to be harmonious when a correct or desirable
relationship exists between the elements with respect to size, color, quantity, degree,
or setting.
 UNITY
The principle of unity is the most important of all the design principles. Unity
creates an integrated image in which all the elements of an art work are working
together to support the design as a whole.

SUMMARY:

7 THE ELEMENTS OF ART

 Line
 Shape
 Colour
 Value
 Form
 Texture
 Space

8 PRINCIPLES OF DESIGN

 Balance
 Contrast
 Emphasis
 Movement
 Pattern
 Rhythm
 Proportion
 Unity
ART APPRECIATION
It happens often in our times that so many people have access to paintings of great artists and have opportunities to see and
study their works. Yet they are not really looked at, for seeing is not the same as looking, just as hearing is not the same as
listening. Seeing involves only the effort it takes to open your eyes, looking means opening your mind & exercising your
intellect. Looking at a painting is like going on a journey with many possibilities and sharing all you have seen. This forms the
basis of art appreciation & art criticism. Outlined below are six guidelines that are necessary when exploring paintings:

SIX GUIDELINES OF ART APPRECIATION

SUBJECT
All paintings have specific subjects, each with a meaningful message to deliver. Often, the subject is quite easy to
recognize. But in many cases, especially in very early works, artists have selected Bible stories or stories of Greek &
Roman mythology. When creating these works, the artists could assume that their audience was familiar with these
stories. This is now no longer true, but rediscovering these great myths & legends can be one of the major
pleasures of looking at paintings.

TECHNIQUE
Every painting must be physically created & an understanding of the skills used, perhaps the way the paint is
handled on the canvas, as well as the techniques in working it, adds greatly to the appreciation of art.

SYMBOLISM
Many works of art use an extensive language of symbolism and story-telling that was understood by both artists
and their audiences. Recognizable objects, however finely painted, represented not just themselves but concepts of
much deeper or more abstract meaning. Through the study of the symbolism in a painting, one can discover the
beliefs of the society that nurtured the artist.

SPACE & LIGHT

Artists seeking to recreate a convincing representation of the world on the flat surface of a panel of canvas have
always sought to master the illusion of space and light. The variety of ways in which this illusion can be created are
remarkable, the use of light and shadows, dimension and retraction have led to the main visual delight of the
painting, which is the way the artist has worked with these two elusive qualities.

HISTORICAL STYLE
Every historical period develops a recognizable style that can be traced in the works of its leading artists. The styles
do not exist in isolation but are reflected in all the arts.

PERSONAL INTERPRETATION
Anyone who embarks upon a journey to explore the meanings of paintings will soon become bewildered by the
amount of points of view offered. A simple principle is this; if you can see it for yourself, believe it – no matter
what anyone else says.

Everyone has the right to bring to a work of art whatever he or she chooses by way of seeing and experience and to come
away with whatever he or she chooses on a personal level. Knowledge of art history, symbolism, and technical skill should
broaden that experience but if the personal dimension is lost, then looking at a work of art becomes no more significant than
looking at, and trying to solve, a crossword puzzle.
WHAT MAKES A MASTERPIECE?
The function and purpose of a major work of art, the expectations that are placed upon it, and the role of the artist are not
constant. They vary in different ages and societies. Yet a few works stand out because they have the ability to speak of more
than their own age, and they offer inspiration & meaning across time. The following are the 5 qualities a painting must possess
in order to qualify as a masterpiece:

THE 5 QUALITIES OF A MASTER PIECE

VIRTUOSITY
In judging any outstanding performance, whether by an athlete, a musician, an actor, or an artist, technical ability
is one of the prime considerations. A great artist must have complete mastery of the physical skills required plus
the knowledge and skills to push these skills, and existing art rules to new limits.

INNOVATION
Since the Renaissance, Western society has striven for, praised and rewarded innovation. To be the 1 st in an
endeavor is to be remembered as a key figure in history. Giotto and Picasso are considered to be the giants of
European art because they succeeded in rewriting the existing rules of art and offered an alternative visual
language. Artists who followed developed and built upon their achievements.

PATRONAGE
Before the 19th century and the development of the modern dealers’ network, most major works of art were
commissioned by a patron who would often specify conditions or play an active role in shaping the subject matter
and appearance of a work. The major early patrons were the Catholic Church and the royal courts of Europe. Only
after the Romantic movement of the early 19th century did the role of the artist as a solitary individual creating a
private vision begin to emerge.

ARTISTIC VISION
Few artists can survive unless they have the financial backing of patrons, dealers, and collectors, but it is also clear
that such backing can never ensure the quality of the work produced. Giotto’s Arena Chapel or Michaelangelo’s
ceiling are truly great works of art because they express the artists total belief in, and commitment to what they
were asked to do – that is to produce works of art that were worthy of God Himself.

THE ROLE OF THE ARTIST

One of the most persistent myths is that of the genius who is neglected in his lifetime and whose true worth is not
appreciated until many years after his death. It rarely happens, and then only in highly unusual circumstances.
Much more common is that artist who is hailed in his lifetime as one of the great figures of all time but who fifty
years later is no more than a footnote in the history of art.
To stand out from the crowd requires great courage and individuality, a depth of vision and use of art, not as an
end itself but as a means of telling greater truths, the ones possessing these rare qualities are those who succeed
in creating masterpieces that can withstand the judgment of the strictest & harshest critic of all -time!
ART CRITICISM & ANALYSIS

Art Critic: An art critic is a person who is specialized in analyzing, interpreting and evaluating art.
Their written critiques or reviews are published in newspapers, magazines, books, exhibition brochures and
catalogues and on web sites. Some of today's art critics use art blogs and other online platforms in order to
connect with a wider audience and expand debate about art.

Art critics have their own methods of studying works of art. They use these methods to learn as much as possible from
artworks representing a variety of styles and techniques. They carefully examine these works, searching for aesthetic qualities,
the qualities that can increasetheir understanding of the works and serve as the criteria on which theirjudgments are based.
Identifying and assessing these aesthetic qualities enables art critics to make judgments and to defend those judgments with
intelligent reasons.

Art criticism is not a matter of casual observation and impulsive expressions of likes or dislikes. It is a reasoned activity of the
mind. Art critics use the operations of description, analysis, interpretation, and judgment to gain information from the artwork,
more than gathering facts about the work and the artist who created it.

OPERATIONS ART CRITICS USE:

 Description
 Analysis
 Interpretation
 Judgement
THE 3 THEORIES OF ART

When it comes to art criticism and analysis, aesthetics can be defined as a branch of philosophy concerned with identifying the
clues within artworks that can be used to understand, judge, and defend judgments about those works. There are many
different aesthetic theories, but no single theory takes into account all the aesthetic qualitiesfound in artworks. The main three
of these theories are Imitationalism, Formalism and Emotionalism.

THEORY 1: IMITATIONALISM

Some aestheticians and art critics feel that

the most important thing about a work of
art is the realistic presentation of subject
matter, or the literal qualities. They feel that
a successful work must look like, and
remind viewers of, what can be seen in the
real world. People with this view feel an
artwork should imitate life, that it should
look lifelike before it can be considered
successful.

THEORY 2: FORMALISM

Not all aestheticians and art critics place

importance on the literal qualities. Many feel
that the success of a work depends on the
design qualities, or the way it is organized.
They favour a theory of art known as
formalism, which holds that the most
important aspect of a work of art is the
effective use & arrangement of the elements
of art. They believe that an effective design
depends on how well the artist has arranged
the colours, values, lines, textures, shapes,
forms and space used in the work.

THEORY 3: EMOTIONALISM

Other aestheticians and art critics argue

that the success of an artwork depends on
its ability to communicate an emotion or
idea to the viewer. This theory, called
emotionalism, places greatest importance
on the expressive qualities, or the feeling,
moods, and ideas communicated to the
viewer by a work of art.
HOW TO ANALYZE ART

Have you ever been asked to express your opinion about a work of art? Imagine that, you stop to look closely at a particular
painting. Noticing your interest, your friend asks, “Well, what do you think of it?” In situations like this, when you are asked to
provide a judgment about a work of art, you are cast in the role of an art critic. You assume this role whenever you try to
learn as much as you can from an artwork in order to determine whether or not it is successful.
Many people seem to think that art criticism is very complicated and difficult. This is simply not true. Art criticism can be easily
learned and will add a great deal of interest and excitement to your encounters with art. You can think of art criticism as an
orderly way of looking at and talking about art. It is a method used to gather information from the work of art itself. To gain
information from a work of art, you must know two things: what to look for and how to look for it.

In analyzing a work of art it is not necessary to be highly technical. You need only to look carefully at
the painting then analyze and classify what you see.

BASIC QUESTIONS THAT MAKE UP AN ANALYSIS FOR AN ART WORK:

 What is the name of the painting and who is the artist?

 Where was it painted [location] and how old is the painting [where does it fit in the Art History Timeline]?

 What is the size and proportions, is it a landscape, a portrait, or a still life?

 What kind of media has been used? [Oil Paint, Gouache, Water Colour, Acrylic Paint...etc.]

 Look at the artist's use of space - Is there a center of interest?

 What colours has the artist used?

 What is your impression of the mood?

 Does the painting tell a story - What do you think the story is?

 Description of one or more Elements of Art which have been incorporated.

 Description of one or more Principles of Design that the painting consists of.
ART ANALYSIS [A]

 The Mona Lisa by Leonardo Da Vinci.

 The painting was created in Florence, Italy during 1503 – 1504 and falls within the Renaissance Art Period.

 The painting measures 30 inches x 20 inches & is a half-length portrait.

 Used to create the painting is linseed oil created on a poplar panel.

 The centre of interest is woman sitting facing left with head turned towards the front, her hands are folded on top of
each other.

 Used in the face are mostly warm colours such as yellows, oranges, redsandtones in between. In the background
there are mostly cold colours such as greenand blue. There aren’t any specific definitive colours as the originalcolour
of the painting has faded overtime.

 The mood of the painting is depicts a woman whose facial expression is frequently described as enigmatic. Others
believe that the slight smile is an indication that the subject is hiding a secret. There is an air of mystery about her.

 The model, Lisa delGiocondo, was a member of the Gherardini family of Florence and Tuscany, and the wife of
wealthy Florentine silk merchant Francesco delGiocondo. The painting is thought to have been commissioned for their
new home, and to celebrate the birth of their second son, Andrea.

 An element of art used in this painting is value: Leonardo Da Vinci also uses shadow (or a lack of light) to add depth
and dimension to different aspects of the image – particularly the area around Mona Lisa’s neck and in the ripples on
the dress on her arm.

 A principle of design used in this painting is movement: Behind the lady a vast landscape recedes into icy mountains.
Winding paths and a distant bridge give only the slightest indications of human presence. The sensuous curves of the
woman's hair and clothing are echoed in the undulating imaginary valleys and rivers behind her.
ART ANALYSIS [B]

 The Kiss by Gustav Klimt.

 The painting was created in Vienna, Austria during 1907 – 1908 and falls within the Symbolism Art Period.

 The painting measures 180 cm x 180 cm & is a portrait orientation.

 Used to create the painting are oil on canvas and layers of gold leaf.

 The center of interest is a couple locked in intimacy, situated at the edge of a patch of flowery meadow while the rest
of the painting dissolves into shimmering, extravagant flat pattern.

 The most outstanding feature of this painting when it comes to colour is the artist’s intricate use of gold leaf, which is
deemed as the high point of the artist’s Gold Period. The rest of the painting is a plethora of red, green, blue purple,
white and black colours depicted in the patterns of the garments and the flowers of the meadow.

 The mood of the painting is depicted in the knelt woman who gives herself to her companion with closed eyes and lets
herself go to the passion of the love. The painting evokes a world of harmony where the couple is isolated in
sublimation, being unaware of the real-world and evolving in an unreal and idealized world which makes for a powerful
story of love & eroticism.

 It is thought that Klimt and his companion Emilie Flöge modeled for the work. Klimt's use of gold was inspired by a trip
he had made to Italy in 1903. When he visited Ravenna and saw the Byzantine mosaics in the Church of San Vitale.

 An element of art used in this painting is shape: This is clearly articulated in the robe of the man with its black and
white rectangles and the dress of the woman with it’s flower-like round and oval motifs.

 A principle of design used in this painting is rhythm: This is beautifully conveyed in the play of swirls, spirals and
phallic design on the composition, which Klimt uses to bring forth the meaning of intimacy and passion in his canvas.
THE ART PERIODS & MOVEMENTS

THE BASIC DIFFERENCE BETWEEN ART PERIOD AND ART MOVEMENT

Art movements and art periods represent the art of a group of artists over a specific time period. The
difference between a period and a movement has to do with duration and intention.

WHAT IS AN ART MOVEMENT?

 An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a
group of artists during a restricted period of time.

 An art movement is launched intentionally by a small group of artists who want to promote or provoke
change.

 A movement is usually associated with an art style and often an ideology.

 An art movement may push for a new perspective on specific issues.

 Artists in a movement hang out together and show their work in group exhibitions. Their art shares stylistic
features and focuses on similar subjects.

WHAT IS AN ART PERIOD?

 An art period is based on a parallel historical era.

 An art period is usually not driven by conscious choice on the part of artists.

 Periods typically outlast movements and develop gradually due to widespread cultural or political pressures.

 An art period can last anywhere from 20,000 years to 50 years, depending on the rate of cultural change.