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- 1. PART 1 FUNDAMENTALS Copyright © 2015 Thames & Hudson Chapter 1.7 Scale and Proportion
- 2. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Introduction We perceive scale in relation to our own size Artists often ensure all parts of an artwork are in correct proportion But they also use discordant proportions to express meaning
- 3. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Scale Artists make conscious choices about scale, depending on the message they want to communicate They will also consider the cost, time, and location available
- 4. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion How does Scale affect Meaning? Works of massive or impressive scale are considered monumental This type of scale usually indicates heroism or other epic virtues
- 5. PART 1 FUNDAMENTALS Interactive Exercises: Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Scale and Meaning
- 6. Artwork: Mistos (Match Cover) 1.7.1 Claes Oldenburg and Coosje van Bruggen, Mistos (Match Cover), 1992. Steel, aluminum, and fiber-reinforced plastic, painted with polyurethane enamel, 68’ × 33’ × 43’4”. Collection La Vall d'Hebron, Barcelona, Spain
- 7. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Oldenburg and van Bruggen, Mistos Small, often overlooked objects are transformed into monumental sculptures Artists poke fun while expressing admiration: items of mass culture express truths about modern life
- 8. Artwork: Robert Lostutter, The Hummingbirds 1.7.2 Robert Lostutter, The Hummingbirds, 1981. Watercolor on paper, 1¾ × 5⅝”. Collection of Anne and Warren Weisberg
- 9. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Robert Lostutter, The Hummingbirds Work is on the scale of a tiny bird Artist paints in great detail the plumage of exotic birds as masks over human faces The small scale forces us to come closer; viewing becomes an intimate experience
- 10. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Artistic use of Hierarchical Scale Artists deliberately use relative size in order to communicate differences in importance Almost always, larger means more important, and smaller means less important
- 11. PART 1 FUNDAMENTALS Interactive Exercises: Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Hierarchical Scale
- 12. Relief from the great temple of Amun 1.7.3 slide 1: Relief from the northern wall of the great temple of Amun, 19th Dynasty. c. 1295–1186 BCE. Karnak, Egypt
- 13. Hierarchical scale in Egyptian relief 1.7.3 slide 2: Hierarchical scale: Relief from the northern wall of the great temple of Amun, 19th Dynasty. c. 1295–1186 BCE. Karnak, Egypt
- 14. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Hierarchical scale: Egyptian relief sculpture The pharaoh is the largest figure Because he held the highest status in the social order Scene depicts the military campaign of Pharaoh Seti I (figure A) against the Hittites and Libyans
- 15. Artwork: Jan van Eyck, Madonna in a Church 1.7.4 Jan van Eyck, Madonna in a Church, 1437–38. Oil on wood panel, 12⅝ × 5½”. Gemäldegalerie, Staatliche Museum, Berlin, Germany
- 16. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Jan van Eyck, Madonna in a Church Uses hierarchical scale to communicate spiritual importance Mary and the Christ child appear larger than normal human beings Symbolizes their central importance in the Christian religion
- 17. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Distorted Scale in Art An artist may deliberately distort scale to create an abnormal or supernatural effect
- 18. PART 1 FUNDAMENTALS Interactive Exercises: Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Distorted Scale
- 19. Artwork: Dorothea Tanning, Eine Kleine Nachtmusik 1.7.5 Dorothea Tanning, Eine Kleine Nachtmusik, 1943. Oil on canvas, 16⅛ × 24”. Tate, London, England
- 20. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Dorothea Tanning, Eine Kleine Nachtmusik Tanning was a Surrealist artist Sunflower is huge in relation to the interior architecture and female figures By contradicting our ordinary experience of scale, she invites us into a world unlike the one we know
- 21. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion What is proportion? The relationships between the sizes of different parts of a work make up its proportions Proportion can enhance expressive and descriptive characteristics
- 22. PART 1 FUNDAMENTALS Interactive Exercises: Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Proportion
- 23. PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Diagram of Proportion 1.7.6 Examples of how proportion changes on vertical and horizontal axes
- 24. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion What is Human Proportion? In ancient Egypt, the palm of the hand was a unit of measurement Ancient Greeks investigated the mathematical basis of beauty and ideal proportion; to them these proportions embodied the perfection of the gods
- 25. PART 1 FUNDAMENTALS Interactive Exercises: Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Human Proportion
- 26. PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Ancient Egyptian measurements 1.7.7 Ancient Egyptian system using the human hand as a standard unit of measurement
- 27. Artwork: Figure of Oni 1.7.8 Nigerian Ife artist, Figure of Oni, early 14th–15th century. Brass with lead, 18⅜” high. National Museum, Ife, Nigeria
- 28. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Nigerian Ife artist, Figure of Oni The Oni is the most powerful and important figure in Yoruba culture The head is oversized; the Yoruba believe it is the seat of a divine power Exaggerated head communicates status, destiny, and the spiritual world
- 29. Video: PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Video: PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields The Master Sculptors of Benin and Ife
- 30. Artwork: The School of Athens 1.7.9 Raphael, The School of Athens, with overlaid diagram showing proportional structure
- 31. PART 1 FUNDAMENTALS Gateway to Art: Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Raphael, The School of Athens Magnificent scale, exactly 200 × 300 in. Uses a proportional system known as the Rule of Thirds Artists uses perspective to create depth and draw attention to the center
- 32. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion What is the Golden Section? A proportional ratio of 1:1.618 Occurs in many natural objects Real human bodies do not have these exact proportions, but when applied to statues, they give naturalistic results
- 33. PART 1 FUNDAMENTALS Interactive Exercises: Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields The Golden Section
- 34. PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields The Golden Section ratios 1.7.10 The Golden Section
- 35. Artwork: Poseidon (or Zeus) 1.7.11a Poseidon (or Zeus), c. 460–450 BCE. Bronze, 6’10½” high. National Archaeological Museum, Athens, Greece
- 36. Diagram of proportional formulas 1.7.11b Diagram of proportional formulas used in the statue
- 37. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Poseidon As a Greek god, Poseidon had to have perfect proportions The sculptor applied a simple ratio, using the head as a standard measurement The body is three heads wide (at the shoulders) by seven heads high
- 38. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Proportional Ratios “Golden Rectangles” have proportions of 1:1.618 Nested inside each other, the shorter side of the outer rectangle becomes the longer side of the smaller one Result is an elegant spiral shape
- 39. Artwork: Henry Peach Robinson, Fading Away 1.7.12a Henry Peach Robinson, Fading Away, 1858. Combination albumen print, 9½ × 15½”. George Eastman House, Rochester, New York
- 40. Proportional analysis 1.7.12b Proportional analysis of the photograph
- 41. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Henry Peach Robinson, Fading Away Fused many different photographic negatives to create a new image The right-hand drape divides the photograph into two Golden Rectangles The spiral draws our eye to the dying young woman
- 42. Parthenon 1.7.13a Iktinos and Kallikrates, Parthenon, 447–432 BCE, Athens, Greece
- 43. PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Iktinos and Kallikrates, Parthenon Greeks applied proportional systems to architecture as well as sculpture The proportions of the Parthenon, a temple of the goddess Athena, correspond closely to the Golden Section Creates a harmonious design
- 44. PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Use of the Golden Section 1.7.13b The use of the Golden Section in the design of the Parthenon
- 45. Video: PART 1 FUNDAMENTALS Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Video: PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields The Acropolis and Parthenon of Athens
- 46. MoMA Video MoMA Video PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields MoMA Videos To learn more about the use of scale and proportion, watch these videos of MoMA lecturers talking about artworks in the MoMA collection: Salvador Dalí, The Persistence of Memory Alberto Giacometti, Standing Woman
- 47. MoMA Video PART 1 FUNDAMENTALS Chapter 1.7 Scale and Proportion Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields MoMA Videos (contd.) Amedeo Modigliani, Anna Zborowska
- 48. PART 1 FUNDAMENTALS PowerPoints developed by CreativeMyndz Multimedia Studios PART 1 FUNDAMENTALS PowerPoints developed by CreativeMyndz Multimedia Studios Chapter 1.7 Scale and Proportion Chapter 1.7 Copyright Information This concludes the PowerPoint slide set for Chapter 1.7 Gateways to Art: Understanding the Visual Arts Second Edition By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Copyright © 2015 Thames & Hudson
- 49. PART 1 FUNDAMENTALS PowerPoints developed by CreativeMyndz Multimedia Studios PART 1 FUNDAMENTALS PowerPoints developed by CreativeMyndz Multimedia Studios Chapter 1.7 Scale and Proportion Picture Credits for Chapter 1.7 1.7.1 Photo Attilio Maranzano. Photo courtesy the Oldenburg van Bruggen Foundation. Copyright 1992 Claes Oldenburg and Coosje van Bruggen 1.7.2 Courtesy the artist 1.7.3 Werner Forman Archive, line artwork Ralph Larmann 1.7.4 Gemäldegalerie, Staatliche Museen, Berlin 1.7.5 Purchased with assistance from the Art Fund and the American Fund for the Tate Gallery 1997 © Tate, London, 2012. © ADAGP, Paris and DACS, London 2012 1.7.6, 1.7.7 Ralph Larmann 1.7.8 National Museum, Ife, Nigeria 1.7.9 Stanza della Segnatura, Vatican Museums, Rome 1.7.10 Ralph Larmann 1. 7.11a National Archaeological Museum, Athens 1.7.11b Ralph Larmann 1.7.12a George Eastman House, New York 1.7.12b Ralph Larmann 1.7.13a iStockphoto.com 1.7.13b Ralph Larmann
Notas do Editor
- Art objects created on a monumental scale appear larger than they would be in normal life Art objects created on a human scale correspond to the size of things as they actually exist Small-scale objects appear smaller than our usual experience of them in the real world Often, scale is used to indicate importance—but this is not always the case
- A small-scale work implies intimacy Large-scale works can be experienced by groups of viewers and usually communicate big ideas directed at a large audience
- War monuments, for example, often feature figures much larger than lifesize in order to convey the bravery of the warriors
- Swedish-born artist Claes Oldenburg (b. 1929) collaborated with his wife, Dutch-born sculptor Coosje van Bruggen (1942–2009), to create this work
- Flemish artist Jan van Eyck (c. 1395–1441) enlarges the scale so that the enormous mother and child fill the massive space of a Gothic church
- In the twentieth century, artists known as Surrealists created works that use dreamlike images to subvert our conscious experiences American Surrealist Dorothea Tanning (1910–2012) creates a realm of childhood dreams and nightmares where odd things happen, like the strangely “alive” sunflower and the unexplained wind that lifts the hair of one figure The title, Eine Kleine Nachtmusik (“A Little Night Music”), is borrowed from a lighthearted piece of music by eighteenth-century Austrian composer Wolfgang Amadeus Mozart, but ironically Tanning’s scene exhibits a strange sense of dread
- For a two-dimensional work, the artist chooses an area, or format, on which to make a drawing, painting, print, or design The format’s dimensions—its height and width—dictate a great deal about what image can be created For example, a format that is only 2 in. tall and 10 in. across will require that the artist create an image that is short and wide
- If we change the width (B) or the height (C), the overall proportions change Each of these Greek vase profiles communicates a different feeling simply because the ratio of height to width is different When the width is reduced, the vase seems elegant and light Reducing the height makes the vase seem clumsier and weightier
- Carefully chosen proportions can make artworks, including depictions of the human body, seem pleasing to the eye The Greek sculptor Polykleitos wrote a treatise describing how to create a statue of a human being with perfect proportions In the first century bce the Roman writer Vitruvius wrote his book On Architecture, in which he claimed to set out the rules that Greeks and Romans applied to the design of architecture Figures made during the Classical period (c. 480–323 bce) of Greek sculpture share similar proportions
- In ancient Egypt, six palm widths equaled a unit of measurement called a cubit The height of an average man was estimated at 4 cubits or 24 palms The proportion of the man’s palm to the height of his body was therefore 24:1
- The Oni, or monarch, of the Ife dynasty is sculpted in cast brass, shown in full regalia Figure represents a direct descendant of Oduduwa, the heroic leader whose children became the great leaders of the Yoruba Facial features are idealized, suggesting that a personal heritage shapes one’s destiny Both the Yoruba and the ancient Greeks were concerned with creating a connection to the spiritual world, but African artists celebrated the importance of family history (inheritance), while the Greeks sought an impersonal, ideal model
- An analysis of the dimensions provide insight into how proportion plays a role The School of Athens can be visually subdivided, horizontally, into three one-hundred inch increments from left to right (A) The central vertical area that is highlighted by coffered arches in the ceiling falls into the middle third of the work When subdivided vertically (B), the vast majority of figures in the foreground are positioned in the bottom third of the design Figures in the background fall just beneath one-third of the second vertical division (C) when we subdivide the central horizontal section
- The ideal proportions used by the Greeks were adopted by artists of ancient Rome and then later by the artists of the Renaissance Italian painter Raphael’s sensitivity to proportion reflects his pursuit of perfection The format appears to reflect the Rule of Thirds, because it organizes the spatial area of a composition according to regular units of one- or two-thirds Rule of Thirds is used by artists, designers, photographers, and architects to provide pleasing proportional associations In the center of the work are two key figures of Greek philosophy, Plato (center, left) and Aristotle (center, right) Plato (c. 428–347 bce), the idealist who seeks truth in the world of ideas, points to the sky Aristotle (384–322 bce), who bases his thinking on the study of the material world (and who influenced the scientific method), points to the ground
- One of the best-known mathematical formulas, used to determine perfect proportion Also referred to as the Golden Mean or Golden Ratio
- It is likely that Greek sculptors used much simpler methods than the Golden Section to calculate proportions, but the results are often very close Some art historians say that this figure is the god Zeus, not Poseidon
- English photographer Henry Peach Robinson (1830–1901) was a great photographic innovator