Presmat for Art class

1. Arts in the Modern Era (Painting,
Sculpture, Architecture)

2. • Painting is the practice of applying paint, pigment, color or
other medium to a surface (support base). The medium is
commonly applied to the base with a brush but other
implements, such as knives, sponges, and airbrushes, can be
used.
Diana and Cupid, 1761. Pompeo Girolamo Batoni (Italian, Roman, 1708–1787) Oil on canvas

3. • In art, the
term painting descri
bes both the act
and the result of the
action. Paintings
may have for their
support such
surfaces as walls,
paper, canvas, wood
, glass, lacquer, clay,
leaf, copper or
concrete, and may
incorporate multiple
other materials
including sand, clay,
paper, gold leaf as
well as objects.

4. • The term painting is also used outside of art as
a common trade among craftsmen and builders.

5. • Painting is a mode of creative expression, and
the forms are
numerous. Drawing, composition or
abstraction, among other aesthetics, may
serve to manifest the expressive and
conceptual intention of the practitioner.
Paintings can be naturalistic and
representational (as in a still life or landscape
painting), photographic, abstract, be loaded
with narrative content, symbolism, emotion or
be political in nature.

6. Cubism
Weeping Woman With Red Hat by Pablo Picasso

7. 'Still Life with mandolin and Guitar', 1924 (oil on canvas). PABLO PICASSO (1881-1973)

8. Based on the picture, describe the painting in 3 sentences.

9. Make your own Cubist painting!
• Decide if your piece is going to be a
picture broken up (like the painting
above) or a load of objects or shapes
mashed together.
• Plan out your piece. Before you start on
your final piece, you must have a nice
plan. Note down what media (art tools-
pencil, pastels, paints, etc.), what colours
you want, and other things you think are
necessary. After that,sketch out a few
designs and practice what you want to
draw and achieve.
• Lightly draw on your final choice onto
your Final Piece paper/ canvas with a
pencil. It is suggested that you draw lightly
so that even if you make a mistake, you
can easily rub it out. Try to overlap objects
and twist them about, remember that
your piece doesn't have to look realistic.

10. • Further break up the bigger
shapes using straight lines going
in all directions.
• Now you can start to paint (or
use what ever media you're
using). You paint every section
individually, not the object you
originally drew. Vary the direction
of brush strokes and blend your
colours together, make them
gradually darker by add a tiny bit
of black, make it lighter using
water and anything other you
want to do. Remember this is
your piece!!!

11. • Once you have painted
every single section it's
done and ready to
display!

12. Fauvism
1908 · View of Collioure - Henri Matisse View of Collioure.

13. In intensity and immediacy of
expression, Matisse never
surpassed Woman with a Hat, a
portrait of his wife Amélie. The painting
caused shock and outrage when it was
shown at the Salon d'Automne in Paris
in 1905, and the painters were derisively
labeled fauves ("wild beasts"). Matisse
used "deliberate disharmonies" of red,
green, orange, purple, and blue.
Modeling in the face is created
inversely, with green, the
complementary of flesh tones. There is
no drawing as such; contours are little
more than ragged edges between
planes of color, and the whole is
brushed, especially in the background
and toward the sides, with a crudity
scarcely seen before. However,
beneath the violence can be seen a
plan in the progressions and recalls of
color that betray the artist's instinctual
sensitivity.
Woman with a Hat, autumn 1905 Henri Matisse (French, 1869–1954) Oil on
canvas; 31 1/4 x 23 1/2 in. (79.4 x 59.7 cm)

14. • Based on the picture, describe the painting in 3 sentences.

15. MAKE YOUR OWN FAUVIST
PAINTING!

16. • I started with a very
loose drawing,
outlining only a few
shapes on the face. I
did add a bit of
deformation to stay
away from a realistic
portrait. The idea
here is to be
impulsive and to use
bold brushstrokes.

17. • I keep on adding big
patches of paint,
very roughly, just
describing the main
areas of light and shade
without any attempt at
3-D rendering of the
face.

18. • I am adding colors, going
from light to dark and
leaving some areas of the
paper unpainted, like in
the yellow area of the
hat, so the paint is not
entirely covering the
paper. I am using a stiff
brush and am painting in
a very rough manner,
not trying to blend any
color or to make soft
transitions.

19. • Here, I introduce some
cold colors in the shade
area around the eyes
and am defining some
shapes, like the eyes,
the nostrils and the
center of the mouth,
with a dark outline.

20. • I keep adding more colors
and start working on the
background, alternating
areas of cold and warm
colors, using bold
brushstrokes with no
blending. I didn’t leave
any unpainted area so
there isn’t much white
left on the painting
except some tiny areas of
the paper showing
through.

21. • This is the finished
painting, I left some
areas very rough on
purpose, the
background in
particular has been kept
really simple.