34. GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4” Austrian Gallery, Vienna.
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38. LEONARDO DA VINCI, study for Virgin and Child with Saint Anne and the Infant Saint John, ca. 1505–1507. Charcoal heightened with white on brown paper, approx. 4’ 6” x 3’ 3”. National Gallery, London.
41. Hatching: Closely spaced parallel lines Cross-hatching: Parallel lines intersect like a checkerboard Stippling: Dots spaced close or far apart to suggest light/dark
65. Kirchner, Ernst Ludwig Self-Portrait with Model 1910/1926 Oil on canvas 150.4 x 100 cm (59 1/4 x 39 3/8 in.)
66. Texture - Surface quality (can be actual or implied) Actual Texture : a tactile experience Visual or Implied Texture : an illusionary experience Brancusi , Bird in Space, 1925. Richard Patterson's "Minotaur With Brushstrokes" (1998), oil on canvas.
69. Chris Jordan Plastic Bottles, 2007 60x120" Depicts two million plastic beverage bottles, the number used in the US every five minutes.
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72. Prison Uniforms, 2007 10x23 feet in six vertical panels Depicts 2.3 million folded prison uniforms, equal to the number of Americans incarcerated in 2005. The U.S. has the largest prison population of any country in the world.
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76. "Where There's a Will a Way”, glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches, 2007,
77. Agnes Martin. (American, born Canada. 1912-2004). The Tree . 1964. Oil and pencil on canvas, 6 x 6' (182.8 x 182.8 cm).
78. Frank Stella, Zambezi, 1959; painting; enamel on canvas, 90 3/4 in. x 78 3/4 in.
This chapter is divided into 2 parts, as there are a lot of terms. This also allows lecture time to be divided by an activity. Students will find the need to take notes on individual slides, so they should save more room beneath each term. Activity: Non-objective design using line, shape, and color to convey meaning. Write several adjectives on the board (Anger, Exuberance, Alienation, Passion). Students must use Nonobjective lines, shapes, and colors to convey the meaning. Remind students to bring supplies (paper, pencils, range of color media). There are excellent interactive study activities, Web links and videos related to this chapter available at www.mhhe.com/lwa8.
Texture can be described as a perception of smooth or rough, fine or coarse. This sculpture could be experienced through touch (if we were allowed). Some museums have had to set up detection alarms due to our need to touch. Brancusi included three different textures, which grow more refined as our eyes move upward. This contributes to the sense of movement, as if the material world were falling away. The rough, wooden pedestal exerts an upward thrust; the small limestone base acts as a compression zone for gathering energy; the smooth marble bird makes a leap into space. Paint applied thickly creates an actual texture, called Impasto, that we could feel (again, if we were allowed). Dufy’s painting is on a flat canvas, but he creates a visual illusion or an implied texture through his brushstrokes. They create “rough patches.” The water does not have a representational illusion, but still conveys choppiness. Artists can create convincing illusions of actual texture created through ranges of VALUE and use of LINE. The mask is an example of actual textures which are tactile (can be felt), and create a dynamic visual PATTERN.
![Chapter 4 - The Visual Elements ,[object Object],Spotted horses and negative hand imprints, wall painting in the cave at Pech-Merle, Lot, France, ca. 22,000 BCE. Approx. 11’ 2” long. Deborah Butterfield Earth Measure, 1997 found welded metal 83 x 120 x 30"](https://image.slidesharecdn.com/week2visualelementspart1b-090828135021-phpapp01/85/Week2-Visual-Elements-Part1-1-320.jpg)
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