Collage

collage

"Ready to Crow"

Rooster

Painted Paper Mixed Media Collage

by Nancy Standlee

"Feed the Birds"

A bird collage with hand painted papers

"Hight Heel Shoe" 

Collage

study on shape

STUDY ON SHAPE

Shape is a two-dimensional area that is defined by a change in value or some other form of contrast.

All shapes are two-dimensional, meaning that they have only length and width.

All shapes will fall into one of two categories. Geometric shapes or regular shapes are easy to recognize. Math can be used to find information about these shapes and these shapes generally have a specific name associated with them. Examples include: circle, triangle, square, and trapezoid.

Organic or freeform shapes are shapes that seem to follow no rules. Organic shapes generally do not have a name associated with them and are typically not man-made.

We can learn to see the world around us as shapes. Recognizing the shapes that we see will lead to improved drawing and painting.

Shapes defined by objects are positive shapes (space). Shapes defined around objects are negative shapes (space).

The relationships between the positive and negative shapes help the brain of our viewers understand what they are seeing.  Our brains are even capable of making sense of complex relationships between positive and negative shapes.

By organizing geometric and organic shapes, we can draw anything.  Even complicated objects become easy to draw when we isolate basic geometric and organic shapes.

Terms
Shape- an element of art that is a two-dimensional area that is defined in some way.  A shape may have an outline around it or you may recognize it by its area.

Geometric shapes- precise shapes that can be described using mathematical formulas.  Ex. Circle, square, triangle, oval, rectangle, parallelogram, trapezoid, pentagon, pentagram, hexagon, and octagon. 

Freeform Shapes- also called organic shapes, are irregular and uneven shapes.  Their outlines may be curved, angular, or a combination of both

Form- an element of art, means objects that have three dimensions.  I like to think of form as a 3-D shape

Form and Shape are related.  You can turn a shape into the illusion of form by adding value and you can simplify a form from life into a shape.

DEFINITION OF SHAPE

Shapes are limited to two dimensions: length and width. Geometric shapes -- circles, rectangles, squares, triangles and so on -- have the clear edges one achieves when using tools to create them. Organic shapes have natural, less well-defined edges

SHAPE ON CUBISM Picasso's Woman with Mandolin (1910) further illustrates the groundwork that was being laid by these two artists. Picasso, always the sculptor, fragments the girl's body into facets that are modeled to simulate their projection out of the flat picture plane toward the viewer and that portray her in movement as she strums her mandolin. What Picasso is trying to depict here is the fourth dimension, the space/time continuum. In his Introduction to Metaphysics of 1903, Henri Bergson argues that human consciousness experiences space and time as ever-changing and heterogeneous. With the passage of time, an observer accumulates in his memory a store of perceptual information about a given object in the external visible world, and this accumulated experience becomes the basis for the observer’s conceptual knowledge of that object. By contrast, the intellect or reasoning faculty always represents time and space as homogenous. Bergson argued that intellectual perception led to a fundamentally false representation of the nature of things, that in nature nothing is ever absolutely still. Instead the universe is in a constant state of change or flux. An observer views an object and its surrounding environment as a continuum, fusing into one another. The task of metaphysics, according to Bergson, is to find ways to capture this flux, especially as it is expressed in consciousness. To represent this flux of reality, Picasso began to make references to the fourth dimension by "sticking together" several three-dimensional spaces in a row.

Girl with Mandolin (1910)

cubism by Pablo Picasso

Pablo Picasso cubism
During the early days of cubism historians attributed the creation of cubism to one man: Pablo Picasso. Now we know that he has to share to honor with Georges Braque. Braque had studied Cézanne's method of representing three dimensions as seen from several viewpoints, in the same year (1907) that Picasso created his Les Demoiselles d'Avignon. In this painting Picasso depicts human figures by making use of several viewpoints, which became one of the characteristic features of cubism. Arriving at the concept of depicting an object as seen from different viewpoints independently, Pablo Picasso and Georges Braque soon became good friends and went on to develop the visual language of cubism in close cooperation, an alliance that Picasso would sometimes call a marriage. Les Demoiselles d'Avignon represents Picasso's époque negre which was inspired by African art and overlaps the first phase in cubism, which is called analytical cubism. Analytical cubism lasted until 1911 and is characterized by monochrome, relatively unemotional paintings that depict rather uneventful subjects, such as still lives. Many paintings of analytical cubism are faceted (see for instance Georges Braque's "Mandola", below), a technique that allows the artist to disect and reconstruct his subject in a way that depicts its essence rather than its appearance. Although largely abstract, the faceted technique still produces a recognizable image of the subject. The technique of faceting originated from Georges Braques - it was his way to depict a natural object. Picasso didn't so much facet natural objects, but used the geometry of Braques' faceted paintings to create a style that was abstract in essence, almost pure abstract art. So cubism refers to the styles of both Braques and Picasso, although Braques' cubism has a recognizable figurative objective, while Picasso's cubism served as the link between Braques' style and pure the abstract art that followed from cubism (such as Piet Mondrian and suprematism).
From 1911 on cubism moved in a direction which is now known as synthetic cubism. In both analytical and synthetic cubism the subject would be fragmented, in analytical cubism giving rise to a crystalline geometry, while in synthetic cubism the fragmentation would be somewhat reduced in size, making the subject more recognizable and less formal. In both styles a subject would be reconstructed in intersecting, sometimes transparent planes. A faisionable object of speculation and intellectualization at the end of the 19th century was the so-called fourth dimension, in which it would be possible to simultaneously discern all sides of a three-dimensional object¹. It seems evident that cubism was a product of the intellectual climate of its time and this may have been of influence on Picasso aiming to depict three dimensional objects in a two dimensional plane. Cubism: origin of the term To understand where the term cubism comes from, we have to digress on the rivalry that existed between Picasso and Matisse. The latter's Blue Nude painting had caused a public scandal at the Salons des Indépendent (annual Paris art show of contemporary French art) and had caused art critic Louis Vauxcelles to refer to Matisse and his followers as Les Fauves (the wild animals), which led to Fauvism and made Matisse's reputation as the leading avant-garde artist, something he was very fond of. Matisse's reputation had grown to the point that he had been allowed to become one of the Salon's jury members. When Picasso had produced his Demoiselles, many young artists that had previously followed Matisse, began to follow Picasso is his radical new style of painting. One of the converts was Georges Braque and when he submitted a series of paintings to the Salon, Matisse, who was infuriated by Braque's defection, was instrumental in the Salon's rejection of all of Braques' works. When explaining to Vauxcelles (him again), Matisse made a drawing after one of Braque's landscapes, to show how they were made out of 'little cubes' and from there on "cubism" was a no-brainer for Vauxcelles. This however, had little to do with the technique of faceting that Braque and Picasso went on to develop. Braque's paintings were just a prelude to a very different style, but the term cubism would stick.
Noteworthy is the work of Piet Mondrian, who linearized cubism in his 1912 "Apple Tree" painting, a process which ultimately led to the first really non-figurative paintings (or pure abstract art), from 1914 on. An important difference between Picasso and the cubist Mondrian was that Picasso never really gave up the third dimension. He played with dimensions, flirted with removing the third, but never became a pure abstract painter. So deeply his figurative upbringing was engrained (he was an artistic prodigy and well-rounded figurative painter at 15), that one of the main creators of abstract art never made it to this development's ultimate consequence: pure abstract art. In that sense Picasso wasn't the radical and revolutionary that, during his cubist period he appeared to become; his cubist period was followed (leaving his cubist converts bewildered) by his neo-classicism, a return to tradition. From there on his recognition and wealth grew and his role as a bringer of fundamental change in the art of painting was over.
Cubism and Picasso's Style It is important to fully realize the importance of cubism. It isn't just "Picasso's style" but marks the real beginning of abstract art. Picasso's predecessors, such as the impressionists, the fauvists and Cezanne were still principally tied to nature as a model to elaborate on. With Les Demoiselles d'Avignon Picasso reached a level of abstraction that was a radical enough break with the classical dominance of content over form, a hierarchy which is reversed in Les Demoiselles d'Avignon and the style which followed from it: Cubism.
Speaking of "Picasso's style", it is natural to associate Picasso with Cubism, which leads to people thinking that paintings such as "Femme en pleurs" are cubist. However, Picasso's cubist period ended in 1915 and paintings such as Femme en pleurs (1937, see below) certainly aren't cubist, although there are elements of cubism visible, as well as fauvism and many other styles. There is no -ism that characterizes paintings such as Femme en pleurs and its style is commonly known as, indeed, Picasso's style. Picasso's career is in fact a patchwork of different styles and in his classicist nudes for instance there are hardly any cubist influences visible. Maybe ironically or maybe typically, when Picasso's work could be captured in an -ism, during his cubist period, his influence on art transcended the Picasso style and marked the beginning of a new era in modern art. Picasso's style in its full form is a patchwork of ideas borrowed from classical artists and contempories like and El Greco, Matisse, Modigliani, Gauguin and Toulouse-Lautrec. However, a key-element of the Picasso style is the cubist geometry, which is Picasso's own creation. After his cubist period, Picasso would come to depend on the work of his contempories, from which he would distill the essence, create his own version and incorporate it in his style. After the second world war the School of Paris would not be replaced with an artistic movement of comparable quality, denying Picasso the opportunity to be inspired by, and borrow from contemporary artists, and although he would go on to paint successfully in the Picasso style, he would never again be able to substantially innovate his style. Abstract art may be a 20th century creation, but it also marks the end of a process that started in the 18th century. Long before the invention of photography, philosophers began to question the narrative role of the art of painting, in which naturalism served to create an illusion of reality. Paintings would tell stories and depict actions and emotions; the content of a painting was its central feature, not the painting itself, with its form and color. This would be reversed by the influence of theoreticians like Denis Diderot, Georg Wilhelm Friedrich Hegel, Gotthold Ephraim Lessing, Immanuel Kant and Arthur Schoppenhauer. They felt that the art of painting should not copy nature, but should be an independent art form; the purpose of a painting became the painting itself. This created the ideal philosophical climate for avant garde artists, such as Picasso and Braque, who aimed to move towards abstract art; while the general public doubted their sanity, the cubists could refer to the above-mentioned philosophical tradition.

collage technique + cubism style

THURSDAY, NOVEMBER 21, 2013

collage technique + cubism style

 Collage Torn Paper on Canvas 10x10 SOLD. The Night Is Young, 12073

 the Art of Analog Mutant – pixel collage technique | Analog Mutant ...

- 2767 × 2699

 Dorothea Barre

dorotheabarre - 400 × 514 

Self-portrait using collage-technique

 Media Arts: What is Collage and Cubism?

499 × 640 

JaneVille: Painters tape ~ tutorial

 1440 × 1488 

The Power of Collage technique

this experimental show about

Mixed Media Art Canvas Collage Tutorial ....

its very interesting to uses in visual diary

collage technique

http://www.youtube.com/watch?v=APQxUaITHPo&list=PL29759CDFC579CDB9http://www.youtube.com/watch?v=APQxUaITHPo&list=PL29759CDFC579CDB9

'Essay On The Beautiful In Art'

Dalam buku yang berjudul '

'Essay On The Beautiful In Art' menyatakan setiap orang dianugerahkan kebolehan untuk mengenal keindahan tetapi dalam tahap atau darjah yang berlainan.Keindahan dalam catan contohnya banyak bergantung kepada lakaran, komposisiwarna dan terang gelapnya. Dalam catan atau lukisan  lakaran adalah satu ujian kepada keindahan.manakala komposisi pula adalah keindahan yang wujud melambangkan kebijaksanaan iaitu menerusi koleksi orang-orang yang bertamadun dan bijak . Winckelman juga menyatakan "jangan ada pengilangan aksi dan posisi kerana ini akan menunjukkan kecuaian dan kekurangan idea pelukis"