1. Principles of Design Some

2. PRINCIPLES OF DESIGN REPETITION VARIATION CONTRAST BALANCE – symmetry/asymmetry EMPHASIS - accent ECONOMY PROPORTION SCALE Some

3. |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ Repetition in Art Creates visual rhythm /////////////////////////////// \\\\\\\\\\\\\\\\\\\\\\\\\ \\\\\\\ >>>>>>>>>>>>>>> <<< <<< <<< <<< <<< O OO OO OOO OO OO O and patterns XXXXXXXX

4. Andy Warhol, Orange Disaster No. 5, 1963

5. Eadweard Muybridge, photographer

6. Monet Poplars...

9. Charles Demuth, The Figure 5 in Gold, 1928

10. Cimabue, Madonna Enthroned, 1280-90 TEXTBOOK p. 185

11. VARIATION: the alliance between repetition and surprise

12. The Four Evangelists, from the Gospel Book of Charlemagne, early 9 th century TEXTBOOK p. 135

13. dancers

14. CAILLEBOTTE, Gustave Paris: A Rainy D ay, 1877, Oil on canvas, 83 1/2 x 108 3/4"

15. CONTRAST

17. Night Attack on the Sanjo Palace (detail) Japan, Kamakura period, second half of the 13th Century Handscroll; ink and color on paper 16 1/4 x 275 1/2 in.

18. David Hockney, Portrait of an Artist (Pool with Two Figures), 1971

19. Contrasts & Oppositions in Hockney’s Portrait of an Artist Diagonal/horizontal Straight/curved lines Air/water/Earth fire? Natural/artificial Clothed/(nearly) naked Tint/shade (light/shadow) colors What is the psychological relationship between the two men? Which of them is the “artist” in the title? Is it two sides of one person, the “artist”?

20. Degas Waiting

21. Contrasts in Degas’s Waiting (1882, pastel) WHITE – BLACK COLOR – NO COLOR OPEN – CLOSED YOUNG – OLD PERFORMER – SUPPORTER BUSY – EMPTY INWARD GAZE – OUTWARD GAZE

22. Rogier van der Weyden Netherlandish, 1399/1400 - 1464 Portrait of a Lady, c. 1460 oil on panel, painted surface: 34 x 25.5 cm (13 3/8 x 10 1/16 in.) panel: 37 x 27 cm (14 1/16 x 10 5/8 in.) Broad, plain areas contrast with tangle of fingers

23. Winslow Homer American, 1836 - 1910 Right and Left, 1909 oil on canvas, 71.8 x 122.9 cm (28 1/4 x 48 3/8 in.)

24. John Singer Sargent American, 1856 - 1925 Nonchaloir (Repose), 1911 oil on canvas, 63.8 x 76.2 cm (25 1/8 x 30 in.) Appropriate clothes?

25. Gilbert Stuart American, 1755 - 1828 The Skater (Portrait of William Grant), 1782 oil on canvas, 245.5 x 147.4 cm (96 1/4 x 58 in.) Stately, stable figure – on skates!

26. BALANCE symmetry E Q U I L I B R I U M

27. Leonardo da Vinci, Proportions of the Human Figure (“Vitruvian Man”) TEXTBOOK p. 192

28. Shiva, bronze temple sculpture, Chola Era (9 th -13 th C.), South India

29. Durer Dancing Peasants 1514

30. Master of the Saint Lucy Legend Bruges, active c. 1480 - c. 1510 Mary, Queen of Heaven, c. 1485/1500 oil on panel, painted surface: 199.2 x 161.8 cm (78 7/16 x 63 3/4 in.)

31. Frida Kahlo, The Two Fridas, 1939

32. Alfred Sisley, The Chemin de By through Woods at Roches- Courtaut, St. Martin's Summer, 1880

33. Assymetical balance?

35. EMPHASIS accent

36. David Hockney, Portrait of an Artist (Pool with Two Figures), 1971

37. Andy Warhol, Orange Disaster No. 5, 1963 not a good example of EMPHASIS

38. ECONOMY limitation of a composition to a few essential elements; usually a voluntary constraint that is part of the creative process SPECIFIC TO AN INDIVIDUAL WORK, NOT THE GENRE, TYPE OR MEDIUM Examples in music: deriving everything from a single theme (musical idea), limiting the number of pitches, type of instrument, etc. Steve Reich, Music for Pieces of Wood, Clapping Music, or other pieces DC Meckler, Bliss (1999) Morton Feldman, Three Voices (1982)

39. Picasso, Femme ECONOMY – very little suggests a lot

40. Picasso, Guernica, 1937 p. 410

41. PROPORTION

42. Leonardo: The Last Supper, 1498

43. Diego Rivera, The Flower Carrier, 1935, 48x48 in.

44. Joseph Mallord William Turner British, 1775–1851. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840 Oil on canvas, 35 3/4 x 48 1/4 in.

45. Shahn, Ben, Vacant Lot, 1939 Watercolor and gouache on paper mounted on plywood panel, 19 x 23 in

46. Carlo Crivelli Venetian, c. 1430/1435 - 1495 Madonna and Child Enthroned with Donor, 1470 tempera on panel, painted surface: 125.3 x 50.7 cm (49 5/16 x 19 15/16 in.) including unpainted margins: 129.5 x 54.4 cm (51 x 21 7/16 in.) donor

47. Proportion in music A matter of time, usually lots of time. Example: 3 Beethoven string quartets (Op 59, 1, 2 & 3). Each in 4 movements. No. 1 – BIG 1 st mvt No. 2 – nervous 1 st mvt, BIG 2 nd mvt No. 3 – BIG finale (4 th mvt)

48. SCALE SCALE - the size of a work compared to the environment: miniature, human, monumental. The term can also apply to musical works, although it has an entirely different meaning than “musical scale.” (“A symphony is a large-scale musical work when compared to a song.”)

49. Claes Oldenburg, Knife Ship I, 1985 Vinyl-covered wood, steel, and aluminum with motors, dimensions variable, maximum height 31 feet 8 inches x 40 feet 5 inches x 31 feet 6 inches.

50. Miniature Leaf from Futuh al-Haramain (Description of the Two Holy Cities of Mecca and Medina), mid-16th century; Ottoman, 8x5 in.

51. a bit bigger...

52. Some examples of time scales in music Less than a minute - Miniatures – Chopin, Webern, Schoenberg Pop songs – 3-6 minutes Early symphonies – 25-35 minutes Later symphonies – 45 min - 1 hr Longest – Mahler – 1 ½ hrs Short opera – 2 hours Average opera – 3-4 hours (including intermissions) Long opera – 5 hours Longest traditional opera – Wagner’s RING – 18 hours

53. Robert Motherwell, Elegy for the Spanish Revolution No. 34, 1953-54

54. Georgia O’Keefe on scale & flowers: Nobody sees a flower—really—it is so small—we haven’t time—and to see it takes time, like to have a friend takes time.... So I said to myself—I’ll paint what I see—what the flower is to me—but I’ll paint it big.... I will make even busy New Yorkers take time to see what I see of flowers.

55. Geogia O'Keeffe American, 1887–1986, White Rose with Larkspur, No. 2, 1927, Oil on canvas; 40 x 30 in.

56. Geogia O'Keeffe Jimson Weed 70x84 in Scale has to do with the size of the work itself

57. PRINCIPLES OF DESIGN REPETITION VARIATION CONTRAST BALANCE – symmetry/asymmetry EMPHASIS - accent ECONOMY PROPORTION SCALE Some

58. George Bellows American, 1882 - 1925 Both Members of This Club, 1909 oil on canvas, 115 x 160.5 cm (45 1/4 x 63 1/8 in.)