Before the mid-1800s, painters had to grind pigments by hand. The appearance of paint in tubes changed all that. It made the painters life easier. In the same way, technology has been making many art tasks easier.
Digital Art Programs
How many computers do you have in your classroom? How many do you have at home? Even if you have not used computers very much, you are probably aware that they do a number of different tasks. Many tasks are done with one or several programs, or applications. Digital drawings or images
are stored as files in the computers memory. Once saved, they may be opened and reworked. Most digital art applications are one of two main types:
● Paint programs. In paint programs, images are stored as bitmaps, which are a series of tiny dots called pixels. It is easy to edit an image pixel by pixel. In general, paint programs have tools to create
original images and alter images that are scanned in or captured with a digital camera. Figure 1 31 was made using paint programs.
Figure 131
● Draw programs. In draw programs, images are stored as a series of lines and curves called vectors. Each line or curve used to create a shape results from a mathematical formula. Each shape is known as
an object. An advantage of draw programs is that objects have sharp, crisp edges and can be resized without distortion. Think of draw programs as a collection of objects or a collage.In the last decade, lines between paint and draw programs have begun to blur. Web design and photo-enhancing programs combine aspects of each, although they mainly remain bitmap-based (Paint) or vector-based (Draw). Web design programs include animation tools for images that are only viewed on a computer monitor or screen.
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1. What is the difference between a paint program and a draw program?
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1. Gene Mittler, Ph.D. Introducing Art Glencoe/McGraw-Hill, 2005
2. Gene Mittler, Ph.D. Exploring Art Glencoe/McGraw-Hill, 2005
Unit 15.
Ex. 1. :
EUROPEAN CERAMICS
a) Social Hisiory. Medieval Europe probably found its chief uses for pottery in the kitchen and store-room, but the most numerous survivors are jugs and die fact that many were slip-decorated, or modelled with GROTESQUES, suggests that these at least were meant for the cable. Being fragile, they were expendable. Those that exist today we owe to excavations and chance finds: little suggests that they were valued for anything other than their usefulness. Dissemination of certain distinctive wares proves that admiration for them could be widespread for example, hard north-German pottery has been found in Swedenbut medieval wares were not handed down the generations as treasures: and our present recognition of their aesthetic qualities is hardly one generation old. Earlier ages thought them quaint, but coarse. Floor tiles inlaid with heraldic and other formal devices, and fire-backs similarly moulded, were more obviously artistic and meant to last.
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About the medieval potters themselves we know nest to nothing. Some were probably nomadic, moving around from place to place, as is suggested by the smallness of excavated kiln-sites. The manufacture of inlaid floor tiles seems to have been a monastic speciality, and me finding of sherds of hard, black-glazed earthenware on late-medieval monastic sites in the north of England has led to the association of this ware with the Cistercian order.
It was with the mastering of the new techniques of lead glaze and salt glaze in the 15th c. that pottery became decorative and moved up in the social scale. The big lustred dishes made in the I5th c. at Manises and Valencia in Spain were blazoned like flags with appropriate
CERAMICS
armorials and dispatched as royal presents all over Christendom. Drug jars were made for the monastic and aristocratic pharmacies which came into being as a result of the plagues of the Middle Ages. The potters of Beauvais made dishes moulded with the emblems of Christ's Passion, and these seem to have been intended for Church use. In the 16th c. we find the production of such highly exclusive wares as the mysterious Saint Porchaire earthenware made in Poitou, and the equally rare and even more famous Medici porcelain made in Florence for the Grand Dukewares much too exalted for commerce. Finally, in the middle of the 16th c. we meet recognizable men such as the French master potter Bernard palissy, who was taken away from the entourage of the High Constable of France by the queen herself to make for her a pottery grotto in the Tuileries.
Such examples show the response in the Renaissance of the highest social classes to the potter's am, and its widespread adoption for daily needs will be the more easily imagined: dishes for the table, inkstands, decorative vases, stoves and so forth. Mention should also be made of the prevalence in Renaissance Italy of the piatti di pompa, display plates painied with historical and other figure compositions or for use as loves giftswith the idealized portrait of a lovely girl or youth. These are the ancestors of the large family of wares intended chiefly for commemoration or propaganda. The highly developed skills of painting and potting reflected in objects such as all of these prompted also the creation of the virtuoso 'master pieces', dishes signed by the master painters Nicola Pellipario, Maestro Giorgio Andreoli (both working between 1510 and 1540) and others. Here too should be mentioned the stoneware bottles and jugs made on the Rhine and signed by the Mennickens and other potters in the next generation. Owners sometimes liked to mount them in silver, as they also mounted ostrich eggs, coconut shells, Chinese porcelain and other curiosities.
Porcelain and silver play a great part in the social history of European ceramics. As pottery made its way on to the table and into other forms of polite usage, it did so in competition with other materialswood, leather, pewter, and glass. Silver was always the most highly esteemed material, and vessels of clay have often been given the shape of metal, and specifically silver, prototypes. But it is sometimes necessary to melt silver for coinage, and this bodes well for the potter. A French edict of 1689. repeated in 1709, ordered the melting of all table vessels of silver and gold. Within a week ail the upper classes of France were refurnishing their tables with faience and so great was the impulse given to the potters that many new works were established and there was a threat of fuel shortage; so the state had to step in and limit the expansion.
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A new kind of prestige was given to pottery in the 17th and early 18th centuries by certain
Ex.2. .
Ex.3. .
Ex.4. :
- Those that exist today we owe to excavations and chance finds: little suggests that they were valued for
- About the medieval potters themselves we
- These are the ancestors of the large family of wares intended chiefly for
- Porcelain and silver play a great part in the
- But it is sometimes necessary to melt silver for coinage, and
Ex.5. , :
- Being fragile, they were not expendable.
- Earlier ages thought them quaint, but coarse.
- It was not with the mastering of the new techniques of lead glaze and salt glaze in the 15th c. that pottery became decorative and moved up in the social scale.
- Drug jars were made for the monastic and aristocratic pharmacies which came into being as a result of the plagues of the Middle Ages.
- Here too shouldnt be mentioned the stoneware bottles and jugs made on the Rhine and signed by the Mennickens and other potters in the next generation.
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1. . 10 .- 2010.
2. 1. V. Evans, L. Edvards Upstream: Student's Book Advanced Express Publishing,-2002.
Unit 16.
TYPES OF SCULPTURE
Ex. 1. :
What do stone, wood, and sand share in common? All may be used as media in sculpture. Even water can be sculpted so long as it is frozen. The art of creating three-dimensional works or sculpture dates back to prehistoric times. In this lesson, you will learn about the materials used to make sculpture. You will also learn about the processes used by artists working in this area.
THE MEDIA OF SCULPTURE
An artist who works in sculpture is called a sculptor. Sculptors work with a great many materials and tools. One sculpting medium that you have probably used is clay.
TYPES OF SCULPTURE
As an art form, sculpture exists in one of two states:
● Freestanding. Also known as in the round, the word freestanding means surrounded on all sides by space. Statues of people are examples of freestanding sculptures. Every side of a freestanding
sculpture is sculpted and finished. In order to see the work as the sculptor meant it to be seen, you have to move around it. The sculpture of a Mayan ruler in Figure 131 is an example of a freestanding sculpture.
131
Figure 132
● Relief. This is a type of sculpture in which forms and figures project only from the front. It is flat on the back. You can see large reliefs on buildings and small reliefs onitems such as jewelry. The artwork in Figure 132 is an example of a reliefsculpture.Analyze and compare the sculptures inFigure 131 and Figure132. Form conclusionsabout historical and cultural contexts.For example, what clues does each piece provide about its culture?
Ex.2. .
Ex.3. .
Ex.4. :
Ex.5. :
This Mayan ruler is dressed to imitate a mythical person. What kind of dance movements do you think he would make wearing this costume? What kind of a beat would the dance have? (Figure 131)
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1. What is another term that has the same meaning as freestanding?
2. Name two media used by sculptors.
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1. Gene Mittler, Ph.D. Exploring Art Glencoe/McGraw-Hill, 2005
2. Gene Mittler, Ph.D. Introducing Art Glencoe/McGraw-Hill, 2005
Unit 17. ϳ
Ex.1. : ϳ
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1. Rosalind Ragans, Ph.D. Art Talk Interactive Student Edition (4th Ed) Glencoe/McGraw-Hill, 2005
2. Gene Mittler Art in Focus Glencoe/McGraw-Hill, 2006
3. Gene Mittler, Ph.D. Exploring Art Glencoe/McGraw-Hill, 2005
4. Gene Mittler, Ph.D. Introducing Art Glencoe/McGraw-Hill, 2005
Unit 18.
Ex.1. :
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1. What does the term pre-Columbian refer to?
2. Which culture created huge heads carved from volcanic rock?
3. Which culture created the walled city of MachuPicchu?
4. What were totem poles used for?
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1. Rosalind Ragans, Ph.D. Art Talk Interactive Student Edition (4th Ed) Glencoe/McGraw-Hill, 2005
2. Gene Mittler Art in Focus Glencoe/McGraw-Hill, 2006
3. Gene Mittler, Ph.D. Exploring Art Glencoe/McGraw-Hill, 2005
4. Gene Mittler, Ph.D. Introducing Art Glencoe/McGraw-Hill, 2005
