Title: Movement
1Movement
- Used by artists to direct viewers through their
work, often to the focal area. Such movement can
be directed along the lines and edges also by
way of spaces and colors within the works.
Movement is directed most easily on paths of
equal value.
2What does movement do?
- Artists use visual movement to take viewers on a
trip through their work. When we look at art,
our eyes move along edges and lines, and also on
paths made of connecting shapes of similar color
or value. Such movement often leads us to the
focal area and gives our work a sense of unity
and organization.
3Moving along edged (contours)
- The outer edges (contours) of the bottle and
flowers were emphasized by a student artist.
Your eye moves along the edges toward the top
flower which is the focal area.
4Movement in Sculpture 3D
- Light often emphasizes the edges and forms of a
sculpture. Note how Michelangelo carved the
marble to the lit edges lead your eye upward to
the head of Moses, which is the focus.
5Your eyes follow shapes toward the center of
focus, or focal point.
- Your eye moves along elongated shapes toward the
focus or center of interest. - Do you think you can find such directional shapes
and movement in realistic and abstract paintings?
6- Painters direct movement in their work by making
paths of similar values or colors, leading to the
focus. - How many such paths can you find in Mendocino
Morning, by Gerald Brommer?
7Value Paths Create movement to focal points
- Movement is created in the painting on the left
as your eye travels from the little girl on the
blanket and moves up the stairs. The light
value paths of the blanket the wall behind the
girl on the stairs is repeated. Our eyes move
back and forth from these two areas, leading us
to the focal points of the image, which are the
girls on the blanket, as well as the girl going
up the stairs.
8Lines and Linear Movement
- You cannot get lost in this painting. Your eye
must follow the lines from the outer edges of the
painting to the focus the erupting volcano.
This is called linear movement.
9Lines, Edges, Shapes Colors Lead us through
artwork
- A road map helps us find our way to our
destination. In art, lines, edges, shapes, and
colors help us move from outer edges to the focus
of our work just like a road map.
10Large Shapes lead us to Detailed Focal Area
- Movement to the focal area is felt when the outer
shapes of a painting are simple and large, and
the focal area is detailed and busy. Our eye
naturally moves from simple to complex areas.
11Visual Movement with shapes
- The main visual movement in this painting is on
the zig-zag white shape, but movement is also
seen on other edges and shapes to the focal area.
12Using Repetition to Create Movement
- The use of repetition to create movement occurs
when elements which have something in common are
repeated regularly or irregularly sometimes
creating a visual rhythm.
13Repetition doesnt have to be exact to create
movement.
- Repetition doesn't always mean exact duplication
either, but it does mean similarity or
near-likeness. Actually, slight variations to a
simple repetition will add interest. Repetition
tends to tie things together whether they are
touching or not and is an easy way to achieve
unity. This can be done with any of the elements
of art (form, line, shape, value, texture or
color).
14Effective Use of Repetition to Create Movement
- Repetition creates the movement in the painting
on the left. The color of the gowns is repeated
leading the eye into the painting. The pattern on
the floor also creates repetition.
15Using Rhythm to create movement
- Rhythm is the result of repetition which leads
the eye from one area to another in direct,
flowing, or staccato movement. - It can be produced by continuous repetition, by
periodic repetition, or by regular alternation of
one of more forms or lines. A single form may be
slightly changed with each repetition or be
repeated with periodic changes in size, color,
texture, or value. A line may regularly vary in
length, weight, or direction. Color may also be
repeated in various parts of the composition in
order to unify the various areas of the painting.
16Using Action to create movement
- Movement can also be created by action. In
two-dimensional works of art, action must be
implied. - Implied action in a painting creates life and
activity within the composition. - This is best illustrated by the direction the eye
takes along an invisible path, which is called
implied line, created by an arrow, a gaze, or a
pointing finger. - Action can also be indicated by the "freeze
frame" effect of an object in motion, such as
bouncing ball suspended in mid air, a jogger
about to take that next step, or a swimmer taking
a dive, etc.
17Using Optical Movement
- Optical Movement can also be used in a work of
art. Artists such as Bridget Riley and Victor
Vasarely used shape, color and line to create a
physical sense of movement in works of art. This
period of art is often times referred to as The
Op Art Movement. Optical movement produces a
disorienting physical effect on the eye.
18Summary make sure this information is on your
journal pages.
-
- 1. Definition of Movement used by artists
to direct viewers through their work, often to a
focal point. Such movement can be directed along
the lines and edges also by way of shapes and
colors within the work. Movement is directed
most easily on paths of equal value. - 2. The purpose of movement is to create
unity in artwork with eye travel. - 3. Movement in a work of art often leads us
to the focal area and gives the work a sense of
unity and organization.
19Movement can be achieved in art by using
- 1. Repetition elements which have
something in common are repeated in a work of art - Rhythm - produced by continuous repetition, by
periodic repetition, or by regular alternation of
one of more forms or lines which leads the eye
from one area to another in direct, flowing, or
staccato movement (abrupt changes in forms or
lines)
20- 1. In Art Staccato refers to detached,
short and disconnected, often using shapes, lines
or forms - 2. Action - In two-dimensional works of
art, action must be implied. The direction the
eye takes along an invisible path created by an
arrow, a gaze, or a pointing finger. Action can
also be indicated by the "freeze frame" effect of
an object in motion - 3. Linear movement the eye travels along
a line path. The line can be either solid,
broken or implied.
21- 1. Implied Line A line that is visually
suggested by the arrangement of forms, lights and
darks, or other elements in a work of art. An
implied line is not actually there, but leads the
eye from one shape or form to another. (An
example might be, if a person were pointing in a
certain direction, you would look in that
direction) - 2. Size Paths the eye follows larger
elements to smaller elements - 3. Value Paths The eye follows dark
elements to lighter elements - 4. Color Paths From colored areas to non
colored areas, or changes in color values (light
colors to darker colors) - Shape Paths The eye follows unusual shapes to
usual shapes, or larger shapes to smaller shapes
22- 1. Our Eyes naturally move from simple to
complex areas of a piece of artwork. - 2. Light Often Emphasizes the edges and
forms of a three dimensional sculpture. - 3. Optical Movement is another way to
create movement in a work of art. Using shapes,
color and line to create a physical sense of
movement in works of art. This period of art is
often times referred to as The Op Art Movement.
Optical movement produces a disorienting physical
effect on the eye.
23Activity Classroom
- Movement can be seen in the following artwork.
Choose from the following list, or from your own
observations, elements the artist may have used
to create movement in their work. Write at LEAST
4 things about movement within each piece. Be
specific in your answers. - Work with one partner. Follow the paths of
movement in each and write down, in order what
you see. Compare your answers with your partner.
24Use the following words where appropriate when
describing the slides
- Repetition
- Rhythm
- Action
- Lines/Linear
- Texture
- Size
- Value
- Color
- Shape/Form
- Optical Movement
25Example In the first work, Juggling Man, you
might list
- 1. It is a three dimensional sculpture
- 2. Light allows our eyes to see shapes and
forms. - 3. Our eyes follow value paths to the focal
point which is the face. We look at the lighter
areas first, and then follow the linear contour
lines of the arms and legs until we come to the
face. - Because the arms are outstretched, creating
linear movement, our eyes keep moving along them,
bringing us back and forth to see what he has in
his hands.
26Francisco de Goya y Lucientes (Spanish,
1746-1828), The Forge, between c. 1815 and 1820,
oil on canvas, 71 1/2 x 49 1/4 inches (181.6 x
125.1 cm), Frick Collection, NY.
1
27Eadweard Muybridge, Jumping a hurdle saddle bay
horse Daisy Plate 640 of Animal Locomotion, 1887,
collotype, Worcester Art Museum, MA.
2
28Winslow Homer (American, 1836-1910), Snap the
Whip, 1872, oil on canvas, 12 x 20 inches,
Metropolitan Museum of Art, NY.
3
29Vincent van Gogh (Dutch, 1853-1890), The Starry
Night, June 1889 (Saint-Rémy), oil on canvas, 29
x 36 1/4 inches (72 x 92 cm), Museum of Modern
Art, New York, F 612
4
30Georges Seurat (French, 1859-1891), The Circus,
1891, oil on canvas, 73 x 59 1/8 inches, Musée
d'Orsay, Paris.Georges Seurat used pointillism
to create this painting. Dots of pure color are
placed very close together, and visually mix
together to create changes in value.
5
31 Henri Matisse (French, 1869-1954), Dance (first
version), 1909, oil on canvas, 8 feet 6 1/2
inches x 12 feet 9 1/2 inches (259.7 x 390.1 cm),
Museum of Modern Art, NY.
6
32Matisse painted a second version of Dance in
1910, oil on canvas, 102 x 154 inches (260 x 391
cm), Hermitage Museum, St. Petersburg, Russia.
7
33Henri Matisse, Music, 1910, oil on canvas, 102 x
153 inches (260 x 389 cm), Hermitage Museum, St.
Petersburg, Russia.
8
34Umberto Boccioni (Italian, 1882-1916), Unique
Forms of Continuity in Space (Forme uniche della
continuità nello spazio), 1913, cast 1972,
bronze, 117.5 x 87.6 x 36.8 cm, Tate Gallery,
London.
9
35Robert Minor (American, 1884-1952), Pittsburgh,
1916, lithographic crayon and India ink,
published in The Masses, no. 8, August 1916.
10
36By the way..
- Robert Minor produced this drawing as an
editorial cartoon, commenting on a 1916 steel
workers' strike. He was among the first American
editorial cartoonists to employ grease pencil and
ink brush, when most were using pen and ink. He
emphasized the thrust of the soldier's bayonet by
drawing its direction as the counterpoint to that
of the worker's body. The grace of this
juxtaposition results in our feeling all the more
shock at the sight of the pointed blade. Minor
drew inspiration for this approach from such
European masters as Francisco Goya and Honoré
Daumier, coming to produce many such spare,
forceful drawings as this.
37Marcel Duchamp (American, born France, 1887-1968
in U.S.A. 1915-18, 1920-23, 1942-68), Nude
Descending a Staircase, 1911-12, oil on canvas,
58 x 35 inches, Philadelphia Museum of Art, PA.
Sometimes called Cubo-Futurists
11
38Charles Burchfield (American, 1893-1967),
September Wind and Rain, 1949, watercolor, 22 x
48 inches, Butler Institute of American Art,
Youngstown, OH.
12
39John Steuart Curry (American, 1897-1946), Fire
Diver, 1934, watercolor on paper mounted on
board, 22 1/2 x 15 1/2 inches, Kemper Museum of
Contemporary Art, Kansas City, MO.
13