Today's Class- Our topic today is visual rhythm. Most people are familiar with the concept of rhythm and how it applies to sound, a component of music found all over the world. However, rhythm can be part of visual arts as well. Early this semester when we were talking about the variety of line that can exist, we were also talking about rhythm. As with music, visual rhythm can be very regular, very irregular, and anything in between. In the same way, it can be simple or complex. Visual artists have learned how to use it in various ways.
Slide Show- Let's look at some art examples from the early 20th century Dutch artist Piet Mondrian. Like many modern artists, he had roots in the previous century, and more traditional rendering. This first image is a 1909 drawing he did of a church at Domburg, and it is rendered in a fairly naturalistic style. A viewer can get a sense of the relative size of the parts, the structure of the building, proportions, exterior features. If we saw a photo of the actual building, we would probably recognize it. However, Mondrian was a modernist, and simple and accurate rendering of things was not his main interest.
By the time of this 1914 drawing, Mondrian is moving away from the idea of accurate rendering, more interested in the feel of proportion. Some aspects are still recognizable- the pointed tops of the Gothic style windows, a crucifix, simple rectilinear structures that seem to echo the stone structure of the building. At the same time, it is not that actual building, though some of the rhythm remains.
This 1915 drawing moves even further away. Still hints of those pointed windows, but the structure is much more vague. Now it seems to be all about rhythm. The drawing is a bunch of horizontal and vertical lines, some in isolation, some grouped in two, three, or more. They no longer represent architecture, but we now have a drawing that is almost pure formalism. It's now about the rhythm of the lines, proportion of line to space, the vertical and horizontal movement set up by the lines.
I don't know if this 1916 painting below is derived from the same church drawing, or if he is just making use of the same kind of rhythm. However, there does seem to be a relationship. There are dark lines, shorter than before, but also limited to vertical and horizontal, and not representing any recognizable image. Some by themselves, some intersecting with others. Behind the dark lines are small blocks of color, sometimes bound by the dark lines, and sometimes not, but it all seems very random. More empty space around the networks of lines, which has an effect of the rhythm of the painting.
When Mondrian reaches his mature art style, what he became known for as in this 1930 painting, there are still dark lines and blocks of color, but the lines are fewer and now form discrete boxes, which may contain the white of the canvas or solid primary colors. The rhythm has changed considerably. The piece seems more about the proportion of line to shape, square to rectangle, light to dark.
But there could still be variety. Mondrian moved further and further west to escape from World War II, and this next piece represents living in New York City. It's called "Broadway Boogie Woogie", from the early 1940's. Same mix of vertical and horizontal lines, same colors, but now the shapes are much smaller and there are a lot more of them. More action and movement. I feel this represents the the difference in energy that one feels walking the streets of old European cities and of New York City in that time, or even now. Could almost be a street map of Manhattan, and one can feel the movement.
Follow these links to see other artworks that may help explain this idea.
Hieronymus Bosch- This northern renaissance triptych has the structure of an altarpiece, and religious content, but it was not created for a church. There is still disagreement among experts as to what it is about. What is generally agreed on is that left side panel represents the Garden of Eden, the center panel masses of humanity enjoying pleasures of the flesh, and the right panel a view of hell, that those people will be going to. Note the rhythm of each panel- the left one is fairly empty and calm, the center one is dense with activity, and the right one is full of chaos.
Gustave Klimt-This was briefly the most expensive artwork in the world. The parts of the portrait that show flesh are modeled to show form, while the rest of her is broken into numerous flat geometric shapes, causing great contrast.
Giacomo Balla- A major player in the Italian futurist movement, which prized implied movement and activity in everything, including a still painted image of a street lamp.
How to make this up- The assignment will be to do some abstract paintings to different styles of music and the rhythms they contain. The resulting artwork should be completely abstract- no recognizable objects, symbols, etc. Here are some past student examples:
Unlike our first painting exercise, this time you can choose any color you want at any time you want. Choose the brush you want to use. Don't have a brush? Use a stick, or your finger, or anything else. Don't have paint? Find something similar that you can work with. The goal here is to describe the music you are hearing with just color and motion. Imagine if you had to describe music to someone who couldn't hear it, and you couldn't use words or pictures of things. That's what we are doing.
If we had done this in class, I would have played instrumental music from compact discs, about 15 minutes at a time. Can't do that now. What I can do is let you know the kind of things we would have heard, and trust you to find similar things. For each painting, use a sheet from your big pad, or at least half a sheet if you are running out, though you shouldn't be at this point. I suggest fresh water for each painting, as dirty water can affect colors, especially with water color. Make sure the pages are completely dry before you close up the pad, or they might stick together.
This is the music you would have heard, and what might work as a substitute:
Painting #1 Brahms, Hungarian Dances #1-5. Or any light lively classical music.
Painting #2 Jimmy Yancey. Slow blues piano, Chicago, 1950's, no vocals. Or any kind of slow instrumental jazz.
Painting #3 Raymond Scott Quintet. Half a dozen short cuts, descriptive jazz that was adapted for sound tracks to almost every cartoon (you've heard them before) You don't have that, perhaps a couple of Tom and Jerry cartoons- lack of dialog makes them ideal
Painting #4 Bad Brains, from their first album- Early 1980's hardcore thrash with unintelligible lyrics, with regular breaks for dub reggae (it's the kind of a band they were) Something loud and fast.
This is a portfolio exercise, which can be done any time before the end of the semester for full credit. Just keep in mind that the semester is running out.
Homework-
The comic strip project is due today. Since I can't collect them, you'll have to send a photo by email. Include a brief statement about how the symbols were chosen, as well as a summary of the plot, which is how you would have presented it to the class. In grading I will be looking for the following:
Interesting story
12 panels
symbolic characters
full color
If you haven't yet sent me the rough draft of your museum visit (or the alternate research assignment) you should do it soon. It's a graded project. so the more late it is, the more points you lose. Plus, when I reply I'll send the information how to improve it for a better grade on the final paper.
***No class on Friday, Apr 10, 2020. (Easter Recess)***
For next class 4/17/20- When I first put this up, I listed an exercise in perspective, but circumstances have forced me to change our schedule so many times, I got the date mixed up. The perspective exercise will occur on April 24th. What we will do next is a portfolio exercise that is a mixed media collage piece, which will take the place of the collograph project we had expected to do. Topics will be assigned based on randomly drawn phrases, an old art tradition and I'll post something about it next week. The phrase will be used to inspire the artwork, which will make use of collaged images, drawn images, and painted bits. We will use everything we got. Here's an example from a past semester of what one student did with the topic "Untamable Deluge"-
You will need paper, sources of collage material (magazines, photocopies, internet), drawing materials (pencil, pen, markers, pastels, charcoal, and whatever), painting materials (paints or whatever else you can find that works the same way), some glue, and your imagination.
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