Leonardo da Vinci. Study of Human Proportion: The Vitruvian Man. c

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Presentation transcript:

Leonardo da Vinci. Study of Human Proportion: The Vitruvian Man. c Leonardo da Vinci. Study of Human Proportion: The Vitruvian Man. c. 1492. Pen and ink drawing. 13-1/2 × 9-5/8 in. Cameraphoto Arte, Venice / Art Resource, NY. [Fig. 8-1] Leonardo da Vinci. Study of Human Proportion: The Vitruvian Man. c. 1492. Pen and ink drawing. 13-1/2 × 9-5/8 in. Cameraphoto Arte, Venice / Art Resource, NY. [Fig. 8-1]

Frank Gehry and Vlado Milunić Frank Gehry and Vlado Milunić. The Rasin Building, also known as the Dancing House or “Ginger and Fred,” Prague, Czech Republic. 1992-96. © Curva de Luz / Alamy. [Fig. 8-2] Frank Gehry and Vlado Milunić. The Rasin Building, also known as the Dancing House or “Ginger and Fred,” Prague, Czech Republic. 1992-96. © Curva de Luz / Alamy. [Fig. 8-2]

Taj Mahal, Agra, India. Mughal period, c. 1632–48 Taj Mahal, Agra, India. Mughal period, c. 1632–48. Scala / Art Resource, NY. [Fig. 8-3] Taj Mahal, Agra, India. Mughal period, c. 1632–48. Scala / Art Resource, NY. [Fig. 8-3]

Enguerrand Quarton. Coronation of the Virgin. 1453–54. Panel painting Enguerrand Quarton. Coronation of the Virgin. 1453–54. Panel painting. 72 × 86-5/8 in. Giraudon/Art Resource, NY. [Fig. 8-4] Enguerrand Quarton. Coronation of the Virgin. 1453–54. Panel painting. 72 × 86-5/8 in. Giraudon/Art Resource, NY. [Fig. 8-4]

Some different varieties of asymmetrical balance. Line art. [Fig. 8-5]

Jan Vermeer. Woman Holding a Balance. c. 1664. Oil on canvas Jan Vermeer. Woman Holding a Balance. c. 1664. Oil on canvas. 15-7/8 × 14 in., framed: 24-3/4 × 23 × 3 in. Widener Collection. Photo: Richard Carafelli. Photograph © Board of Trustees, National Gallery of Art, Washington, D.C. [Fig. 8-6] Jan Vermeer. Woman Holding a Balance. c. 1664. Oil on canvas. 15-7/8 × 14 in., framed: 24-3/4 × 23 × 3 in. Widener Collection. Photo: Richard Carafelli. Photograph © Board of Trustees, National Gallery of Art, Washington, D.C. [Fig. 8-6]

Childe Hassam. Boston Common at Twilight. 1885–86. Oil on canvas Childe Hassam. Boston Common at Twilight. 1885–86. Oil on canvas. 42 × 60 in. Museum of Fine Arts, Boston. Gift of Miss Maud E. Appleton. 31.952. Photograph © 2004 Museum of Fine Arts, Boston. All Rights Reserved. [Fig. 8-7] Childe Hassam. Boston Common at Twilight. 1885–86. Oil on canvas. 42 × 60 in. Museum of Fine Arts, Boston. Gift of Miss Maud E. Appleton. 31.952. Photograph © 2004 Museum of Fine Arts, Boston. All Rights Reserved. [Fig. 8-7]

Ida Applebroog. Emetic Fields. 1989. Oil on canvas Ida Applebroog. Emetic Fields. 1989. Oil on canvas. 8 panels, 102 × 204-1/2 in. Whitney Museum of American Art, New York/ gift of Jean Lignel 99.100a-h. Courtesy Ronald Feldman Fine Arts, New York. [Fig. 8-8] Ida Applebroog. Emetic Fields. 1989. Oil on canvas. 8 panels, 102 × 204-1/2 in. Whitney Museum of American Art, New York/ gift of Jean Lignel 99.100a-h. Courtesy Ronald Feldman Fine Arts, New York. [Fig. 8-8]

Rose window, south transept, Chartres Cathedral. c. 1215 Rose window, south transept, Chartres Cathedral. c. 1215. Erich Lessing/Art Resource, NY. [Fig. 8-9] Rose window, south transept, Chartres Cathedral. c. 1215. Erich Lessing/Art Resource, NY. [Fig. 8-9]

Mescalero Apache coiled basket. early 20th century Mescalero Apache coiled basket. early 20th century. Arizona State Museum, University of Arizona,Tucson. Photo: Jannelle Weakly. (26496-x-2). [Fig. 8-10] Mescalero Apache coiled basket. early 20th century. Arizona State Museum, University of Arizona,Tucson. Photo: Jannelle Weakly. (26496-x-2). [Fig. 8-10]

Anna Vallayer-Coster. Still Life with Lobster. 1781. Oil on canvas Anna Vallayer-Coster. Still Life with Lobster. 1781. Oil on canvas. 27-3/4 × 35-1/4 in. Toledo Museum of Art (Toledo, Ohio), Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1968.1A. [Fig. 8-11] Anna Vallayer-Coster. Still Life with Lobster. 1781. Oil on canvas. 27-3/4 × 35-1/4 in. Toledo Museum of Art (Toledo, Ohio), Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1968.1A. [Fig. 8-11]

Georges de La Tour. Joseph the Carpenter. c. 1645. Oil on canvas Georges de La Tour. Joseph the Carpenter. c. 1645. Oil on canvas. 18-1/2 × 25-1/2 in. Gerard Blott/Réunion des Musées Nationaux / Art Resource, NY. [Fig. 8-12] Georges de La Tour. Joseph the Carpenter. c. 1645. Oil on canvas. 18-1/2 × 25-1/2 in. Gerard Blott/Réunion des Musées Nationaux / Art Resource, NY. [Fig. 8-12]

Anselm Kiefer. Parsifal I. 1973. Oil on paper. 127-7/8 × 86-1/2 in Anselm Kiefer. Parsifal I. 1973. Oil on paper. 127-7/8 × 86-1/2 in. Tate, London / Art Resource, NY. Courtesy of the artist and Gagosian Gallery. [Fig. 8-13] Anselm Kiefer. Parsifal I. 1973. Oil on paper. 127-7/8 × 86-1/2 in. Tate, London / Art Resource, NY. Courtesy of the artist and Gagosian Gallery. [Fig. 8-13]

Larry Poons. Orange Crush. 1963. Acrylic on canvas. 80 × 80 in Larry Poons. Orange Crush. 1963. Acrylic on canvas. 80 × 80 in. Albright-Knox Art Gallery / Art Resource, NY. Albright-Knox Art Gallery, Buffalo, New York. Gift of Seymour H. Knox, 1964. Art © Larry Poons/Licensed by VAGA, New York, NY. [Fig. 8-14] Larry Poons. Orange Crush. 1963. Acrylic on canvas. 80 × 80 in. Albright-Knox Art Gallery / Art Resource, NY. Albright-Knox Art Gallery, Buffalo, New York. Gift of Seymour H. Knox, 1964. Art © Larry Poons/Licensed by VAGA, New York, NY. [Fig. 8-14]

Diego Velázquez. Philip IV, King of Spain. 1652–53. Oil on canvas Diego Velázquez. Philip IV, King of Spain. 1652–53. Oil on canvas. 17-1/2 × 14-3/4 in. Erich Lessing/Art Resource, NY. [Fig. 8-15] Diego Velázquez. Philip IV, King of Spain. 1652–53. Oil on canvas. 17-1/2 × 14-3/4 in. Erich Lessing/Art Resource, NY. [Fig. 8-15]

Diego Velázquez. Portrait of Queen Mariana. c. 1656. Oil on canvas Diego Velázquez. Portrait of Queen Mariana. c. 1656. Oil on canvas. 18-3/8 × 17-1/8 in. Meadows Museum, SMU. Algur H. Meadows Collection. MM78.01. [Fig. 8-16] Diego Velázquez. Portrait of Queen Mariana. c. 1656. Oil on canvas. 18-3/8 × 17-1/8 in. Meadows Museum, SMU. Algur H. Meadows Collection. MM78.01. [Fig. 8-16]

Diego Velázquez. Las Meninas (The Maids of Honor). 1656. Oil on canvas Diego Velázquez. Las Meninas (The Maids of Honor). 1656. Oil on canvas. 10 ft. 3/4 in. × 9 ft. 3/4 in. Scala / Art Resource, NY. [Fig. 8-17] Diego Velázquez. Las Meninas (The Maids of Honor). 1656. Oil on canvas. 10 ft. 3/4 in. × 9 ft. 3/4 in. Scala / Art Resource, NY. [Fig. 8-17]

Diego Velázquez. Las Meninas (The Maids of Honor), detail. 1656 Diego Velázquez. Las Meninas (The Maids of Honor), detail. 1656. Oil on canvas. 138 × 276 cm. Erich Lessing/Art Resource, NY. [Fig. 8-18] Diego Velázquez. Las Meninas (The Maids of Honor), detail. 1656. Oil on canvas. 138 × 276 cm. Erich Lessing/Art Resource, NY. [Fig. 8-18]

Do-Ho Suh. Public Figures. 1998–99 Do-Ho Suh. Public Figures. 1998–99. Fiberglass/resin, steel pipes, pipe fittings. 10 × 7 × 9 ft. Courtesy of the Artist and Lehmann Maupin Gallery, New York. [Fig. 8-19] Do-Ho Suh. Public Figures. 1998–99. Fiberglass/resin, steel pipes, pipe fittings. 10 × 7 × 9 ft. Courtesy of the Artist and Lehmann Maupin Gallery, New York. [Fig. 8-19]

Claes Oldenburg and Coosje van Bruggen. Spoonbridge and Cherry. 1988 Claes Oldenburg and Coosje van Bruggen. Spoonbridge and Cherry. 1988. Stainless steel and aluminum painted with polyurethane enamel. 29 ft. 6 in. × 51 ft. 6 in. × 13 ft. 6 in. Collection Walker Art Center, Minneapolis. Gift of Frederick R. Welsmen in honor of his parents, William and Mary Weisman, 1988. © Claes Oldenburg and Coosje Van Brugen. [Fig. 8-20] Claes Oldenburg and Coosje van Bruggen. Spoonbridge and Cherry. 1988. Stainless steel and aluminum painted with polyurethane enamel. 29 ft. 6 in. × 51 ft. 6 in. × 13 ft. 6 in. Collection Walker Art Center, Minneapolis. Gift of Frederick R. Welsmen in honor of his parents, William and Mary Weisman, 1988. © Claes Oldenburg and Coosje Van Brugen. [Fig. 8-20]

Hokusai. The Great Wave off Kanagawa, from the series Thirty-Six Views of Mount Fuji. 1823–29. Color woodcut. 10 × 15 in. ©Historical Picture Archive/CORBIS. [Fig. 8-21] Hokusai. The Great Wave off Kanagawa, from the series Thirty-Six Views of Mount Fuji. 1823–29. Color woodcut. 10 × 15 in. ©Historical Picture Archive/CORBIS. [Fig. 8-21]

Felix Gonzalez-Torres. Untitled. 1991 Felix Gonzalez-Torres. Untitled. 1991. Billboard, overall dimensions vary with installation. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. The Museum of Modern Art, New York, NY, U.S.A. © The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York. [Fig. 8-22] Felix Gonzalez-Torres. Untitled. 1991. Billboard, overall dimensions vary with installation. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. The Museum of Modern Art, New York, NY, U.S.A. © The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York. [Fig. 8-22]

Polyclitus. Doryphoros. 450 BCE. Marble. height 84 in Polyclitus. Doryphoros. 450 BCE. Marble. height 84 in. Alfredo Dagli Orti / The Art Archive at Art Resource, NY. [Fig. 8-23] Polyclitus. Doryphoros. 450 BCE. Marble. height 84 in. Alfredo Dagli Orti / The Art Archive at Art Resource, NY. [Fig. 8-23]

Parthenon. 447–438 BCE. Pentelic marble. 111 × 237 ft. at base Parthenon. 447–438 BCE. Pentelic marble. 111 × 237 ft. at base. Studio Kontos Photostock. [Fig. 8-24] Parthenon. 447–438 BCE. Pentelic marble. 111 × 237 ft. at base. Studio Kontos Photostock. [Fig. 8-24]

Judith F. Baca. La Memoria de Nuestra Tierra, preliminary drawing. 1996. Acrylic on canvas. 9 × 23 ft. USC Student Topping Center. © 1997 Judith F. Baca. Courtesy of the artist. Photo © SPARC, Venice, CA. [Fig. 8-25] Judith F. Baca. La Memoria de Nuestra Tierra, preliminary drawing. 1996. Acrylic on canvas. 9 × 23 ft. USC Student Topping Center. © 1997 Judith F. Baca. Courtesy of the artist. Photo © SPARC, Venice, CA. [Fig. 8-25]

Judith F. Baca. La Memoria de Nuestra Tierra. 1996. Acrylic on canvas Judith F. Baca. La Memoria de Nuestra Tierra. 1996. Acrylic on canvas. 9 × 23 ft. USC Student Topping Center. © 1997 Judith F. Baca. Courtesy of the artist. Photo © SPARC, Venice, CA. [Fig. 8-26] Judith F. Baca. La Memoria de Nuestra Tierra. 1996. Acrylic on canvas. 9 × 23 ft. USC Student Topping Center. © 1997 Judith F. Baca. Courtesy of the artist. Photo © SPARC, Venice, CA. [Fig. 8-26]

Jacob Lawrence. Barber Shop. 1946. Gouache on paper. 21-1/8 × 29-3/8 in. The Toledo Museum of Art, Toledo, Ohio. Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey. 1975.15. Photo Credit: Photography Incorporated, Toledo. © 2012 The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York. [Fig. 8-27] Jacob Lawrence. Barber Shop. 1946. Gouache on paper. 21-1/8 × 29-3/8 in. The Toledo Museum of Art, Toledo, Ohio. Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey. 1975.15. Photo Credit: Photography Incorporated, Toledo. © 2012 The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York. [Fig. 8-27]

Auguste Rodin. Gates of Hell with Adam and Eve. 1880–1917. Bronze Auguste Rodin. Gates of Hell with Adam and Eve. 1880–1917. Bronze. 250-3/4 × 158 × 33-3/8 in. Stanford University Museum of Art. Photograph by Frank Wing. [Fig. 8-28] Auguste Rodin. Gates of Hell with Adam and Eve. 1880–1917. Bronze. 250-3/4 × 158 × 33-3/8 in. Stanford University Museum of Art. Photograph by Frank Wing. [Fig. 8-28]

Auguste Rodin. The Three Shades. 1881–86 Auguste Rodin. The Three Shades. 1881–86. Bronze Coubertin Foundry, posthumous cast authorized by Musée Rodin, 1980. 75-1/2 × 75-1/2 × 42 in. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University. Gift of the B. Gerald Cantor Collections. [Fig. 8-29] Auguste Rodin. The Three Shades. 1881–86. Bronze Coubertin Foundry, posthumous cast authorized by Musée Rodin, 1980. 75-1/2 × 75-1/2 × 42 in. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University. Gift of the B. Gerald Cantor Collections. [Fig. 8-29]

Laylah Ali. Untitled. 2000. Gouache on paper. 13 × 19 in Laylah Ali. Untitled. 2000. Gouache on paper. 13 × 19 in. Courtesy Laylah Ali and 303 Gallery, New York. [Fig. 8-30] Laylah Ali. Untitled. 2000. Gouache on paper. 13 × 19 in. Courtesy Laylah Ali and 303 Gallery, New York. [Fig. 8-30]

James Lavadour. The Seven Valleys and the Five Valleys. 1988 James Lavadour. The Seven Valleys and the Five Valleys. 1988. Oil on canvas. 54 × 96 in. Collection of Ida Cole. Courtesy of the artist and PDX, Portland, OR. [Fig. 8-31] James Lavadour. The Seven Valleys and the Five Valleys. 1988. Oil on canvas. 54 × 96 in. Collection of Ida Cole. Courtesy of the artist and PDX, Portland, OR. [Fig. 8-31]

Louise Lawler. Pollock and Tureen. 1984. Cibachrome. 28 × 39 in Louise Lawler. Pollock and Tureen. 1984. Cibachrome. 28 × 39 in. Courtesy of the Artist and Metro Pictures. [Fig. 8-32] Louise Lawler. Pollock and Tureen. 1984. Cibachrome. 28 × 39 in. Courtesy of the Artist and Metro Pictures. [Fig. 8-32]

Las Vegas, Nevada. c. 1985. Steve Vidler/SuperStock. [Fig. 8-33]

Elizabeth Murray. Just in Time. 1981. Oil on canvas in two sections Elizabeth Murray. Just in Time. 1981. Oil on canvas in two sections. 106 × 97 in. The Philadelphia Museum of Art / Art Resource, NY. Art © 2012 Artists Rights Society (ARS), New York/ADAGP, Paris/Succession Marcel Duchamp. [Fig. 8-34] Elizabeth Murray. Just in Time. 1981. Oil on canvas in two sections. 106 × 97 in. The Philadelphia Museum of Art / Art Resource, NY. Art © 2012 Artists Rights Society (ARS), New York/ADAGP, Paris/Succession Marcel Duchamp. [Fig. 8-34]

Claude Monet. The Railroad Bridge. 1874. Oil on canvas Claude Monet. The Railroad Bridge. 1874. Oil on canvas. 21-4/5 × 29-2/5 in. The Philadelphia Museum of Art / Art Resource, NY. [Fig. 8-35] Claude Monet. The Railroad Bridge. 1874. Oil on canvas. 21-4/5 × 29-2/5 in. The Philadelphia Museum of Art / Art Resource, NY. [Fig. 8-35]