1. Principles of Design
Some
Background graphic: John Adams’s Eldorado

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

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

4. Rhyme in poetry The world is too much with us; late and soon,
Getting and spending, we lay waste our powers;
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This Sea that bares her bosom to the moon,
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers,
For this, for everything, we are out of tune;
It moves us not.--Great God! I'd rather be
A Pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathed horn.
William Wordsworth, “The World Is Too Much with Us” (1807)

5. Alliteration & assonance in poetry
TO THE STONE-CUTTERS 
Stone-cutters fighting time with marble, you foredefeated
Challengers of oblivion
Eat cynical earnings, knowing rock splits, records fall down,
The square-limbed Roman letters
Scale in the thaws, wear in the rain. The poet as well
Builds his monument mockingly;
For man will be blotted out, the blithe earth die, the brave sun
Die blind and blacken to the heart:
Yet stones have stood for a thousand years, and pained thoughts found
The honey of peace in old poems.
Robinson Jeffers, 1924

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

7. Eadweard Muybridge, photographer

8. Some repetition in music
PHILIP GLASS
EINSTEIN ON THE BEACH
(an opera)

9. Monet Poplars . . .

10. Monet Poplars . . .

11. Monet Poplars . . .

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

13. Cimabue, Madonna Enthroned, 1280-90
Note color oppositions and alternation in Angel wings
TEXTBOOK p. 185

14. VARIATION: the alliance between repetition and surprise
The extensive poem, moreover, satisfies another two-fold requirement, one that is closely related to the rule of variety within unity: repetition and surprise. Repetition is a cardinal principal in poetry. Meter and its accents, rhyme, the epithets in Homer and other poets, phrases and incidents that recur like musical motifs and serve as signs to emphasize continuity. At the other extreme are breaks, changes, inventions - in a word, the unexpected. What we call development is merely the alliance between repetition and surprise, recurrence and invention, continuity and interruption.
Octavio Paz, “Telling and Singing” in The Other Voice

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

16. dancers

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

18. CONTRAST

19. Martin Munkacsi Black Boys on the Shore of Lake Tanganyika (1931) photograph
Martin Munkacsi's "Black Boys on the Shore of Lake Tanganyika," the 1931 photograph that first inspired Mr. Cartier-Bresson to become a photographer.

20. 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.

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

23. 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”?

24. Degas Waiting
1882

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

26. organizational contrast – just variation?
TWO GIRLS FISHING John Singer Sargent, (American, b.1856, d.1925) 22 x 28 1/4 in. (55.9 x 71.8 cm) 

27. organizational contrast
A and Not A
EMOTIONAL CONTRAST
A in tension with Not A
A in conflict and struggle with Not A
A completed by Not A
A united with Not A
A in harmony with Not A

28. Broad, plain areas contrast with tangle of fingers
This painting is an outstanding example of the abstract elegance characteristic of Rogier's late portraits. Although the identity of the sitter is unknown, her air of self-conscious dignity suggests that she is a member of the nobility. Her costume and severly plucked eyebrows and hairline are typical of those favored by highly placed ladies of the Burgundian court.
The stylish costume does not distract attention from the sitter. The dress, with its dark bands of fur, almost merges with the background. The spreading headdress frames and focuses attention upon her face. Light falls with exquisite beauty along the creases of the sheer veiling over her head, and gentle shadows mark her fine bone structure. In contrast to the spareness of execution in most of the painting, the gold filigree of her belt buckle is rendered with meticulous precision. The scarlet belt serves as a foil to set off her delicately clasped hands.
Rogier excelled as a portrait painter because he so vividly presented the character of the persons he portrayed. The downcast eyes, the firmly set lips, and the tense fingers reflect this woman's mental concentration. Rogier juxtaposed the strong sensation of the sitter's acute mental activity to his rigid control of the composition and the formality of her costume and pose, presenting the viewer with an image of passionate austerity.
Rogier van der Weyden Netherlandish, 1399/ Portrait of a Lady, c 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.)

29. NGA
Winslow Homer American, Right and Left, 1909 oil on canvas, 71.8 x cm (28 1/4 x 48 3/8 in.)

30. White-on-white, but what animal nature lurks?
James McNeill Whistler American, Symphony in White, No. 1: The White Girl oil on canvas, 213 x cm (83 7/8 x 42 1/2 in.)
When Whistler submitted The White Girl to the Paris Salon in 1863, the tradition-bound jury refused to show the work. Napoleon III invited avant-garde artists who had been denied official space to show their paintings in a "Salon des Refusés," an exhibition that triggered enormous controversy. Whistler's work met with severe public derision, but a number of artists and critics praised his entry. In the Gazette des Beax-Arts, Paul Manz referred to it as a "symphony in white," noting a musical correlation to Whistler's paintings that the artist himself would address in the early 1870s, when he retitled a number of works "Nocturne," "Arrangement," "Harmony," and "Symphony."
Whistler used variations of white pigment to create interesting spatial and formal relationships. By limiting his palette, minimizing tonal contrast, and sharply skewing the perspective in a manner reminiscent of Oriental art, he flattened forms and emphasized their abstract patterns. This dramatic compositional approach reflects the influence of Japanese prints, which were becoming well-known in Paris as international trade increased.
Clearly, Whistler was far more interested in creating an abstract design than in capturing an exact likeness of the model, his mistress Joanna Heffernan. His radical espousal of a purely aesthetic orientation and the creation of "art for art's sake" became a virtual rallying cry of modernism.
NGA

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

32. Stately, stable figure – on skates!
Gilbert Stuart American, The Skater (Portrait of William Grant), 1782 oil on canvas, x cm (96 1/4 x 58 in.)
In 1775, Gilbert Stuart set sail for London where Benjamin West welcomed the destitute young man into his home. The Skater marks the end of his five-year apprenticeship to West. Stuart's first effort at full-length portraiture, its originality brought the artist so much notice at the 1782 Royal Academy exhibition that he soon set up his own studio.
The unorthodox motif of skating -- indeed, any presentation of vigorous movement at all -- had absolutely no precedent in Britain's "Grand Manner" tradition of life-size society portraiture. The painter recalled that when William Grant, from Congalton near Edinburgh, arrived to have his picture painted, the Scottish sitter remarked that, "on account of the excessive coldness of the weather the day was better suited for skating than sitting for one's portrait." Thus artist and sitter went off to skate on the Serpentine River in Hyde Park. When he returned to West's studio with Grant, Stuart conceived the idea of portraying his subject on ice skates in a winter landscape, with the twin towers of Westminster Abbey far in the distance.
In this innovative design, Grant glides effortlessly forward with arms crossed over his chest in typical eighteenth-century skating form. Except for his folded arms, the figure's stance derives from an ancient Roman statue, the Apollo Belvedere, a cast of which stood in the corner of West's studio.
NGA
Stately, stable figure – on skates!

33. BALANCE
BALANCE
asymmetry
symmetry
E Q U I L I B R I U M

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

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

36. Durer Dancing Peasants 1514
BALANCE

37. Master of the Saint Lucy Legend Bruges, active c. 1480 - c
Master of the Saint Lucy Legend Bruges, active c c Mary, Queen of Heaven, c. 1485/1500 oil on panel, painted surface: x cm (78 7/16 x 63 3/4 in.)
This unusually large panel painting depicts three facets of Marian iconography: the Virgin's corporeal assumption, the Immaculate Conception -- the crescent moon and the radiance behind her identify Mary as the Woman of the Apocalyse, mentioned in Revelation 12:I -- and the Coronation of the Virgin. The painting is of great interest to musicologists in that it depicts Renaissance instruments with great accuracy and also reflects contemporary performance practices in the arrangement of the music-making angels. At the top, a full orchestra plays before the three figures of the Trinity. The ensemble around the Virgin is a mixed consort composed of "loud" instruments (trumpets and shawms) and "soft" instruments (vielle, lute, and harp). Two of the singing angels hold books bearing legible lyrics and notations. This music, which is the source of the painting's title, has been identified as derived from a setting of the Marian antiphon, Ave Regina Caelorum, by Walter Frye (d. 1474/1475), an English composer whose works were popular on the Continent, particularly at the Burgundian court.
Historians refer to the artist as the Master of the Saint Lucy Legend because his principal work, an alterpiece dated 1480, depicts episodes from the life of that saint. His style is characterized in both paintings by oval faces that are restrained in expression, the use of extraordinarily intense color, and a tendency to over-emphasize elaborate textures.
nga

38. Frida Kahlo, The Two Fridas, 1939

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

40. Assymetical balance?

41. Assymetical balance?

42. H. H. Richardson 1880-1883 Crane Memorial Public Library Quincy, Massachusetts

46. Assymetical balance in music?
A concerto sets a soloist or small group of soloists “against” an orchestra

47. EMPHASIS
accent

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

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

50. 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)

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

52. Picasso, Guernica, 1937
p. 410

53. PROPORTION
PROPORTION
PROPORTION

54. Leonardo: The Last Supper, 1498

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

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

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

58. Carlo Crivelli Venetian, c
Carlo Crivelli Venetian, c. 1430/ Madonna and Child Enthroned with Donor, 1470 tempera on panel, painted surface: x 50.7 cm (49 5/16 x 19 15/16 in.) including unpainted margins: x 54.4 cm (51 x 21 7/16 in.)
"Remember me, 0 Mother of God. 0 Queen of Heaven, rejoice." These words, taken from an Easter psalm sung in the Virgin's honor, appear on the golden arch at the top of Carlo Crivelli's Madonna and Child Enthroned with Donor. The donor, the Albanian ecclesiastic Prenta di Giorgio, kneels in prayer near the Virgin's crown.
Crivelli's painting originally constituted the central section of a polyptych in the parish church at Porto San Giorgio, near Fermi. The crisp, sculptural forms reflect Crivelli's probable training in the humanist center of Padua. Yet the manner in which Crivelli's figures are modeled in light and shade also expresses a broader Renaissance concern with direct observation of nature.
Crivelli's very personal, almost metallic style must in large part be explained by the events of his life. He was born in Venice where the Gothic tradition lingered well into the fifteenth century. After spending some time in Padua, he settled in the Marches on the Adriatic, and there remained relatively unaffected by new trends.
donor

59. 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 1st mvt
No. 2 – nervous 1st mvt, BIG 2nd mvt
No. 3 – BIG finale (4th mvt)

60. 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.”)

61. 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.

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

63. a bit bigger . . .

64. Some examples of time scales in music
Less than a minute - Miniatures – Chopin, Webern, Schoenberg
Pop songs – minutes
Early symphonies – 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

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

66. 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.

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

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

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

70. NGA
George Bellows American, Both Members of This Club, 1909 oil on canvas, 115 x cm (45 1/4 x 63 1/8 in.)