Art Fundamentals Theory and Practice, 12th Edition by Otto G. Ocvirk, Robert Stinson, Philip R. Wigg, Robert O. Bone, David L. Cayton

1851 Pre-Raphaelite/1984 Postmodernism

T.30 Sir John Everett Millais (1829–1896), Ophelia, 1851–52. T.31 Victor Burgin (b. 1941), The Bridge—Venus Perdica, 1984.
Oil on canvas, 30 3 44 in. Tate Gallery, London/Art Resource, NY. Gelatin silver print with text panel, 112.3 3 76.6 cm. Courtesy of George

TIMELINE Eastman House, International Museum of Photography and Film and John Weber Gallery.

1857 Japanese Print/1887 Post-Impressionism

T.32 Utagawa Hiroshige (1797–1858), Sudden
Shower over Shin-Ohashi Bridge and Atake (Ohashi
Atake no Yudachi), plate 58 from “One Hundred
Famous Views of Edo.” 1857. Woodcut print, size
unknown. Brooklyn Museum of Art, New York/The Bridgeman

Art Library.

T.33 Vincent van Gogh (1853–1890), Japonaiserie: Bridge in the
Rain (after Hiroshige), 1887. Oil on canvas, 73 3 54 cm. © Francis G.

Mayer/Corbis.

290 Chronological Outline of Western Art

1863 Realism/1944 Surrealism

T.35 Max Ernst (1891–1976), Le Déjeuner sur l’Herbre (Luncheon on the
Grass), 1944. Oil on canvas, 68 3 150 cm. Photograph © DACS/The Bridgeman Art

Library International. Art © 2011 Artists Rights Society (ARS), New York/ADAGP, Paris.

T.34 Édouard Manet (1832–1883), Le Déjeuner sur TIMELINE
l’Herbe, 1863. Oil on canvas, 841⁄4 3 1061⁄4 in. (214 3
269 cm). © Réunion des Musées Nationaux/Art Resource, NY.

1863 Realism/1961 Cubism

T.36 Édouard Manet (1832–1883), Le Déjeuner sur
l’Herbe, 1863. Oil on canvas, 841⁄4 3 1061⁄4 in. (214 3
269 cm). © Réunion des Musées Nationaux/Art Resource, NY.

T.37 Pablo Picasso (1881–1973), Les Déjeuners II, 1961. Oil on canvas,
60 3 73 cm. Photograph © DACS/The Bridgeman Art Library International. Art © 2011

Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

Chronological Outline of Western Art 291

1868 U.S. Geological Survey/1979 Rephotographic Survey

TIMELINE T.38 Timothy H. O’Sullivan (1840–1882), “Pyramid,” Pyramid Lake, T.39 Mark Klett (b. 1952), for the Rephotographic Survey
Nevada, 1868. Albumen print, 19.8 3 27.0 cm. Courtesy of George Project, Pyramid Isle, Pyramid Lake, NV, 1979. Gelatin silver print,
size unknown. Courtesy of Mark Klett.
Eastman House, International Museum of Photography and Film.

1870 Impressionism
France: Monet (see fig. T.40), Pissarro, Renoir, Degas (some sculpture), Morisot
T.40 England: Sisley
United States: Cassatt, Hassam, Twachtman, Muybridge (Anglo-American photographer)
Italy: Medardo-Rosso (sculptor)
T.40 Claude Monet, Haystack at Sunset, 1880. Oil on canvas, 287⁄8 3 361⁄2 in. (73.3 3 92.6 cm.)
The Museum of Fine Arts, Boston, MA. Juliana Cheney Edwards Collection/The Bridgeman Art
Library.

1872 American Art/2001 Rephotographic Survey

T.41 Thomas Moran (1837–1926), Grand Canyon of the Yellowstone, 1872. T.42 Mark Klett, Viewing Thomas Moran at the Source,
Oil on canvas, 84 3 144 in. Lent by the Department of the Interior Museum. © Smithsonian Artist’s Point, Yellowstone National Park, NP 8/1/00, 2000.
Pigmented ink-jet print, 24 3 30 in. Courtesy of Mark Klett.
American Art Museum, Washington, DC/Art Resource, NY.

292 Chronological Outline of Western Art

1879 Impressionist Sculpture/1906 Pictorialism

T.43 August Rodin (1840–1917), The Thinker, T.44 Alvin Langdon Coburn (1882–1966), Le Penseur, TIMELINE
1879–87. Bronze, 271⁄2 in. © The Gallery Collection/Corbis 1906. Gum-platinum print, 28.7 3 22.9 cm. Gift of Alvin

Langdon Coburn. Courtesy of George Eastman House, International

Museum of Photography and Film.

1880 Post-Impressionism
France: Seurat (see fig. T.45), Cézanne (see figs. 7.23 and 9.5), Gauguin, Toulouse-Lautrec
Holland: Van Gogh (see fig. 1.19)
T.45 Georges Seurat, Sunday Afternoon on the Island of La Grande Jatte, 1884–86. Oil on canvas,
813⁄4 3 1211⁄4 in. Erich Lessing/Art Resource, NY.

T.45 Symbolism
France: Bonnard

1887 Serial Photography/1912 Futurism

T.47 Marcel Duchamp
(1887–1968), Nude Descending
a Staircase, No. 2, 1912. Oil
on canvas, 147.5 3 89 cm.

Philadelphia Museum of Art, PA. Louise

and Walter Arensberg Collection.

Photograph by Corbis Media. © 2011

Artists Rights Society (ARS), New

York/ADAGP, Paris/Estate of Marcel

Duchamp.

T.46 Eadweard Muybridge (1830–1904), Woman Descending a
Stairway and Turning Around, from Animal Locomotion, c. 1887. Collotype
on paper, 77⁄8 3 151⁄4 in. (20.1 3 38.6 cm). © Smithsonian American Art Museum,

Washington, DC/Art Resource, NY.

Chronological Outline of Western Art 293

1887 Serial Photography/1972 Neo-Expressionism

T.48 Eadweard Muybridge (1830–1904), Two T.49 Francis Bacon (1909–1992), Three Studies of Figures on Beds, 1972. Oil and
Men Wrestling, plate 347 from Animal Locomotion, pastel on canvas, triptych, each panel 6 ft. 6 in. 3 4 ft. 10 in. Private Collection/The Bridgeman
c. 1887. Collotype on paper, 77⁄8 3 151⁄4 in. (20.1
3 38.6 cm). © Private Collection/The Stapleton Collection/ Art Library International. © 2011 Estate of Francis Bacon/Artists Rights Society (ARS), New York/DACS, London.

The Bridgeman Art Library.

TIMELINE 1899 Post-Impressionism/1910 Cubism

T.50 Paul Cézanne (1839–1906), Portrait of Ambroise Vollard, T.51 Pablo Picasso (1881–1973), Portrait of Ambroise
1899. Oil on canvas, 391⁄2 3 32 in. © Réunion des Musées Nationaux/Art Vollard, 1909. Oil on canvas, 36 3 26 in. SCALA/Art Resource,

Resource, NY. NY. Art © 2011 Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

294 Chronological Outline of Western Art

1900 EARLY TWENTIETH-CENTURY ART (1900–c. 1955)
1905–1908
NOTE: Artists often change styles and media, so some names appear under more than one category. Note Pablo Picasso in
particular.

Sculpture in the Early 1900s
France: Maillol
United States: Lachaise
Germany: Lehmbruck, Kolbe

Fauvism (Early Expressionism)
France: Les Fauves (Wild Beasts) Matisse (see fig. 4.1), Derain, Dufy, Vlaminck, Modigliani
(Italian), Rouault, Utrillo, Picasso (Spanish: Blue, Rose, and Negro periods).

1903 Pictorialism/1930 Modernism

TIMELINE

T.52 Alfred Stieglitz (1864–1946), The “Flat- T.53 Berenice Abbott (1898–1991), Flatiron Building, Manhattan,
Iron,” c. 1903. Photogravure, 65⁄8 3 31⁄4 in. Réunion c. 1930s. Gelatin silver print, 231⁄4 3 175⁄8 in. Minneapolis Institute of Arts, Gift of

des Musées Nationaux/Art Resource, NY. © 2011 Georgia the William R. Hibbs Family. © Berenice Abbott/Commerce Graphics Ltd., Inc.

O’Keeffe Museum/Artists Rights Society (ARS), New York.

Chronological Outline of Western Art 295

1907 Cubism/1991 Feminist Postmodernism

TIMELINE T.54 Pablo Picasso (1881–1973), Les Demoiselles T.55 Faith Ringgold (b. 1930), Picasso’s Studio, 1991, French
D’Avignon, 1907. Oil on canvas, 8 ft. 3 7 ft. 8 in. Collection #7. Acrylic on canvas with fabric border, 73 3 68 in.
(243.9 3 233.7 cm). The Museum of Modern Art, New
Wooster Museum of Art. © Faith Ringgold 1991.
York, NY. Acquired through the Lille B. Bliss Bequest. Digital

image © The Museum of Modern Art/Licensed by SCALA/Art

Resource, NY. © 2011 Estate of Pablo Picasso/Artists Rights

Society (ARS), New York.

1905–1913 German Expressionism

Die Brücke (The Bridge): Munch (Norwegian; fig. T.56) Kirchner, Nolde, Schmidt-Rottluff
T.56 Edvard Munch, The Scream, or The Cry, 1893. Oil and tempera on board, 351⁄4 3 28 in.
(89.5 3 73.7 cm). National Gallery, Oslo, Norway. Bridgeman Art Library, London/SuperStock,
Inc. © 2011 The Munch Museum/The Munch-Ellingsen Group/Artists Rights Society (ARS),
New York.

Der Blaue Reiter (The Blue Rider): Jawlensky (Russian), Kandinsky (Russian), Macke, Kuehn
(photography)

T.56

1905–1917 Stieglitz and Steichen found 291 Gallery in New York City to advance acceptance of photography
and avant-garde art

1910 Expressionism/1974 Pop Art

T.57 Henri Matisse (1869–1954), Dance, 1910. Oil T.58 Roy Lichtenstein (1923–1997), Artist’s Studio:
on canvas, 81⁄2 3 12 ft. Hermitage Museum, St. Petersburg/ “Dancers,” 1974. Oil and synthetic polymer (paint) on canvas,
8 ft. 3 10 ft. 8 in. © Estate of Roy Lichtenstein. Gift of Mr. and Mrs. S. I.
SuperStock, Inc. © 2011 Succession H. Matisse/Artists Rights Society
(ARS), New York. Newhouse, Jr. (362.1990) Photo © The Museum of Modern Art/Licensed

Chronological Outline of Western Art by SCALA/Art Resource, NY.

296

1907 Cubism TIMELINE
France: Picasso (Spanish painter, sculptor, potter), Braque, Léger, Gris (Spanish; see fig. 4.2)
T.59
Futurism
1910–1920 Italy: Balla (see fig. T.59), Severini, Carra, Boccioni (painter and sculptor; see fig. 9.24), Bragaglia
1913–1922 (photographer)
France: Duchamp (see fig. T.47)
T.60 T.59 Giacomo Balla, Speeding Automobile, 1912. Oil on wood, 217⁄8 3 271⁄8 in. (55.6 3
68.9 cm). © 2011 Artists Rights Society (ARS), New York/SIAE, Rome. The Museum of
1913 Modern Art, New York, NY. Digital image © The Museum of Modern Art/Licensed by
1914 SCALA/Art Resource, NY.
c. 1918/19–1924
Abstract Art
Germany: Albers, Hofmann, Kandinsky (Russian; see fig. 1.23), Archipenko (Russian sculptor),
Feininger (American)

Constructivism
Russia: Tatlin, Malevich, Larionov, Gabo and Pevsner (sculptors)
Holland: Mondrian (see fig. 1.8)
France: Delaunay, Brancusi (Romanian sculptor; see fig. T.60), Arp (sculptor)
England: Nicholson
United States: Dove, Marin, O’Keeffe, Sheeler, Davis, Stieglitz (photographer), Steichen
(photographer), Strand (photographer), Coburn (English photographer)
T.60 Constantin Brancusi, Bird in Space, 1928. Bronze (unique cast), 54 3 81⁄2 in. (137.2 3 21.6
3 16.5 cm). © 2011 Artists Rights Society (ARS), New York/ADAGP, Paris. The Museum
of Modern Art, New York, NY. Digital image © The Museum of Modern Art/Licensed by
SCALA/Art Resource, NY.

Fantasy in Art—Individual Fantasists
France: Chagall (Russian), Rousseau (primitive painter)
Italy: de Chirico
Germany: Schwitters, Klee (Swiss)

Armory Show, New York: Helped introduce avant-garde art to the United States

Dadaism
France: Arp, Duchamp (see fig. T.47), Picabia
Germany: Schwitters, Ernst
United States: Man Ray (photographer, painter)

Die Neue Sachlichkeit (The New Objectivity)
Germany: Dix, Grosz, Heckel, Schlemmer, Sander (photographer)

Independent German Expressionists: Beckmann, Kokoschka (Austrian)

Chronological Outline of Western Art 297

1919 Soviet International Style/1969 Minimalism

TIMELINE T.61 Vladimir Tatlin (1855–1953), Model for T.62 Dan Flavin (1933–1996), “Monument” for
Monument to the Third International, 1919–20, V. Tatlin, 1969. Fluorescent tubes and fixtures,
replica 1968. Wood, metal, and motor, 15 ft. 961⁄16 3 321⁄16 3 43⁄4 in. Collection Walker Art Center,
high. © Jacques Faujour/Réunion des Musées Nationaux/Art
Minneapolis, MN. Gift of Leo Castelli Gallery, 1981. © 2011
Resource, NY.
Stephen Flavin/Artists Rights Society (ARS), New York.

1919 Soviet International Style/1998 Postmodernism

298 T.64 Ilya and Emilia Kabakov (b. 1933), The Palace Project, 2000.
Installation, exterior view, London, 24 3 54 3 77 ft. Photo by Dirk
Powels. Organized by the Public Art Fund. © Ilya and Emilia Kabakov. Photography:

Gil Amiaga. Courtesy Sean Kelly Gallery, New York.

T.63 Vladimir Tatlin (1855–1953), Model for
Monument to the Third International, 1919–20, replica
1968. Wood, metal, and motor, 15 ft. high. © Jacques

Faujour/Réunion des Musées Nationaux/Art Resource, NY.

Chronological Outline of Western Art

c. 1920–1930 Later Expressionism TIMELINE
1924 France: Soutine, Buffet, Balthus, Dubuffet
United States: Avery, Baskin, Broderson, Lawrence, Levine, Shahn, Weber
T.65 Mexico: Kahlo, Orozco, Rivera, Siqueiros
T.66
Surrealism
France: Arp (sculptor), Cartier-Bresson (photographer), Delvaux (Belgian), Magritte (Belgian),
Masson, Miró (Spanish), Picasso (Spanish), Tanguy, González (Spanish sculptor)
Switzerland: Giacometti (sculptor, painter; see fig. T.65)
England: Bacon
Germany: Ernst
United States: Dalí (Spanish painter; Surrealist cinemas with Luis Buñuel; see fig. T.66), Man Ray
(photographer, painter)
T.65 Alberto Giacometti, Three Walking Men, 1948–49. 291⁄2 in. (74.9 cm) high. Edward E. Ayer
Endowment in memory of Charles L. Hutchinson, 1951.256, The Art Institute of Chicago.
© 2011 Artists Rights Society (ARS), New York/ADAGP, FAAG, Paris.
T.66 Salvador Dalí, Persistence of Memory, 1931. Oil on canvas, 91⁄2 313 in. (24.1 3 33 cm).
© 2011 Salvador Dalí, Gala-Salvador Dalí Foundation/Artists Rights Society (ARS), New York.
The Museum of Modern Art, New York, NY. Digital image © The Museum of Modern Art/
Licensed by SCALA/Art Resource, NY.

1936 Surrealism/1955 Postmodernism

T.67 Joan Miró (1893–1983), Poetic Object, 1936. T.68 Robert Rauschenberg (b. 1925), Odalisk, 1955–58.
Assemblage, 32 3 12 3 10 in. Gift of Mr. and Mrs. Pierre Matisse. Mixed media, 6 ft. 9 in. 3 2 ft. 1 in. 3 2 ft. 1 in.

© 2011 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris. Photograph © Rheinisches Bildarchiv Köln. Art © Estate of
Robert Rauschenberg/Licensed by VAGA, New York, NY.
Photo © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.
Chronological Outline of Western Art
299

1930–1940 Realist Painting and Photography (Straight) in the United States: Wyeth, Wood,
Benton, Burchfield

F-64 Group of photographers: Weston, Adams, Cunningham

1936 Farm Security Administration Photography/1981 Postmodernism

TIMELINE T.69 Walker Evans (1903–1975), Allie Mae Burroughs, T.70 Sherrie Levine (b. 1947), After Walker Evans,
Wife of a Cotton Sharecropper, Hale County, Alabama, 1981. Gelatin silver print, 61⁄4 3 5 in. (15.9 3 12.7 cm).
1936. Gelatin silver print, 91⁄2 3 79⁄16 in. Walker Evans Archive,
© S. Levine. Courtesy of the artist and the Paula Cooper Gallery,
The Metropolitan Museum of Art, New York, NY.
New York.
© The Metropolitan Museum of Art/Art Resource, NY.

1920s–1950s LATE-TWENTIETH-CENTURY INTO TWENTY-FIRST-CENTURY ART
c. 1951–1965
Kinetics and Light Sculpture: (Early 1900s examples)
France: Duchamp (1920s)
United States: Calder (U.S. Wire Circus, c. 1928), Wilfred (Clavilux color organ, 1930–63)

Abstract Expressionist Painting

Action or Gestural Group (predecessors from abroad)—Albers (German), de Kooning
(Dutch), Gorky (Armenian), Hofmann (German), Matta (Chilean), Mondrian (Dutch), Tamayo
(Mexican)

U.S. New York School—Frankenthaler (see fig. 4.26), Kline (see fig. 1.24), Louis, Mitchell, Pollock
(see fig. T.71), White (photographer)

300 Chronological Outline of Western Art

1950 Abstract Expressionism/1983 Postmodernism

T.71 Jackson Pollock (1912–1956), Autumn Rhythm (Number 30), 1950. Oil on
canvas, 8 ft. 9 in. 3 17 ft. 3 in. (2.67 3 5.26 m). The Museum of Modern Art, New York.

George A. Hearn Fund, 1957 (57.92). Image © The Metropolitan Museum of Art/Art Resource, NY. Art

© 2011 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York.

T.72 Andy Warhol (1928–1987), Yarn, 1983. TIMELINE
Synthetic polymer paint and silkscreen on canvas,
101.6 3 101.6 cm. Art © 2011 The Andy Warhol Foundation

for the Visual Arts, Inc./Artists Rights Society (ARS), New York. Art

Resource, NY.

c. 1958–1965 Color Field Painting Group (Hard-Edge)
United States: Diebenkorn, Callahan (photographer), Kelly, Newman (see fig. 2.59), Noland, Stella,
T.73 Rothko (Russian; see fig. 7.25)
T.74
Painters elsewhere similar to Abstract Expressionism
France: Mathieu, Manessier, Soulages
Portugal: Vieira da Silva
Spain: Tapies

Surreal Abstract or Abstract Expressionist Sculptors
England: Moore (see fig. 4.36), Hepworth, Chadwick
France: Richier, Lipchitz (Latvian)
United States: Calder, Smith, Noguchi

Pop Art and Assemblage Predecessors
England: Hamilton, Kitaj (American)
United States: Johns, Rauschenberg, Chamberlain (assembler), Dine, Frank (Swiss photographer),
Friedlander (photographer), Hockney (English), Indiana, Kienholz (assembler), Lichtenstein,
Marisol (Venezuelan sculptor, assembler), Nevelson (sculptor or assembler; see fig. T.73),
Oldenburg (sculptor, assembler; see fig. 2.48), Samaras (Greek assembler), Segal (sculptor),
Stankiewicz (assembler), Warhol (see fig. T.74), Wesselman, Winogrand (photographer).
T.73 Louise Nevelson, American Dawn, 1962. Painted wood, 18 3 14 3 19 ft (5.49 3 4.27 3
3.05 m) in situ. Grant J. Pick Purchase Fund, 1967.387, The Art Institute of Chicago. © 2011
Estate of Louise Nevelson/Artists Rights Society (ARS), New York.
T.74 Andy Warhol, 100 Cans, 1962. Oil on canvas, 6 ft. 3 4 ft. 4 in. (1.83 3 1.32 m). Gift of
Seymour H. Knox Jr., 1963. Art © 2011 The Andy Warhol Foundation for the Visual Arts, Inc./
Artists Rights Society (ARS), New York. Albright-Knox Art Gallery, Buffalo, New York, NY/Art
Resource, NY.

Chronological Outline of Western Art 301

TIMELINE c. 1958–1970 Happenings, Performance or Action Art

T.75 United States: Kaprow (earliest Happening 1958; see fig. T.75), most Pop artists involved
Germany: Beuys
1960s–1970s
T.75 Allan Kaprow, Household, May 1964. One photograph of a series taken of a Happening
T.76 commissioned by Cornell University, Ithaca, NY. Courtesy of the artist, Allan Kaprow.
Photograph © Sol Goldberg.
1960s–1980s
Abstract Expressionism in the United States
c. 1964–1970s
United States: Rickey, Bury (Belgian; see fig. T.76), Chryssa (Greek), Flavin, Lippold, Samaris and
T.77 Takis (Greek), Tinguely (Swiss 1930–63)
T.76 Pol Bury, The Staircase, 1965. Wood with motor, 785⁄8 3 27 3 161⁄4 in. (200 3 68.6 3
c. 1964–1975 41.3 cm). Collection, the Solomon R. Guggenheim Foundation, New York. 65.1765. © 2011
Artists Rights Society (ARS), New York/ADAGP, Paris
T.78
New Realism (Photorealism)
1965–1990s United States: Estes, Fish, Perlstein, Close, Hanson (sculptor)

T.79 Feminist Art Movement: Historical Precedents; begins in acknowledgment of women’s domestic
art as significant achievements
United States: Chicago, Schapiro, Ringgold, Sherman

Op Art: Extremely limited abstract style depending primarily on the observer’s visual perception for
content; derives from earlier scientific investigations into color theory.
France: Vasarely (see fig. T.77)
United States: Anuskiewicz
Germany: Riley (English)
T.77 Victor Vasarely, Vega Per, 1969. Oil on canvas, 64 3 64 in. Honolulu Academy of Arts.
Gift of the Honorable Clare Boothe Luce, 1984. (5311.1). © 2011 Artists Rights Society (ARS),
New York/ADAGP, Paris

Minimalism: Climax of abstract/nonobjective art, informed by Color Field painting and all types of
abstract sculpture
United States: Bell (sculptor, assembler), Flavin (light sculptor, assembler), Judd (sculptor; see
fig. 2.66), Katzen (sculptor), LeWitt (painter), Martin (sculptor), Pepper (sculptor),
Reinhardt (see fig. T.78), di Suvero (sculptor), Caro and Smith (English sculptors)
T.78 Ad Reinhardt, Blue 1953, 1953. Oil on canvas, 50 3 28 in. (127 3 71.1 cm). Collection of
the Whitney Museum of American Art, New York. Gift of Susan Morse Hilles, 74.22. © 2011
Estate of Ad Reinhardt/Artists Rights Society (ARS), New York

Environmental and Installation Art: Forerunners—Schwitters (German) and Duchamp
(French)

Environmental Art
United States: Christo and Jeanne-Claude, Oldenburg, Smithson (see fig. T.79), Heizer, Samaras
(Greek; see fig. 2.65)
T.79 Robert Smithson, Spiral Jetty, Great Salt Lake, Utah, 1970. Rock, salt crystals, earth, algae,
coil, 1,500 ft. (457 m). © Estate of Robert Smithson/Licensed by VAGA, New York, NY

Installation Art: Paik (Korean), Pfaff (English), Hamilton (American), Skoglund (American)

302 Chronological Outline of Western Art

c. 1965–1990s Postmodernism TIMELINE
c. 1965–1980s United States: Johnson (architect), Kruger (collage and installation artist), Levine (photographer),
Venturi (architect)
T.80
Process and Conceptual Art
1980s Germany: Beuys
1980s–1990s United States: Hess (German), early exemplars (1965): Kosuth (see fig. T.80), Morris
c. mid-1980s–2000s T.80 Joseph Kosuth, One and Three Chairs, 1965. Wooden folding chair, photographic copy of
a chair, and photographic enlargement of dictionary definition of a chair; chair, 323⁄8 3 147⁄8 3
T.81 207 in. (82 3 37.8 3 53 cm); photo panel, 36 3 241⁄8 in. (91.5 3 61.1 cm); text panel, 24 3
241⁄8 in. (61 3 61.3 cm). © 2011 Joseph Kosuth/Artists Rights Society (ARS), New York. The
Late 1990s–2000s Museum of Modern Art, New York, NY. Larry Aldrich Foundation Fund. Digital image
© The Museum of Modern Art/Licensed by SCALA/Art Resource, NY
T.82
Introduction to Computer Arts

Neo-Expressionism
Germany: Kiefer (see fig. 8.15), Baselitz, Fetting
Italy: Cucchi, Chia
United States: Schnabel, Rothenberg, Sherman (photographer, painter)

Neo-Abstraction
United States: Benglis (sculptor, painter; see fig. T.81), Graves (sculptor; see fig. 2.67), Marden
(sculptor, painter), Puryear (sculptor), Jensen, Scully (Irish), Rockburne (Canadian), Rothenberg
T.81 Lynda Benglis, Tossana, 1995–96. Stainless steel, wire mesh, zinc, aluminum, and silicone
bronze, 49 3 63 3 14 in. (1.24 3 1.6 3 .36 m). © Lynda Benglis/Licensed by VAGA, New
York, NY

Film Stills (Pictorialism in Photography): Use of staging, including special lighting effects, with
photographic artists often acting and directing; strong influence of movies and Sherman
(photographic method)

Photography: Exploration of objectivity by making precise photographs on a very large scale

New Global Art Related to Neo-Expressionist Art of the 1980s: Use of multimedia and
art installation to express human diversity and differences while addressing humanity as a whole

New-New Painters: Use of synthetic materials to produce three-dimensional paintings;
information unavailable yet; no historical perspective established

Digital Art: Use of digital technology to produce and/or present artistic works.

T.82 John Meada, Fireball, 2008. Digital graphic design. Courtesy of the artist.

Chronological Outline of Western Art 303



Abstract Expressionism addition which are often displayed “in situ”—that GLOSSARY
An American art movement that grew out A sculptural term that means building up, is, in a natural position or in the middle of
of Surrealism in the mid- to late-twentieth assembling, or putting on material. a room rather than on a wall.
century, with emphasis on spontaneity or
subconscious creation. additive color asymmetry
Color created by superimposing light rays. “Without symmetry”; having unequal or
abstract texture Adding together (or superimposing) the noncorresponding parts. An example: a
A texture derived from the appearance three primary colors of light—red, blue, two-dimensional artwork that, without
of an actual surface but rearranged and/ and green—will produce white. The sec- any necessarily visible or implied axis,
or simplified by the artist to satisfy the ondaries are cyan, yellow, and magenta. displays an uneven distribution of parts
demands of the artwork. throughout.
aesthetic, aesthetics
abstraction 1. Sensitive to art or beauty. “Aesthetically atectonic
A process or visual effect characterized by pleasing” implies intellectual or visual Three-dimensional work characterized by
the simplification and/or rearrangement of beauty (i.e. creative, eloquent, or expres- considerable amounts of space; open, as
the image. sive qualities of form, as opposed to the opposed to massive (or tectonic), and often
mere recording of facts in visual, descrip- with extended appendages.
academic tive, or objective ways.) 2. The study or
Art that conforms to established traditions theory of beauty—traditionally a branch atmospheric perspective
and approved conventions as practiced in of philosophy but now a compound of the The illusion of depth produced in graphic
formal art schools. Academic art stresses philosophy, psychology, and sociology works by lightening values, softening
standards, set procedures, and rules. of art—dealing with the definition, inspi- details and textures, reducing value con-
ration, intent, forms, and psychological trasts, and neutralizing colors in objects as
accent effects of art and beauty. they recede.
Any stress or emphasis given to the ele-
ments of a composition that brings them allover pattern balance
more attention than other features that sur- A design that is formed through the sys- A sense of equilibrium between areas of
round or are close to them. Accent can be tematic repetition of smaller designed implied weight, attention, attraction, or
created by a brighter color, darker value, units over an entire surface. moments of force; one of the principles of
greater size, or any other means by which organization.
a difference is expressed. amorphous shape
A shape without clear definition: formless, Bauhaus
achromatic indistinct, and of uncertain dimension. Originally a German school of architecture
Relating to color perceived only in terms of that flourished between World War I and
neutral grays from light to dark; without analogous colors World War II. The Bauhaus attracted many
hue. Colors that are closely related in hue. They leading experimental artists of both two-
are usually adjacent to each other on the and three-dimensional fields.
achromatic value color wheel.
Relating to differences of lightness and biomorphic shape
darkness, without regard for hue and animation An irregular shape that resembles the
intensity. The rapid succession of a sequence of freely developed curves found in living
drawings, computer-generated images, or organisms.
Action painting pictures of objects such as clay figures that
A term coined by Harold Rosenberg to create the illusion of a moving image. calligraphic lines
describe a subgroup of Abstract Expres- Lines that are generally flowing and rhyth-
sionist painters who worked with ges- approximate symmetry mical, like the qualities found in the kind
tural lines, movements, and sometimes The use of similar imagery on either side of writing called calligraphy.
rapid and fluid image constructions of a central axis. The visual material on one
as opposed to large blocks or “fields” side may resemble that on the other but is calligraphy
of pure color, as with the Color Field varied to prevent visual monotony. Elegant, decorative writing.
painters.
arris casting
actual motion On three-dimensional objects, the sharp A sculptural technique in which liquid
The movement found in art forms like edge or ridge formed by two surfaces materials are shaped by being poured into
kinetic art, where bodies physically change meeting at an angle. Made visible by cast a mold. This technique is also known as
their location during a period of time. shadow, it is often interpreted as a line. substitution.

actual shape art cast shadow
A positive area with clearly defined bound- “The formal expression of a conceived The dark area that occurs on a surface as a
aries (as opposed to an implied shape). image or imagined conception in terms of result of something being placed between
a given medium.” (Sheldon Cheney) that surface and a light source.
actual texture
A surface that can be experienced through assemblage cell (or single cell)
the sense of touch (as opposed to a surface A technique that involves grouping found One image from a series of related images
visually simulated by the artist). or created three-dimensional objects, that presents an idea. Cells are commonly

Glossary 330055

found in comic strips, graphic novels, or blue, and so on; having the physical proper- Content refers to the sensory, subjective,
storyboard presentations, which tend to ties of hue, intensity, and value. psychological, or emotional properties we
isolate the images from each other by an feel in a work of art, as opposed to our per-
outline in the shape of a rectangle. Cells also Color Field ception of its descriptive aspects alone.
refer to the individual frames of animated An abstract style of painting following
cartoons. Abstract Expressionism that is characterized contour
by a canvas with areas of solid colors. In art, the line that defines the outermost
chiaroscuro limits of an object or a drawn or painted
1. The distribution of lights and darks in a color tetrad shape. It is sometimes considered to be
picture, usually in an attempt to develop Four colors, equally spaced on the color synonymous with outline; as such, it indi-
the illusion of mass, volume, or space. 2. A wheel, containing a primary and its comple- cates an edge that also may be defined by
technique of representation that blends light ment and a complementary pair of inter- the extremities of dark, light, texture, or
and shadow gradually to create the illusion mediates. This has also come to mean any color.
of three-dimensional objects in space or organization of color on the wheel forming
atmosphere. a rectangle that could include a double craftsmanship
split-complement. Aptitude, skill, or quality workmanship in
chroma the use of tools and materials.
1. The purity of a hue, or its freedom from color triad
white, black, or gray (and wavelengths of Three colors equally spaced on the color cross-contour
other color). 2. The intensity of a hue. wheel, forming an equilateral triangle. The A line that moves across a shape or object to
3. Computer programs often refer to twelve-step color wheel is made up of a define the surface undulations between the
chroma as saturation. primary triad, a secondary triad, and two outermost edges.
intermediate triads.
chromatic crosscutting
Pertaining to the presence of color. complementary colors A cinematic technique that abruptly shifts
Two colors directly opposite each other on from one event or character to another and
chromatic value the color wheel. A primary color is comple- is often used to allow the viewer to move
The value (relative degree of lightness or mentary to a secondary color, which is a between characters and change points of
darkness) demonstrated by a given color. mixture of the two remaining primaries. view as the dialogue or action evolves.

Classicism composition cross-hatching
A reference to ancient Greek and Roman The arranging and/or structuring of all the (See hatching.)
civilizations, but also any art that encom- art elements, according to the principles of
passes or stresses order, balance, and unity. organization, that achieves a unified whole. Cubism
Often used interchangeably with the term The name given to the painting style
closed-value composition design. invented by Pablo Picasso and Georges
A composition in which values are con- Braque between 1907 and 1912, which uses
tained within the edges or boundaries concept multiple views of objects to create the effect
of shapes. The value pattern reveals the 1. A comprehensive idea or generalization. of three-dimensionality while acknowledg-
subject(s) and is dependent on the position- 2. An idea that brings diverse elements into ing the two-dimensional surface of the
ing of the subject(s). a basic relationship. picture plane. Signaling the beginning of
abstract art, Cubism is a semiabstract style
close-up Conceptual Art that continued the strong trend away from
A cinematic technique in which the subject Art that focuses on a concept or idea over representational art initiated by Cézanne in
fills the camera frame; used to focus the materials and aesthetics. the late 1800s.
viewer’s attention on specific imagery or
detail. Conceptual artists curvilinear shape
Artists who focus on the idea, or “concept” A shape whose boundaries consist of pre-
closure of the work and are much more concerned dominantly curved lines; the opposite of
A concept from Gestalt psychology in which with conveying a message or analyzing an rectilinear.
the mind perceives an incomplete pattern idea than with the final product.
or information to be a complete, unified Dadaism
whole; the artist provides minimum visual conceptual perception The earliest style of Fantastic Art to appear
clues, and the observer brings them to final Creative vision derived from the imagina- in the 1900s that opened modern art to a
recognition. tion; the opposite of optical perception. new freedom of humorous expression, cre-
ative imagination, contradictory tendencies,
collage Constructivism and intentional provocation.
A technique of picturemaking in which real A movement founded by Vladimir Tatlin
materials possessing actual textures are between 1913 and 1922 associated primarily decorative
attached to the picture plane surface, often in with three-dimensional spatial concepts in 1. The two-dimensional nature of an art-
combination with painted or drawn passages. sculpture and architecture. work or any of its elements (shape, space,
value, etc.). Decorative art and/or its ele-
color content ments emphasize the essential flatness of
The visual response to different wave- The expression, essential meaning, signifi- a surface. 2. Has generally referred to the
lengths of sunlight identified as red, green, cance, or aesthetic value of a work of art. ornamentation or enrichment of a surface.

306 Glossary

descriptive (art) Expressionism geometric shape
A type of art that is based on adherence to Starting in France and Germany around A shape that appears related to geometry;
actual appearances. 1910, the style allowed young artists to usually simple, such as a triangle, rectangle,
paint a subject in non-naturalistic colors in or circle.
design accord with their feelings. It is a form of art
The organizing process or underlying plan that tries to reveal the emotional essence Gestalt, Gestalt psychology
on which artists base their total work. In rather than to show external appearance or A German word for “form”; an organized
a broader sense, design may be considered resemblance. whole in experience. Around 1912, the
synonymous with the terms form and Gestalt psychologists promoted the theory
composition. fade that explains psychological phenomena
An aesthetic technique, used as a film or by their relationships to total forms, or
dissolve video transition between scenes, in which Gestalten, rather than their parts. In other
An aesthetic technique, used as a film or the image slowly darkens to black. words, our reaction to the whole is greater
video transition between images or scenes, than our reaction to its individual parts or
in which one shot disappears as another Fantastic Art characteristics, and our minds integrate and
slowly appears. A trend that occurred at the beginning of organize chaotic stimuli so that we see com-
World War I, which opened up experimen- plete patterns and recognizable shapes.
dominance tation and was impelled by the war, its
The principle of organization in which horrors, and a gathering sense of alienation gestural lines
certain visual elements assume more from society in an age of technology. Lines that are drawn freely, quickly, and
importance than others within the same seemingly without inhibition in order to cap-
composition or design. Some features are flashback ture the intrinsic spirit and animation seen in
emphasized, and others are subordinated. A cinematic technique of jumping to a the subject. Gestural lines can imply the past,
Dominance is often created by increased sequence of events in the story that are present, and future motion of the subject.
contrasts through the use of isolation, place- meant to have taken place in the past.
ment, direction, scale, and character. glyptic
flash-forward 1. The quality of an art material like stone,
duration A cinematic technique of jumping to a wood, or metal that can be carved or
The length of time in which an activity takes sequence of events in the story that are engraved. 2. An art form that retains the
place. meant to take place in the future. color, tensile, and tactile qualities of the
material from which it was created. 3. The
economy form quality of hardness, solidity, or resistance
The distillation of the image to the basic 1. The total appearance, organization, found in carved or engraved materials.
essentials for clarity of presentation; one of or inventive arrangement of all the visual
the principles of organization. elements according to the principles that golden mean, golden section
will develop unity in the artwork; com- 1. Golden mean—“perfect” harmonious pro-
elements of art position. 2. In sculpture, form can also portions that avoid extremes; the modera-
Line, shape, value, texture, and color—the refer to the three-dimensional shape of the tion between extremes. 2. Golden section—a
basic ingredients the artist uses separately or work. traditional proportional system for visual
in combination to produce artistic imagery. harmony expressed when a line or area is
Their use produces the visual language of art. four-dimensional space divided into two sections so that the smaller
An imaginative treatment of forms that part is to the larger as the larger is to the
Environmental Art gives a sense of intervals of time or motion. whole. The ratio developed is 1:1.6180, or
Art that deals with the natural environ- roughly 8:13.
ment but can also be applied to historical, fractional representation
political, and social contexts of a particular A pictorial device (used notably by the graphic (art)
environment. Environmental Art usually Egyptians) in which several spatial aspects Two-dimensional art processes such as
addresses issues of natural phenomena and of the same subject are combined in the drawing, painting, photography, printmak-
environmental awareness and uses natural same image. ing, and so on that generally exist on a flat
materials that do not cause further harm to surface and can create the illusion of depth.
the environment. frame Commercial applications include posters,
A single static image as applied to cartoons, newspapers, books, and magazines.
equivocal space storyboards, animation, films, videos, or
A condition, usually intentional on the computer-generated graphics. Happenings
artist’s part, in which the viewer may, A form of participatory art in which spec-
at different times, see more than one set Futurism tators, as well as artists, were engaged. It
of relationships between art elements or An early-twentieth-century movement in art brings together the basic concepts of motion,
depicted objects. This may be compared to and literature that refashioned Cubism in time, and space.
the familiar “optical illusion.” light of its own desire to glorify the dynamic
character of the machine age. harmony
expression A principle of organization in which parts
1. The manifestation through artistic form genre paintings of a composition are made to relate through
of thought, emotion, or quality of meaning. Paintings with subject matters that concern commonality—repeated or shared charac-
2. In art, expression is synonymous with the everyday life, domestic scenes, family rela- teristics, elements, or visual units. Harmony
term content. tionships, and the like. is the opposite of variety.

Glossary 307

hatching intermediate color linear perspective
Repeated strokes of an art tool, producing A color produced by a mixture of a primary A system used to depict three-dimensional
clustered (usually parallel) lines that create color and a secondary color. images on a two-dimensional surface; it
values. In cross-hatching, similar lines pass develops the optical phenomenon of dimin-
over the hatched lines in a different direc- intermediate triad ishing size by treating edges as converging
tion, usually resulting in darker values. A group of three intermediate colors that parallel lines that extend to a vanishing point
are equally spaced on the color wheel and or points on the horizon (eye level) and
high-key color form an equilateral triangle; two groups recede from the viewer. (See perspective.)
Any color that has a value level of middle of intermediate triads are found on the
gray or lighter. color wheel: red-orange/yellow-green/ local (objective) color
blue-violet and red-violet/blue-green/ The color as seen in the objective world
high-key value yellow-orange. (green grass, blue sky, red barn, etc.).
A value that has a level of middle gray or
lighter. interpenetration local value
The positioning of planes, objects, or shapes The relative lightness or darkness of a
highlight so that they appear to pass through each surface, seen in the objective world, that is
The portion of an object that, from the other, which locks them together within a independent of any effect created by the
observer’s position, receives the greatest specified area of space. degree of light falling on it.
amount of direct light.
intuitive space long shot
hue The illusion of space that the artist cre- A cinematic technique in which the film-
The generic name of a color (red, blue, green, ates by instinctively manipulating certain maker provides a distant view with a
etc.); also designates a color’s position in space-producing devices, including broader perspective of the image; often used
the spectrum or on the color wheel. Hue is overlapping, transparency, interpenetra- to imply a larger conceptual context.
determined by the specific wavelength of tion, inclined planes, disproportionate
the color in a ray of light. scale, fractional representation, and the low-key color
inherent spatial properties of the art Any color that has a value level of middle
implied lines elements. gray or darker.
Implied lines (subjective lines) are those that
dim, fade, stop, and/or disappear. The miss- invented texture low-key value
ing portion of the line is implied to continue A created texture whose only source is the A value that has a level of middle gray or
and is visually completed by the observer as artist’s imagination. It generally produces a darker.
the line reappears. decorative pattern and should not be con-
fused with abstract texture. manipulation
implied motion The sculptural technique of shaping pliable
The sense or illusion of movement given to isometric projection materials by hand or with the use of tools—
a static object. A technical drawing system in which a also known as modeling.
three-dimensional object is presented two-
implied shape dimensionally; starting with the nearest mass
A shape that does not physically exist but vertical edge, the horizontal edges of the 1. In graphic art, a shape that appears to
is suggested through the psychological con- object are drawn at a 30-degree angle, and stand out three-dimensionally from the
nection of dots, lines, areas, or their edges. all verticals are projected perpendicularly space surrounding it or that appears to cre-
(See Gestalt.) from a horizontal base. ate the illusion of a solid body of material.
2. In the plastic arts, the physical bulk of a
Impressionism kinetic (art) solid body of material.
A movement of art that initiated new ideas From the Greek word kinesis, meaning
about color, light, finish, and, to a lesser “motion”; art that involves an element of medium, media (pl.)
degree, dynamic movement. It became the random or mechanical movement. The material(s) and tool(s) used by the artist
preoccupation of early modernist painters. to create the visual elements perceived by
Les Fauves the viewer.
infinite space Artist members of the earliest Expression-
A concept in which the picture frame acts ist group in France that used unnaturally medium shot
as a window through which objects can be bold coloring and exaggeratedly distorted A cinematic technique in which the
seen receding endlessly. figures, which gave their paintings the look filmmaker provides a view that seems to
of “wild beasts.” lie somewhere between a close-up and a
installations long shot.
Interior or exterior settings of media created line
by artists to heighten the viewers’ aware- The path of a moving point made by a tool, Minimalism
ness of the environmental space. instrument, or medium as it moves across A movement that not only included art but
an area. A line is usually made visible also, music, dance, and literature and was a
intensity because it contrasts in value with its sur- precedent for nonobjective abstraction in the
The saturation, strength, or purity of a hue. roundings. Three-dimensional lines may be early twentieth century. Minimalism relied
A vivid color is of high intensity; a dull made using string, wire, tubes, solid rods, only on the basic elements for meaning—
color is of low intensity. and the like. without any trace of the artistic process.

308 Glossary

mobile artist. Consideration of the negative areas is Op Art
A three-dimensional, moving sculpture. just as important to the organization of form A form of art that is primarily optical and
as the positive areas. highly graphic, although it can merge
modeling into three-dimensionality when used in
A sculptural term for shaping a pliable Neoclassicism paintings that include an element of relief.
material. Originating in France in the 1700s, the style It is an extension and modification of the
grew from the discovery of the ancient geometric abstraction that developed in the
moments of force Roman ruins of Herculaneum and Pompeii early twentieth century.
The direction and degree of energy implied and the publication of Johann Joachim Winck-
by the art elements in specific compositional elmann’s The History of the Art of the Ancients. open-value composition
situations; amounts of visual thrust pro- A composition in which values are not
duced by such matters as dimension, place- Neo-Expressionism limited by the edges of shapes and therefore
ment, and accent. The return, in the early 1980s, to figurative flow across shape boundaries into adjoining
art and a more personalized expression. The areas. The value pattern created is unrelated
motif movement satisfied the growing appetite to the location of the subject(s).
A designed unit or pattern that is repeated for recognizable images and meaningful
often enough in the total composition to content by producing monumental dramatic optical perception
make it a significant or dominant feature. figures with broad gestures, painted in A purely visual experience with no
Motif is similar to “theme” or “melody” in a broad brushstrokes. exaggeration or creative interpretation
musical composition. of that which is seen; the opposite of
neutralized (color), neutralization conceptual perception.
monochromatic (of color)
Having only one hue; may include the com- Color that has been grayed or reduced in organic unity
plete range of value (of one hue) from white intensity by being mixed with any of the A condition in which the components of art
to black. neutrals or with a complementary color (so (subject, form, and content) are completely
that the mixture contains all three primaries, interdependent. Though not a guarantee of
motion in equal or unequal amounts). “greatness,” the resulting wholeness is vital
The process of moving, or changing place or to a successful work.
position in space. neutrals
1. The inclusion of all color wavelengths orthographic drawing
motion picture will produce white, and the absence of any Graphic representation of two-dimensional
The illusion of a moving image created by wavelengths will be perceived as black. views of an object, showing a plan, vertical
showing a series of still pictures in rapid With neutrals, no single color is noticed— elevations, and/or a section.
sequence. only a sense of light and dark or the range
from white through gray to black. 2. A color paint quality
movement altered by the addition of its complement so The intrinsic character of a painting
Eye travel directed by visual pathways in a that the original sensation of hue is lost or material—thickness, glossiness, and so
work of art; one of the principles of organiza- grayed. forth—which can enrich a surface through
tion. Movement is guided by harmonious its own textural interest.
connections, areas of variety, the placement of New Realism
visual weights, areas of dominance, choices in Art that emphasized the human figure and papier collé
proportions, spatial devices, and so on. portraiture extensively and strove for a A visual and tactile technique in which
matter-of-fact kind of verisimilitude, but scraps of paper having various textures are
multimedia without the sly humor of Pop Art. pasted to the picture surface to enrich or
The combination of many different groups embellish those areas. The printing of text or
of media such as text, still and moving nonobjective, nonrepresentational art images on those scraps can provide further
graphics, and spoken and instrumental A type of art that is completely imaginative, visual richness or decorative pattern.
sounds; also often integrated with commu- in which the elements, their organization,
nication technologies involving television, and their treatment are entirely personalized patina
video, telephones, and computers. and the image is not derived from anything 1. A natural film, usually greenish, that
visually perceived by the artist. results from the oxidation of bronze or other
multiple exposures metallic material. 2. Colored pigments and/
A photographic technique that shows a fig- objective or chemicals applied to a sculptural surface.
ure in motion by displaying a rapid series of That which is based on the physical reality
exposures within the same image. of the object and reflects no personal inter- pattern
pretation, bias, or emotion; the opposite of 1. Any artistic design (sometimes serving as
Naturalism subjective. a model for imitation). 2. A repeating ele-
The approach to art that is essentially a ment and/or design that can produce a new
description of things visually experienced. oblique projection set of characteristics or organization.
Pure naturalism would contain no personal A technical drawing system in which a
interpretation introduced by the artist. three-dimensional object is presented two- Performance Art
dimensionally; the front and back sides of the An expanded category of participatory art
negative area object are parallel to the horizontal base, and that can include theater, dance, music, cin-
The unoccupied or empty space left after the the other planes are drawn as parallels com- ema, video, and computer.
positive images have been created by the ing off the front plane at a 45-degree angle.

Glossary 309

perspective positive area proportion
Any graphic system used to create the illu- The subject—whether representational or The comparative relationship of size
sion of three-dimensional images and/or nonrepresentational—which is produced by between units or the parts of a whole. For
spatial relationships in which the objects or the art elements (shape, line, etc.) or their example, the size of the Statue of Liberty’s
their parts appear to diminish as they recede combination. (See negative area.) hand relates to the size of her head. (See
into the distance. scale.) Proportion is one of the principles of
Post-Impressionism organization.
Pictorialism A movement started by some painters
An especially later-nineteenth-century to associated with Impressionism who sought radial
early-twentieth-century movement of Euro- a return to the structural organization Emanating from a center.
pean and American photographers who of pictorial form, an increased emphasis
wanted to enhance photography’s perceived on the picture surface for the sake of realism, Realism (art movement)
lack of subjectivity and creativity by empha- pictorial unity and the unique patterns A style of art that emphasizes universal
sizing a softer-focus negative and a highly and textures that might result, and a more- characteristics rather than specific informa-
manipulated print process in the darkroom. or-less conscious exaggeration of natural tion (e.g., a generalization of all “mother-
appearances for emotionally suggestive hood” rather than an extremely detailed
picture frame effects. portrait of a specific woman). As a move-
The outermost limits or boundary of the ment, it relates to painters like Honoré
picture plane. Postmodernism Daumier in nineteenth-century France and
A movement resulting from artists’ reac- Winslow Homer in the United States in the
picture plane tions to high-modernist abstract art and 1850s.
The actual flat surface on which the dogma (especially to Minimalism and the
artist executes a pictorial image. In some International Style in architecture), the rectilinear shape
cases, the picture plane acts merely as a increasing financial disparity between A shape whose boundaries consist of
transparent plane of reference to establish rich and poor, cynicism about politics straight lines; the opposite of curvilinear.
the illusion of forms existing in a three- and society (some of which resulted from
dimensional space. the Vietnam War and Watergate), and so relief sculpture
forth. Resulted in the reintroduction of the An artwork, graphic in concept but
pigment human figure; decoration; literary subjects; sculptural in application, that utilizes
A color substance that gives its color the appropriation of earlier artists’ styles, relatively shallow depth to establish
property to another material by being mixed works, or parts thereof; the reuse of older images. The space development may range
with it or covering it. Pigments, usually media, and mixed techniques along with from very limited projection, known as
insoluble, are added to liquid vehicles to newer methods. “low relief,” to more exaggerated space
produce paint and ink. They are different development, known as “high relief.” Relief
from dyes, which are dissolved in liquids Post-Painterly Abstractionism sculpture is meant to be viewed frontally,
and give their coloring effects by staining Art on large, flat planes painted in a more not in the round.
or being absorbed by a material. traditional manner.
repetition
planar (shape) primary color The use of the same visual effect—and/or
Having to do with planes; shapes that A preliminary hue that cannot be broken similar visual effects—a number of times
have height and width but no indication down or reduced into component colors. in the same composition. Repetition may
of thickness. Primary colors are the basic hues of any produce the dominance of one visual idea,
color system that, in theory, may be used to a feeling of harmonious relationship, an
plane mix all other colors. obviously planned pattern, or a rhythmic
1. An area that is essentially two- movement.
dimensional, having height and width. primary triad
2. A two-dimensional pictorial surface The three primary colors on the color wheel representational art
that can support the illusion of advancing (red, yellow, and blue), which are equally A type of art in which the subject is pre-
or receding elements. 3. A flat sculptural spaced and form an equilateral triangle. sented through the visual art elements so
surface. that the observer is reminded of actual
principles of organization objects (see Naturalism and Realism).
plastic Concepts that guide the arrangement and
1. Three-dimensional art forms such as integration of the elements in achieving reverse perspective
architecture, sculpture, and ceramics. a sense of visual order and overall visual A graphic system for depicting three-
2. The use of the elements (shape, space, unity. They are harmony, variety, balance, dimensional images, commonly seen in
value, etc.) to create the illusion of volume proportion, dominance, movement, and traditional East Asian art, in which the
and space—the third dimension—on a economy. “parallel” lines of objects or their parts seem
two-dimensional surface. to converge toward the viewer, rather than
Process artists away into the distance. (See perspective.)
Pop Art Artists who focus on the execution, or
The term stands for “popular art,” which “process,” of the work and are much more rhythm
was prompted by the dissatisfaction of concerned with the technique they employ A continuance, a flow, or a sense of
younger artists with their position or in creating the work than with the final movement achieved by the repetition of
prospects in relation to the dominance of product. regulated visual units; the use of measured
abstract art. accents.

310 Glossary

Romanticism silhouette ambiguity is often employed as a transition
The style of art that focuses on the emotional The area between or bounded by the con- between contrasting values or colors and is
as opposed to the rational. The macabre, the tours, or edges, of an object; the total shape. a valuable tool for creating optical illusions,
fantastic, the stormy, and the lyrical moods denying space, and blending an image into
of nature, animals, and humans became fit simultaneity its background.
subjects for artistic expression. The style A cubist technique developed by Pablo
grew out of the literary trends that affected Picasso that showed the structure of objects style
all of eighteenth-century Europe and gave in space by portraying many different facets The specific artistic character and dominant
more emphasis to form, artists’ materials, of them at the same time. trends of form noted during periods of his-
and processes. tory and art movements. Style may also
simultaneous contrast refer to artists’ expressive use of media to
scale When two different colors come into direct give their works individual character.
The association of size relative to a constant contact, the contrast intensifies the differ-
standard or specific unit of measure related ence between them. subject
to human dimensions. For example, the 1. In a descriptive approach to art, refers to
Statue of Liberty’s scale is apparent when simulated texture the persons or things represented. 2. In more
she is seen next to an automobile. (See A convincing copy or translation of an abstract applications, refers to visual images
proportion.) object’s texture in any medium. (See trompe that may have little to do with anything
l’oeil.) experienced in the natural environment.
sculpture
The art of shaping three-dimensional mate- slow motion subjective
rials to express an idea. 1. A cinematic technique that slows down That which is derived from the mind,
the movement and time in a film; created instead of physical reality, and reflects a
secondary color by shooting a high number of frames per personal bias, emotion, or innovative inter-
A color produced by a mixture of two pri- second and showing them at a much slower pretation; the opposite of objective.
mary colors. speed. 2. The sense that time and movement
is progressing more slowly than normal. substitution
secondary triad In sculpture, replacing one material or
The three secondary colors on the color space medium with another. (See also casting.)
wheel (orange, green, and violet), which The interval, or measurable distance,
are equally spaced and form an equilateral between points or images; can be actual or subtraction
triangle. illusionary. A sculptural term meaning the carving or
cutting away of material.
sfumato spectrum
A technique devised by Leonardo da Vinci The band of individual colors that results subtractive color
of softly blending areas from light to dark, when a beam of white light is broken into The sensation of color that is produced
creating subtle transitions. Images often its component wavelengths, identifiable as when wavelengths of light are reflected back
have vague outlines and a hazy or smoky hues. to the viewer after all other wavelengths
appearance. Sfumato is derived from the have been subtracted and/or absorbed.
Latin fumo, meaning “smoke.” Leonardo split-complement(s)
described sfumato as “without lines or bor- A color and the two colors on either side of superimposing, superimposed images
ders, in the manner of smoke beyond the its complement. A technique in which various views of the
focus plane.” same subject are placed on top of each other
still frame in the same image.
shade (of color) One frame (or full-screen image) from a
A color produced by mixing black with series of frames normally seen in a film or Surrealism
a hue, which lowers the value level and video presentation that when viewed in A style of artistic expression, influenced by
decreases the quantity of light reflected. sequence present the illusion of a moving Freudian psychology, that emphasizes fantasy
picture. Related to cell. and whose subjects are usually experiences
shadow revealed by the subconscious mind through
The darker value on the surface of an object Straight photographers the use of automatic techniques (rubbings,
that suggests that a portion of it is turned A number of especially early- to mid- doodles, blots, cloud patterns, etc.). Originally
away from or obscured by the source of twentieth-century American photographers, a literary movement that grew out of Dada-
light. often associated with the reaction against ism, Surrealism was established by a literary
Pictorialism, who wanted to locate the cre- manifesto written by André Breton in 1924.
shallow space ativity of their medium within the sharp
The illusion of limited depth. With shallow focusing and selective framing of the Symbolism
space, the imagery moves only a slight dis- camera and within the unmanipulated A style that sought to achieve an ultimate
tance back from the picture plane. print from the negative. reality through intuitive or inward spiritual
experiences of the world.
shape structured ambiguity
An area that stands out from its surround- A condition in which the positive figure symmetry
ings because of a defined or implied bound- and the negative background seem to The exact duplication of appearances in
ary or because of differences of value, color, reverse roles, fluctuating back and forth mirrorlike repetition on either side of a (usually
or texture. between the two functions to create an imaginary) straight-lined central axis.
ambiguous sense of space. Structured

Glossary 311

tactile time determined by its lightness or darkness or
A quality that refers to the sense of touch. A system or way of measuring the interval the quantity of light reflected by the color.
between events or experiences.
technique value pattern
The manner and skill with which artists tint (of color) The arrangement or organization of values
employ their tools and materials to achieve A color produced by mixing white with that control compositional movement and
an expressive effect. a hue, which raises the value level and create a unifying effect throughout a work
increases the quantity of light reflected. of art.
tectonic
The quality of simple massiveness; three- tonality, tone (color) variety
dimensional work lacking any significant 1. A generic term for the quality of a color, Differences achieved by opposing, contrast-
extrusions or intrusions. often indicating a slight modification in hue, ing, changing, elaborating, or diversifying
value, or intensity—for example, yellow elements in a composition to add individu-
tenebrism with a greenish tone. 2. The dominating hue, alism and interest. Variety is an important
A technique of painting that exaggerates value, or intensity; for example, artwork principle of organization; the opposite of
or emphasizes the effects of chiaroscuro. containing mostly red and red-orange will harmony.
Larger amounts of dark value are placed have an overall tonality of red (the domi-
close to smaller areas of highly contrasting nant hue), and areas of color might have a video
lights—which change suddenly—in order to dark tonality (indicating the dominant value) A recording of visual images that are stored
concentrate attention on important features. or a muted tonality (indicating the dominant in an electronic format (digital or videotape)
intensity level). and viewed on a television, computer moni-
tertiary color tor, or projection screen. The sensation of
Color resulting from the mixture of all three transparency motion is an illusion created by the rapid
primaries, two secondary colors, or comple- A visual quality in which a distant image or sequence of images.
mentary intermediates. Tertiary colors element can be seen through a nearer one.
are characterized by the neutralization of visual unity
intensity and hue. A great variety of tertiary trompe l’oeil A sense of visual oneness—an organiza-
colors, created by mixing differing amounts Literally, “deceives the eye”; the copying tion of the elements into a visual whole.
of the parent colors, are found on the inner of nature with such exactitude as to be Visual unity results from the appropriate
rings of the color wheel, which lead to com- mistaken for the real thing. (See simulated ratio between harmony and variety (in
plete neutralization. texture.) conjunction with the other principles of
organization).
texture two-dimensional
The surface character of a material that can Possesses the dimensions of height and void
be experienced through touch or the illusion width, especially when considering the flat 1. An area lacking positive substance and
of touch. Texture is produced by natural surface, or picture plane. consisting of negative space. 2. A spatial
forces or through an artist’s manipulation of area within an object that penetrates and
the art elements. unity passes through it.
The result of bringing the elements of art
three-dimensional into the appropriate ratio between harmony volume
Possesses the dimensions of (or illusions and variety to give a sense of oneness. The measurable amount of defined or
of) height, width, and depth. In the graphic occupied space in a three-dimensional
arts, the feeling of depth is an illusion, while value object.
in the plastic arts, the work has actual depth. 1. The relative degree of lightness or
darkness. 2. The characteristic of color

312 Glossary

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314 Bibliography

Page numbers followed by Apartment Houses (Hopper), 239f radial, 47, 72, 74, 91 Bouchel, Clouret INDEX
f indicate an illustration or Apollo and Daphne (Poussin), 22f and shape, 136–137 Fight or Flight, 102f
photograph. Apple iPhone, 43f and symmetry, 71 Passing Through, 62f
Apples and Biscuits (Cézanne), in three-dimensional art, 91–92
A Balla, Giacomo Braden, Michael, Nurse Log,
182f, 201f Dynamism of a Dog on a Leash, 221, 221f
A XX (Moholy-Nagy), 75f applied arts, 72
Abbott, Berenice, Flatiron approximate symmetry, 46, 265f Brancusi, Constantin, Bird in
Speeding Automobile, 297f Space, 297f
Building, Manhattan, 295f 71–72, 73 Bamboo in the Wind (Wu), 118f
Abstract Expressionism, 278, 300, Arcangel, Cory, Photoshop Banksy, Street Art from West Bank Braque, Georges
and shape, 140
301, 302 Gradient, 248f Wall, 111f Still Life with Fruit and Stringed
abstract texture, 167, 171, 173 Archipenko, Alexander Barlach, Ernst, The Avenger, 94f, Instrument, 136f
abstraction, 16–21 and texture, 170
and shape, 147 275
and color, 200 Woman Doing Her Hair, 147f Baroque art, 285–288 Breakfast (González), 124f
defined, 2 architecture, 39–40 Barrett, Bill, Kindred, 119f, 257 Brewer, Christine, 274f
and economy, 86 Armory Show (1913), 297 bas-relief, 90, 256 Breznik, Eta Sadar, Space, 42f
evolution of, 17f arris, 98, 119 Baseball hit-fly ball (Edgerton), 267f Briar (Kelly), 107f
and shape, 140, 143 art Basquiat, Jean-Michel, Untitled The Bridge—Venus Perdica
and subject, 10 appreciation of, 21–24
and texture, 171, 173–174 basic components of, 10–13 (skull), 110f (Burgin), 290f
timeline, 297 definitions of, 2, 5–10 The Bathers (Cézanne), 139f brightness. See intensity
academic art, 183, 199 purposes of, 4–5 Bathers (Chase-Riboud), 10f Broken Star (Nierman), 228, 230f
accents, 46, 50 Artemis, Acrobats, Divas and Bauer, Robert, Centinela III, 152f Bronze with Two Squares
achromatic value, 150, 151, 151f, Bauhaus, 2, 39
Dancers (Spero), 82f Beal, Jack (Kendrick), 34f
183, 190 Artist’s Studio: “Dancers” Die Brücke (Munch), 296f
Action painting, 278, 300 Still Life with Tools, 160f Brunelleschi, Filippo, 232
actual motion, 259, 275 (Lichtenstein), 296f and value, 160 Bubble (Ai), 49f
actual shapes, 122, 126 Asian art The Bearded Captive Bull (Picasso), 16f
actual texture, 167, 169–171 The Bullfight (Goya), 144f
Adams, Ansel, Moonrise, line in, 115 (Michelangelo), 36f Buñuel, Luis, An Andalusian
space in, 226, 246, 247 Bearden, Romare, Empress of the
Hernandez, New Mexico, 70f timeline, 290 Dog, 269f, 270–271
addition, 2, 36, 37f value in, 160, 161 Blues, 210f, 211 Burchfield, Charles, Orion in
additive color, 183, 185f assemblage, 39 beauty, 6–7
aesthetics, 2, 6–7 defined, 2, 167 Beckmann, Max, 226 December, 140f
Africa (Motherwell), 31f texture in, 178, 180 Beijing 2008 Olympic Games, Burgin, Victor, The Bridge—Venus
After Titian (Shahn), 285f and time/motion, 276
After Velázquez (Botero), 288f timeline, 301 closing ceremony, 277f Perdica, 290f
After Walker Evans (Levine), 300f asymmetry, 46, 75–76, 91–92 Benglis, Lynda, Tassana, 303f Burial at Ornans (Courbet), 19f
Aggregation 06-AU044 (Chun), 133f atectonic qualities, 46, 88 Benjamin-Hannibal, Sandy, The Burial of Pierrot (Matisse), 123f
Ai Weiwei, Bubble, 49f atmospheric perspective, 167, 177, Bury, Pol, The Staircase, 302f
Albers, Joseph Potholders and Dervishes Bust of Maria van Reygersberg
224, 227 Plus, 55f
and color, 216 Autumn Forests at Yushan (Wang Bertelli, Renato, Continuous Profile (Verhulst), 181f
and shape, 141 of Mussolini, 275f Butler, Benjamin, In the Forest, 199f
White Line Square IX, 142f Hui), 29f Bierstadt, Albert Butterfield, Deborah, Not Yet
Alf, Martha, Pears Series 11 #7, 153f Autumn Rhythm (Number 30) King Lake, California, 227f
The Alhambra tiles, 174f and space, 227 Titled (#289), 222f
Allegory on the Theme of Prudence (Pollock), 301f Big Egypt (DeWoody), 89f
Avatar (Cameron), 271 Big Springs (Jaudon), 71f C
(Titian), 285f The Avenger (Barlach), 94f, 275 Bing, Ilse, My World, 171f
Allie Mae Burroughs, Wife of a Avery, Milton, Seated Blonde, 86f biomorphic shapes, 122, 124, 125 Cabinet Makers (Lawrence),
Bird Blast (Tomaselli), 74f 226, 226f
Cotton Sharecropper (Evans), B Bird in Space (Brancusi), 297f
300f Birren, Faber, 216 Cadenza (Light Drawing)
allover patterns, 46, 52 B/WX (Held), 131, 250f Black and White (Fraser), 73f (Morgan), 151f
American Dawn (Nevelson), 301f background, 32. See also negative Der Blaue Reiter, 296
amorphous shapes, 122, 126–127 Blue (Reinhardt), 302f Calder, Alexander
analogous colors, 183, 198, 198f areas Boccioni, Umberto, Unique and line, 120
Ancestral Figure from House Post Bacon, Francis Forms of Continuity in Space, and movement, 93
(Maori), 175, 175f 275, 275f Myxomatose, 94f
ancient art, 38, 76–77, 230, 231f, Study After Velázquez’s Portrait Bochner, Mel, Vertigo, 102f and rhythm, 52
280–281 of Pope Innocent X, 287f Bodio, Gene, New City, 240f and time/motion, 275–276
An Andalusian Dog (Dalí and Bontecou, Lee, Untitled, 145f Vertical Foliage, 53f
Buñuel), 269f, 270–271 Three Studies of Figures on Botero, Fernando, After
animation, 259, 261 Beds, 294f Velázquez, 288f calligraphic lines, 98, 115–118
Anne’s Jacket (Levine), 181f Botticelli, Sandro calligraphy, 98, 115, 117, 117f
Annunciation (Botticelli), 234f, 235f balance, 67–76, 69f Annunciation, 234f, 235f Callot, Jacques, The Great Fair, 229f
and approximate symmetry, and space, 227 camera obscura, 233
71–72, 73 Cameron, James, Avatar, 271
and asymmetry, 75–76 Campo di Rialto (Canaletto), 237f
and color, 208–209 Canaletto, Antonio, Campo
defined, 46
and gravity, 67–68, 68f di Rialto, 237f
and moments of force, 69 Canna Red and Orange (O’Keeffe),

208f

315

Canyon (Rauschenberg), 180f collage, 167, 170 Composition with Blue, Black, Yellow D
Caravaggio (Michelangelo Merisi) Collins, Dan, Of More Than Two and Red (Mondrian), 8f
Dadaism, 278, 282, 297
David Victorious over Goliath, 158f Minds, 275f computer-aided art, 32 Dalí, Salvador
and value, 158, 160 colonial art, 289 and color, 186, 186f
carving. See subtraction color, 183–222 color printing, 219–220, 220f An Andalusian Dog, 269f, 270–271
cast shadows, 150, 155, 251 design, 39–40, 148 Persistence of Memory, 299f
casting, 2 analogous/monochromatic motion pictures, 271 Portrait of Juan De Pareja, the
Cayton, David, The Last Performance, relationships, 183, 198–199 and movement, 93
multimedia, 273–274 Assistant to Velázquez, 287f
37f balance in, 208–209 timeline, 303 Damascus Gate Stretch Variation
cells (single cells), 259, 261 characteristics of, 184
Centinela III (Bauer), 152f color theory evolution, 215–219, concept, 2 (Stella), 66f
ceramics, 41 Conceptual Art Dance (Matisse), 296f
Cézanne, Paul 217f Daumier, Honoré
complementary/split- defined, 2, 278
Apples and Biscuits, 182f, 201f and organic unity, 16 and Realism, 18
The Bathers, 139f complementary relationships, and shape, 141 The Uprising, 19f
and color, 199–200, 252 195, 197, 197f, 202 timeline, 303 David, Jacques-Louis, The Oath of
Portrait of Ambroise Vallard, 294f compositional purposes of, conceptual perception, 2, 21
and space, 230, 252 207–208 Construction 8 (de Rivera), the Horatii, 289f
Still Life with Basket of Fruit (The computer printing, 219–220, David and Goliath, 262f
220f 120f, 275 David Victorious over Goliath
Kitchen Table), 263f and content, 12–13 Constructivism, 278, 297
and time/motion, 261, 263 defined, 183 contemporary portraiture, 288 (Caravaggio), 158f
Chagall, Marc, I and the and emotion, 112, 184, 203–205 content, 12–13 Davis, Ron, Parallelpiped Vents #545,
and harmony, 209–211
Village, 74f and light, 184–188 defined, 2, 278 131, 132f
character, 83, 104f, 105–106 and line, 112 and organic unity, 15 Dawe, Gabriel, Plexus no. 3, 222f
Chase-Riboud, Barbara, objective vs. subjective, 206 See also expression Day and Night (Escher), 60–61, 60f,
and photography, 219 Continuous Profile of Mussolini
Bathers, 10f physical properties of, 190–195, 65–66
Cheney, Sheldon, 2 190f, 191f, 192f, 193f, 194f (Bertelli), 275f de Rivera, José
Chevreul, M. E., 200 and plastic space, 199–200, contours, 98, 106, 146–147
chiaroscuro, 150, 156–158 252–253 contrast Construction 8, 120f, 275
Chicago, Judy process color system, 217–219, and movement, 93
218f, 219f in three-dimensional art, 90, 146 and time/motion, 275–276
and economy, 95 psychological application of, and value, 150–151, 158, 165 The Dead Toreador (Manet), 161f
Rainbow Pickett, 95f 205–206 and variety, 65 Death by Violence (Manzu), 120, 120f
and space, 256 relationship overview, 196f converging parallels, 230, decorative art, 2. See also decorative
Chihuly, Dale, Nepenthes Chandelier, simultaneous contrast, 184,
200–203 231f, 232 space
41f temperature of, 199 Courbet, Gustave decorative space, 28, 224, 225
Christ Mocked by Soldiers (Roualt), tetradic relationships, 183, 198,
198f Burial at Ornans, 19f and form, 88
211, 211f theory of, 16 on Naturalism, 18 and line, 112
Christ Presented to the People in three-dimensional art, Covenant (Newman), 87f and shape, 122, 127
221–222 craftsmanship, 2, 5, 6 and texture, 173
(Rembrandt), 13–15, 14f, 15f triadic relationships, 183, 188–190, creative process, 26–27 and value, 150, 160–162
Christo, The Gates, 24f, 257 188f, 189f, 198 and content, 12 deep space, 226–227
chroma, 183, 192. See also intensity and value, 150, 151, 162–163, 183, and form, 48 Le Déjeuner sur l’Herbre (Ernst), 291f
chromatic qualities, 183 184, 190–192, 192f, 193f critiques, 27–28 Le Déjeuner sur l’Herbe (Manet),
chromatic value, 150, 151, 183, and variety, 212–215 cross-contours, 98, 106, 107f,
vocabulary list, 183–184 283f, 291f
190–192 Color Field painting, 278, 301 108, 108f Les Déjeuners II (Picasso), 291f
Chun, Kwang-Young, Aggregation color tetrads, 183, 198, 198f cross-hatching, 108 Delacroix, Eugène, and, 201
color triads, 183, 188–190, 188f, crosscutting, 259, 268 Delmonico Building (Sheeler), 240f
06-AU044, 133f 189f, 198 Cubism Delthony, David, Lotus (rocking
Cicale, Annie, Untitled, 117f commercial art, 27
Circus Sideshow (La Parade) (Seurat), complementary colors, 183, 189, and abstraction, 18 chair), 44f
192–193, 195, 197, 197f, 202 defined, 2, 122, 278 Les Demoiselles d’Avignon (Picasso),
79, 80f composition, 46, 48. See also and shape, 140
Classicism, 278 principles of organization; and shared edges, 59 296f
Close, Chuck unity and space, 228, 230 The Denial of St. Peter (Rembrandt),
Composition (Mondrian), 8f and texture, 170
Paul III, 54, 56f, 57 Composition around Red and time/motion, 263–264 159f
and proportion, 81–82, 83f (Pennsylvania) (Sheeler), 11f timeline, 286, 291, 294, 296, 297 depth illusions. See plastic space
close-ups, 259, 268 Composition in an Oval and value, 161 descriptive art, 2, 17–18
closed-value compositions, 150, (Slobodkina), 29f Cubist Still Life with Playing Cards design

163–164 (Lichtenstein), 173f and creative process, 27
closure, 57–59, 58f Cunningham, Imogen, Magnolia defined, 2, 46
and form, 48
defined, 46 Blossom, 154f See also principles of organization
and shape, 124–125, 126f curvilinear shapes, 122, 123 detail, 227
in three-dimensional art, 89 “Cybernetic Serendipity” DeWoody, James, Big Egypt, 89f
Cloud Gate (Kapoor), 147f, 257 di Suvero, Mark, Eviva Amore, 93f
Coburn, Alvin Langdon exhibition, 273 Diana and the Nymphs (Vermeer), 63f
Le Penseur, 293f Dickson, W. K. L., 266
Portrait of Ezra Pound, 265f digital art. See computer-aided art

316 Index

direction elements of art, 2, 11. See also specific Fight or Flight (Bouchel), 102f G
and dominance, 83 elements figure, 32. See also positive areas
and line, 102, 103 film. See motion pictures Gagnon, Pauline, Secret Little Door,
and time/motion, 260–261 Eliasson, Olafur, I only see things film stills, 303 50f
when they move, 1, 25f, 257 Fireball (Meada), 303f
dissolves, 259, 268 Fischdampfer (Fishing Boat) (Nolde), Ganson, Arthur
Do women have to be naked to get into emotion Machine with Chair, 276, 276f
and color, 112, 184, 203–205 111f and movement, 93
the Met. Museum? (Guerrilla and line, 113 Flags (Johns), 203f
Girls), 289f and shape, 140 flash-forwards, 259, 270 The Gate (Hofmann), 252f
Dog and Cock (Picasso), 176, 176f See also expression flashbacks, 259, 270 The Gates (Christo and Jeanne-
dominance, 82–83 The “Flat-Iron” (Stieglitz), 295f
defined, 46 Empress of the Blues (Bearden), 210f, Flatiron Building, Manhattan Claude), 24f, 257
and movement, 84–85 211 Gauguin, Paul
and shape, 133–134, 135–136, (Abbott), 295f
138, 148 The Entombment of Christ (Titian), Flavin, Dan, “Monument” for and color, 200
in three-dimensional art, 93, 148 157f Girl with a Fan, 31f
Doryphoros (Polyclitus of Argos), V. Tatlin, 298f and space, 226
77, 78f Environmental Art, 279, 302 foreground, 32. See also positive Vision After the Sermon (Jacob
Dos Personajes Atacados por Perros Equilibrium (Sunshine), 214f
(Tamayo), 145f equivocal space, 122, 131 areas Wrestling with the Angel), 201f
Dougherty, Patrick, 25 Ernst, Max form, 11, 46–96 Gehry, Frank
Putting Two and Two Together,
179f Le Déjeuner sur l’Herbre, 291f components of, 48f Guggenheim Museum (Bilbao,
and space, 257 The Kiss, 282f defined, 2, 46 Spain), 40
and texture, 178 Escher, M. C. dominance, 82–83
Draftsman Drawing a Nude (Dürer), Day and Night, 60–61, 60f, economy, 85–87 Walt Disney Concert Hall (Los
236f movement, 83–85 Angeles), 40f
Dragon (Snelson), 89f 65–66 and organic unity, 14–15
drawing. See graphic art Rippled Surface, 54f proportion, 76–82 genre paintings, 167, 171
Drift No. 2 (Riley), 261f Waterfall, 246f and space, 87–88 geometric shapes, 122, 123–124
Duchamp, Marcel Espresso Cafe (Heinze), 223f, 230f in three-dimensional art, 32, 35, Geostructure 1 (Jonas), 65, 65f
Nude Descending a Staircase, 264, etchings, 154 German Expressionism, 213, 215,
265f, 293f Euclid, 76 88–95
Replica of L. H. O. O. Q., 282f Evans, Walker, Allie Mae Burroughs, and unity, 48, 95–96 296
Dunne, Phil, Who’s That Girl, 33f variety, 65–67 Gerzso, Gunther, Personage in Red
duration, 259, 270 Wife of a Cotton Sharecropper, and visual ordering, 47–48
Dürer, Albrecht, Draftsman Drawing 300f vocabulary list, 46–47 and Blue, 59f
a Nude, 236f Eviva Amore (di Suvero), 93f See also balance; harmony Gestalt psychology, 46, 57
Dylan Poster (Glaser), 83f Evoë 1 (Riley), 52, 53f La Fornarina (Raphael), 284f gestural lines, 98, 113, 115
Dynamic Hieroglyphic of the Bal expression four-color printing process, 217–219, Ghost Town cover (Utley), 127
Tabarin (Severini), 266f defined, 2, 98 Giacometti, Alberto, Three Walking
Dynamism of a Dog on a Leash and line, 113, 114, 115–119 218f, 219f
(Balla), 265f and shape, 140–145 four-dimensional space, 224, 257, Men, 299f
Dyson, Arthur, Lencioni Residence in and subject, 11 Giorgione, The Tempest, 283f
Sanger, CA, 39f and texture, 177–178 259, 260 Giotto
See also content fourth dimension. See
E Expressionism The Kiss of Judas, 157f
and color, 206, 213, 215 four-dimensional space; time/ and value, 156
early Christian art, 281 defined, 279 motion Girl with a Fan (Gauguin), 31f
economy, 85–87 timeline, 295, 296, 296, 299 Fra Angelico, and value, 156 Glaser, Milton
extensions, 62–65 fractional representation, 224, 230, Dylan Poster, 83f
defined, 46 and shape, 64, 134 231f I NY, 86f
and shape, 138 in three-dimensional art, 89, 147 frames, 259, 261 glass design, 40–41
in three-dimensional art, 95 Frankenthaler, Helen, Madame glyptic materials, 2, 35, 36
Ecriture No. 940110 (Park), 169, F Butterfly, 142f Goethe, Johann Wolfgang von, 216
Fraser, Scott, Black and White, 73f Goforth, John W., Untitled, 35f, 257
169f fades, 259, 268 freestanding sculpture Going Forth by Day (Viola), 272–273,
Edgerton, Harold E., Baseball hit-fly Fairey, Shepard, Obama Poster, 205, (sculpture-in-the-round), 257
Frere-Jones, Tobias, Gotham typeface, 272f
ball, 267f 205f 255f golden mean, 46, 76, 77f, 78f, 79
edges, shared, 59–61, 60f Family of Saltimbanques (Picasso), Fridge, Brian Gone with the Wind (Selznick), 268
Edison, Thomas A., 266 and time/motion, 271 González, José Victoriano (Juan
Effect of Light on Objects (McKnight), 76f Vault Sequence No. 10, 173f
Fantastic art, 279, 297 Fulcrum (Saville), 197f Gris), Breakfast, 124f
156f Farm Security Administration Full Fathom Five (Pollock), 213f Gotham typeface (Hoefler and
Egyptian art, ancient, 226, 230, Futurism, 279
Photography, 300 defined, 259 Frere-Jones), 255f
231f Les Fauves, 279, 295 and overlapping, 61 Goya, Francisco, The Bullfight, 144f
Eiso (Manes), 51f Fauvism, 279, 295 and shape, 140–141 Grand Canyon of the Yellowstone
elaboration, 65–66 Feininger, Lyonel, Hopfgarten, and space, 228
electromagnetic spectrum, 191f and time/motion, 264, 266 (Moran), 292f
249f timeline, 293, 297 La Grand Odalisque (Ingres), 289f
feminist art, 289, 296, 302 graphic art
fiberwork, 41
Fibonacci, Leonardo, 77 defined, 2
field, 25. See also positive areas value in, 153–154
Graves, Nancy
Perfect Syntax of Stone and Air, 67f
Unending Revolution of Venus,

Plants, and Pendulum, 92f

Index 317

The Great Fair (Callot), 229f high-key values, 150, 151–152, 151f and space, 257 Kaprow, Allan, Household, 302f
El Greco, Portrait of Jorge Manuel, high relief, 90, 257 and time/motion, 271–272, Karan, Khem, Prince Riding an
highlights, 150, 154
286f Hill, Thomas, Yosemite Valley (from 276–277 Elephant, 160f
Greek art, ancient, 38, 76–77 timeline, 302 Kelly, Ellsworth
Greve, Gerrit, Monet’s Water #3, 163f below Sentinel Dome as Seen from intaglio printing, 154
The Grey Tree (Mondrian), 7f Artist’s Point), 177f intensity, 183, 192–195, 194f, 201–202 Briar, 107f
grid systems, 64, 64f Hilty, Thomas, Phoenix, 33f intermediate colors, 183, 188–189, and economy, 86
Griffith, D. W., 268 Hiroshige, Utagawa, Sudden Shower Spectrum, 195f
Gris, Juan. See González, José Over Shin-Ohashi Bridge and 188f Kendrick, Mel
Atake, 290f intermediate triads, 183, 189 Bronze with Two Squares, 34f
Victoriano Hockney, David Internet Café (Stevovich), 52, 163f White Wall, 146f
grisaille, 199 Mother I, Yorkshire Moors, August interpenetration, 61–62 Kerosene Lamp (Haverfield), 264f
ground, 32. See also negative areas 1985 #1, 265f Kerosene Lamp II (Haverfield), 264f
ground plane, 232–233 Self-Portrait with Charlie, 288f defined, 46, 224 Keyhole (Murray), 30f
Grünewald, Matthias, The and time/motion, 264 and space, 230, 230f Kiefer, Anselm, Osiris und Isis/Bruch
Hoefler, Jonathan, Gotham typeface, in three-dimensional art, 89–90
Resurrection of Christ, 284f 255f interpolated rotoscope, 130 und Einung, 232f
Guardian Angels (Tanning), 124f Hofmann, Armin, Stadt Theater intuitive space, 131, 224, 248, 249 Kindred (Barrett), 119f, 257
Guernica (Picasso), 135f Basel, 63/64, 161f invented texture, 167, 173–174 Kinematoscope, 266
Guerrilla Girls, Do women have to Hofmann, Hans isolation, 82 kinesthetic vision, 225
and color, 252–253 isometric projection, 224, 246, 246f kinetic art
be naked to get into the Met. The Gate, 252f Itten, Johanness, 216
Museum?, 289f Hokusai, Katsushika, Under the defined, 46, 122, 259
Guggenheim Museum (Bilbao, Wave off Kanagawa, 52f J and shape, 148
Spain) (Gehry), 40 Holzer, Jenny, Purple, 95f and time/motion, 85, 93, 275–276
guidelines (perspective), 232, 236, Homage to New York (Tinguely), 276, Jackson, Peter timeline, 300
241 276f The Lord of the Rings: The and value, 165
Homer, Winslow, Returning Fishing Fellowship of the Ring, 269f Kinetoscope, 266
H Boats, 228f The Lord of the Rings: The Two King, Tony, Map: Spirit of ’76, 251f
Hopfgarten (Feininger), 249f Towers, 269f King Lake, California (Bierstadt), 227f
Hall, Lanna Pendleton Hopper, Edward, Apartment Houses, The Kiss (Ernst), 282f
Spectacular Sunrise, 262f 239f Jacot, Don, What Makes You Tick?, The Kiss of Judas (Giotto), 157f
and time/motion, 261 horizon line, 232, 235–236 57, 57f Kiwi Series #1 (Wojtkiewicz), 168f
Horner, William, 268 Klett, Mark
Hamilton, Ann, 25 A Horse’s Motion Scientifically Jacquette, Yvonne, Lower Pyramid Isle, Pyramid Lake,
and space, 257 Considered (Muybridge), 267f Manhattan—Lower Brooklyn
tropos, 257f The House of Light (Turrell), 187f Bridge View II, 126f NV, 292f
Household (Kaprow), 302f Viewing Thomas Moran at
Hamlet Robot (Paik), 271f How to Peel an Orange (Richards), 99f Jane Avril (Toulouse-Lautrec),
Handball (Shahn), 69, 70f hue, 183, 190 117–118, 118f the Source, Artist’s Point,
Happenings, 279, 302 Yellowstone National Park, 292f
Hard-Edge Abstraction, 301 I Japonaiserie: Bridge in the Rain (after Kline, Franz, Mahoning, 20f
hard edges, 143 Hiroshige) (van Gogh), 290f Kollwitz, Käthe
harmony, 49–65 I NY (Glaser), 86f Whetting the Scythe, 152f
I and the Village (Chagall), 74f Jaudon, Valerie, Big Springs, 71f Young Girl in the Lap of Death, 12f
and closure, 57–59 I only see things when they move Jeanne-Claude, The Gates, 24f, 257 Kosuth, Joseph, One and Three
and color, 209–211 Jeff Davies (Witkin), 45f, 79, 81, 81f Chairs, 303f
defined, 46, 49 (Eliasson), 1f, 25, 25f, 257 Johns, Jasper
and interpenetration, 61–62 I Remember Being Free (Lawe), 171f L
overuse of, 65 impasto painting, 169 Flags, 203f
and pattern, 52, 54–57 implied lines, 98, 118 Perilous Night, 284f La Tour, Georges de, The Payment of
and repetition, 49–50, 51 implied motion, 259, 275 Jonas, Ann, 102 Taxes, 159f
and rhythm, 50, 52, 53 implied shapes, 122, 126 illustration from Round Trip, 103f
and shape, 132–133 Impressionism, 200, 279, 292, 293 Jonas, Franklin, Geostructure 1, 65, Lascaux cave paintings, 4f
in three-dimensional art, 88–90 Improvisation 30 (Cannons) The Last Performance (Cayton), 37f
and variety, 66–67 65f The Last Supper (Nolde), 215f
and visual linking, 59–65 (Kandinsky), 20f Judd, Donald Laughton, Charles, film still from
Harris, Moses, 216 In the Forest (Butler), 199f
hatching, 98, 108 infinite space, 224, 227 and economy, 95 The Night of the Hunger, 156f
Haverfield, Tom informal balance, 75 and space, 256 Law of Simultaneous Contrast of Colors
Kerosene Lamp, 264f Information Wall (Paik), 272 Untitled, 92f
Kerosene Lamp II, 264f Ingres, Jean-Auguste-Dominique, (Chevreul), 200
Haystack at Sunset (Monet), 292f K Lawe, Gary, I Remember Being Free,
Heinze, Gus, Espresso Cafe, 223f, 230f La Grand Odalisque, 289f
Held, Al, B/WX, 131, 250f Innocent X (Velázquez), 287f Kabakov, Emilia, The Palace Project, 171f
Helmholtz, Hermann von, 216 installations 298f Lawrence, Jacob, Cabinet Makers,
Hergé, George, Tintin, 115f
Hide-and-Seek (cache-cache) appreciation of, 23, 24, 25 Kabakov, Ilya, The Palace Project, 298f 226, 226f
defined, 3, 224, 259, 279 Kahlo, Frida, Still Life with Parrot, 206f Le Blon, J. C., 216
(Tchelitchew), 177f Kahn, Wolf Lebrun, Rico, Seated Clown, 97f,
hierarchical scaling, 81
high-key colors, 183, 192, 193f and color, 206 114f
Web of Trees, 206f Léger, Fernand, Three Women (Le
Kandinsky, Vasily, Improvisation 30
Grand Déjeuner), 143f
(Cannons), 20f Lencioni Residence in Sanger, CA
Kapoor, Anish, 25
(Dyson), 39f
Cloud Gate, 147f, 257
Marsyas, 26f

318 Index

Leonardo da Vinci The Lord of the Rings: The Fellowship and economy, 86 and pattern, 57
Mona Lisa, 84, 157f, 282f of the Ring (Jackson), 269f and shape, 140 style of, 7–8
Proportions of the Human Figure, and space, 226 The Trees, 7f
79, 79f The Lord of the Rings: The Two Towers The Matrix (Wachowski and Mondrian-inspired dresses (Saint
and value, 156, 158 (Jackson), 269f
Virgin and Child with Saint Anne, Wachowski), 258f, 270f, 271 Laurent), 9f
282f Lotus (rocking chair) (Delthony), 44f Maxwell, James Clerk, 216 Monet, Claude
Louis, Morris, 86 Mazur, Robert, Nightwave, 170f
Lessman-Moss, Janice, #305–703, low-key colors, 183, 192, 193f McGraw, DeLoss, Mother and Child Haystack at Sunset, 292f
103f low-key values, 150, 151, 151f Waterloo Bridge, Grey Weather,
low relief, 90, 256 “Bleak and Lonely Heights” in
Levine, Marilyn, Anne’s Jacket, 181f Lower Manhattan—Lower Brooklyn August Moving Sunlight, 164f 57, 204f
Levine, Sherrie, After Walker Evans, McKnight, Russell F. Monet’s Water #3 (Greve), 163f
Bridge View II (Jacquette), 126f Effect of Light on Objects, 156f Monk, Tamara, Phoenix, 33f
300f Light and Dark, 155f monochromatic color, 183, 198–199
Liang Kai, Sericulture, 247f M Shadows, 155f “Monument” for V. Tatlin
The Liberation of the Peon (Rivera), 47f Meada, John, Fireball, 303f
library table designed for the Machine with Chair (Ganson), measure, 99, 101 (Flavin), 298f
276, 276f media, 3, 32 Moon & Wall Encrustations
Sherman Booth House medieval art
(Wright), 43, 43f Madame Butterfly (Frankenthaler), space in, 160, 161, 226 (White), 23f
Lichtenstein, Roy 142f time/motion in, 261 Moon poster (Jones), 134f
Artist’s Studio: “Dancers”, 296f timeline, 281 Moonrise, Hernandez, New Mexico
Cubist Still Life with Playing Madonna of Mercy (Piero della value in, 160
Cards, 173f Francesca), 82f medium shots, 259, 268 (Adams), 70f
light, 184–188, 185f Meeting of Saint Anthony and Moore, Henry
Light and Dark (McKnight), 155f Madonna of Mt. Carmel and the Souls Saint Paul, The (workshop of
light sculpture, 300 in Purgatory (Tiepolo), 84f Sassetta), 137f Reclining Figure, 148f
line, 98–120 Megatron/Matrix (Paik), 272, 272f and shape, 147
character of, 104f, 105–106 Magada, Steve, Trio, 116f Las Meninas (Velázquez), 287f, 288f Moran, Thomas, Grand Canyon of the
and color, 112 Magnolia Blossom (Cunningham), 154f metalwork, 40
defined, 98 Magritte, René, The Unmasked Michelangelo Buonarroti, The Yellowstone, 292f
direction of, 102, 103 Bearded Captive, 36f Morgan, Barbara, Cadenza (Light
and expression, 113, 114, 115–119 Universe, 251f Middle Eastern art, 161
and extensions, 64 Mahoning (Kline), 20f Millais, Sir John Everett, Ophelia, 290f Drawing), 151f
location of, 102, 103, 105 Man with Mandolin (Lipchitz), 146f Milton, Peter, Points of Departure Morin, Shawn, Treasure Mountain
measure of, 99, 101 Manes, Paul, Eiso, 51f III: Twentieth Century Limited,
and movement, 114–115 Manet, Edouard 149f, 153f Dove, 88f
and representation, 112–113, 114 Minimalism, 95, 141, 279, 298, 302 Mosaic of Justinian I, 204f
and shape, 106–108 The Dead Toreador, 161f Miró, Joan Mother and Child “Bleak and Lonely
and space, 112, 113, 248–249, 250 Le Déjeuner sur l’Herbe, 283f, 291f The Painting, 125f
and texture, 108, 110–111 and value, 161 Poetic Object, 299f Heights” in August Moving
in three-dimensional art, 119–120 manipulation, 3, 36, 37f, 38. See also and shape, 140 Sunlight (McGraw), 164f
types of, 101 Mirrored Room (Samaras), 91f Mother I, Yorkshire Moors, August
and value, 108, 109f modeling Mishler, John, Wind Seeker, 90f, 257 1985 #1 (Hockney), 265f
vocabulary list, 98 Mannerism, 285 Mitchell, Joan, Untitled, 212f Motherwell, Robert, Africa, 31f
Line No. 50 (Sykora), 112f Manzu, Giacomo, Death by Violence, Miyazaki, Hayao, Ponyo, 121f, 125f motifs, 46, 52, 57
linear perspective, 131, 224, 232–246 mobiles, 94 motion, 259. See also time/motion
applications of, 241–245, 241f, 120, 120f defined, 46, 259 motion pictures, 266–273
242f, 243f, 244f, 245f Map: Spirit of ’76 (King), 251f and time/motion, 275–276 defined, 259
development of, 232–233 Map of London’s Underground, Model for Monument to the Third and digital technology, 271
disadvantages of, 245–246 International (Tatlin), 298f history of, 266–268
one-point, 235–237, 236f 113, 114f modeling, 3, 156. See also and installations, 271–272
three-point, 239–241, 241f Marca-Relli, Conrad, The Picador, 144f manipulation techniques in, 268–270
two-point, 237–239, 238f Marchesa (Martin), 165f Modernism, 285, 295 value in, 156
Linklater, Richard, A Scanner Marin, John Modigliani, Amadeo, 226 movement, 83–85
Darkly, 130f Moholy-Nagy, László, A XX, 75f defined, 46
Lipchitz, Jacques, Man with and color, 205, 252 moments of force, 46, 69 and line, 114–115
Mandolin, 146f Sun Spots, 252f Mona Lisa (Leonardo da Vinci), 84, and shape, 134–136, 137f
Lippi, Fra Filippo, 156 Marisol, Women and Dog, 221f 157f, 282f in three-dimensional art, 89,
Lippold, Richard, Variations within a Marrey, Gilles, 1997, 207f Mondrian, Piet 93–95
Sphere, No. 10, the Sun, 120f The Marriage of Shiva and Parvati, Composition, 8f See also time/motion
lithography, 154 Composition with Blue, Black, movement (actual), 85, 93, 275–276
Little, James, Sneak-Attack, 226f South India (Madurai), 72f Yellow and Red, 8f Mozart and Mozart Upside Down and
Livingstone, Joan, Seeped, 38f Marsyas (Kapoor), 26f The Grey Tree, 7f Backward (Rockburne), 141f
local (objective) color, 183, 206 Martin, Julie Warren, Marchesa, 165f influence of, 9 Muir, Tom, Orchid Vase, 40f
local value, 150, 155 Masaccio multimedia, 259, 273–274, 276–277
long shots, 259, 268 multiple exposures, 259, 264
and space, 232 Munch, Edvard, Die Brücke, 296f
Trinity with the Virgin, St. John and Muniz, Vik, The Raft of the Medusa,
178, 178f
Donors, 233f Munsell, Albert, 216
and value, 156 Munsell color system, 216–217, 217f
Mason, Emily, Suddenly Encroaching, Murray, Elizabeth, Keyhole, 30f
music, 10–11, 57, 66
200f
mass, 35

defined, 3, 122
and shape, 127, 128f
Matisse, Henri, 278
The Burial of Pierrot, 123f
Dance, 296f

Index 319

Muybridge, Eadweard, 266 Not Yet Titled (#289) (Butterfield), The Palace Project (Kabakov and Piero della Francesca, Madonna of
A Horse’s Motion Scientifically 222f Kabakov), 298f Mercy, 82f
Considered, 267f
Two Men Wrestling, 294f Nude Descending a Staircase papier collé, 167, 170 pigments, 183, 187
Woman Descending a Stairway and (Duchamp), 264, 265f, 293f Parallelpiped Vents #545 (Davis), Pitch Black, 206
Turning Around, 293f placement, 82–83
Number 10 (Rothko), 202f 131, 132f planar shapes, 122, 127–128, 249, 251
My World (Bing), 171f Nurse Log (Braden), 221, 221f Park, Seo-Bo, Ecriture No. 940110, planes, 3, 28, 122, 127–128. See also
Myxomatose (Calder), 94f
O 169, 169f picture plane
N Passing Through (Bouchel), 62f plastic art, 3. See also plastic space;
O Brother, Where Art Thou?, 206 patina, 183, 221
Nathan Admonishing David The Oath of the Horatii (David), 289f pattern, 52, 54–57, 54f three-dimensional art
(Rembrandt), 105, 105f Obama Poster (Fairey), 205, 205f plastic space, 28, 88, 224
objective (local) color, 183, 206 defined, 47, 167
The Natural System of Colours objective abstraction, 19 and texture, 174–175, 174f, and color, 199–200, 252–253
(Harris), 216 objective/representational art, 10 and harmony, 59–60
175f, 176f and line, 112
Naturalism, 3, 17–18, 279, 289 defined, 3, 122, 279 Paul III (Close), 54, 56f, 57 and movement, 85
Nees, George, 273 and line, 112–113, 114 The Payment of Taxes (La Tour), 159f and scale, 228, 229f
negative areas, 30–32, 31f oblique projection, 224, 246, 246f Pears Series 11 #7 (Alf), 153f shallow vs. deep, 225–227
occult balance, 75 Pedestal Piece (Soldner), 42f and shape, 122, 127, 128–132, 129f,
and closure, 57 Odalisk (Rauschenberg), 299f Le Penseur (Coburn), 293f
defined, 3 Of More Than Two Minds (Collins), Peonies, Roses and Books (Phelan), 131f, 249–251, 250f
and movement, 85 and texture, 176–177, 252
and rhythm, 50, 52 275f 209f, 210 and value, 150, 155–160, 251–252
and shared edges, 60 O’Keeffe, Georgia, Canna Red and perception, 21 See also space
structured ambiguity, 224, Perfect Syntax of Stone and Air Plexus no. 3 (Dawe), 222f
Orange, 208f Poetic Object (Miró), 299f
253–255, 253f, 255f Oldenberg, Claes, Saw, Sawing, 81f (Graves), 67f Pointillism, 79
in three-dimensional art, 147 Oliveira, Henrique Performance Art, 279, 302 Points of Departure III: Twentieth
Neo-Abstraction, 303 Perilous Night (Johns), 284f
Neo-Expressionism, 279, 287, Tapumes, 166f, 179f Persistence of Memory (Dalí), 299f Century Limited (Milton), 149f,
and texture, 178 Personage in Red and Blue (Gerzso), 153f
294, 303 O’Malley, Bryan Lee, Scott Pilgrim Pollock, Jackson
Neo-Figurative art, 288 59f Autumn Rhythm (Number 30), 301f
Neoclassicism, 279, 289 vs. the World, Volume II, 262f perspective, 131 Full Fathom Five, 213f
Nepenthes Chandelier (Chihuly), 41f One and Three Chairs (Kosuth), 303f and time/motion, 260–261
Nettles, Bea, Suzanna...Surprised, 286f 100 Cans (Warhol), 54f, 301f atmospheric, 167, 177, 224, 227 Polyclitus of Argos, Doryphoros,
Die Neue Sachlichkeit (The New one-point perspective, 235–237, 236f defined, 122, 224 77, 78f
Op Art, 202, 279, 302 See also linear perspective Ponyo (Miyazaki), 121f, 125f
Objectivity), 297 open-value compositions, 150, Phelan, Ellen, Peonies, Roses and Pop Art, 279, 296, 301
neutralized colors, 183, 189 Portrait of a Painter, after El Greco
neutrals, 183, 190, 194f, 211 163–164 Books, 209f, 210 (Picasso), 286f
Nevelson, Louise, American Ophelia (Millais), 290f Phoenix (Hilty and Monk), 33f Portrait of Ambroise Vallard
optical perception, 3, 21 photography (Cézanne), 294f
Dawn, 301f Orchid Vase (Muir), 40f Portrait of Ambroise Vallard (Picasso),
New City (Bodio), 240f organic shapes. See biomorphic and abstract art, 16 294f
New-New Painters, 303 and color, 219 Portrait of Ezra Pound (Coburn), 265f
New Realism, 279, 302 shapes Straight photographers, 280, 300 Portrait of Jorge Manuel (El Greco),
New York School, 300 organic unity, 3, 13–16, 13f and technical manipulation, 22, 23 286f
Newman, Barnett Orion (Vasarely), 66, 67f and time/motion, 266 Portrait of Juan De Pareja, the Assistant
Orion in December (Burchfield), 140f timeline, 293, 294, 296, 300, 303 to Velázquez (Dalí), 287f
Covenant, 87f Oropallo, Deborah, Sleep, 69f value in, 154–155 positive areas, 30–32, 31f
and economy, 86 orthographic drawing, 224, 247, Photorealism, 302 and closure, 57
Newton, Sir Isaac, 215–216 Photoshop Gradient (Arcangel), 248f defined, 3
Nierman, Leonardo, Broken Star, 263–264 The Picador (Marca-Relli), 144f and shared edges, 60
Osiris und Isis/Bruch und Einung Picasso, Pablo structured ambiguity, 224,
228, 230f Bull, 16f 253–255, 253f, 255f
The Night Café (van Gogh), 13f (Kiefer), 232f Les Déjeuners II, 291f Post-Impressionism, 200, 279, 290,
The Night of the Hunger, film still Ostwald, Wilhelm, 216 Les Demoiselles d’Avignon, 296f 293, 294
Ostwald color system, 216 Dog and Cock, 176, 176f Post-Painterly Abstractionism, 279
from (Laughton), 156f O’Sullivan, Timothy H., “Pyramid,” and economy, 86 Poster for Otello (Troxler), 214f
Nightwave (Mazur), 170f Family of Saltimbanques, 76f Postmodernism, 279, 284, 286, 289,
1997 (Marrey), 207f Pyramid Lake, Nevada, 292f Guernica, 135f 290, 296, 300, 301, 303
Nix, Patricia, La Primavera, 21f overlapping, 61, 90, 228 Portrait of a Painter, after El Greco, Potholders and Dervishes Plus
Noguchi, Isamu, The Stone Within, (Benjamin-Hannibal), 55f
P 286f Poussin, Nicolas
35f Portrait of Ambroise Vallard, 294f Apollo and Daphne, 22f
Nolde, Emil Paik, Nam June Still Life with Chair Caning, study for Rape of the Sabines, 162f
Hamlet Robot, 271f
Fischdampfer (Fishing Boat), 111f Information Wall, 272 170, 170f
The Last Supper, 215f Megatron/Matrix, 272, 272f and texture, 252
nonobjective abstraction, 19–20 Picasso’s Studio (Ringgold), 296f
nonobjective/nonrepresentational art paint quality, 167, 169–170 Pictorialism, 279, 283, 293, 295
defined, 3 The Painting (Miró), 125f picture frame, 3, 28f, 29–30
and shape, 123, 143 Painting on a ceiling (Vanni picture plane, 3, 28, 28f, 30
and subject, 10
Vinayagar Temple, Tamil
Nadu, India), 5f

320 Index

Prang, Louis, 216 Rembrandt Harmenszoon van Rijn Rueda, Ismael Rodriguez, El Sueño Severini, Gino, Dynamic Hieroglyphic
Pre-Raphaelites, 290 Christ Presented to the People, de Erasmo, 136, 138f of the Bal Tabarin, 266f
primary colors, 183, 188, 188f, 202 13–16, 14f, 15f
Primary Structurism, 95 The Denial of St. Peter, 159f Ruisdael, Jacob van, and space, 227 sfumato, 150, 158
primary triads, 184, 189 Nathan Admonishing David, 105, 105f Runge, Philipp Otto, 216 shades (of color), 184
La Primavera (Nix), 21f and space, 227 Running Horse Attacked by Arrows shadows, 150, 154, 155, 165, 251
Prince Riding an Elephant (Karan), Susanna and the Elders, 286f Shadows (McKnight), 155f
and value, 160 (Paleolithic cave painting), 4f Shahn, Ben
160f
principles of organization, 3, 11, 47, Renaissance art S After Titian, 285f
form in, 79 Handball, 69, 70f
48–49. See also specific principles space in, 131, 226, 232, 233, 260 Saint Laurent, Yves, shallow space, 150, 160–162, 224,
Process Art, 3, 16, 303 time/motion in, 261 Mondrian-inspired dresses, 9f
process color system, 217–219, 218f, timeline, 282–285 225–226, 226f
Salonen, Esa-Pekka, 274, 274f shape, 35, 122–148
219f repetition, 49–50, 51 Samaras, Lucas, Mirrored Room, 91f
product design, 41, 43–44 and color, 209 Sassetta, workshop of, Meeting of and balance, 136–137
Propeller (Shemesh), 85f defined, 47 and closure, 124–125, 126f
proportion, 76–82, 83f and movement, 85 Saint Anthony and Saint Paul, defined, 3, 122, 123
and pattern, 52, 54 The, 137f dimensions of, 127–132
defined, 47 and shape, 132 saturation. See intensity and dominance, 133–134, 135–136,
and dominance, 83 in three-dimensional art, 89 Saville, Jenny, Fulcrum, 197f
golden mean, 46, 76, 77f, 78f, 79 Saw, Sawing (Oldenberg and van 138, 148
and picture frame, 29–30 Rephotographic Survey, 292 Bruggen), 81f and expression, 140–145
and shape, 138, 139 Replica of L. H. O. O. Q. (Duchamp), scale and extensions, 64, 134
in three-dimensional art, 92–93 defined, 47 and harmony/variety, 132–133
Proportions of the Human Figure 282f and dominance, 83 and line, 106–108
representational art. See objective/ and proportion, 79, 81 and movement, 134–136, 137f
(Leonardo da Vinci), 79, 79f and space, 228, 229f and plastic space, 122, 127,
psychology representational art in three-dimensional art, 92–93
The Resurrection of Christ A Scanner Darkly (Linklater), 130f 128–132, 129f, 131f, 249–251, 250f
and color, 205–206 Schactman, Barry, Study after and proportion, 138, 139
and shape, 140–141, 143 (Grünewald), 284f Poussin, 162f in three-dimensional art, 127,
See also expression; Gestalt Returning Fishing Boats (Homer), 228f The School of Athens (Raphael), 283f
reverse perspective, 224, 247 Schröder, Truus, Rietveld-Schröder 146–148
psychology rhythm, 50, 52, 53 House, 9f two-dimensional, 127–128
pure symmetry, 71 Schumer, Gary, Split Table Still types of, 123–127
Purple (Holzer), 95, 95f defined, 47 Life, 172f vocabulary list, 122
Putting Two and Two Together and movement, 85 Scott Pilgrim vs. the World, Volume II shared edges, 59–61, 60f
in three-dimensional art, 89 (O’Malley), 262f Sheeler, Charles
(Dougherty), 179f Richards, Linda, How to Peel an screen printing, 154 Composition around Red
“Pyramid,” Pyramid Lake, Nevada sculpture, 3, 38–39. See also
Orange, 99f three-dimensional art (Pennsylvania), 11f
(O’Sullivan), 292f Rietveld, Gerrit sculpture-in-the-round Delmonico Building, 240f
Pyramid Isle, Pyramid Lake, NV (freestanding sculpture), 257 Rolling Power, 141f
Red/Blue Chair, 9f Seated Blonde (Avery), 86f and shape, 141, 143
(Klett), 292f Rietveld-Schröder House, 9f Seated Clown (Lebrun), 97f, 114f Shemesh, Lorraine, Propeller, 85f
Rietveld-Schröder House (Rietveld Sebastian, Variacíon Nuevo Sherman, Cindy, Untitled #205, 284f
R Mexico, 90f silhouettes, 122, 146, 150, 165
and Schröder), 9f secondary colors, 184, 188, 188f silkscreen printing, 154
radial balance, 47, 72, 74, 91 Riley, Bridget secondary triads, 184, 189 simulated texture, 167, 171, 172f
The Raft of the Medusa (Muniz), Secret Little Door (Gagnon), 50f simultaneity, 280
Drift No. 2, 261f Seeped (Livingstone), 38f simultaneous contrast, 184, 200–203
178, 178f Evoë 1, 52, 53f Self-Portrait with Charlie Sketchpad, 273
Rainbow Pickett (Chicago), 95f Ringgold, Faith, Picasso’s Studio, 296f (Hockney), 288f sky plane, 233
Rape of the Sabines, study for Rippled Surface (Escher), 54f Sellars, Peter, 274 Sleep (Oropallo), 69f
Rivera, Diego, The Liberation of the Sellers, Coleman, 266 Slobodkina, Esphyr, Composition in
(Poussin), 162f Selznick, David O., Gone with the
Raphael Peon, 47f Wind, 268 an Oval, 29f
Rockburne, Dorothea sequenced images, 261 slow motion, 259, 270
La Fornarina, 284f Sequin, Carlo, Totem 3, 148f Smithson, Robert, Spiral Jetty, 302f
The School of Athens, 283f Mozart and Mozart Upside Down Sericulture (Liang Kai), 247f Sneak-Attack (Little), 226f
Rauschenberg, Robert and Backward, 141f serigraphy, 154 Snelson, Kenneth
Canyon, 180f Serra, Richard, Tilted Arc, 25f
Odalisk, 299f and shape, 141, 143 Seurat, Georges Dragon, 89f
Realism, 18 Rococo art, 289 Circus Sideshow (La Parade), and line, 120
defined, 3, 279 Rodin, Auguste, The Thinker, 293f 79, 80f Social Realism, 205
timeline, 283, 289, 291, 300 Rogerson, Andy, Typography Is Sunday Afternoon on the Island of soft edges, 143
Reclining Figure (Moore), 148f La Grande Jatte, 293f Soldner, Paul, Pedestal Piece, 42f
rectilinear shapes, 122, 123 Graphic Design, 255f Soviet International style, 298
Red/Blue Chair (Rietveld), 9f Rolling Power (Sheeler), 141f space, 28, 224–257
Reinhardt, Ad Romanticism, 279–280, 289 and color, 252–253
Blue, 302f Rothko, Mark and converging parallels, 230,
and economy, 86
Rejlander, Oscar, Two Ways of Life, and color, 205–206 231f, 232
Number 10, 202f
283f Roualt, Georges, Christ Mocked by
relief prints, 154
relief sculpture, 3, 38, 224, 256 Soldiers, 211, 211f
Round Trip, illustration from

(Jonas), 103f

Index 321

space—Cont. Street Art from West Bank Wall tenebrism, 150, 158–160 time/motion, 259–277
defined, 3, 224 (Banksy), 111f Terrain 10 (Woods), 100f and computer-aided art, 271,
and detail, 227 tertiary colors, 184, 189, 193–195, 273–274
and form, 87–88 structured ambiguity, 224, 253–255, and direction, 260–261
four-dimensional, 224, 257, 259, 253f, 255f 199, 202 and kinetic art, 85, 93, 275–276
260 texture, 167–181 and sequenced images, 261
and fractional representation, Study after Poussin (Schactman), 162f and superimposed images,
230, 231f Study After Velázquez’s Portrait of and composition, 176 264–266
infinite, 224, 227 defined, 167 in three-dimensional art, 274–277
and interpenetration, 230, 230f Pope Innocent X (Bacon), 287f and expression, 177–178 vocabulary list, 259
intuitive, 131, 224, 248, 249 Study for Figure of Falsehood on and line, 108, 110–111 See also motion pictures
and line, 112, 113, 248–249, 250 nature of, 167–169, 168f
and movement, 85 the Ceiling of the Palazzo and pattern, 174–175, 174f, timeline, 278–303
and overlapping, 228 Trento-Valmarana, Vicenza ancient art, 280–281
and position, 228, 229f (Tiepolo), 116f 175f, 176f Baroque art, 285–288
projection systems, 246–248, 246f style, 3, 7–8, 280 and plastic space, 176–177, 252 colonial art, 289
and scale, 228, 229f subject, 3, 10–11, 14 in three-dimensional art, contemporary portraiture, 288
and shape, 249–251, 250f subjective art, 3, 122. See Cubism, 286, 291, 294, 296, 297
structured ambiguity, 224, also nonobjective/ 178–181 Dadaism, 282
253–255, 253f, 255f nonrepresentational art types of, 169–174 early Christian/medieval art, 281
and texture, 176–177, 252 subjective color, 184, 206 vocabulary list, 167 early twentieth-century art,
in three-dimensional art, 225, substitution, 4, 36–37, 38f. See also Thaumatrope, 266 295–300
255–257, 256f casting themes, and pattern, 57 late twentieth century/twenty-
and transparency, 228, 230 subtraction, 4, 36, 36f The Theory of Color (Prang), 216 first century art, 300–303
types of, 225–227 subtractive colors, 184, 187–188 The Thinker (Rodin), 293f Modernism, 285, 295
and value, 251–252 Sudden Shower Over Shin-Ohashi Thomasos, Denyse, Urban Neo-Expressionism, 287, 294, 303
vocabulary list, 224 Bridge and Atake (Hiroshige), Neo-Figurative art, 288
See also plastic space 290f Jewels, 113f nineteenth-century art, 289–294
Suddenly Encroaching (Mason), 200f three-dimensional art, 28–29 Pictorialism, 283, 293, 295
Space (Breznik), 42f El Sueño de Erasmo (Rueda), 136, 138f Postmodernism, 284, 286, 289,
Spectacular Sunrise (Hall), 262f Sullivan, Louis, 39 areas of, 38–44 290, 296, 300, 301, 303
spectrum, 184, 185 Summer Moon (Steir), 101, 101f balance in, 91–92 prehistoric art, 280
Spectrum (Kelly), 195f Sun Spots (Marin), 252f basic concepts of, 32, 34–35 Realism, 283, 289, 291, 300
Speeding Automobile (Balla), 297f Sunday Afternoon on the Island of La color in, 221–222 Renaissance art, 282–285
Spero, Nancy, Artemis, Acrobats, Grande Jatte (Seurat), 293f defined, 4, 122, 224 Rococo art, 289
Sunshine, Norman, Equilibrium, 214f dominance in, 93, 148 Surrealism, 282, 287, 291, 299
Divas and Dancers, 82f superimposed images, 259, 264–266 economy in, 95 vocabulary list, 278–280
Spiral Jetty (Smithson), 302f Surrealism harmony/variety in, 88–90
spirals, 78f, 79 defined, 122, 280 line in, 119–120 Tinguely, Jean
split-complements, 184, 195, 197 and shape, 140 materials/techniques, 35–38 Homage to New York, 276, 276f
Split Table Still Life (Schumer), 172f and time/motion, 271 movement in, 89, 93–95 and movement, 93
Spring Beauty (Wyeth), 172f timeline, 282, 287, 291, 299 proportion in, 92–93
Stadt Theater Basel, 63/64 (Hofmann), Susanna and the Elders (Rembrandt), shape in, 127, 146–148 Tintin (Hergé), 115f
286f space in, 225, 255–257, 256f tints (of color), 184
161f Sutherland, Ivan, 273 texture in, 178–181 Titian (Tiziano Vecellio)
The Staircase (Bury), 302f Suzanna...Surprised (Nettles), 286f time/motion in, 274–277
The Starry Night (van Gogh), 18f, 169 Sykora, Zdenek, Line No. 50, 112f value in, 165 Allegory on the Theme of Prudence,
Stein, Gertrude, 21 Symbolism, 280, 293 three-dimensional effects. See plastic 285f
Steir, Pat, Summer Moon, 101, 101f Symbols of Manifest Destiny
Stella, Frank, Damascus Gate Stretch (Victory), 84f space The Entombment of Christ, 157f
symmetry, 47, 71, 91 Three Passages of Calligraphy and value, 158
Variation, 66f The Toast (Zorn), 109f
stereoscopic vision, 225 T (Wang), 117f Tomaselli, Fred, Bird Blast, 74f
Stevovich, Andrew, Internet Café, three-point perspective, 239–241, tonality, 184, 193
tactile qualities, 167, 168 tone (color), 184
52, 163f Tamayo, Rufino, Dos Personajes 241f Totem 3 (Sequin), 148f
Stieglitz, Alfred, The “Flat-Iron”, Three Studies of Figures on Beds Toulouse-Lautrec, Henri de, Jane
Atacados por Perros, 145f
295f Tanning, Dorothea, Guardian Angels, (Bacon), 294f Avril, 117–118, 118f
still frame, 259, 271 Three Walking Men (Giacometti), 299f transparency
Still Life with Basket of Fruit (The 124f Three Women (Le Grand Déjeuner)
Tapumes (Oliveira), 166f, 179f defined, 47, 224
Kitchen Table) (Cézanne), 263f Tassana (Benglis), 303f (Léger), 143f and harmony, 61
Still Life with Chair Caning (Picasso), Tatlin, Vladimir, Model for 300, 206 and space, 228, 230
#305–703 (Lessman-Moss), 103f in three-dimensional art, 90
170, 170f Monument to the Third thumbnail sketches, 162 Treasure Mountain Dove (Morin), 88f
Still Life with Fruit and Stringed International, 298f Tiepolo, Giambattista, Madonna The Trees (Mondrian), 7f
Tchelitchew, Pavel, Hide-and-Seek Trinity with the Virgin, St. John and
Instrument (Braque), 136f (cache-cache), 177f of Mt. Carmel and the Souls in
Still Life with Parrot (Kahlo), 206f technique, 4, 32 Purgatory, 84f Donors (Masaccio), 233f
Still Life with Tools (Beal), 160f tectonic qualities, 47, 88 Tiepolo, Giovanni Battista, Study for Trio (Magada), 116f
The Stone Within (Noguchi), 35f The Tempest (Giorgione), 283f Figure of Falsehood on the Ceiling The Tristan Project, 274, 274f
Straight photographers, 280, 300 of the Palazzo Trento-Valmarana,
Vicenza, 116f
Tilted Arc (Serra), 25, 25f
time, 259. See also time/motion

322 Index

trompe l’oeil, 167, 171, 172f, 180, 181 V Vertical Foliage (Calder), 53f Warhol, Andy
tropos (Hamilton), 257f Vertigo (Bochner), 102f 100 Cans, 54f, 301f
Troxler, Niklaus, Poster for Otello, value, 150–165 Victory, Poteet, Symbols of Manifest and time/motion, 271
and color, 150, 151, 162–163, 183, Yarn, 301f
214f 184, 190–192, 192f, 193f Destiny, 84f
Turrell, James, 186 and composition, 162–164 video, 259, 271. See also motion Waterfall (Escher), 246f
and decorative space, 150, Waterloo Bridge, Grey Weather
The House of Light, 187f 160–162 pictures
and space, 257 defined, 150 video games, 273 (Monet), 57, 204f
two-dimensional art and line, 108, 109f Viewing Thomas Moran at the Source, Web of Trees (Kahn), 206f
basic concepts of, 28–32 and media/techniques, 153–155 welding, 37f
defined, 4, 122, 224 in photography, 154–155 Artist’s Point, Yellowstone Wertheimer, Max, 57, 59
materials/techniques, 32 and plastic space, 150, 155–160, National Park (Klett), 292f What Makes You Tick? (Jacot),
shape in, 127–128 251–252 Viola, Bill
space in, 225 and texture, 168, 174 Going Forth by Day, 272–273, 57, 57f
Two Men Wrestling (Muybridge), 294f in three-dimensional art, 165 272f Whetting the Scythe (Kollwitz), 152f
two-point perspective, 237–239, 238f vocabulary list, 150 and The Tristan Project, 274, White, Minor, Moon & Wall
Two Ways of Life (Rejlander), 283f 274f
Typography Is Graphic Design value pattern, 150, 162–164, 184, 192 Virgin and Child with Saint Anne Encrustations, 23f
van Bruggen, Coosje, Saw, Sawing, (Leonardo da Vinci), 282f White Line Square IX (Albers), 142f
(Rogerson), 255f Vision After the Sermon (Jacob White Wall (Kendrick), 146f
81f Wrestling with the Angel) Who’s That Girl (Dunne), 33f
U van Gogh, Vincent (Gauguin), 201f Wind Seeker (Mishler), 90f, 257
visual linking, 59–65 Winters, Terry, Untitled (Indigo),
Uelsmann, Jerry, Untitled (rowboat, and color, 205 and extensions, 62–65
ocean, and clouds in cupped and content, 12–13 and overlapping, 61 250f
hands), 61, 61f Japonaiserie: Bridge in the Rain and shared edges, 59–61 Witkin, Jerome Paul, Jeff Davies,
and transparency, 61
Uli figure, New Zealand, 34f (after Hiroshige), 290f visual metaphors, 26 45f, 79, 81, 81f
Under the Wave off Kanagawa The Night Café, 13f visual ordering, 47–48 The Wizard of Oz, 268
The Starry Night, 18f, 169 visual unity. See unity Wojtkiewicz, Dennis, Kiwi Series
(Hokusai), 52f vanishing points, 232, 236, 239, 240, vocabulary lists
Unending Revolution of Venus, Plants, color, 183–184 #1, 168f
241, 243–244, 245f form, 46–47 Woman Descending a Stairway
and Pendulum (Graves), 92f Vanni Vinayagar Temple, Tamil introductory terms, 2–4
Unique Forms of Continuity in Space line, 98 and Turning Around
Nadu, India (ceiling painting), 5f shape, 122 (Muybridge), 293f
(Boccioni), 275, 275f Variacíon Nuevo Mexico (Sebastian), space, 224 Woman Doing Her Hair
unity texture, 167 (Archipenko), 147f
90f time/motion, 259 Women and Dog (Marisol), 221f
defined, 4, 47 Variations within a Sphere, No. 10, timeline, 278–280 woodcut prints, 154
and economy, 85 value, 150 Woods, Lebbeus, Terrain 10, 100f
and form, 48, 95–96 the Sun (Lippold), 120f voids, 122, 127, 147–148, 224, 257. World of Warcraft, 273, 273f
organic, 3, 13–16, 13f variety, 65–67 See also negative areas Wright, Frank Lloyd, library table
and positive/negative areas, 32 volume, 4, 35, 122, 127, 128f designed for the Sherman
The Unmasked Universe (Magritte), and color, 212–215 Booth House, 43, 43f
defined, 47 W Wu Zhen, Bamboo in the Wind,
251f and shape, 132–133 118f
Untitled (Bontecou), 145f in three-dimensional art, 88–90 Wachowski, Andy, The Matrix, 258f, Wyeth, Andrew Newell, Spring
Untitled (Cicale), 117f Vasarely, Victor 270f, 271 Beauty, 172f
Untitled (Goforth), 35f, 257 Orion, 66, 67f
Untitled (Indigo) (Winters), 250f Vega Per, 302f Wachowski, Lana, The Matrix, 258f, Y
Untitled (Judd), 92f Vault Sequence No. 10 (Fridge), 270f, 271
Untitled (Mitchell), 212f Yarn (Warhol), 301f
Untitled (rowboat, ocean, and 173f Walt Disney Concert Hall Yosemite Valley (from below Sentinel
Vega Per (Vasarely), 302f (Los Angeles) (Gehry), 40f
clouds in cupped hands) Velázquez, Diego Dome as Seen from Artist’s Point)
(Uelsmann), 61, 61f Wang Hsi-chih, Three Passages of (Hill), 177f
Untitled (skull) (Basquiat), 110f Innocent X, 287f Calligraphy, 117f Young Girl in the Lap of Death
Untitled #205 (Sherman), 284f Las Meninas, 287f, 288f (Kollwitz), 12f
The Uprising (Daumier), 19f Venus of Lespugue, 5f Wang Hui, Autumn Forests at
Urban Jewels (Thomasos), 113f Verhulst, Rombout, Bust of Maria Yushan, 29f Z
U.S. Geological Survey, 292
Utley, Claude, cover for Ghost van Reygersberg, 181f Zoetrope, 266, 268f
Town, 127 Vermeer, Johannes, Diana and the Zorn, Andres, The Toast, 109f

Nymphs, 63f

Index 323