The Power of Art (2nd edition) by Richard L. Lewis, Susan Ingalls Lewis
By Richard L. Lewis, Susan Ingalls Lewis
Short, visible, and correct, the facility OF paintings, 2e gives you an enticing, jargon-free survey for the artwork appreciation path. Richard and Susan Lewis open your eyes to the ability of paintings with their pleasing writing, so vigorous and succinct that you'll be capable to whole your examining quick, be aware of the accompanying illustrations, and are available to type ready. The book's reproductions -- greater than in different artwork appreciation texts -- assist you to concentrate on the foremost info vital to realizing the paintings. The textual content does a very good task of concentrating on the Western culture whereas incorporating non-Western fabric in key issues to illustrate cultural intersections and mutual impacts. transparent discussions of inventive kinds and paintings in Western tradition are complemented through boxed positive aspects like "Art News" and "Global View" that spotlight the relevance of paintings this day, debatable themes, and the influence of non-Western cultures at the West. as well as its very good paintings background assurance, the facility OF artwork includes a varied mixture of artists and spotlights the newest applied sciences used to create paintings.
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Extra info for The Power of Art (2nd edition)
1-28 Rachel Whiteread, House, 1993. Commissioned by Artangel Trust and Beck’s (corner of Grove Road and Roman Road, London E3, destroyed 1994). Whiteread asked for permission to make a cast of the spaces in the very last house before it was torn down. Unlike traditional bronze sculptures that honor heroes in a public park, Whiteread commemorated the lost homes of ordinary people. Wet concrete was sprayed into each room. When dry, the private spaces that were once lived in, walked through, dined in, and slept in became rock-hard.
SPACE In the Old Testament we are told, “In the beginning . . ” Empty space is the most fundamental of the elements of art and design. Each artist has a profound sense of the void as he or she stares at the piece of paper, the canvas, the block of marble, or the empty site before beginning work. Space is the field of action on which all artists do battle. Many artists feel as Rembrandt seems to in The Artist in His Studio (2-1), a little overwhelmed as they begin. Artists work within two kinds of space.
Examination of the work of art should yield a sense of the artist’s mastery of design principles like har- 1-44 Andy Warhol, 30 Are Better Than One (Mona Lisa), 1963. Silkscreen ink on synthetic polymer paint on canvas, 9Ј 2Љ ϫ 7Ј 10 ½Љ. © 1993 The Andy Warhol Foundation for the Visual Arts, Inc. mony, balance, rhythm, and pattern. No one element is essential, but if one is missing, its neglect must be justified by a special reason. For example, a chaotic effect might be explained by the artist’s desire to reflect the frenzy of modern life.