Sayre woa ch09_lecture-243772

WORLD OF ARTWORLD OF ART

CHAPTER

EIGHTH EDITION

World of Art, Eighth EditionHenry M. Sayre

Copyright © 2016, 2013, 2010by Pearson Education, Inc. or its affiliates.

All rights reserved.

Painting

9

Learning ObjectivesLearning Objectives1 of 21 of 2

1. Distinguish among the early painting media—encaustic, fresco, and tempera.

2. Describe what is distinctive about oil painting as a medium.

3. Explain why watercolor is perhaps the most expressive of the painting media.

Learning ObjectivesLearning Objectives2 of 22 of 2

4. Discuss some of the advantages offered the artist by synthetic painting media.

5. Outline some of the ways that painting has combined itself with other media.

IntroductionIntroduction

• A figure known as La Pittura, "the picture," emerged in Italian art around the fifteenth century. This personification of painting

announced the cultural arrival as painting as an art.

• Artemisia Gentileschi's Self-Portrait presents the artist as both a real person and La Pittura.

Giorgio Vasari, The Art of Painting.1542. Fresco of the vault of the Main Room, Casa Vasari, Arezzo, Italy.

Canali Photobank, Milan, Italy. [Fig. 9-1]

Artemisia Gentileschi, Self-Portrait as the Allegory of Painting.1630. Oil on canvas, 35-1/4 ✕ 29". The Royal Collection.

Bridgeman Images. Photo: C. Cooper Ltd. © Her Majesty Queen Elizabeth II, 2015.[Fig. 9-2]

Early Painting MediaEarly Painting Media1 of 21 of 2

• Artists use pigments suspended in a medium, or binder, that anchors the pigment to the support or painting surface.

• Most supports are too absorbent to allow easy application, so they are primed with a paintlike ground.

Early Painting MediaEarly Painting Media2 of 22 of 2

• A solvent or vehicle is a thinner that allows the paint to flow more readily; often, it is water- or oil-based, depending on the base used to create the paint.

EncausticEncaustic1 of 21 of 2

• One of the oldest painting media, encaustic is made by combining a pigment with hot wax.

• Most surviving paintings come from Faiyum in Egypt. A transplanted Greek artist may have

been responsible for Mummy Portrait of a Man; there is remarkable skill with the brush.

Mummy Portrait of a Man, Faiyum, Egypt.ca. 160–70 CE. Encaustic on wood, 14 × 18". Albright-Knox Art Gallery, Buffalo, New York.

Charles Clifton Fund, 1938. © 2015. Albright Knox Art Gallery/Art Resource, New York/Scala, Florence. [Fig. 9-3]

EncausticEncaustic2 of 22 of 2

• Encaustic requires the painter to work quickly while the wax is still liquid.

• Luminosity afforded by the medium has led to a recent revival, as seen in Jasper Johns's Flag.

FrescoFresco1 of 51 of 5

• Early frescoes were discovered well at Pompeii and Herculaneum. Still Life with Eggs and Thrushes

features objects painted to life-size.• Fresco was the preferred medium for

wall painting. Pigment is mixed with limewater and

applied to a lime plaster wall either still wet (buon fresco) or dry (fresco secco).

Still Life with Eggs and Thrushes, Villa of Julia Felix, Pompeii.Before 79 CE. Fresco, 35" × 4' National Archaeological Museum, Naples.

© 2015. Photo Scala, Florence, courtesy of the Ministero Beni e Att. Culturali. [Fig. 9-4]


• Artists must work quickly with buon fresco before the plaster dries, but with fresco secco, the artist's pace can be as slow or quick as desired. However, a disadvantage of fresco

secco is that moisture can creep between the plaster and the paint. They survive best in arid climates.


• The Bodhisattva from India was created with layers of mud and straw as well as gypsum or lime plaster. The figure is lavishly adorned with

jewelry and forms a teaching mudra in his right hand.

• Italian Renaissance and later frescoes emphasized creating the illusion of reality.

Bodhisattva, detail of a fresco wall painting in Cave I, Ajanta, Maharashtra, India.ca. 475 CE.

© Dinodia Photos/Alamy. [Fig. 9-5]


• The Scrovegni Chapel was designed to house 38 individual scenes of the lives of the Virgin and Christ. In Lamentation, lines between different

sections of the fresco are apparent, especially in the sky.

• Giornata, or a "day's work," is what we call sections of frescoes that are able to be completed in a day.

Giotto, Lamentation.ca. 1305. Fresco, approx. 5' 10" × 6' 6". Scrovegni Chapel, Padua, Italy.

© Studio Fotografico Quattrone, Florence. [Fig. 9-6]


• A Baroque illusion ceiling is seen in The Glorification of St. Ignatius by Fra Andrea Pozzo. From the point of view of the

congregation, it is as though the roof of the church were removed to reveal the glories of heaven.

Dramatic foreshortening adds to the effect.

Fra Andrea Pozzo, The Glorification of St. Ignatius.1691–94. Ceiling fresco. Nave of Sant' Ignazio, Rome.

© Vincenzo Pirozzi, Rome. [Fig. 9-7]

TemperaTempera1 of 41 of 4

• Tempera paint is made by combining water, pigment, and a gummy material such as egg yolk.

• In Renaissance times, working with tempera meant colors could not be blended readily and chiaroscuro was accomplished through the means of hatching.


• Gesso, made from glue and plaster or chalk, prepares a surface for tempera paint.

• Giotto's Madonna and Child Enthroned exhibits an effort to advance the realism. The painting denotes a Madonna and

Child, but connotes the greater love of God for humanity.

Giotto, Madonna and Child Enthroned.ca. 1310. Tempera on panel, 10' 8" × 6' 8-1/4". Galleria degli Uffizi, Florence, Italy.

© Studio Fotografico Quattrone, Florence. [Fig. 9-8]


• The didactism, or ability of a work to teach or elevate the mind, was important to audiences in Giotto's time.

• Sandro Botticelli's Primavera is one of the greatest tempera paintings ever achieved. Much is known about the process

utilized to layer paints and washes due to its restoration in 1978.

Sandro Botticelli, Primavera.ca. 1482. Tempera on a gesso ground on poplar panel, 6' 8" × 10' 3-1/4". Galleria degli

Uffizi, Florence.© Studio Fotografico Quattrone, Florence. [Fig. 9-11]

The Creative ProcessThe Creative Process1 of 21 of 2

• Preparing to Paint the Sistine Chapel:Michelangelo's Libyan Sibyl Pope Julius II had originally envisioned a

commission for the ceiling of the Sistine Chapel to include geometric ornaments and the Apostles.

The new design containing 12 Old Testament prophets alternating with 12 sibyls was laid in cartoons traced with a stylus prior to being painted.

Michelangelo, Study for the Libyan Sibyl.1510. Red chalk on paper, 11-3/8 × 8-7⁄16". Metropolitan Museum of Art, New York.

Purchase, Joseph Pulitzer Bequest, 1924 (24.197.2). Image © Metropolitan Museum of Art/Art Resource/Scala, Florence. [Fig. 9-9]

Michelangelo, The Libyan Sibyl.1511–12. Fresco, detail of the Sistine Chapel Ceiling, Vatican City.

© Vatican Museums, Vatican City. Photograph: A. Braccetti/P. Zigrossi/IKONA. [Fig. 9-10]

The Creative ProcessThe Creative Process2 of 22 of 2

• Preparing to Paint the Sistine Chapel:Michelangelo's Libyan Sibyl A surviving study shows the figure of a

woman twisting in an almost spiral contrapposto.

The severity of line and detail in the original sketch has been reduced in the final painting.


• Julie Green's Don't Name Fish after Friends features faint traces of earlier paintings beneath the surface of the current version. It was painted overtop a portrait of a

Hasidic Jewish man, along with a portrayal an armadillo and a dozen other versions.

Julie Green, Don't Name Fish after Friends.1999–2009. Egg tempera on panel, 24 × 18".

Courtesy of the artist. [Fig. 9-12]

Oil PaintingOil Painting1 of 61 of 6

• Painters in Europe realized that oil paint was a more versatile medium than tempera. It can be blended on the painting

surface, thinned with turpentine, taken straight from the tube for impasto, and is slower to dry.

• Glazing the painting causes painted objects to appear to reflect light.

Diagram of a section of a 15th-century oil painting, demonstrating the luminosity of the medium.

[Fig. 9-13]


• Robert Campin and his workshop created The Mérode Altarpiece in oil to realistic effect. It is portable at only 2 feet square. Details of the Annunciation scene include

rays of sunlight that enter the room to fall directly on Mary's abdomen; a miniature Christ carrying the cross reveals that his entire life enters her body at the moment of conception.

Robert Campin and workshop, The Annunciation (The Mérode Altarpiece).ca. 1425–30. Oil on wood, triptych, central panel 25-1/4 × 24-7/8", each wing 25-3/8 ×

10-3/4". Metropolitan Museum of Art, New York.Cloisters Collection, 1956.70. © 2015. Image © Metropolitan Museum of Art/Art

Resource/Scala, Florence. [Fig. 9-14]

Robert Campin and workshop, The Annunciation (The Mérode Altarpiece) (detail).ca. 1425–30.

[Fig. 9-15]


• Jan de Heem's Still Life with Lobster depicts the wealth of the Dutch with a vanitas warning. These paintings remind us of the

frivolous vanity of human existence; material goods do not last as long as spiritual gifts.

Jan de Heem, Still Life with Lobster.Late 1640s. Oil on canvas, 25-1/8 × 33-1/4". Toledo Museum of Art, Toledo, Ohio.

Photo: Photography Incorporated, Toledo. [Fig. 9-16]


• New Refrigerator by Antonio López exemplifies a contemporary still life. The contrast between the light in the

room compared with the abstract blotches of items within the refrigerator still reflects the vanitas theme.

Antonio López García, New Refrigerator.1991–94. Oil on canvas, 7' 10-1/2" × 6' 2-13⁄16". Collection of the artist.

Photo © Francisco Fernández, Unidad Móvil Fotografía Especializada. © 2015 Artists Rights Society (ARS), New York/VEGAP, Madrid. [Fig. 9-17]


• Josephine Halvorson's Carcass shows the expressive potential of the oil medium. The artist paints overlooked objects in

single, day-long sittings on site to draw attention to what brought her to the object in the first place.

This particular painting was created for a carcass from a slaughterhouse.

Josephine Halvorson, Carcass.2011. Oil on linen, 34 × 28".

Courtesy of the artist and Sikkema Jenkins & Co., New York. [Fig. 9-18]


• Rackstraw Downes traveled widesly in a search for interesting material. Presidio... was painted on the Mexico/U.S.

border en plein air, referring to a work made on site, outdoors.• ATV tracks swirl through the hills in a

representation of man's impact on nature. His paintings distort to a bird's eye, 180-

degree view.

Rackstraw Downes, Presidio in the Sand Hills Looking East with ATV Tracks and Water Tower.

2012. Oil on canvas, 16-1/2" × 5' 5-1/4".Courtesy of Betty Cuningham Gallery, New York. [Fig. 9-19]

Watercolor and GouacheWatercolor and Gouache1 of 41 of 4

• Watercolor paintings are made by applying pigments suspended in water and gum arabic to dampened paper.

• Depending on paper absorbency, watercolor spreads along the fibers of the paper when it is applied.

• Winslow Homer's A Wall, Nassau features spaces of unpainted paper, dense color, and transparent washes.

Winslow Homer, A Wall, Nassau.1898. Watercolor and graphite on off-white wove paper, 14-3/4 × 21-1/2". Metropolitan

Museum of Art, New York.Amelia B. Lazarus Fund, 1910.228.90. © 2015. Image copyright Metropolitan Museum of

Art/Art Resource/Scala, Florence. [Fig. 9-20]


• Marin's Untitled (The Blue Sea) was the result of abstract trends. Rather than a visual recording of a

Maine coastline, it features basic forms of the landscape swept by washes of watercolor in an effort to capture the "moving of me" the artist wished to express.

John Marin, Untitled (The Blue Sea).ca. 1921. Watercolor and charcoal on paper, 16-1/2 × 19-5/8". Smithsonian American Art

Museum, Washington, D.C.Museum Purchase, 1964.2V. © 2015. Photo Smithsonian American Art Museum/Art

Resource/Scala, Florence. © 2015 Estate of John Marin/Artists Rights Society (ARS), New York. [Fig. 9-21]


• Gouache is opaque rather than transparent. Essentially, it contains watercolor mixed

with Chinese chalk. It is well qualified to create large, flat,

colored forms, but not to blend brushstrokes and color together.


• The painting from Jacob Lawrence's Harlem Series appears in drunken, disoriented imbalance created by flattened space.

• John Singer Sargent's Rushing Brook combines watercolor and gouache for a textured effect.

Jacob Lawrence, You can buy bootleg whiskey for twenty-five cents a quart, from the Harlem Series.

1942–43. Gouache on paper, 15-1/2 × 22-1/2". Portland Art Museum, Oregon.Helen Thurston Ayer Fund. © 2015 Jacob and Gwendolyn Knight Lawrence Foundation,

Seattle/Artists Rights Society (ARS), New York. [Fig. 9-22]

John Singer Sargent, Rushing Brook.ca. 1904–11. Watercolor, gouache, and graphite underdrawing on off-white wove paper,

18-3/8 × 12-3/8". Metropolitan Museum of Art, New York.Gift of Mrs. Francis Ormond, 1950.130.80i. Digital Image copyright Metropolitan Museum

of Art, New York/Scala, Florence. [Fig. 9-23]

Synthetic MediaSynthetic Media1 of 41 of 4

• Oil painting outdoors proved frustrating due to itsslow-drying properties compared with continual exposure to the elements.

• Los Tres Grandes, Siqueiros, Rivera, and Orozco, were a group of Mexican painters who experimented with synthetic media; they first used pyroxylin, an automobile paint.


• Water-based acrylic paints were produced beginning in 1956.

• Helen Frankenthaler worked with stain on unprimed canvas, a technique that attracted painters who were experimenting with acrylic Magna. The Bay has an atmospheric presence,

looking spontaneous despite its large size.

Helen Frankenthaler, The Bay.1963. Acrylic on canvas, 6' 8-3/4" × 6' 9-1/2". Detroit Institute of Arts.

Founders Society Purchase, Dr. & Mrs. Hilbert H. Delawter Fund. Bridgeman Images. © 2015 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York.

[Fig. 9-24]


• Acrylic surfaces were durable and well suited for outdoor and indoor spaces.

• Jeremy Deller's A Good Day for Cyclists mural features a hen harrier sinking its talons into a Range Rover. The work symbolizes an incident of two

hen harriers being shot out of the sky by Prince Harry and his friend in 2007.

Jeremy Deller, A Good Day for Cyclists (painted by Sarah Tynan).2013. Acrylic on wall, as installed in Jeremy Deller's English Magic, British Pavilion, 55th

Venice Biennale.Photo: Cristiano Corte. [Fig. 9-25]


• Acrylic paint in aerosol cans is the foundation of graffiti writing. While still considered a criminal activity

by many, graffiti has entered the mainstream art world.

• Kenny Scharf's part of the mural on Houston Street in SoHo was painted with a predetermined plan over the course of five days.

Kenny Scharf, Mural on Houston Street, SoHo, Manhattan, New York, as it appeared on May 31, 2011.

May 31, 2011. © Michel Setboun/Corbis. [Fig. 9-26]

Mixed MediaMixed Media

• When artists purposely combine various media, their work is classified as mixed media.

• Its primary purpose is that it violates the integrity of painting as a medium by introducing everyday materials to painting.

Collage and PhotomontageCollage and Photomontage1 of 21 of 2

• Collage involves pasting or gluing fragments of printed matter or flat material onto a two-dimensional surface.

• Juan Gris, in The Table, raises the question of what is "real" and "false" in art. Woodgrain designs are "real" wallpaper,

but "false" wood.

Juan Gris, The Table.1914. Colored papers, printed matter, charcoal on paper mounted on canvas, 23-1/2 ×

17-1/2". Philadelphia Museum of Art.A. E. Gallatin Collection, 1952. © 2015 Photo Philadelphia Museum of Art/Art

Resource/Scala, Florence. [Fig. 9-27]

Collage and PhotomontageCollage and Photomontage2 of 22 of 2

• When collage consists entirely of photographs, it is called photomontage. Martha Rosler combined news

photographs of the Iraq war and advertisements from magazines for Gladiators.

Martha Rosler, Gladiators, from the series House Beautiful: Bringing the War Home.2004. Photomontage, dimensions variable.

Courtesy of Martha Rosler and Mitchell-Innes & Nash, New York. [Fig. 9-28]

The Creative ProcessThe Creative Process

• Political Collage: Hannah Höch'sCut with the Kitchen Knife Hannah Höch utilized photomontage as

a means of protesting the nationalism of Nazi art.

In the image, identifiable figures are engaged in activities discussing Dadaism.

Hannah Höch, Study for "Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany."

1919. Ballpoint pen sketch on white board, 10-5/8 × 8-5/8". Staatliche Museen, Berlin, Preussischer Kulturbesitz Nationalgalerie.

bpk/Nationalgalerie, SMB/Jörg P. Anders. © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. [Fig. 9-29]

Hannah Höch, Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany.

1919. Collage, 44-7/8 × 35-7⁄16". Nationalgalerie Staatliche Museen, Berlin.Inv. NG 57/91. Photo: Jorg P. Anders, Berlin. © 2015 Photo Scala, Florence/bpk,

Bildagentur fuer Kunst, Kultur und Geschichte, Berlin. © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. [Fig. 9-30]

Painting Beyond the FramePainting Beyond the Frame1 of 31 of 3

• Kara Walker's installations seem unsculptural due to her use of silhouette.

• What transforms her installation into a sculptural work are the light projections from the ceiling that activate the scene as well as insert the viewers' own shadows.

Kara Walker, Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On).2000. Installation views, Solomon R. Guggenheim Museum, New York. Cut paper

silhouettes and light projections, site-specific dimensions.Purchased with funds contributed by the International Director's Council and Executive

Committee Members, 2000. Photo: Ellen Labenski. © Solomon R. Guggenheim Museum, New York. © Kara Walker. Courtesy of Sikkema Jenkins. [Fig. 9-31]

Kara Walker, Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On).2000. Installation views, Solomon R. Guggenheim Museum, New York. Cut paper

silhouettes and light projections, site-specific dimensions.Purchased with funds contributed by the International Director's Council and Executive

Committee Members, 2000. Photo: Ellen Labenski. © Solomon R. Guggenheim Museum, New York. © Kara Walker. Courtesy of Sikkema Jenkins. [Fig. 9-32]


• Robert Rauschenberg's Monogram is a combine-painting, or high-relief collage. The work brings together various objects,

allowing them to coexist without unity. Rauschenberg found the goat in a

secondhand store and struggled with finding a way to make it look as though it belonged in the painting.

Robert Rauschenberg, Monogram.1955–59. Freestanding combine: oil, fabric, wood, on canvas and wood, rubber heel,

tennis ball, metal plaque, hardware, stuffed Angora goat, rubber tire, mounted on four wheels, 42" × 5' 3-1/4" × 5' 4-1/2".

Art © Robert Rauschenberg Foundation/Licensed by VAGA, New York. [Fig. 9-33]


• Matte painting in cinema is a relatively new extension of painting. They were traditionally made by artists

using paints or pastels on large sheets of glass in which live-action footage might be filmed.

For The Bucket List, the matte painting of the Taj Mahal was wider than the actual Taj Mahal to allow for matching perspective.

The Critical Process: Thinking about The Critical Process: Thinking about PaintingPainting

1 of 21 of 2

• Representation is not the sole goal of painting, despite being an important one.

• Fred Tomaselli combines painting with mixed media to form his representations.

Fred Tomaselli, Airborne Event.2003. Mixed media, acrylic, and resin on wood, 7' × 5' × 1-1/2".

© Fred Tomaselli/Courtesy of James Cohan Gallery, New York and Shanghai. [Fig. 9-34]

The Critical Process: Thinking about The Critical Process: Thinking about PaintingPainting

2 of 22 of 2

• In Airborne Event, he portrays what appears to be an image of a psychadelic high, but with a price. The "jewel-like nature" of pills can also

be considered. Additionally, an "airborne event" can

include the spread of disease or disaster.

Thinking BackThinking Back1 of 21 of 2

1. Distinguish among the early painting media— encaustic, fresco, and tempera.

2. Describe what is distinctive about oil painting as a medium.

3. Explain why watercolor is perhaps the most expressive of the painting media.

Thinking BackThinking Back2 of 22 of 2

4. Discuss some of the advantages offered the artist by synthetic painting media.

5. Outline some of the ways that painting has combined itself with other media.

Sayre woa ch09_lecture-243772

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