WORLD OF ART EIGHTH EDITION CHAPTER Painting World of Art, Eighth Edition Henry M Sayre Copyright © 2016, 2013, 2010 by Pearson Education, Inc or its affiliates All rights reserved Learning Objectives of Distinguish among the early painting media—encaustic, fresco, and tempera Describe what is distinctive about oil painting as a medium Explain why watercolor is perhaps the most expressive of the painting media Learning Objectives of Discuss some of the advantages offered the artist by synthetic painting media Outline some of the ways that painting has combined itself with other media Introduction • 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 Media of • 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 Media of • 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 Encaustic of • 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] 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 Process • Political Collage: Hannah Hưch's Cut 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, 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 Painting Beyond the Frame of • 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 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 Painting Beyond the Frame of • 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" Painting Beyond the Frame of • 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 Painting of • 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 Painting of • 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 Back of Distinguish among the early painting media— encaustic, fresco, and tempera Describe what is distinctive about oil painting as a medium Explain why watercolor is perhaps the most expressive of the painting media Thinking Back of Discuss some of the advantages offered the artist by synthetic painting media Outline some of the ways that painting has combined itself with other media ... 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... Ignazio, Rome © Vincenzo Pirozzi, Rome [Fig 9-7] Tempera of • Tempera paint is made by combining water, pigment, and a gummy material such as egg yolk • In Renaissance times, working with tempera meant... 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