Hope you had a great week! I ask you do one activity at week at minimum. This can be the doodle of the day, the challenge of the week, or reading about the piece of art. Feel free to visit the art website as many days a week as you would like though for fun. I will have a new post for you each day. [email protected] What do you see? What do you think is happening? What do you wonder?
From the AIC: Edward Hopper said that Nighthawks was inspired by “a restaurant on New York’s Greenwich Avenue where two streets meet,” but the image—with its carefully constructed composition and lack of narrative—has a timeless, universal quality that transcends its particular locale. One of the best-known images of twentieth-century art, the painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Hopper’s understanding of the expressive possibilities of light playing on simplified shapes gives the painting its beauty. Fluorescent lights had just come into use in the early 1940s, and the all-night diner emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. The four anonymous and uncommunicative night owls seem as separate and remote from the viewer as they are from one another. (The red-haired woman was actually modeled by the artist’s wife, Jo.) Hopper denied that he purposefully infused this or any other of his paintings with symbols of human isolation and urban emptiness, but he acknowledged that in Nighthawks “unconsciously, probably, I was painting the loneliness of a large city.”
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I hope everyone is well. I love seeing all your art! Don't forget that I ask you do one activity at week at minimum. This can be the doodle of the day, the challenge of the week, or reading about the piece of art. Feel free to come to art as many days a week as you would like though for fun. I will have a new post for you each day. [email protected] What do you see? What do you think is happening? What do you wonder?
Where would you hang this in your house? Would you want to hang it in your house? From the AIC: Although influenced by Abstract Expressionist artists in New York in the early 1950s, Joan Mitchell did not prioritize self-expression: her often exuberant abstractions were “about landscape, not about me,” she once explained. Mitchell painted large, light-filled canvases animated by loosely applied skeins of bright color—here infused with the energy of a large metropolis. In City Landscape, a tangle of various colors—pale pink, scarlet, mustard, sienna, and black—evoke the streets of a bustling metropolis. The spontaneous energy conveyed in the composition is at odds with Mitchell’s slow and deliberate process. Unlike many of her contemporaries, who were dubbed “action painters,” Mitchell worked slowly and deliberately. “I paint a little,” she said. “Then I sit and look at the painting, sometimes for hours. Eventually, the painting tells me what to do.” I loved seeing everyone's snacks! I will be sure to write everyone back that has sent in their art. You can let me know if you have any questions as well. [email protected] Ivan Albright, Egearat, Turkey, 1973 Medium: Yellow colored pencil, with touches of blue and red colored pencil, on white wove card Ivan Albright, Tea Plantation, Kenya, Africa, 1970 Medium: Graphite and black colored pencil on off-white wove card Ivan Albright, “And the day ran into the night, memories…”, 1937
Medium: Pastel and gouache on gray wove paper Congrats! You have completed your first full week of e-learning in art. I love seeing the variety of projects coming through. When you send me your photos I ask you to share with me how you are practicing good craftsmanship from home. [email protected] What do you see? What do you think is happening? What do you wonder?
From the AIC website: The inspiration for Cité’ came to Kelly in a dream in June 1951, while he was staying at the Cité Universitaire, a large complex of buildings that included dormitories for the University of Paris. He wrote, “I dreamt that I was working on a scaffold … creating an immense mural composed of square panels on which we painted black bands with huge brushes.” [1] With the dream came an “idea for a very grand work, something to be used with architecture… . This dream is something I have been waiting for.” [2] To replicate the qualities of the dream painting, Kelly produced Study for “Cité”: Brushstrokes Cut into Twenty Squares and Arranged by Chance. Kelly brushed ink strokes across a sheet of paper, cut the resulting drawing into twenty squares, and randomly recomposed the drawing by shuffling the squares before he glued them onto a support in a grid pattern, retaining the horizontal orientation of the brushstrokes. Happy Monday! I miss you guys a lot, but seeing your smiling faces and art has been wonderful! Don't stop! [email protected] Art of the Day: Fishing Boats with Hucksters Bargaining for Fish, Joseph Mallord William Turner, 1837/38 |
Laura Wittneben TufteK-5 art teacher at Whittier and Longfellow Elementary Archives
May 2020
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