Final Exam: Museum Paper

Domenico Veneziano
"Saint John in the Desert" c. 1445
Tempera on panel


Titian Venetian
"Saint John the Evangelist on Patmos" c.1547
Oil on Canvas


Art is one of the most ancient, unique and individualized forms of human expression. From the earliest civilizations around 30,000 years B.C.E., it has been used in various forms for a myriad of purposes: to express feelings or proclaim statements, describe nature, record stories, history, daily life and events, satisfy needs, evoke emotions, and offer praise. The average person with no artistic knowledge or background when asked to name two artists might mention Leonardo da Vinci or Michelangelo, possibly even Pablo Picasso. Rightfully so, each of these individuals were extremely talented and famous artists whose works remain world renowned centuries after their deaths. However, lesser known Italian artists such as Domenico Veneziano and Titian Venetian, creators of the above artworks respectively, may not receive such recognition despite their creation of beautiful and purposeful pieces of art. In 1445 during the period known as the early Renaissance, Florentine artist Domenico Veneziano created “Saint John in the Desert”; a representational painting reflective of naturalistic style. Roughly a hundred years later in 1547 and during the highlight of the Renaissance period, Venetian artist Titian created the painting “Saint John the Evangelist on Patmos”; also reflective of a representational and naturalistic style. Despite their lack of notoriety, these two artists composed paintings that through differences and similarities in the utilization of subject matter, visual elements, design principles, medium, techniques, and style have efficiently fulfilled all the artistic requirements to receive claim as commendable works of art.

In art, subject matter refers to the objects or events a work of art illustrates and the theme are like conceptual threads that link art’s entire history, allowing us to study the world from a particular point of view (Getlein 36). Veneziano and Titian’s paintings both share the same theme of story and history and their paintings depict Biblical historical stories or events. Veneziano’s painting refers to the Biblical character John who preached and taught of the coming Messiah while Titian’s painting depicts another Biblical John who while exiled on the Isle of Patmos received the Revelation from God. In addition to story and history, the theme of human experience is also applicable to the artists’ works. In Veneziano’s painting, the saint lowers his robe in a gesture of relinquishing worldly possessions and concerns. His nude form suggests rebirth; the start of a new life of spiritual existence while the ruggedness of the mountains depict the honest and stark challenge he has accepted. In Titian’s painting, human experience is implied through the placement. The stance his saint displays indicates the immensity of the revelation he is about to receive and a change in his life as well. Themes are often used by artists simply for its provision of subject matter in art (62) and these two artists similarly employed the same theme.

Visual elements refer to the components or “ingredients” artists use in creating art and the elements that we perceive and respond to when we view it (81). Like the great artists before them, Veneziano and Titian employ the use of many visual elements: space, color, and light to name a few. In addition, in engaging the viewer’s attention to the critical components of their work Veneziano and Titian employed the following common principles of design: unity and variety, emphasis and subordination, and balance (121). Interesting similarities and differences can be noted in their utilization of these elements and principles.

Veneziano and Titian use different forms of perspective to convey space. Linear perspective is applied when forms appear to diminish in size as they recede or when parallel lines appear to converge in the distance until they disappear (109). In Veneziano’s use of the element, one can see a path to the right leading to the horizon and naturally disappearing. Titian however, more employs atmospheric perspective—the observation in which distant objects appear paler, bluer, and less distinct than nearby objects due to the scattering of light by moisture and dust in the atmosphere (113). The saint in Titian’s painting is clothed in the vibrant primary color red while the extra figures in the background seem more bluish. To direct attention to his saint Veneziano also uses the color red. Implied light, artificial and permanent, is used to model mass and shape and is created by artists using light and shadow (92). The vibrant red of the lowered cloak and the golden halo of John’s head are examples of the Veneziano’s use of implied light. However, he is not as effective as Titian in using in implied light to depict mass and shape. Titian uses chiaroscuro, the technique of using value (shades of light and dark) to record light and shadow (92). Using this technique, the mass and shape of his John’s thigh under his robe is made visible he appears more realistic and three-dimensional.

In art, the principle of unity refers to as a sense of oneness or visual harmony while variety describes the difference that disturbs the unity while creating interest (122). Veneziano displays unity with the desert background of the painting and the subtle but continuous shifts in value. The saint’s nakedness blends with the openness (or nakedness) of the mountains and the use of natural, earthy tones are consistent with his flesh. Variety is displayed into this natural milieu by the use of the primary color red, which by being the most distinct of all claims the viewer’s attention. Although Titian also employs color to signify variety in his work, unlike Veneziano he uses hints and values of red as well as light and action to signify interest. This inclusion well displays another design principle, emphasis and subordination. Emphasis is the focal point, or a clearly defined area to which one’s eye is attracted. In both artists’ paintings, emphasis is created with the red colors or cloaks. Subordination refers to other areas purposely made less visually interesting so the emphasis remains vibrant and overt (134). This is evidenced by Veneziano’s earthy toned background and in Titian’s art by the dark contrast of the mound on which John stands and the cool submissive blue of the sky. Lastly, the artists’ works display balance which visually speaking, refers to the equal distribution of weight along its central axis (124) and can be defined as symmetrical or asymmetrical (125,129). The placement of angels and holy characters in the upper left of Titian’s painting signify asymmetry. In addition, the bulk of John’s bright red outer garb, his physical position in the painting and the gaze of the eagle are directed leftward. Veneziano’s work also displays asymmetrical balance by the tendency of the mountains and the bushes to lean to the left of painting; thus creating an unequivocal fullness or weight on that side. As displayed in their work, Veneziano and Titian effectively utilized the principles of design. The combined use of the visual elements and design principles assist the artists in their creation of an appealing visual experience.

The moods of the two paintings are drastically different. Due to the significance of the events depicted and the visible occurrence of activity in Titian’s painting one can describe the mood as dramatic and dynamic. Winged cherubs surround a heavenly man with an outstretched as a waiting John prepares to receive the impending revelation. John’s emotions are difficult to assess and one can ponder if indeed, his face displays the emotion called fear. Conversely, Veneziano’s painting emits two moods. The deserted background with its single human occupant reflects isolation and abandonment of sort. A feeling of uncertainty and possible peril however, can be felt from the sharp, serrated peaks and slopes of the mountains.

The medium and techniques artists utilize in creating their painting is probably as important as the paintings themselves. Medium is referred to as the material from which a work of art is made as well as the liquid mixed with a pigment to make paint (168). Veneziano used the most popular medium of the Middle Ages and the Early Renaissance, tempera on panel. Despite its quick drying time that consequently makes it difficult for colors to easily blend once they are set, an advantage of tempera is its retention of a painting’s luster and brilliance for centuries (171). This explains the preservation of Veneziano’s painting, even with the lack of luster and shine. Painting techniques Veneziano appeared to use include harsh brush strokes; likely to conform to the mountainous theme of the scene. This in combination with shifts in value of earthy tones and implied directional lines suggests the painting has a rugged and textured feel. On the other hand, Titian used the most popular medium of the remainder of the Renaissance in his painting, oil on canvas. Oil paints consist of pigment which dries very slowly and allows the artist to blend colors subtly, apply very thick or thin layers of paint, and rework various sections of their paintings (173). Thick application of pigment can be seen in the darker or richest colors in Titian’s painting such as the raven and the suspended angel’s wing. Lighter values appear to be applied with thinner applications. Oil paintings are known to yellow and darken with age which leaves the viewer to imagine the luster and vibrancy Titian’s painting once possessed.

The period and culture in which a work of art is made influential to the style it displays. Style refers to recurrent or constant characteristics that are present in an artist, period, or movement’s work (587). Keeping in stride with the appearance and some of the common styles of the Renaissance as well as with his own personal stylistic preferences during the current phase of his career, Veneziano’s work is representational and naturalistic. Representational refers to artworks that depict form in the natural world and naturalistic is the descriptive approach to portraying the visible world that emphasizes the objective observation and accurate imitation of appearances (585). In other words: the way in which the form of Veneziano’s graceful nude saint is revealed by light and shadow, how his body accurately reflects bone and muscle, and how his cloak folds as he lowers it; all is naturalistic (29) and accurately represents the Renaissance artists’ fascination with the natural world, the human body and their efforts to accurately depict it. This was Veneziano’s preferred approach and style. Many of Veneziano’s other works include religious themes and the medium of tempera on panel. In addition, the upcoming Renaissance technique of linear perspective is evident in his work and the same brush technique utilized here to create the sharp ruggedness of the mountains is also visible in other creations by Veneziano. Like Veneziano, Titian’s work is religious, representative and naturalistic. Stylistic elements of atmospheric perspective and foreshortening, the visual phenomenon where an elongated object projecting toward or away from the viewer appears shortened and compressed are utilized by Titian in this painting (583). While Florentine artists such as Veneziano highlighted sound drawing over other artistic techniques Venetian painters such as Titian delighted in color and light. This new cultural artistic technique, coupled with the Renaissance’s burning desire to create natural and humanistic work is evident in Titian’s work. Thus sumptuous colors and rich painterly textures are characteristic of Titian’s preferred style.

Domenico Veneziano and Titian Venetian both lived during the period of intense and exciting artistic revival known as the Italian Renaissance. Similarly, some of the world’s greatest artists lived and worked during this period rightfully receiving fame and glory for their creative masterpieces. I however, did not examine or critique works by any of these famous artists but chose instead to observe and respond to the creations of Domenico Veneziano and Titian Venetian. Perhaps it was the simple yet stark reality of Veneziano’s “Saint John in the Desert” that drew my interest. Maybe it was the vibrant colors and the dramatic action-packed scene depicted in Titian’s “Saint John the Evangelist on Patmos”. Or could it have been the fact that mistakenly thought I would be comparing and contrasting the artistic depiction of the same Biblical character John by two different artists. Whatever the reasons, I’m delighted with my choice. Through their works, these two artists have taught me more about the anatomy and beauty of art than I have ever known. I have increased my appreciation of art and have acquired the ability to describe it in more words than just “It’s unique” or “I don’t know why, I just like it.” Although they might not have created distinguished artworks like da Vinci’s “Mona Lisa” or Michelangelo’s “Sistene Chapel”, Titian Venetian and Domenico through the intellectual use of subject matter, visual elements, design principles, medium, techniques, and style have created works deserving of my artistic praise.

Activity #13: Movements and Styles

In 1445, Florentine painter Domenico Veneziano created “Saint John in the Desert” on the favorite medium of Medieval and Early Renaissance artists, tempera on panel (Getlein, 399). The Renaissance period, founded in Italy and spanning the time from the 15th to the 17tcentury, reflects an exciting era of renewal in the world of art where its culture and spirit returned to the Classical themes and styles of the great Roman and the Greek empires and new innovative and ingenuous artistic techniques began to emerge. Keeping in stride with the appearance and some of the common styles of the Renaissance as well as with his own personal stylistic preferences during the current phase of his career, Veneziano’s work is representational and naturalistic. Representational refers to artworks that depict form in the natural world and naturalistic is the descriptive approach to portraying the visible world that emphasizes the objective observation and accurate imitation of appearances (585). In other words: the way in which the form of Veneziano’s graceful nude saint is revealed by light and shadow, how his body accurately reflects bone and muscle, and how his cloak folds as he lowers it; all is naturalistic (29) and accurately represents the Renaissance artists’ fascination with the natural world, the human body and their efforts to accurately depict it. This was Veneziano’s preferred approach and style. Style refers to recurrent or constant characteristics that present in an artist, period, or movement’s work. Many of Veneziano’s other works include religious themes and the medium of tempera on panel. In addition, the upcoming Renaissance technique of linear perspective is evident in his work and the same brush technique utilized here to create the sharp ruggedness of the mountains is also visible in other creations by Veneziano. In relation to movements, Veneziano’s works do not apply. Movements refer to a succession of styles in art and roughly began after the end of the French Revolution in 1799. By this time, Veneziano had long passed.


In 1547, Titian Venetian created “Saint John the Evangelist on Patmos” using the most popular medium of the High Renaissance period, oil on canvas (399). During this time, popular and amateur artists had long retired the medium of tempera on panel. While Florentine artists such as Veneziano highlighted sound drawing over other artistic techniques Venetian painters such as Titian delighted in color and light. This new cultural artistic technique, coupled with the Renaissance’s burning desire to create natural and humanistic work is evident in Titian’s work. As a matter of fact, sumptuous colors and rich painterly textures are characteristic of his preferred style. Like Veneziano, Titian’s work is religious, representative and naturalistic. Stylistic elements of atmospheric perspective, an observation that distant objects appear less distinct, but more paler and bluer than nearer objects due to the effect of moisture and light as well as foreshortening, the visual phenomenon where an elongated object projecting toward or away from the viewer appears shortened and compressed are utilized by Titian in this painting (583,586). Titian’s works are also unspecific to any artistic movement but like Veneziano is representative of the great artistic period of the Italian Renaissance.

Activity 11: Periods and Cultures

The Renaissance or rebirth refers to a period of revival of interest from the dark Middle ages of “ignorance and intellectual decline” to the Classical art of the ancient Roman and Greek culture (Getlein, 393). A period of artwork refers to a span of time of at least 100 years where artists create work with distinct but similar styles, approaches and techniques. Roughly covering the period from the 1400 to 1600, numerous artistic changes arose in the world of art during the Renaissance; to the point where some say it was here the concept of “art” officially arose (393). Most notably known for its conception in Italy the Renaissance gave us some of the most prolific and extraordinarily talented artists of all time; Michelangelo, Leonardo da Vinci, Raphael… “Saint John in the Desert” and “Saint John the Evangelist on Patmos” and are two artworks both created during different times in the Renaissance period and are representative of a distinct Italian culture. Differences and similarities are apparent in both works as they relate to period and culture.


This first painting “Saint John in the Desert” was composed by Domenico Veneziano in1445 and hails from Florence, Italy in the Early Renaissance. The Early Renaissance was the final transitional period from the intensely religiously preoccupied High Middle Ages to a renewed interest in the liberal arts and the peak of architectural and artistic advancements in the Renaissance. Nonetheless, the Renaissance still greatly respected and valued religious works; the period singe-handedly is accountable for the creation of world famous religious architectures and art. Thus it is not ironic that Veneziano chose to create the religious themed painting. Created with tempera on panel, Veneziano’s painting is a part of a large altarpiece in the church of Santa Lucia de' Magnoli in Florence (399). Though created during the Renaissance the sharp stylized forms of the background is suggestive of a lingering dependency possibly on artistic styles of the High Middle Ages.


“Saint John the Evangelist on Patmos” was created in 1547 in Venice, Italy by Titian who is known as the greatest Venetian painter of the High Renaissance (408). The High Renaissance depicts the highlight of the period where some of the greatest works in history was created. During this time the culture of Italian art peaked with artistic creativity and inventions like that of using the new medium of oil on canvas instead of tempera. Although Titian differed from Veneziano in the utilization of this medium, he shared a movement similarity in his creation of a religious themed painting.

Titian Venetian and Domenico Veneziano created artworks that although similar in theme display similarities and differences in the period and culture of which they were created.

Critical Thinking Essay

I would choose Gerhard Richter’s “Annunciation After Titian” to save if an impending meteorite were to strike the Hirshhorn Museum and Sculpture Garden in Washington, DC for its religious theme and its expressive use of design elements.

This oil on linen painting is one of a series of five created by Richter in 1973 after he viewed the original “Annunciation” Titian Venetian composed in 1540. This religious themed painting is representative of one of the most famous and spiritual events in Biblical history and Christianity; the moment in which a kneeling Virgin Mary receives the Holy Spirit and is approached by the angel Gabriel who brings news that she had been chosen by God to bear His only son. Spirituality and/or religion are vital and fundamental aspects of humanity and can be found in every culture and civilization. It is important to me that art respective of this primary element of life would be preserved for others to experience.

As it relates to design elements, Richter’s work is impressive. While thematically a reproduction of Titian’s work it differs in its naturalistic yet surrealist representation. Visually, the painting is not clear but hazy and blurred instead. It appears to be created with soft sweeping brushstrokes in which the colors bleed into a trancelike scene. The emphatic use of the vibrant primary color red is symbolically important and serves as a natural focal point creating both emphasis and variety.

If not for its historical and religious reason motives or its creative and exemplar utilization of design elements but simply for its illuminating view and sheer beauty, I choose to save Gerhard Richter’s “Annunciation After Titian”.
-Haneika Edwards



While particularly problematic to move, Henry Moore's sculpture "Three-Way Piece No. 3- Vertebrae" would be my choice to save if the Hirschhorn Museum was about to be destroyed. Located in the the museums Sculpture Garden, the statue is not a conventional piece of art. Personally, I prefer sculpture and 3 dimentional art over paintings because they are less common and are not what first comes to mind when thinking of art. I know I would definitely save a sculpture to remind people that art is not just 2 dimentional. Furthermore, as the name suggests, it is meant to creatively represent 3 different vertebrae. This carry over, science becoming art, especially small individual parts of the human body, is one of my favorite genres. Unfortunately there is not much well known art, much less art given the honor of being displayed at the Hirschhorn, that follows this subject matter. Overall, my reasoning for saving this particular piece of art is because itis a good representation of how art does not have to be all paintings of landscapes and people but can be obscure and still be beautiful.
-Emily Karl

Activity #10: Mediums and Techniques

In 1547, Titian Venetian created Saint John the Evangelist on Patmos using the medium oil on canvas. Medium is referred to as the material from which a work of art is made as well as the liquid mixed with a pigment ( powdered color) to make paint that also binds together the particles of color without dissolving them (Getlein, 168). Oil paints are simply self-explanatory, and consist of pigment compounded with oil. Titian’s work is demonstrative of several known characteristics of oil paintings. Oil paint dries very slowly and consequently allows the artist the opportunity to blend colors subtly, apply very thick or thin layers of paint and rework various sections of their paintings (173). The darker or richest colors in Titian’s painting such as the raven and the suspended angel’s wing appear to be made with thick applications of pigment while the lighter values represents thinner applications. Oil is known as sensuous medium with a distinctive feel and smell (176). Visually speaking, the painting appears to be created with soft brushstrokes some of which are purposely visible in creating the elements of the scene. Oil paints are also known to yellow and darken with age which leaves the viewer to imagine the luster and vibrancy the painting once possessed now replaced with a dullish view.





Domenico Veneziano created Saint John in the Desert in 1445 using the medium of tempera on panel. Tempera is described as paint in which the pigment is mixed with an aqueous, emulsified medium, typically egg yolk (171). Unlike oil tempera dries very quickly, making it difficult if at all possible for colors to easily blend once they are set. An advantage of tempera though is its retention of a painting’s luster and brilliance for centuries (171). Thus, despite its lack of gleam and shine Veneziano’s painting appears well preserved. In this work, the paint’s texture is undeniably apart of the painting. Veneziano used harsher brush strokes in his painting; likely to conform to the environmental theme of the scene. This in combination with shifts in value of earthy tones and implied directional lines suggests the painting has a rugged and textured feel.

Activity 9: Write About It

The invention of the camera and the “art” of photography appeared in the early 19th century and as agreed upon by some, could not have appeared at a more perfect time. Why one might ask? Simply, because it unveiled invaluable opportunities for the appearance of visual art and their talented creators while forever changing the face of art as it was previously known. The most apparent change in visual arts that was brought about with the widespread use of the camera and photography relates to theme and subject matter, form (or type) and expressiveness.

Prior to the creation of the camera the appearance and content of visual art as was generally stipulated by four common themes or purposes: religion, classical, portraitures, and commemoration. Artists lacked individuality and expressive liberty and thus all their creations were traditional and reflective of the ideas and themes of times past. In expansion, artists were limited to the creation of paintings and sculptures representative of religious themes of which they were commissioned by religious organizations and churches. As well, art depicting classical themes, portraitures of the wealthy and upper-class aristocrats, and the commemoration of historical or important events were expected, common and accurately portrayed the face of visual art.

With the creation of the camera, several benefits were reaped. First, the camera allowed for the creation of optically convincing representations of people and objects without the use of the design techniques of perspective and chiaroscuro, which previously were the only methods available to artists through painting (Getlein, 210). Its ability to create permanent images that reflected light was especially important as it impacted artistic movements later in the century. Secondly, with advancements in technology the camera became portable and able to create instant, real-time, clear, accurate, multiple, and cost-effective depictions of people and events as they occurred. Thus, the products of photography also became portable, available for mass and immediate distribution, and representative of anything. “Almost anywhere a person could go, a camera could now go; almost anything a person could see, a camera could record (215). Nature, daily life, “regular people” and politics and social order with its consequences of war and turmoil quickly became popular and regular subjects. Photography was made available to the general public and was easily accessible in journals, newspapers and the media. As the expressive liberties of the camera and photography became widespread so did those of painters, sculptures and other types of artists and the walls and constraints of the common artistic themes and purposes that previously restrained them began to crumble. These liberties were expounded with the formation of several artistic movements that occurred along with the Industrial Revolution in the 19th century period known as Modernism.

Impressionism was the first artistic movement during this Modernistic Era. The movement is defined by subject matter and technique and represents art work painted outdoors that portrayed daily life (in opposition to the time’s academic art) and the rebuffing of traditional painting with its preliminary sketch of one of the four typical themes and its indoor completion with smooth, soft and hidden brushstrokes (584). In Impressionism the technique involved quick, deliberate, broken and visible brushstrokes. Embracing this new movement with its bold concepts and techniques and along with his desire to create design harmonies of light, color and shape as it visibly appeared to him labeled Claude Monet as the most exemplar Impressionist painter (514). As a pioneer in Impressionism, Monet’s work inspired others such as Henry O. Tanner (“The Banjo Lesson) and James McNeill Whistler (“Nocturne in Blue and Gold”) to also create exemplar Impressionist works.

As with all movements and eras past, the Impressionist movement died and several artistic movements rose and also fell in its footsteps. These include Post-Impressionism, Abstract Expressionism, Cubism, and Dadaism. Many of the art work of these movements projected the theme of politics and social order and following the footsteps of photography explored the potential of abstraction and non-representation. As photography proved to bear witness to and document events so were the themes, forms, and expressions of Dadaistic art. Described as provocative and absurd, Dadaism was formed in 1916 as a reaction to the gruesome fatalities of World War I and was more reflective of an attitude than a movement (222). As an anti-war movement, Dada protested everything: the complacent and conformist society that instigated war and the social and economic consequences it presented (528). It detested commonality, stillness, labeling and structures of all form. In addition, Dada embraced and encouraged creativity, life, spontaneity, ambiguity with all types of expressive unconventional art and artists. Expectantly, a defining theme of Dada would include photographs and collages of wars, leaders, poverty and destruction. Collages are from real source materials such as fabric, newspapers, and magazines—all are cut and arranged methodically onto a surface. Using this unique and expressive art form especially in making political statement, Hannah Hoch became one of Dada’s most prolific artists.

Throughout the 19th century the invention of the camera and its widespread use in photography has forever impacted the appearance of visual arts and their creators in theme and subject, form and expressiveness.

Activity 8: BLOG IT! Collage

The above is representative of a ransom note collage. The tools utilized in creating this collage were newspaper clippings and pictures from various signs within the community. Visual elements of color and design principles of emphasis, variety and subordination can be seen.

Activity 6 & 7: Art 101 Mid-Term Exhibition and Introduction

Art is one of the most ancient, unique and individualized forms of human expression. Evidence and findings exists demonstrating and proving that from the earliest civilizations around 30,000 years B.C.E., various forms of art have been used to express themes (Getlein, 5). Themes are conceptual threads woven continuously throughout (art) history that allow us to study the world from a particular point of view (50). As a necessary ingredient in art, many such threads of themes exist that depict feelings, describe nature, record stories, history, life and events, evoke emotions, offer praise, proclaim statements (subtly or overtly) or simply satisfy needs. As the perception of life and the world is individual, so are the themes in art. However, minor room exists for variances in opinion about the theme of the following exhibition. Composed chronologically, these six expressions of art were created by artists representing diverse civilizations, cultures, and time periods. The defining theme that connects and illustrates the relationship among them is that of politics and social order. Using visual elements and various principles of design these works boldly display the politics and social order of societies in time’s history.

The theme of politics and social order is present in art from the beginning of recorded time. The first two works, The Great Sphinx and the Burial Mask of Tutankhamen were created within 2000 years of each other and arise from the Egyptian civilization whose artwork is recognized for its timelessness and continuity and its allegiance to its pharaohs (leaders). The shape of The Great Sphinx, a limestone monumental sculpture, is the head of man believed to be the pharaoh Khafre and the body of a reposed lion. Likely created by lower class Egyptians slaves its height ascends 65 ft and it body’s length expands 200 ft. The sphinx is representative of the king, and thus is symbolic of order, stability, power and fortitude (357). The scale and mass of this monument displays the power and importance of the pharaoh and is the largest sculpture of its type (137, 87). Placement and light was employed ingenuously by these early artists. The sphinx faces the east—thus is illuminated daily by the light of the rising sun, further emphasizing importance (134). Tutankhamen like Khafre was an Egyptian ruler. His distinctive mask is made of solid gold, adorned with symbolic artifacts and colors and confers immortality.

The four remaining artworks boldly depict or proclaim political events and/or the social order of the time. Francisco de Goya’s painting titled Executions of the Third of May, 1808 uses the visual elements of the primary colors red and yellow as well as light and directional lines to create emphasis and subordination in the dramatic historical scene during the invasion of Spain by Napoleon (136). Numerous members of an uprising force were brutally murdered by firing squads at the hands of French soldiers. Continuing, Aaron Douglas’ painting Into Bondage simultaneously portrays the plight of slavery and bondage of African Americans in America and hope and determination for freedom and the future. For centuries, African Americans ranked at the bottom of the social order in America. Douglas creates distinct geometric shapes with the use of light and shifts in values of the primary color blue (95). Directional lines are created by a procession of gold chained men who enter the horizon from the right and light permeates the face of the painting’s central character as he gazes boldly toward it (85). These elements and the subject of the painting accurately fulfill this theme.

The fifth work of art is a wood engraving created by Rockwell Kent’s, Workers of the World, Unite! This work is illustrative of the time period of the Great Depression in America and the efforts of industrial workers to unionize and survive. An industrial worker can be seen vehemently warding off the bayonets of unseen individuals projecting from the right of the scene with a shovel. Directional lines are used to create fire which also projects from the right adding to the challenges and forces the worker faces. Emphasis and subordination are displayed as the vigilant fighter is poised defensively at the center of the work, appearing larger and serving as the picture’s main focal point. Visually, black and white are the only colors present in the work and deem appropriate for the significance of the scene.

Lastly, and possibly the most recognized depiction of politics and social order of all these works is Pablo Picasso’s Guernica. This famous painting depicts and protests the purposeful and inhumane destruction of the people and city of Guernica, Spain by the Nazi’s in April of 1937 during the Spanish Civil War (60). Scaled at 25 ft long and 12ft high scenes of dread, fear, pain, anguish and death can be seen as fire engulfs lives and the city. Black and white with shades of gray are the only colors used and geometrical shapes are clearly visible in the distorted and fragmented bodies of the paintings’ abstracted characters (581).

These six works are exemplar examples of art created by different artists, in different cultures, and different time periods yet all connected and woven by the theme of politics and social order.


The Great Sphinx c. 2500 B.C.E.
Limestone Rock
Cairo, Egypt




Burial Mask of Tutankhamen c. 1325 B.C.E
Gold inlaid with blue grass and semiprecious stones
Egyptian Museum, Cairo




Francisco de Goya
Executions of the Third of May, 1808. 1814-1815
Oil on Canvas
Museum del Prado




Aaron Douglas
Into Bondage. c. 1936
Oil on canvas
In the Collection of the Corcoran Gallery of Art,Washington DC,USA




Rockwell Kent
Workers of the World, Unite! c. 1937
Wood engraving
Library of Congress, Washington, D.C



Pablo Picasso
Guernica c.1937
Oil on Canvas
Museo Nacional Centro de Reina

Activity #5: Write About It!!

The tempera on panel painting, “Saint John in the Desert”, was created by Italian artist Domenico Veneziano in 1445 and the oil on panel painting, “Saint John the Evangelist on Patmos” was created in 1547 by Italian artist Titian Venetian. Both artists use various themes to detail the events of their work.

The theme utilized in Veneziano’s work is story and history. Stories and histories are often used by artists as they provide a subject matter for their creations (Getlein 62). Subject matter refers to the objects or events a work of art illustrates and in his painting the Biblical historical stories or events are depicted (36). Placement and color play significant roles in Veneziano’s work as these principles and elements are used as emphasis in the scene and thus display importance. The theme of human experience can be observed here as well as Veneziano’s saint lowers his robe in a gesture of relinquishing worldly possessions and concerns. His nudeness suggests rebirth; the start of new life of spiritual existence while the ruggedness of the mountains depict the honest and stark challenge he has accepted.

Color is used for a similar purpose in Titian’s painting. However, the notable difference here is the additional ingenuous use of light and line which further emphasizes the important action occurring in the scene than the artist’s use of monochromatic harmonies in the saint’s robe would achieve alone. In addition the theme of human experience is used and the stance that Titian’s saint displays indicates the immensity of the revelation he is about to receive.

To display the subject matter in their work, Veneziano and Titian both use various themes.

Color Game

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Activity #4: Write About It!

Saint John in the Desert, tempera on panel work, was created by Italian artist Domenico Veneziano in 1445. In 1547, another Italian artist Titian Venetian, created Saint John the Evangelist on Patmos with oil on panel. To engage viewers’ attention to the critical components of their work, both artists employed four common principles of design: unity and variety, emphasis and subordination, balance and rhythm (Getlein, 121).

The principle of unity in art refers to as a sense of oneness or visual harmony while variety is everything else; the difference disturbing that unity by creating interest (122). In Veneziano’s painting, unity is observed by the general theme of the painting and the subtle but continuous shifts in value. The nakedness of the saint blends with the openness (or nakedness) of the mountains and the use of naturally earthy tones are also consistent with the saint’s flesh. Variety is displayed into this natural milieu by the use of the primary color red. Here, this warm color is the most distinct of all, claiming the viewer’s attention. Titian too employs color to signify variety in his work but unlike Veneziano, he uses hints and values of red as well as light and action to signify interest. This notation is can also be explained using the design principle of emphasis and subordination. These concepts coexist and thrive by the effect of each other. Emphasis is the focal point, or a clearly defined area to which one’s eye is attracted and in Veneziano’s work, is John’s red cloak (134). Subordination refers to other areas purposely made less visually interesting so the emphasis remains vibrant and overt (134). This is evidenced in Titian’s art by the dark contrast of the mound John stands on as well as the cool submissive blue of the sky.

Visually speaking, balance refers to the equal distribution of weight along its central axis (124) and can be defined as symmetrical or asymmetrical (125,129). Symmetrical balance is described as evenness in shape, size, and placement on both sides of an imaginary vertical line in the center of a painting while asymmetrical balance confers the opposite, unevenness (129). The placement of angels and holy characters in the upper left of Titian’s painting signify asymmetry. In addition, the bulk of John’s bright red outer garb, his physical position in the painting and the gaze of the eagle are directed leftward. Veneziano’s work is also descriptive of asymmetrical balance and this is shown by the tendency of the mountains and the bushes to lean to the left of painting; thus creating an unequivocal fullness or weight on that side.

Lastly, rhythm is expressed throughout both works. Rhythm is based on repetition and is often used to direct the view to different places within an artwork (141). Titian painting exudes a soft circular rhythm and is expressed by the roundness and softness of the clouds, the skies, and John’s billowing robes. Conversely, the sharp and jagged slopes of Veneziano’s mountains are repeated throughout the painting, guiding our eyes on an l-shaped path left to right and then to the rugged terrain below. As displayed in their work, Veneziano and Titian effectively utilized the principles of design.

Activity #2 REWRITE: Write About It

REWRITE
In 1445, Italian painter Domenico Veneziano created Saint John in the Desert. This tempura on panel painting shares some similarities as well as differences in visual elements with Titian Venetian’s Saint John the Evangelist on Patmos which was created using oil on canvas. Visual elements are line, shape, mass, light, value, color, texture and space and are used to create art (Getlein, 81). Both artists employ color, line, light, and space as visual elements in their work.

Veneziano and Titian use forms of perspective to convey space. Linear perspective is applied when forms appear to diminish in size as they recede or when parallel lines appear to converge in the distance until they disappear (109). In Veneziano’s use of linear perspective one can see a path to the right leading to the horizon and naturally disappearing. A vanishing point is created and the art’s model appears to be larger than some of the mountains in the scene. Titian however, more employs atmospheric perspective—the observation in which distant objects appear paler, bluer, and less distinct than nearby objects due to the scattering of light by moisture and dust in the atmosphere (113). The main character in Titian’s painting is clothed in the vibrant color of red while the extra figures in the background appear more bluish. Veneziano uses the primary color red to command attention to the painting’s only character. Primary colors---red, yellow, and blue---are labeled as such because they cannot be made by mixing any other colors (95). Similarly, Titian uses values of red to clothe his main character who also demands attention due his to the use of light and line.

Implied light, artificial and permanent, is used to model mass and shape and is created by artists using light and shadow (92). The vibrant red of the lowered cloak and the golden halo of John’s head are examples of the Veneziano’s use of implied light. However, he is not as effective in depicting mass and shape using implied light as Titian. Titian uses chiaroscuro, the technique of using value (shades of light and dark) to record light and shadow (92). The mass and shape of his John’s thigh under his robe is made visible using this technique and his John appears more realistic and three-dimensional. Continuing, Titian’s use of implied line, dotted lines we mentally create, can be seen if one visualizes an imaginary diagonal line that begins with the eagle and rises through to Saint John’s outstretched hands and the distant characters (86). Veneziano also uses diagonal lines in the mountains’ jagged peaks to promote direction and engage our attention to Saint John at the center of the painting. The combined use of these elements assist in creating a visual experience.


ORIGINAL
Similarities are present between Titian Venetian’s Saint John the Evangelist on Patmos (c. 1547) and Domenico Veneziano’s Saint John in the Desert (c. 1445) with the most obvious relating to content; the use of the Biblical characters John as the artwork’s theme. (It is important to note the Johns in both works are different Biblical characters). The two artworks employ the use of line- a path traced by a moving point, to convey direction and motion (Getlein, 82) and exemplar descriptions are Veneziano’s desert path heading backward into an spacious unknown length of land and Titian’s John’s upward gaze and hands, urging the viewer to look up as well. Light is present in the works as well and combined with the various hues, values and colors (red is used by both artists), engages the visual senses of the reader as well as directs attention to the important themes in the work.

Apparent differences between these two works include the use of texture and naturalistic approach. Naturalistic refers to the approach by artists to create work that portrays the visible world and closely resembles the form it depicts (Getlein, 29). This can be seen by how the bodies in Titian’s work accurately reflect human bone and muscle and how the garments worn freely flow and fit their wearers. Contrastly, Veneziano’s mountainous background appears archaic and somewhat unnatural. Along with shifts in value, shades of light and dark (Getlein, 92), Veneziano uses contrasts of shape and texture, or our perception of the feel of an object (Getlein, 103), to express the ruggedness of the wilderness’s mountainous terrain and the softness of the garment the saint lowers.

Activity #1: Online Museum Visit

Below are the pieces of art I have chosen from my Online Museum Visit.

"Saint John in the Desert" by Domenico Veneziano



"Saint John the Evangelist on Patmos" by Titian

Creative Blog

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The next two pictures are representative of the phenomenon that "keeps the world in orbit".


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There is nothing like a night out with friends and hot pairs of shoes! This picture is personally inspiring.

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About this picture...I'd say someone got carried away with primary colors and makeup. Hot artistic mess!

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While this may appear cool to some...it's kinda creepy in my opinion. Reminds me of something from a sci-fi horror movie that will eventually try to end the human race.

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This is a bed I'd rather NOT sleep on! Imagine turning a centimeter of an inch and it would be "body, meet floor!"
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At first glance this pic seemed mystical but it appears it might actually be real... or it still could be mystical. lol The skies are suggestive of a brewing storm yet the gracefully-gowned ladies appear oblivious to the signs as they are captured in their pose.

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Talk about the creative use of colors...so her hair branches off into tree roots which are filled with warm and bright colors...very interesting and cool.

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The above is another image (grafitti) created by British street artist Robert Banks aka Bansky. The work is self-explanatory; a young presumably innocent litte girl is being frisked/searched by a policeman. This image may have initially been created to imply the ridiculousness and absurdity of the act. However, in today's society even this act can quickly become a reality as terrorists now take the face of everyone; young, old, male, female and yes, even pretty little girls in pink.

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Robert Banks or Banksy is known for his creation controversial, political and graphic works, mostly graffiti. The above was created to express the sentiments of those who disproved of evolutionist Charles Darwin and his theory of human evolution and natural selection. I personally find Banksy's representation comical and entertaining.
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So...have you any idea what the circled miniscule dot in the above picture is? On February 14, 1990 the Voyager 1 spacecraft had completed its primary mission of visiting Jupiter and Saturn and now on the fringes of the solar system was commanded by NASA to turn around and take one last picture of its home planet. The above picture is representative of what was seen 4 billion miles away. That miniscule, trivial and insignifiant dot known as the Pale Blue Dot is our lovely planet, Earth. In all our power and glory, our past and present civilizations, with our suffering and victories; all that have ever lived and all we have ever known and loved has been confined to the smallest palest and bluest dot, Earth.

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Martin Johnson Heade
Cattleya Orchid and Three Brazilian Hummingbirds, 1871
oil on wood, 34.8 x 45.6 cm

Heade enjoyed depicting still lifes and landscapes. This painting is perhaps...a combination of both.(?) Packed with numerous visual elements and principles of design, the painting (to me) displays the peace and beauty of nature, at its best.

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Can you say camera shy? This photograph hails from Robert E. Jackson's Collection The Art of the American Snaphot which once chronicled the evolution of snapshot photography from the invention of the Kodak Camera through the 1970s. Despite the shy illusion portrayed by covering her face, I strongly believe this "model" performance was intentional.

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The above is a picture of a supergiant star on an upcoming exhibition at the American Museum of Natural History. My thoughts? Absolutely stunning and beauty.

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"Day and Night", c.1938
woodcut in black and gray

M.C. Escher created this visually deceptive masterpiece using shifts in values of black, white and gray. I think this work is appropriately entitled Day and Night as one side of the work depicts each theme. Escher's fascination with metamorphosis can be seen as the landscape below changes and morphs into doves. Visually speaking, the work is actually symmetrical as well. I find this work simply interesting.

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The two main balances described in Chapter 5 of Getlein's Living with Art are symmetrical and asymmetrical balance. The two balances contradict each other: symmetrical is descriptive of a design in which the t wo halves of a composition on either side of an imaginary central vertical line correspond in shape, size and placement while asymmetrical refers is the opposite. Below are examples of symmetrical and asymmetrical balances, respectively.

Peter Behrens. (German) Fan c. 1908. Painted cast iron and brass
Preston Dickinson. (American) Harlem River, c. 1928. Oil on canvas

This first artwork is expressive of symmetrical balance. The size, shape and placement of the fan's blades appear to equal on both sides of the vertical axis; equally distributing the weight. The second, Dickinson's painting, displays asymmetrical balance. Visually speaking, most of the buildings, objects and the activities within the painting are exude from the left, creating an unbalanced scene with the emphasis there.




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With the intention of completing an assigment, I went to nga.gov and there on the home page was Johannes Vermeer's "Girl with the Red Hat" made with oil on panel c. 1665. What striked me about the painting is the the revelation of the model being.. a girl. My initial glance depicted masculinity. In addition, this picture contains several artistic visual elements and implements the use of various colors, values, hues and texture. For simple reasons as such and mainly due to its beauty, I chose this painting.

Introductory Post

Hey everyone. I'm testing out blogspot and inserting htmls and all that other good internetty stuff...If anyone has a Myspace they will see that this is essentially the same. If you care to share, let me know your thoughts!