Here is the latest file for students to 3A Erica. I remind everyone (and especially those who were absent) on Saturday, the first hour, we will do a test on all the topics included up to Saturday, 9.
Buono studio!
prof.
Sunday, October 10, 2010
Where To Get A Brazilian Wax In Jacksonville Fl
Introduction to Art History: The Archaeology
Here is the latest file for students to 3A Erica. I remind everyone (and especially those who were absent) on Saturday, the first hour, we will do a test on all the topics included up to Saturday, 9.
Buono studio!
prof.
Here is the latest file for students to 3A Erica. I remind everyone (and especially those who were absent) on Saturday, the first hour, we will do a test on all the topics included up to Saturday, 9.
Buono studio!
prof.
Saturday, October 9, 2010
Ontario Rent Sail Boat
Fiorentino Mannerism: Pontormo and Rosso Fiorentino
In this presentation, the imagination and the colors of Pontormo and Rosso Fiorentino. About colors, it is raising the reading done in class is by Pasolini:
In this presentation, the imagination and the colors of Pontormo and Rosso Fiorentino. About colors, it is raising the reading done in class is by Pasolini:
Pànfete, again - a clear break of the Deposition by Pontormo in color, with color that shines in the chest. Colors? Call them colors ...
I do not know ... If you take the poppies, left in the sunlight of a melancholy afternoon, when all is quiet ("because no woman ever sang - at three in the afternoon), and in a ardor of the cemetery - if you take them and grind them, here, comes out of a juice that dries immediately, well, a bit annacquatelo 'on a white linen cloth, and tell a child to spend a wet finger on the liquid : center of a fingerprint will be out pale, pale red, almost pink, but for the beautiful whiteness of laundry that the CIA under, and fingerprints will be collected at the edges of a string of violent red and precious, barely faded, dry it is now-ger , it becomes opaque, like on a whitewash ... But in the paper keeps fading, died, his live redness. So much for the red.
Green ...
The green leaves of the basins of the blue ...
the evening, when the bells ring and the women sing, on the threshold. And in the noble peace of the garden, as night falls the shadow of a storm: the leaves are motionless under the water surface, and are becoming more blue, until they become green. But it is green or blue? So they dressed some cruel soldiers, over the centuries. Lanzichenecchi or SS: and they left and fill in the ossuaries of the world with their memory of the color of that cloth - lost in the twilight of time.
But you do next to blue and green in the veins of the leaves in the pile of water, the green is true that crude alfalfa, stained only slightly from the brown earth [...]
Ontario Used Car Value Guide
The culture of the international Gothic
Ready for download (remember, you must subscribe to sldeshare)
the image files of the lecture on the International Gothic
Ready for download (remember, you must subscribe to sldeshare)
the image files of the lecture on the International Gothic
John M. Berecz Suspended
Introduction to Art History: Introduction
Below you can find the presentation Send lesson for those who had not had the photocopy. Good study;)
3. The surface as a plane of composition
A fresco, a painting, a photograph, a poster differ in many respects: the type of media, materials and performance techniques. One thing they have in common: they all have a two-dimensional development. They consist of images that are developed on a surface, then with the width and height, but lacking the third dimension: depth.
Artists have often heard this as a limitation, and have therefore sought to give their works to a depth fictitious, illusory, making use of perspective, chiaroscuro and other means to enhance the spatial effects of the image. Even before those works, however, we must keep in mind the admonition of that painter who remembered as a picture, before being a battle or a vase of flowers, is a collection of shapes and colors arranged on a surface. Ie we have to get used to seeing objects represented as masses, linked by a relationship of position, size, shape, orientation.
In this way we will make it easier penetrate only in the size composition of the artwork, understand that the criteria used by the artist in the construction of the image. These criteria take into account firstly the shape, size, structure and internal dynamics of compositional, that is, in short, the visual characteristics of each media format that can take (be it a wall fresco, a painting by painting, a sheet of paper on which to draw, emboss or print the image).
square formats. Entering into a museum we will, in most cases, before the works of rectangular form. It will more frequently rather compact rectangles. More rare are the cases perfectly shaped square or, conversely, the size of the rectangles in which a lot of overlaps another. All formats have in common a quadrangular structure, a "skeleton" that provides the basic reference for the distribution of elements on the surface. It is the median vertical, horizontal and diagonal.
In general, when the arrangement of structural elements follows this path, we have a composition that, regardless of the subject, gives the impression of a static set, whose elements appear to be firmly anchored to the bottom shelf. When the artist's intention is to revitalize the area, he places his characters outside of the grid consists the medians and diagonals.
compositions structured along the vertical axis. In isolation, the four axes that constitute the skeleton of the rectangular formats each have a distinct function composition. The vertical axis serves essentially as the axis of symmetry. The symmetry is in fact, in its simplest form, when a configuration is divided, just along the vertical axis, into two equivalent parts.
compositions structured along the horizontal axis. While the vertical axis divides the plane into two halves, from the standpoint of composition, are substantially equivalent, the horizontal axis divides it into two geometrically identical, but perceptually different. The bottom half appears more "dense" and "heavy" in the upper one, which appears, however, "light" and "expanded". This impression is certainly linked to the experience of gravity, we expect in fact, that due to the higher weight items stazionino below.
compositions structured along the diagonal. If the vertical and the horizontal axis are the key reference for compositions of a static, two diagonals instead act as vectors of movement. In other words express motion, though not so strong as in the case of oblique free. Because we tend to "read" the image Following a trend that goes from left to right, diagonally from top left to bottom right corner is perceived generally as a descendant, conversely, the other is perceived as ascending.
elongated rectangles. Plus size rectangular and square away from the proportions of the more significant is the internal dynamics of the piano composition. In very elongated exacerbates the asymmetry is high - low and the vertical axis takes much more the character of a dynamic force. Even the diagonals, approaching the vertical are becoming more dynamic potential. The formats for performance distinctly horizontal, instead, favor the movement from left to right. In this case the vertical axis does not impose itself more as the fulcrum of the whole compositional: it excludes, generally, the ability to organize the composition by making the parts to a single central and dominant component.
circular shapes. Even more than the square, the size composition solutions perfectly circular suggests strongly centralized. The focus of the composition is, in this case, the center, often supported by support structures consist of polygonal shapes inscribed in the center. Accepting the internal dynamics imposed by the format, the artists sometimes build their composition on the trend lines that incorporate motion.
compound shape. An intermediate format between the circular and the square is elliptical. The ellipse, in fact, defines the compositional without imposing angular cuts, which makes it more fluid than the internal dynamics of the square or rectangle at the same time has that orientation is missing to the axial center.
Sometimes, of various forms are being combined within a single structure, thus coming to form an altarpiece. As a subject largely religious, the altarpiece generally includes a main compartment, structure of which is to subject the compositions of the secondary compartments.
(from Diegoal, GRENADE, HERNANDEZ, Introduction to Art) 
Below you can find the presentation Send lesson for those who had not had the photocopy. Good study;)
Introduction art composition
3. The surface as a plane of composition
A fresco, a painting, a photograph, a poster differ in many respects: the type of media, materials and performance techniques. One thing they have in common: they all have a two-dimensional development. They consist of images that are developed on a surface, then with the width and height, but lacking the third dimension: depth.
Artists have often heard this as a limitation, and have therefore sought to give their works to a depth fictitious, illusory, making use of perspective, chiaroscuro and other means to enhance the spatial effects of the image. Even before those works, however, we must keep in mind the admonition of that painter who remembered as a picture, before being a battle or a vase of flowers, is a collection of shapes and colors arranged on a surface. Ie we have to get used to seeing objects represented as masses, linked by a relationship of position, size, shape, orientation.
In this way we will make it easier penetrate only in the size composition of the artwork, understand that the criteria used by the artist in the construction of the image. These criteria take into account firstly the shape, size, structure and internal dynamics of compositional, that is, in short, the visual characteristics of each media format that can take (be it a wall fresco, a painting by painting, a sheet of paper on which to draw, emboss or print the image).
square formats. Entering into a museum we will, in most cases, before the works of rectangular form. It will more frequently rather compact rectangles. More rare are the cases perfectly shaped square or, conversely, the size of the rectangles in which a lot of overlaps another. All formats have in common a quadrangular structure, a "skeleton" that provides the basic reference for the distribution of elements on the surface. It is the median vertical, horizontal and diagonal.
In general, when the arrangement of structural elements follows this path, we have a composition that, regardless of the subject, gives the impression of a static set, whose elements appear to be firmly anchored to the bottom shelf. When the artist's intention is to revitalize the area, he places his characters outside of the grid consists the medians and diagonals.
compositions structured along the vertical axis. In isolation, the four axes that constitute the skeleton of the rectangular formats each have a distinct function composition. The vertical axis serves essentially as the axis of symmetry. The symmetry is in fact, in its simplest form, when a configuration is divided, just along the vertical axis, into two equivalent parts.
compositions structured along the horizontal axis. While the vertical axis divides the plane into two halves, from the standpoint of composition, are substantially equivalent, the horizontal axis divides it into two geometrically identical, but perceptually different. The bottom half appears more "dense" and "heavy" in the upper one, which appears, however, "light" and "expanded". This impression is certainly linked to the experience of gravity, we expect in fact, that due to the higher weight items stazionino below.
compositions structured along the diagonal. If the vertical and the horizontal axis are the key reference for compositions of a static, two diagonals instead act as vectors of movement. In other words express motion, though not so strong as in the case of oblique free. Because we tend to "read" the image Following a trend that goes from left to right, diagonally from top left to bottom right corner is perceived generally as a descendant, conversely, the other is perceived as ascending.
elongated rectangles. Plus size rectangular and square away from the proportions of the more significant is the internal dynamics of the piano composition. In very elongated exacerbates the asymmetry is high - low and the vertical axis takes much more the character of a dynamic force. Even the diagonals, approaching the vertical are becoming more dynamic potential. The formats for performance distinctly horizontal, instead, favor the movement from left to right. In this case the vertical axis does not impose itself more as the fulcrum of the whole compositional: it excludes, generally, the ability to organize the composition by making the parts to a single central and dominant component.
circular shapes. Even more than the square, the size composition solutions perfectly circular suggests strongly centralized. The focus of the composition is, in this case, the center, often supported by support structures consist of polygonal shapes inscribed in the center. Accepting the internal dynamics imposed by the format, the artists sometimes build their composition on the trend lines that incorporate motion.
compound shape. An intermediate format between the circular and the square is elliptical. The ellipse, in fact, defines the compositional without imposing angular cuts, which makes it more fluid than the internal dynamics of the square or rectangle at the same time has that orientation is missing to the axial center.
Sometimes, of various forms are being combined within a single structure, thus coming to form an altarpiece. As a subject largely religious, the altarpiece generally includes a main compartment, structure of which is to subject the compositions of the secondary compartments.
(from Diegoal, GRENADE, HERNANDEZ, Introduction to Art)
Black And White Wrapping Paper
How were the early Christians to their faith? The answer in the presentation (to be studied!)
Buono studio!
Prof.
Friday, October 1, 2010
Any Completed Poptropica Accounts
Introduction to art - line and color
E 'can download the presentation projected during a lesson last Thursday, the visual and symbolic meaning of line and color.
Commented designed e. ..;)
prof. 
E 'can download the presentation projected during a lesson last Thursday, the visual and symbolic meaning of line and color.
Introduction line art and color
Commented designed e. ..;)
prof.
Blood Mucus Period Big Large
early Christian Basilicas Rome and Milan
are available for download the two presentations on early Christian architecture in Rome and Milan.
To deepen the study of Ambrosian basilica, we mark two pages where you can find the good quality material:
the Episcopal complex
points of Ambrose
Small detail: To download files you must subscribe to Slideshare, a service for sharing presentations. It 's totally free, I hope it does not pose a problem.
await feedback and comments, in comments or email.
Buono studio!
prof.
are available for download the two presentations on early Christian architecture in Rome and Milan.
To deepen the study of Ambrosian basilica, we mark two pages where you can find the good quality material:
the Episcopal complex
points of Ambrose
Small detail: To download files you must subscribe to Slideshare, a service for sharing presentations. It 's totally free, I hope it does not pose a problem.
await feedback and comments, in comments or email.
Buono studio!
prof.
Milan early Christian
View more presentations from faziomarco .
Hodgkinson's Disease.
New
From today, also for students of 3A and 4A heather ITP Gavirate you can use the blog space. To all a welcome and invitation to speak with any comments (signed, possibly!), Reports ... and ideas!
prof. 
From today, also for students of 3A and 4A heather ITP Gavirate you can use the blog space. To all a welcome and invitation to speak with any comments (signed, possibly!), Reports ... and ideas!
prof.
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