Lapis Lazuli to Ultramarine Blue

Lapis Lazuli to Ultramarine Blue

Ultramarine Blue is one of the most storied pigments in art history, coming from lapis lazuli in Afghanistan as early as the second century BC. The name comes to us from the Italian, oltre marino, or “beyond the sea.” During the Renaissance, it was the most expensive pigment used. When the patron requested Ultramarine Blue be used in a painting, the contract would state where it was going to be used and how much money was going to be made available for the purchase of the pigment. Sparked by a competition across Europe in the early 1800’s, a synthetic alternative was developed which has been known as Guimet’s Blue, French Ultramarine Blue, and today it is simply known as Ultramarine Blue.

But I think that even without any of this history, Ultramarine Blue would still be the most used color after white on the artist’s palette.

Check out the link for the complete story!

https://gamblincolors.com/praiseofultramarineblue/

Source: Robert Gamblin

Head drawing by Vilppu (AKA Pat)

Source: Glenn Vilppu
http://vilppuacademy.com/2013/

Transcending Descriptive Realism: Fall 19

Art 116  Professor Zeggert, Fall 19
Final Painting Assignment

Transcending Descriptive Realism:
The over arching concept of your final painting needs to convey the theme and title:
Transcending Descriptive Realism (research and define the theme)

The painting should include the physical elements listed below:
A self portraiture

A glass of water

A light bulb

A window or door
Drapery, include a gravity inspired fold and a half-lock fold

Visually represent two food items from the following;  foods high in Potassium, Fiber, Calcium & Vitamin D, Fruits,Vegetables, Whole Grains, Milk, Seafood or Healthy Oils

Objectives:

Composition:
Create a unified picture that is representative of a college level final
(use the rule of thirds as the underlying frame work to help organize the elements).
https://www.jerrysartarama.com/blog/the-rule-of-thirds-a-rule-of-thumb/
http://char.txa.cornell.edu/language/principl/principl.htm
https://www.thoughtco.com/elements-of-composition-in-art-2577514
http://www.muddycolors.com/2013/03/10-things-about-painting-in-oils/
Craft a picture that represents the theme (TDR)
Demonstrate an understanding and the use of High and Low value keys
Demonstrate an understanding of color temperature and demonstrate a command of your palette
Manage your time, manage the project

Critical element: Interpreting and resolving the theme (TDR) is viewed as one of the primary challenges of this assignment and considered an exercise in problem solving.

Deadlines:

The Concept: Due-11/25 or 12/02 (you decide)
Begin the ideation process and create three thumbnails. In addition to the thumbs, summarize in a paragraph the definition of TDR and the role it plays in your painting! Typed and printed.
http://www.explore-drawing-and-painting.com/thumbnail-sketch.html
http://drawsketch.about.com/library/bl-thumbnail-sketching.htm
The function of ideation is to list and describe how you are going to solve the problem conceptually and visually, complete this to be reviewed and for a grade.
Progression: Due-12/09

The progression phase is defined as the painting being more than 50 percent complete.
This portion is worth 25 percent of grade of the painting.
Final: Due-December 16 at 1:00 pm

No harm is using photo reference, as long as you shoot it yourself and illuminate it correctly, plus make physical print outs.

Grade structure:
Thumbnails (five total): 25%
Progression: 25 %
The final painting: 50 %

Pit-falls to avoid:
Not completing the individual parts of the paint process. This painting is informed by research, critical thinking and problem solving. Not completing the research element or investing minimal time will impact the overall quality of the painting.
Not addressing the detail of the assignment.

Size:

24 x 36 inches

Inspiration:
“The longer you look at an object, the more abstract it becomes, and, ironically, the more real.” 
― Lucian Freud

Tip: Research Vasily (Wassily) Kandinsky
http://www.theartstory.org/artist-kandinsky-wassily.htm
https://www.moma.org/artists/2981

The content of the Museum Visit Paper:

The Museum Visit Paper:

The content of the paper should include:

Introduction:
Be brief and to the point, write tight and bright.
Explain your museum choice include what compelled and drove you to the work you selected!

Comprehensive content:
Explain and define the painting and movement, the contributors and any social trends relevant to that period!
Contextualize your report, use the 3 (Is) framework, address the Impact, Interest and Importance of the painting.

The formal elements:Use the formal elements http://www.getty.edu/education/teachers/building_lessons/formal_analysis.html as a foundation for your discussion, especially when discussing the esthetic of the painting, include opinion if appropriate! (ie; discuss color, medium, surface tension, brush stroke, include emotional and technical impact if relevant).

Conclusion:
Wrap it up, your conclusion should be historically rooted but infused with opinion, and there's no shortage of opinion in this class, so let it come through in this statement!!! This can be forward looking, too. Evaluate if  there's something you could extract from this exercise and apply it to your next painting!

Refer to the MLA style guide for style and citations:
Use the MLA Style Guide as your citation reference and for other traditional formatting questions: 
MLA Handbook for Writers of Research Papers, 7^th edition or later is fine, published by the
Modern Language Association of America (MLA).
You can find copies in the library’s reference and circulating collections,
call number PN147 .G53 2009. Or use link: 
http://sunybroome.info/library/guides/mla-style-guide

Objectives: Organize a thoughtful statement based on the visit, research and critical thinking.
Craft a minimum 400 word statement- must be typed and printed.
Include a selfie of you and your selected work, in-turn the image should be used as a cover-page for the report.
Cover-page should include, report title, painting title (proper citation), your name, the class and the date.

Statement due May 20 at 12:30 pm.

Have fun and be informed!

Qualifying museums:
Johnson Museum
Arnot Museum
Metropolitan Museum

Pre approval-
Binghamton, or other

Remaining Fall 2018 schedule

Professor Zeggert

Week 12

11/12- Class 1: In studio, Bread & Water Narrative –

11/14-Class 2: In studio, Bread & Water Narrative –Due at the end of class
2:00 pm--Assign Final: Transcending descriptive realism

HW: Create a pencil sketch of Vilpu's “Pat” on a (16 x 20 .5) canvas and bring it to the next class. The “Pat” handout is provided and posted on the blog. Print it as a 8.5 x 11 grayscale paper print-out and refer to it to make your drawing. Bring the paper copy and the drawn image to class. Strive to draw life-size. 

Week 13
11/19-Class 1: Portrait lecture with Pat handout. Adjust drawing if needed. Paint Pat with an inventive light source (16 x 20-.5) Using the Zorn palette

http://gurneyjourney.blogspot.com/2011/07/zorn-palette.html
http://michaellynnadams.com/zorn-palette/

HW: Study portraits by John Singer Sargent

http://www.johnsingersargent.org/  
http://www.artchive.com/
http://www.metmuseum.org/toah/hd/sarg/hd_sarg.htm  
Bring to the next class: (20x24).2 Research Grisaille painting technique

http://www.artistsnetwork.com/articles/art-demos-techniques/working-up-from-a-grisaille

11/21- Class 2: Thanksgiving break!!!!
(Extra credit: large scale expressive portrait with extreme crop (24 x 36).2

Week 14
11/26-Class 1: In studio, Complete Pat with an inventive light source using the Zorn palette.

Remind Family and Friends of your final evaluation- giving them time to plan

11/28- Class 2: In studio, Paint Planes of the head, realized with Grisaille painting technique.
HW: Bring Medium sized Mirror to the next class-Self-portrait from life, yes, you and a mirror! Consider attaching the mirror to your easel or propping it up. Bring to the class: (20x24).2 Research Grisaille painting technique
(http://www.planesofthehead.com/

Week  15

12/03- Class 1: Half self portrait over planes of the head from previous class 

12/05- Class 2:  Half self portrait over planes of the head from previous class or TDR work session
TDR progression grade: Defined as the final painting developed to the point where it is at least 50 percent complete or at the halfway point. This worth 25 percent of your final grade and you must bring it to class for a grade.

Week  16
12/10-Class 1: TDR work session
12/12- Class 2: Stage gallery for final evaluation. Meet at the Gallery

Last class:
12/17- Final evaluation and party

Sir van Dyck and paint quailty

Sir Anthony van Dyck (1599-1641), Painter

Sitter associated with 31 portraits
Artist associated with 1003 portraits
Sir Anthony van Dyck was by far the most influential painter to have worked in Britain during the seventeenth century. Flemish by birth, he found patronage in a number of European countries, but his longest stay was in England, which he made his home from the beginning of his second visit in 1632 until his death in 1641 (with a break back in Antwerp in 1634-5). While his predecessors from the Low Countries had brought to Britain hints of what painting might become, it was van Dyck who decisively turned British portraiture away from the stiff, formal 'iconic' approach of Tudor and Jacobean painting. In England he developed the distinctive fluid, shimmering style that was to dominate portraiture in Britain not just during the seventeenth century but right up until the early years of the twentieth century. Rewarded by his most famous patron, Charles I, with a knighthood, his enduring influence - and a sense that it would be impossible to better him - was universally recognised and remarked on not only by his contemporaries but also by his successors. 

http://www.npg.org.uk/collections/search/person/mp04604/sir-anthony-van-dyck

https://www.youtube.com/watch?v=Ll6kXhHWDmw&feature=youtu.be

Source: NPG London

Art 116 FALL 2018 schedule UPDATED 11/04

Professor Zeggert
Week 4
09/17-Crit. Paint stick, In class- 8 x 10 .2 study- Consider distance and level.
Newer concepts: use (3 x greatest dim.) as a guide to help determine distance from the still life. Avoid pit-falls like level change and easel shift- (mark the floor to match the position of the easel).  Measure the distance from the floor to the surface of the still life and match the strength or power of your light source.
09/19- 8 x 10 study.3 in class
Homework: Complete an 8 x 10.4 oil study. Select two objects, correctly illuminate the still life with the goal to paint your objects with sculptural weight. 2-3 hour painting. Due next class.
Bring two objects to class on 9/24 to be used as props for an in-class project.
Bring to the next class, a (16 x 20 inch canvas.1)
(pre-ground or toned ground your canvas, review paint definitions)

Week 5
9/24- Class 1: Start the Skills painting in class for a grade

due at the end of class 10/1- (review assessment form)

9/26- Class 1: Complete the Skills painting in class for a grade

due at the end of class 10/1

(pre-ground or apply a toned ground to your canvas, review paint definitions)

Week 6

10/1- Class 1: Complete the Skills painting in class for a grade
due at the end of class 10/1
Bring to the next class, a (16 x 20 inch canvas.2)
10/3 Class 2: (Drape): 30 minute lecture, (take notes)

Colors:  Raw umber and white, objective is to match value, chair drape including gravity and half-lock folds

Bring toothpaste tube and 8 x 10 re-use to next class.

Week 7

10/08-Class 1: NO SCHOOL

10/10-Class 2: Complete drapery study-studio and/or begin toothpaste study-8 x10 re-use
Prepare for next class: Bring a (16 x 20 canvas .3-for color chart)- toned ground canvas-strive to achieve a middle value-Mandatory attendance.

Week 8
10/15- Class 1: Palette lecture, note taking and mixing exercise entire class-Mandatory attendance

HW: Bring to next class four Possessions, a crate size box, drape (color, size your choice) and your clamp light (optional).  (Pit-fall to avoid:  If you forget any of the items, you will be marked absent).

Four Possessions Portrait assignment:

This project includes a painting and two written statements, (typed and printed) to be completed for a grade.

(each element worth 100 points)

Due at the beginning of next class: First statement-based on study/research of French painter, Chardin, 1699-1779.  Type a 400 word statement profiling Chardin's life and work. Investigate and describe something you discovered about the artist related to still life painting and how it could be applied to your next assignment. 

Second Statement (reflective) due  at the beginning of class 10/29 and it must be typed/printed, min. 300 words. 

Content should include and define choice of objects, and how the they represent you. Decribe the paint process, use of color temperature, value and the physical properties of the paint.  Discuss problems, solutions, successes and failures and what adjustments you'll consider making for your next painting.

Bring pre-grounded or toned grounded (20 x24 canvas.1) to next class 

Color scale assignment:

Create color scales of your modified Zorn palette- use the palette page as reference-

16 x 20 inch canvas.3

Goal: First, mix the color in your palette, then paint the scale-

Due for a grade-Monday 10/17 at the beginning of class-

10/17- Class 2: Four Possessions, in studio paint day

Week 9

10/22-Class 1: Four Possessions, in studio paint day  

10/24-Class 2: Four Possessions, in studio paint day

Week 10
Week 10
10/29-Class 1: Four Possessions, in studio paint day (Painting due at the end of class)
Bring to next class (16 x 20 canvas .4)- toned ground
Also, bring your (16 x 20.3) color scales
10/31-Class 2: Bread and Water study-Ultramarine Blue and Burnt Sienna plus White- Begin exercise in adapting colors.
Objectives: Color scales
Paint opaquely
Push the development of color options, examine warm vs cool, light vs dark.
Be aware of your mixture, devise a recipe-quarters, thirds, etc.-you decide- just know how to get to a color if requested.

Week 11
11/5- Bread and water oil sketch, in studio exercise completed at end of class
Assign Bread and Water narrative
Research: Thumbnail sketches and begin creating your reference photo board
Bring 22 x 28 canvas to next class plus three thumbnails for approval-(graded)
11/7- Bread and water, Narrative
Prep Museum visit: 
https://museum.cornell.edu/
https://www.arnotartmuseum.org/
https://www.metmuseum.org/
https://www.binghamton.edu/art-museum/
or suggest a museum for approval

Note taking

https://www.npr.org/2016/04/17/474525392/attention-students-put-your-laptops-away

Please read- class notes need to be taken in a traditional paper notebook.