Tag Archives: art/architecture/design

John J. Audubon

If you can use it, and I say that with the confidence of experience, because the study of John J. Audubon at the primary and secondary secondary levels of education isn’t much done, here is a reading on John J. Audubon along with its accompanying vocabulary-building and comprehension worksheet. As with most readings from the Intellectual Devotional series, this one-page text does an excellent job of encapsulating a complex life, particularly Audubon’s, uh, unorthodox working methods. What is doesn’t report, which I learned in the process of preparing this post, is that Audubon was a slaveholder.

So, what a bitter irony that he is buried in Harlem.

This post would not be complete without mentioning Audubon’s achievements, particularly his majestic and magisterial Birds of America, the double elephant folio he produced, and which is now a high spot in American antiquarian book collecting. Most copies–there are 120 known in all–of the book are in the possession of research libraries around the United States–the Beinecke Library at Yale keeps its copy (like its copy of the Gutenberg Bible, which came out of the Melk Abbey) out for display in its main gallery. When I followed various of the great research libraries on Twitter e.g. The Huntington Library, the Lilly Library, The Newberry Library, and, again, the Beinecke at Yale, a couple of them filmed and posted the turning of pages of Birds of America, a ritual worth watching.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Ex Voto

“Ex Voto: (Lat., out of thankfulness) A painted or sculptured image given to God or gods in thanksgiving for favors and blessings. Occasionally the donor is depicted in the work.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Isometric Projection

“Isometric Projection: In architectural drawing, a means of showing a building in three dimensions without foreshortening. The horizontal lines are usually drawn at a thirty-degree angle, the vertical lines are parallel, and all lines are drawn to scale.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Line Engraving

“Line engraving: An intaglio engraving process in which the design is drawn by incising lines directly into a metal plate with a burin; the burr is removed, leaving a clean groove to receive the ink, which is transferred to paper under the pressure of the press.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Lay Figure

“Lay Figure: A jointed wooden dummy of the human body used by painters and sculptors as a model on which to arrange drapery and clothing. Usually life-size and more elaborately jointed than a manikin.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Curtain Wall

“Curtain Wall: This non-load-bearing wall was first made possible with the introduction of the structural steel skeleton in the Carson Pirie Scott store (Chicago, 1899-1904). Years later, Walter Gropius acknowledged that in ‘modern architecture the wall is no more than a wall or climate barrier, which may consist of glass if maximum daylight is desirable.’ As a result, in 1925-1926, he created the workshop wing for the Dessau Bauhaus which became the precursor to the characteristic glass box building of the International Style. See bearing wall.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Daguerreotype

“Daguerreotype: A product of the first widely used photographic process (1839 onward), named after its inventor, L.J.M. Daguerre. A daguerreotype is made without a negative by exposing a silver halide coated copper plate and then fuming it with mercury vapor to bring out the image, which characteristically appears in reverse. More popular than the contemporary calotype process, the daguerreotype was gradually supplanted after 1851 by the collodion wet plate process.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Biedermeier

“Biedermeier: The German and Austrian form of Empire Style, ca. 1815-1848, especially in furniture and articles of interior decoration. Extended to those paintings of the Romantic period that depict subjects favored by the middle class. The term is not applicable to architecture or sculpture.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Minimal Art

“Minimal Art: The most reductive of all the Post-Painterly Abstraction movements. Minimal painting—rejecting space, texture, subject matter, and atmosphere—relies solely on simple form and flat color for effect. Minimal sculpture, usually of monumental size, is equally free of personal overtones, relying on the simplest geometric forms and the power of its presence for effect. Artists identified with minimal art include Barnett Newman, Ellsworth Kelly, Dan Flavin, Donald Judd, Agnes Martin, and Larry Bell.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Pablo Picasso on Precocity

[Comment to Herbert Read while viewing an exhibition of children’s drawings:] “When I was the age of these children I could draw like Raphael: it took me many years to learn how to draw like these children.”

Pablo Picasso, Quoted in Times (London), 27 Oct. 1956

Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.