Art Journal

Complete Journal Entries for Week 3, 4 and 5. Images of Vincent van Gogh’s paintings are included.”Contemplate and discuss your interpretation of the art based on the characteristics of the corresponding movement in your art journal entry. Pay close attention to style, media (materials), methods, subjects, and any other details that make this work significant, using appropriate art terminology and taking care to correctly cite information that you use from the textbook or any other source.” You will construct the entries using the Microsoft Word document attached. Titled: ART 101 Weekly Art JournalCite all sources in APA format and include reference from our text; Kleiner, F. S. (2017). Gardnerâ??s art through the ages: The western perspective (15th ed., Vol. II). Please review journal entries 1 and 2 to stay inline with current writing level.


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APA Style Reference Entries for Artwork
Your assignments must include a separate references page. Follow the basic modified APA style
reference entry format below for works of art:
ArtistLastName, FirstInitial. MiddleInitial. (Year work was completed). Title of work [Medium].
Location: Name of Museum.
Museum Example:
If you create a reference entry for a work of art you have viewed at a museum:
van Eyck, J. (ca. 1434). Portrait of Giovanni Arnolfini and his wife [Oil on oak]. London, England:
National Gallery.
Online Example:
If you create a reference entry for a work of art you have found online:
Wyeth, A. (1948). Christinaâ??s world [Tempera on panel]. Retrieved from
Book Example:
If you cite a work of art found in the textbook, create a reference entry for the book:
Kleiner, F. S. (2017). Gardnerâ??s art through the ages: The Western perspective (14th ed., Vol. II).
Retrieved from
Then, your in-text citation would include information about the photo in the book. For example:
Berniniâ??s 1623 life-size marble sculpture â??Davidâ? captures the biblical hero after he has conquered
the giant Goliath (Kleiner, 2017, p. 562.
For all of your in-class work, please provide size information for the work of art in your writing.
Remember to use in-text citations when using the reference entries.
For more information about citing and referencing a work of art in APA format, please see the APA
Blog, There’s an Art to It.
Jaime Patterson Art Journal
Week 1 Journal
Van Gogh, V. (1889) The Starry Night [Oil on canvas; 73.7 x 92.1 cm] Museum of Modern
Art, New York. Retrieved from
The painting is dominated by a moon, and a night sky that is filled with very large stars,
bursting with yellow light. An intense swirling pattern seems to swerve across the skyline like
waves. A glowing crescent moon is located on the far-right corner of the painting. Under the
expressive sky is a village of humble houses and a church with a steeple that rises above the
mountains painted in blue-black in the background of the painting. There is a flame-like tree
located at the foreground of the painting in the night scene with its top extending to the top of the
canvas. The use of blue, yellow, and green colors produce a scenic view with the night. The thick
brush strokes set the pictureâ??s surface in rolling movement. The lines used form concentric
circles that further enhance the rolling movement.
The Starry Night is one of the most popular paintings in modern society, and one of my
favorites. The artistic styles utilized in the painting are exceptional. It not only depicts the artistâ??s
observation of the sky but also contains a combination of his emotions that are revealed in the
painting. A close analysis of the painting illustrates that the painting depicts the artistâ??s personal
life especially the relation between life and death and his feelings towards the two. The
emotional element encrypted with life and death within one scene, mesmerizes me. Analysis of
this painting was very useful to me as it helped me apply some of the concepts we covered in
class about analyzing paintings.
Kleiner, F. S. (2017). Gardnerâ??s art through the ages: The Western perspective (15th ed., Vol.
II). Retrieved from
MoMA, The Museum of Modern Art. Accessed on 5/4/2018.
Van Gogh, V. (1889) The Starry Night [Oil on canvas; 73.7 x 92.1 cm] Museum of Modern Art,
New York. Retrieved from
Week 2 Art Journal
Van Gogh, V. (1888). Farmhouse in Provence [Oil on Canvas; 46.1 x 60.9 cm]. Retrieved
In 1888 Vincent van Gogh moved to Arles, France where he produced some of his best
work. In a period of 15 months, he produced more than 300 drawings and paintings and
composed over 200 letters describing the beauty of the landscape. This was one of the most
productive periods during his career. (Morton & Schmunk, 2000 p. 177)
In the oil painting, Farmhouse in Provence, van Gogh captures a scene of a farmer
surveying his fields of wheat during a warm summer afternoon. The first thing that captures your
eye about this painting is the swirls of bright turquoise and light blue illuminating a vibrant sky,
creating a unique hue. Van Gogh’s unmistakable thick application of paint provides the depth
needed to project the movement we see in the blossomed flowers and green bushes that line the
stone gate. The use of gold and yellow tones is used to describe to dry scorched grass. There is a
farmhouse offset to the left in the background with full green trees along the property. Two stone
pillars and an open gate bring your eye to where we see three, huge piles of hay drying just
beyond the main entrance.
The man in the field, likely a farmer, is wearing a long sleeve blue shirt and tan pants. He
is walking towards the farmhouse looking over to the right at the haystacks in the distance. The
dark blue beret being worn provides very little function on a farm and makes me wonder his true
role here.
An additional interpretation may be that the man in the field is Van Gogh himself.
Walking across the field taking in the serene environment, carrying his utensils in his left hand,
and clutching his canvas under his right arm.
Kleiner, F. S. (2017). Gardnerâ??s art through the ages: The Western perspective (15th ed., Vol. II).
Retrieved from
Morton, M.; Schmunk, P. (2000). The Arts Entwined: Music and Painting in the Nineteenth
Century. New York: Garland Publishing. pp. 177â??178.
NGA. National Gallery of Art. Accessed on 5/11/2018.
Van Gogh, V. (1888). Farmhouse in Provence [Oil on Canvas; 46.1 x 60.9 cm]. Retrieved from
Week 3 Art Journal
Van Gogh, V. (1883). Flower Beds in Holland [Oil on Canvas; 48.9 x 66 cm]. Retrieved
Week 4 Art Journal
Van Gogh, V. (1889). Self-Portrait [Oil on Canvas; 57.79 Ã? 44.5 cm]. Retrieved from
Week 5 Art Journal
Van Gogh, V. (1890). Roses [Oil on Canvas; 71 x 90 cm]. Retrieved from
Questions Art Historians Askâ?¦
How old is it?
What is it’s style?
What is the subject?
Who made it?
Who paid for it?
Words Art Historians Useâ?¦
Form and Composition
Material and Technique
Space, Mass, and Volume
Perspective and Foreshortening
Proportion and Scale
Carving and Casting
Relief Sculpture
Architectural Drawings
-Additive light
Sunlight or natural light
-Additive Sculptural technique
The artist builds up (models) the forms, usually in clay around the framework, or armature. Used
different molds for different body parts and then welded them together (joined them by heating).
Mixed-media technique
-Color intensity
the brightness or dullness of a hue; a pure hue (color) is called a high-intensity color and dulled hues are
called a low-intensity color
-Color value
the brightness or dullness of a hue
-Complementary colors
Represent the pairing of a primary color & the secondary color created from mixing the two other
primary colors (red & green; yellow & purple; blue & orange). They “complement”, or complete, each
other, one absorbing colors the other reflects.
Refers to how an artist composes (organizes) forms in an artwork, either by placing shapes on a flat
surface or by arranging forms in space.
-Contour line
The perceived line that marks
the border of an object in space. When a continuous line defines an object’s outer shape.
Combines in a single drawing an exterior view with an interior view of part of a building.
Kind of perspective that produces the illusion that one part of the body is farther away than another,
even though all the forms are on the same surface.
An object’s shape and structure. It can be 1) two dimensions (for example, a figure painted on a canvas)
2)three dimensions (for example, statue carved from a marble block).
-Hierarchy of scale
A system of representation that expresses a person’s importance by the size of his or her representation
in a work of art
-Homage to the Square
Albers, Bauhaus, 1954. Homage to square interactions of colors and relationship between them in
different context. He moved to the US after WWII. Color contrasts and played with perception because
of receding and advancing planes. He believed that art originates in “the discrepancy btw physical fact &
physical effect”
A particular shade of a given color
Placement of two things closely together to emphasize comparisons or contrasts
-Mass & Volume
Describe three-dimensional object and space. In both architecture and sculpture, mass is the bulk,
density and weight of matter in space. Volume is the space that mass organizes, divides, or encloses.
They describe the forms of matter of which it is composed and the space immediately around the work
and interacting with it
The edge of a shape or figure
depicted by an actual line drawn or
painted on the surface.
One of the most important pictorial devices for organizing forms in space. Various types of perspective
can be used to create an illusion of depth or space on a two-dimensional surface. Some perspective
devices: the reduction of figure size, the convergence of diagonal lines, and the blurring of distant forms.
A colored chemical compound that absorbs light, producing color.
-A plan
A map of a floor, shows the placement of a structure’s masses and, therefore, the spaces they
circumscribe and enclose.
-Primary colors
Red, yellow, Blue
It concerns the realtionship (in terms of size) of the pertsof persons, buildings, or objects. It implies
using a module, basic unit measure.
-Relief sculpture
Sculpture that projects from a flat background
-Represented texture
When painters depict an object having a certain texture even though the pigment is the true texture.
The purity of a color, its brightness or dullness
-Secondary colors
Resulting colors from mixing pairs of primaries (orange: red & yellow, purple: red & blue, green: yellow
& blue)
-A section
A kind of vertical plan, depicts the placement of a structure’s masses as if someone cut through the
building along a plane.
Lateral section: shows a theoretical slice across a structure’s width.
Longitudinal section: the one that cuts through a building’s length.
The bounded or boundless “container” of objects
Can be real three-dimensional space occupied by a statue or a vase or contained within a room. Or, it
can be illusionistic, when painters depict an image (or illusion) of the three-dimensional spatial world on
a two-dimensional surface
The sum of all the wavelengths composes visible spectrum.
-Statues and Busts
Busts are head, shoulders, and chest. Both exist independent of any architectural frame or setting.
Freestanding sculptures, or sculptures in the round.
-Subtractive Light
The light reflected from pigments and objects.
-Subtractive Sculptural technique
Removing material to create sculpture. For example, carving. The final form is a reduction of the original
mass of a block of stone, a piece of wood, or another material. All sculptors of wood or stone cut away
(subtract) “excess material.”
The processes artist employ, such as applying paint to canvas with a brush, and the distinctive, personal
ways they handle materials.
Refers to the quality of a surface, such as rough or shiny.
The degree of lightness or darkness
-True texture
The tactile quality of the surface; we can experience through touch.
symmetrical asymmetrical, radial
Components of color
Hue, Value, Intensity/Chroma
It will often tell a story. Through direct observation statements can be made regarding the meaning of
artwork. However be aware that you are looking at the artwork through the eyes of a person living in
the 21st century. Research the facts to ascertain the meaning and the story within the context of the
time in which it was created.
Hierarchic Scale
The enlargement of the subject matter to show social importance
Meaning the “writing of Images” it refers to both the subject and the content. It presents signs and
symbols that infer meaning.
It is a moving point, a path in space. It can be Actual or Implied. It can define Shape.
4 types , vertical, horizontal, diagonal, curvilinear
the weight of solid matter
Material and Technique
These two terms refer to the medium the artists uses and how they use it to create art.
The Illusion of depth on a 2d space or surface.
the relationship of sizes
In the visual arts it can be experienced as positive and negative.
Pictorial Subjects can be religious, historical, political, mythological, and numerous others.
It creates an actual or implied tactile sensation
The space around matter or inside matter, this term is associated with architecture.
Warm Colors / Cool Colors
Red, Orange, Yellow / Purple,Blue, Green

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