AHIS10002 Lecture Notes - Lecture 3: Georges Braque, Edgar Degas
28 Aug 2018
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Geo(cid:396)ges b(cid:396)a(cid:395)ue (cid:858)ma(cid:374) (cid:449)ith a guita(cid:396)(cid:859) a(cid:374)d pi(cid:272)asso (cid:858)ma jolie(cid:859) The shapes a(cid:374)d fo(cid:396)(cid:373)s a(cid:396)e (cid:373)o(cid:396)e sha(cid:396)p, defi(cid:374)ed a(cid:374)d geo(cid:373)et(cid:396)i(cid:272) i(cid:374) pi(cid:272)asso(cid:859)s. The(cid:396)e a(cid:396)e (cid:373)o(cid:396)e (cid:448)e(cid:396)ti(cid:272)al li(cid:374)es i(cid:374) pi(cid:272)asso(cid:859)s. The su(cid:271)je(cid:272)t (cid:373)atte(cid:396) of b(cid:396)a(cid:395)ue(cid:859)s is (cid:373)o(cid:396)e (cid:272)e(cid:374)t(cid:396)ed a(cid:374)d less sp(cid:396)ead-out. We need to use the same visual cue to interpret the painting. Hue property that gives the colour its name. Saturation intensity of the colour (e. g. striking hot red versus deeper brown red) Do they protrude or do they melded into the background. Trying to involve as many techniques as possible. The female figure is sunk into a bench (slumped shoulders and bleak expression) she stares vacantly downward. Meanwhile the man takes up space and looks off the light. So the figures are alienated and absent: modelling: sketchy, intense contrasts. People and objects lack shape: lines: angular, harsh, hardened impenetrable surfaces.
