Art Elements of Art


color is one of the most influencing elements in the composition of a painting and how we react to a particu- lar color can immediately change the way we feel about the painting overall. When viewing a work of art, keep this in mind as color can sometimes over-compensate for a less-than-stellar composition.


lineS are not just straight lines or curved lines, but they are used as a tool to create movement or flow to guide view- ers through the art. While vertical lines suggest strength and purpose, horizontal lines have a more calming effect. Wavy lines meanwhile, denote movement or vitality.


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“The man who has honesty, integ- rity, the love of inquiry and the desire to see beyond, is ready to appreciate good art. He needs no one to give him an art education; he is already qualified. He needs but to see pictures with his active mind, look into them for the things that belong to him, and he will find soon enough in himself an art con- noisseur and an art lover of the


first order.” Robert Henri American Painter and Teacher APPRECIATION BY RUTH-ANN THORN


Art is, and always has been, one of the most powerful and intimate mediums of human expression. The mystery of art is how we connect with the “picture” and how we alone conduct our personal dialogue with the artwork. You, the viewer, automatically begin the art appreciation process at the moment you begin viewing art. Then, once you begin appreciating a work of art, there are some prac- tical guidelines that can help you to better understand the “why” of art. Why do I like it? Why don’t I like it? A great starting point is to become familiar with the main Elements of Art:


Space in art is both the space taken by an object in an area (called the positive space) and also the space around that object (called the negative space). Space allows for what is referred to as “compositional balance”—when a paint- ing is lacking compositional balance, it evokes a feeling of unrest within the viewer.


TexTure is the visual feel of the surface of a painting. Tex- tures, both visual and physical, like thick impasto paint is sensed (optically touched) through the brushstrokes or detailing.


OFF THE EASEL MAGAZINE – SPRING 2011


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