5 Things to Know About the Elements and Principles

1. Use Color to Set the Mood

Pablo Picasso (1881-1973), The Old Guitarist, late 1903-early 1904. Oil on panel, 48 3/8 x 32 ½ in. Helen Birch Bartlett Memorial Collection, 1926.253. The Art Institute of Chicago. © 2012 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Image: The Art Institute of Chicago.

How does the artist use color to create an emotional response?

Spanish painter and sculptor Pablo Picasso completed The Old Guitarist (right) in 1903 during his “Blue Period.” During this time the artist painted monochromatic (single-color) works using the color blue. The blue color and subjects including the poor and outcast, give the paintings from this time a melancholy mood.

The Old Guitarist shows an old man whose tired body creates a cascade of diagonals. His skin is tinted blue, with white highlights glowing against the shadowy background. In another color, would this painting have a different mood?

2. You Can Invent Space

Salvador Dalí (1904-1989), The Persistence of Memory, 1931. Oil on canvas, 9 ½ x 13 in. Given anonymously. Museum of Modern Art, New York. Image: The Bettmann Art Library. © 2012 Salvador Dalí, Fundació Gala-Salvador Dalí / Artists Rights Society (ARS), New York.

How does Salvador Dalí create the feeling of three-dimensional space in his fantastical landcape?

Have you ever noticed that you remember parts of your dreams but not entire dreams? Some things are clear and seem very real, but other things are fuzzy or don’t make sense. In the 1920s, a group of artists called Surrealists tried to capture these strange dream experiences in art, writing, film, and theater.

The Persistence of Memory (above), completed by Spanish surrealist painter Salvador Dalí in 1931, features a series of melting clocks in an exaggerated dreamlike landscape. It has a clear foreground, middle ground, and background. But recognizing the arrangement of space doesn’t help you understand what is happening, does it? Why is a tree growing out of a table? What is the creature in the center? What planet is this? Do these questions make the painting more interesting to look at than a typical landscape?

 

3. Line + Color = Order

Piet Mondrian (1872-1944), Composition with Red, Blue, and Yellow, 1930. Oil on canvas, 18.1 x 18.1 in. Kunsthaus, Zurich, Switzerland. © 2012 Mondrian/Holtzman Trust c/o HCR International USA. Image: Erich Lessing / Art Resource, NY.

Do you agree with Piet Mondrian’s idea that grid painting achieves perfect unity? Why or why not?

Dutch painter Piet Mondrian believed that the purest form of art was based on a grid. He painted black lines on a white background and used primary colors for the shapes within. The artist felt that his paintings had perfect order, balance, and unity.

In his 1930 work on the right, Mondrian uses vertical and horizontal lines to form rectangles of different sizes. The red square is much larger than the others. Why do you think Mondrian has chosen to emphasize the red shape and minimize the yellow?

 

4. Shapes Can form Patterns

Alma Woodsey Thomas (1891-1978), The Eclipse, 1970. Acrylic on canvas, 62 x 49 ¾ in. Gift of Alma W. Thomas. Smithsonian American Art Museum, Washington, DC. Image: Smithsonian American Art Museum, Washington, DC. / Art Resource, NY.

Compare Alma Woodsey Thomas’s The Eclipse with Mondrian’s painting above. How are they alike? How are they different?

Alma Woodsey Thomas is an African-American painter who used color and simple shapes to depict nature. Thomas’s The Eclipse (right), painted in 1970, features vibrant colors radiating from a dark blue circle. The circular shape sets the pattern that repeats throughout the painting. Cool blues and greens form rings around the circle. As the rings reach toward the edges of the canvas, they become warmer with reds, oranges, and yellows. Thomas uses small, repeating rectangles to create the rings of color, rather than blending the colors seamlessly. This sets up a feeling of movement pulsating from the dark center.

 

 

5. Texture Can Make a Painting Dance

Jackson Pollock (1912-1956), Summertime: Number 9A, 1948. (Detail). Oil, enamel and house paint on canvas, 84.8 x 555 cm. The Tate Gallery, London. ©2012 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. Image: The Tate Gallery, London / Art Resource, NY.

What would the texture of a Jackson Pollock painting feel like?

Jackson Pollock used his whole body to paint, pouring or flinging layers of house paint across the surface of the canvas. Using this “action painting” process, Pollock created giant abstract paintings rich with color and texture.

In Pollock’s  drip painting above, Summertime: Number 9A, 1948, weblike, narrow lines cover the surface and thicker, bolder ones randomly mark the canvas. This combination of thin and thick lines creates texture. Pollock punctuates the canvas with shapes painted using primary colors. The repetition of color creates a visually pleasing rhythm for the viewer.

Text-to-Speech