978-0205677207 Chapter 4

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Chapter Four: Line

CHAPTER OVERVIEW

• Varieties of Line

• Outline and Contour Line

• Qualities of Line

• Implied Line

• Expressive Line

• Line Orientation

Works in Progress:

Vincent van Gogh’s The Sower

Hung Liu’s Three Fujins

The Critical Process:

Thinking about Line: Greek Zeus and Robert Mapplethorpe’s Lisa Lyon

CHAPTER OBJECTIVES

This Chapter Will:

• introduce the visual element of line

• identify the difference between actual and implied lines and the usage of each

• identify the various types of line, such as contour or hatched

• identify line quality in art works and how they can affect the dynamic or static

nature of a composition

KEY TERMS

line nature morte composition autographic line

line of sight outline analytic line kinetic

MyArtsLab RESOURCES

Closer Look: Vincent van Gogh, The Starry Night

Primary Source Document: Paul Cézanne (1839–1906) – Artists on Art

Interactive Flash Cards

LECTURE AND DISCUSSION IDEAS

1. Introducing the Elements of Art

Using Paul Cézanne’s The Basket of Apples (fig. 62), introduce Part II of the text, The

Formal Elements and Their Design, with an overview of the elements of art and

principles of design and their role in the process of making art. Discuss how most artists

consciously employ design strategies learned in their professional training to create

effective compositions. Also discuss how artists and art movements have radically

altered traditional methods of manipulating elements of art. For example, show how the

2. Lines in Life

When discussing each element, consider ideas that connect each element to the student’s

daily life in order to elaborate on how viewers perceptually and visually respond to each

element. For example, reflecting on the element of line, ask students where they see lines

3. Lines Are Style

Point out that the types of lines an artist makes vary as well, and are indicative of their

style. An artist’s line is unique, like a signature. As a side-note, remind students that a

signature is comprised of alphabet letters, which are linear. Initiate a discussion with

students about how their personal signature has the potential of describing their

personality. Using Pat Steir’s Drawing Lesson Part 1, Line # 1 and Line # 5 (figs. 70 &

4. Actual and Implied Lines

Focus on the work of Quick-to-See Smith (fig. 64), Gaudier-Brzeska (fig. 65), Giacometti

(fig. 66), and Samba (fig. 69) to illustrate contour, outline, and implied types of lines.

CompareCheri Samba’s use of implied motion in Calvary (fig. 69) with Alexander

Calder’s actual motion in such kinetic works as Untitled (fig. 159). Discuss the

5. Line of Sight

Illustrate line of sight with Titian’s Assumption and Consecration of the Virgin (fig. 67 &

68) to emphasize how artists activate their compositions by directing the viewer’s

6. Qualities of Line

Distinguish between analytical and expressive line qualities by comparing the works of

Vincent van Gogh and Sol LeWitt. Discuss van Gogh’s creative process as it relates to

The Sower (figs. 74-76). Beyond learning of the struggles van Gogh endured with his

color application, of note for this work is van Gogh’s acknowledgement that the “painted

studies lack clearness of touch. That is [the] reason why I felt it necessary to draw them.”

Discuss van Gogh’s line work as a more realistic, or clearer, visualization of the tactile

7. Neoclassic and Romantic Line Comparison

Regarding cultural conventions and line, compare The Death of Socrates (figs. 84 & 85)

by Jacques-Louis David to that of The Death of Sardanapalus (figs. 86 & 87) by Eugéne

Delacroix to illustrate the artists’ different utilization of line quality. Neoclassic artists,

such as David, focused on linear qualities since they felt the controlled precision lines

exemplified intellect, reason, and logic. On the other hand, Romantic artists, such as

Delacroix, were more interested in the emotional quality of line, and used expressive

8. Contemporary Lines

Contemporary artist Matthew Ritchie uses both expressive and analytical lines in his

works. Ask students to debate how his seemingly unorganized scribbles in No Sign of the

9. Line and Convention

Chapter 5 ends with The Critical Process, an analysis of the cultural conventions that are

attributes in the back of the textbook.

CRITICAL THINKING: More Opportunities to Think about Art

1. Works in Progress: Hung Liu’s Three Fujins

In another Works in Progress feature found in this chapter, Hung Liu’s Relic 12 (fig. 81),

Virgin/Vessel (fig.82), and Three Fujins (fig. 83) all address concerns related to both

gender and social status. Liu presents a seemingly contradictory union of classical and

expressive line within one composition to evoke a sense of journalistic presentation and

subjective interpretation at the same time. Discuss this contradictory line usage, along

WRITING ASSIGNMENTS

1. The Ingredients of an Artwork

Just as a good cook assembles the perfect ingredients for a delicious recipe, an artist

assembles the right elements for a successful artwork. Have students contemplate any

artwork from the textbook and make a recipe of the composition. For example,

2. Analyzing Cultural Conventions

Have students experiment with friends or acquaintances to determine whether the cultural

conventions associated with line still hold true. Have them draw a straight line and a

HANDS-ON PROJECTS

For additional project ideas, remember to investigate the Hands-On Projects found on

MyArtsLab.

1. Express Line

This project is best done as a timed group activity. Each participant needs a drawing

medium and a piece of paper; markers are best. The leader needs a list of words that

2. Life Lines

Have students keep a journal of the lines they see in one day by tracking the lines they

see at any given point, at any given time on a grid. Have them create a grid of 2” squares

on a piece of paper and challenge them to draw a line per hour for at least a twelve-hour

Other Suggested Websites:

Pat Steirs’s biography and other examples of prints and paintings are on view at

www.crownpoint.com/artists/steir/about.html

Hung Lui’s artworks and biography are provided by the Rena Branstan Gallery at

www.renabranstengallery.com/liu.html