Art in FocusChapter 23:
Art of the Early Twentieth CenturyAdditional Studio ProjectsABSTRACT CUT-PAPER FIGURESComplete a paper cutout featuring two large, abstract figures, one in action and the other motionless. These will be large silhouettes cut from brightly colored fadeless art paper or construction paper. Glue the figures to a white background so that they appear to relate to one another in some way. Cut out other abstract shapes in various sizes and glue them in place to increase the decorative effect and add harmony to your composition. Make no effort to suggest space or depth.
INSPIRATIONLook again at Henri Matisse's colorful cutout on the cover of Art in Focus. Can you identify the figures in the piece? Do you see the mucisians? What is the other figure doing? How do the smaller shapes add harmony to this work? Do you think space is an important element in this composition?
WHAT YOU WILL NEED- Pencil and sketch paper
- Large and small pieces of fadeless art paper or brightly colored construction paper
- Sheet of white drawing paper, 18 × 24 inches
- Scissors and glue
WHAT YOU WILL DO- Make several pencil sketches in which two large, abstract figures dominate. One of these figures must be engaged in some kind of spirited activity. The other should appear quiet and motionless. There should be a clear relationship between these two figures, just as the knife thrower and his assistant are related in Matisse's cutout artwork.
- Enlarge and lightly redraw your figures on the pieces of brightly colored paper. Cut these out as two abstract silhouettes, concentrating on the outlines and eliminating all unnecessary details.
- Design and cut out several smaller, decorative shapes in a variety of sizes. These should be similar in appearance, since they will be used to add harmony to your composition.
- Arrange your figures and shapes on the large sheet of white drawing paper and, when you are satisfied with the design, glue them in place.
EVALUATING YOUR WORKDescribe Are the two figures in your work easily identified? Can others distinguish between the active figure and the motionless figure even though both are highly abstracted?
Analyze Are repetitious, decorative shapes used to add harmony to your composition? Is variety realized by making these shapes in different sizes? Does your composition avoid the suggestion of depth?
Interpret Are other students able to identify the relationship between the two figures? Can they determine what each is doing?
Judge What aesthetic quality, or qualities, would you use when judging your work? Using these, would you say your work is successful? If you were to do it again, what would you do differently?
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