Summer 2024 Catalog

ART & ART APPRECIATION

Ever Ancient Ever New: Level 2 Art History, Appreciation, Theory, and Practice Bethany Pedersen, M.A.

Art Theory Irregular Rhythm through Line

Ever Ancient Ever New, Level 2 completes CHC’s art history program by telling the “story of art” from the High Renaissance masters to the Modern era. The first half of the book focuses on the magnificent art of the Baroque period. The second half then summarizes the artistic movements after 1700 until the present, featuring the masterpieces of Turner, Millet, Monet, Renoir, Van Gogh, and others. The program concludes with a unit on American art from the 18th to 20th centuries. The program pays special attention to how the art of each period was influenced by the religious and philosophical beliefs of the time, from the Protestant Reformation and the Enlightenment to empiricism and relativism. Particularly valuable is the discussion of the Council of Trent’s guidelines for sacred art.

In the last chapter you learned about regular rhythm, a type of rhythm in which colors, lines, and shapes are repeated at regular intervals to create pa�erns. Rhythm can also be created by repea�ng the secrets of beauty (elements of art) irregularly. In the next few chapters, you will learn about several different ways that ar�sts can create irregular rhythm .

First, let’s learn how irregular rhythm can be created by line . The rhythm created by line can be the sense of movement created by a single line, or the sense of movement created by many lines. For example, the pain�ng of trees on the le� shows how rhythm can be created by the repe��on of many lines. The tree trunks in the pain�ng are spaced at irregular intervals, so they do not form a pa�ern, but the repe��on of ver�cal lines gives the pain�ng a silent rhythm or “heartbeat.” The pain�ng below is an example of how rhythm can be created by a single line. The path in the foreground curves back and forth repeatedly, crea�ng a meandering rhythm. The repe��on of the curves “sets the pace” for how the eye moves back and forth through the picture space.

Gustav Klimt, Beech Grove I , 1902, 3' 3" x 3' 3"

Auguste Renoir, Road at Wargemont , 1879, 2' 8" x 3' 3"

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Just as in Level 1, detailed Picture Studies help students engage with masterpieces such as El Greco’s The Holy Trinity , Murillo’s Immaculate Conception , and Van Gogh’s The Starry Night . Lessons in Art Theory focus on the principles of design (unity, variety, contrast, movement, proportion, emphasis, repetition, balance, and rhythm). The non-consumable textbook can be used over and over again! Designed as a 2–year program for use in grades 7–8, but could be used in grades 6–12. 36 chapters, 422 pgs. Lavishly illustrated in full color! Softcover. 8½"×11" ART2-T $44.95 Art Pad 2 provides homeschool-friendly art projects that teach fine arts skills while reinforcing the lessons in art theory and art history from the text. Art Pad 2 has instructions and templates for 36 projects. Black and white text with special templates on cardstock and artist’s paper. Pages are not reproducible; each student will need his own Art Pad. 166-page tear-off pad. 8½"×11" ART2-P $14.95 “T HE art courses by Bethany Pedersen are outstanding!!! I can not recommend them highly enough! We all learned so much over the 2 years and the course is appropriate for all ages!! The artwork that the students produced is amazing and done simply by following her step-by-step instructions. I taught the class and I am not an artist but I never ran into any problems with the projects! That’s saying a lot! This is far and above any other homeschool art course. God bless you all at CHC!” —Amy, NY

Claude Monet, Poplars on the Banks of the River Epte, Seen from the Marsh , 1892, 2' 11" x 3'

The pain�ng above creates irregular line rhythm in both ways. The repe��on of the tree trunks is an example of rhythm created by mul�ple lines, and the curving line formed by the tree tops is an example of rhythm created by a single line. In The Gleaners , Millet uses the implied lines of the women’s contours to create a graceful, undula�ng rhythm. These lines lead the eye across their forms in a waving, up-and-down

rhythm that reflects the rhythmical mo�on of the women as they gather wheat throughout the day. Millet’s use of rhythm helps to communicate the steady, unchanging rhythm of peasant life. Like Courbet, Millet knew that the life of a peasant was one of unending work, but he also saw a hidden beauty in their lives. Instead of focusing on the ugliness of peasant life, Millet wanted his pain�ngs to show how beau�ful it is when people persevere courageously, “rhythmically,” to complete their daily work.

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Jean-François Millet, Potato Planters , c. 1861, 2' 8" x 3' 4"

Millet’s Potato Planters Picture Study

Millet’s Potato Planters shows a man and his wife working together to plant potatoes. As the man scoops away the earth with his hoe, the woman drops seed potatoes into the hole. A�er the man fills the hole with earth again, he will move a few feet and dig another hole to repeat the process. In the middleground behind the two figures, Millet painted their sleeping baby. �e�t to the baby’s crib, a donkey waits pa�ently for his owners to finish their work.

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