In art, movement can mean anything from literal movement, found in some sculpture or mobiles, to implied movement or how an artist makes our eye move around the work.
The illusion of stability or movement in a work of art is created to a great extent by the main “lines” in the work. Horizontal and vertical lines create stability and stillness. Horizontal lines tend to hold the eye stable and static in the center of the picture creating calmness and continuity. Vertical lines are also stable, but tend to pull the eye upward. Often they are used to suggest looking upward and can convey divinity or royalty. Diagonal lines evoke movement. The eye follows the lines throughout the composition and even out of it. Circular lines take the eye around the composition and either hold it in or guide it out.
Teaching Notes: On a large piece of paper or on the chalkboard, draw a horizontal line. Ask students what kind of line it is what it reminds them of (a horizon or something lying down for example.). Draw a vertical line and ask the same thing (a tall building, etc.). Draw a diagonal line. Point out how it looks like it is falling or going upward, etc. Draw a circle and show how the eye moves around the circle. Show the images below and on the first few pairs, point out the main vertical lines and diagonal lines in the works of art. Then see if they can see them and see the difference it makes in feeling of movement in the paintings. The last few are not pairs of contrasting slides. Ask more detailed questions as to why the artist chose what he or she did in terms of conveying movement (or the lack of it) in the paintings.
Napoleon, David (French), 1800 (left).
Napoleon, Ingres (French), 1806 (right).
Kobo Dashi 14th C.(Chinese) (left)
Calmady Children, Lawrence (English), 1823 (right).
Kobo Dashi, 14th C.(Chinese) (left).
Shah Jahan, (Indian) (right).
Dara Govardhan (Indian), 1657 (top).
San Vitale, Theodora 570 (Italy) (bottom).
Etruscan 480BC (Italy) (top).
The White House Constable (English), 1819 (bottom).
Rockets and Blue Light, JMW Turner (English), 1840 (left).
Budda, Vairocana (right).
Kind Victor of the 3 world, Mid-15thc. (Indian) (left).
Beijin the Mime, Guri Shrine (right).
Utagawato Yohiro (Japanese), 1804 (left).
Young Woman in Summer Shower (Japan) (right).
Egyptian Servant (left).
David, Bernini, 1610 (right).
Chartes Cathedral, Corot, (French), 1830 (left).
Starry Night, Van Gogh (Dutch), 1889 (right).
Nude Descending a Staircase, Duchamps (French), 1912. Duchamps was purposefully trying to capture movement in painting.
The Raven Addressing Assembled Animals (Indian), 1590. So much movement that it almost looks like fire.
Girl on a Rail, Balla (Italian), 1912. Trying to capture motion in painting.
The City Rises, Boccioni (Italian), 1910. Trying to capture movement in paint.
George Reynolds Pole Vaulting, Thomas Eakins (American), 1884. After strobe photography was invented, photographers were able to capture actual movement on film.
The Swing, Fragonard (French), 1767.
High Wind at Yeigiri, Hokusai (Japan), 1835.
The Artist’s Mother, Whistler (American), 1871.
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