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A sample chapter from 'Visual Arts Grade 10' published by Future Managers Pty Ltd. This title is CAPS compliant and has been approved by the DBE. For more information on this product contact [email protected]
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GRAde10
artsVisual
Boo
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& lay
out
des
ign - c
tb D
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© Future Managers 2011
All rights reserved. No part of this book may be reproduced in any form, electronic, mechanical, photocopying, or otherwise, without prior permission of the copyright owner.
ISBN 978-1-920-36462-5
First published 2011
Acknowledgements
We have liaised with DALRO, the Artists’ Rights Society of America (ARS), SouthAfricanArtists.com as well as various individual artists and foundations to obtain permission to use the images of artworks in this book. We would like to thank the following:
1. Jane Alexander
2. Nelson Mandela Metropolitan Museum for the works of Alexis Preller
3. The Gerard Sekoto Foundation
4. Judith Mason
5. Jane Makhubele
6. Pippa Skotnes for the works of Cecil Skotnes
7. The Michael Stevenson Gallery for the works of Wim Botha and Penny Siopis
8. David Krut Publishing for the works of Diane Victor
9. The John Muafangejo Trust
10. DALRO for the works of Irma Stern, Deborah Butterfield, Leon Golub, Robert Smithson, Clifford Possum Tjapaltjarri, Ben Shahn, and Vassilakis Takis
11. David Hockney Inc and the Tate Gallery for the works of David Hockney
12. ARS for the works of Andy Warhol
13. The Pace Gallery for the works of Chuck Close
Every effort has been made to trace the copyright holders. In the event of unintentional omissions or errors, any information that would enable the publisher to make the proper arrangements will be appreciated.
Published by Future Managers (Pty) LtdPO Box 13194, Mowbray, 7705Tel 021 462 3572Fax 021 462 3681E-mail: [email protected]: www.futuremanagers.net
CONTENTS
CHAPTER 1 What is Visual Arts? pg 1 CHAPTER 2 African Art pg 69
CHAPTER 3 Non-Western Art pg 97
CHAPTER 4 Ancient Civilisations pg 127
CHAPTER 5 The Classical World pg 161
CHAPTER 6 Middle Ages pg 195
CHAPTER 7 The Renaissance pg 231
CHAPTER 8 Baroque pg 261
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CONtENts
1. What is Visual Arts? - pg 22. Topics in Visual Arts - pg 33. Introduction to visual literacy - pg 54. The formal elements of art - pg 65. Composition and the principles of composition/design - pg 246. Media and techniques - pg 287. Subject matter and themes in artwork - pg 448. Style - pg 469. Function, contextual influences and meaning/interpretation - pg 4910. Visual analysis of specific examples - pg 5211. Practical assessment Task - pg 63
1CHaPtErWhat is Visual Arts?
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2
Art is life intensely experienced. For those with eyes to see, an encounter with a work of art can be deeply moving. Zelanski, P. and Fisher, M. The art of seeing, p. 12
Visual arts covers a broad field of creative practice that involves the hand, the eye, the intellect and the imagination in conceptualising and creating two-dimensional and three-dimensional artworks, objects and environments which reflect the aesthetic, conceptual and expressive concerns of individuals or groups.
The subject Visual Arts is about self-expression and offers one a way to engage meaningfully with, and respond to, the world. It provides opportunities to stimulate and develop your intellect, engaging your creative imagination through visual and tactile experiences and the innovative use of materials and technology in realising your ideas.
It also encourages you to develop an individual visual language and literacy, which is informed and shaped by the study of visual culture, past and present.
1 What is Visual Arts?
“Art does not reproduce the visible; rather, it makes visible” - Paul Klee
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IN YOUR VISUAL ARTS STUDIES YOU WILL:CONCEpTUALISE ThROUgh ThE DEVELOpmENTAND REALISATION Of CREATIVE IDEAS IN YOUR SOURCE bOOk.
2 Topics in Visual Arts
1.
You are going to receive specific assignments for this book, but you may also include more drawings, sketches, notes, newspaper articles and cuttings, exploration of concepts and ideas.
The source book is a very
important part of your vis
ual
arts course. It combines a
sketchbook, visual diary, creati
ve
journal, portfolio, etc. Your
source book Is NoT a
formal, NeaT NoTebook, buT
Is aN expressIve, persoNal
“scrapbook” of Ideas aN
d
sTImulI whIch reflecTs
Your owN sTYle, INTeresTs
aNd persoNalITY. It should
be full, exciting and a useful
source of ideas and images
for
in practical assignments.
ACTIVITY
sO
urCE BOOK
activities for the source book will be indicated as:
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4
2.
3.
Make creaTive arTworks and presenT TheM
Drawing is a compulsory part of all practical options in Visual Arts. Specialised options include drawing, painting, sculpture, printmaking, multi-media work, photography, ceramic sculpture, installations, new media work, photography etc.
You will receive a written brief and will be informed of the following facts before commencing the work:
• Theexactaimorendproductexpectedofthetask regarding medium, size etc.
• Sourcesavailableforreference/research/investigations/ experimentation.
• Assessmentprocedurefollowed/criteriatobeused.
• Exact,non-negotiabledatesforhandinginwork; checkpoints along the way.
• Anypossiblelimitationsand/orguidelinesforthe assignment.
• Appropriatemedia,techniquesand/orapproachesforthe assignment.
sTudy arTworks To explain The hisTorical, poliTical, social and/or econoMic background of civilisaTions/sTyles/MoveMenTs and individual arTisTs in visual culTure sTudies.
You need a workbook (A4 hard or soft cover exercise book) for Visual Culture studies in which to do your assignments.
activities for the Visual Culture studies workbook
will be indicated as:
Complete in your V.C.S. workbook.
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3 Introduction to visual literacy
‘Literacy’ usually means the ability to read and write, but it can also refer to the ability to ‘read’ signs other than words, such as images. The proliferation of images in our culture – in newspapers and magazines, in advertising, on television, and on the Web – makes visual literacy (the ability to read images) a vital skill.
The first level of visual literacy is simple knowledge: basic identification of the subject or elements in a photograph, work of art, etc. While accurate observation is important, understanding what we see and comprehending visual relationships are at least as important. These higher level visual literacy skills require critical thinking and they are essential in understanding any content area where information is conveyed through visual formats such as charts and maps.
ViSuAlimAgEStAkEon MAnY ForMS.
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TO gET INSIghT INTO ANY ARTWORk ONE mUST fIRST kNOW ThE ‘LANgUAgE’ Of ART. ThIS LANgUAgE OR AbC CONSISTS Of ThE ELEmENTS Of ART.
THE FORMAL ELEMENTS OF ART
lINeLine is an element of art which refers to the continouos mark made on some surface by a moving point. It can be two-dimensional, like a pencil mark on paper or it may be three-dimensional (e.g. wire) or implied (the edge of a shape or form). line is all around us.
4 Formal elements of art
saul sTeinberg
Man-Made lines
(line creaTed by The The planning of Man)
lines in naTure
Line is basic to writing, drawing and most painting. Pictographs or picture writing were the earliest form of writing. An outline is a line that joins itself to create shapes. The lines are the same thickness throughout.
Contour lines define edges, but they also define the edges of shapes within a form.
paul klee, proManade, pen and ink, 1929
Paul Klee said
“A line is adot that went for a walk.”
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linEScAnbE:
dark fragilebold curvedthick jaggedthin sensitivelong lightrhythmic broken
Lines can express different qualities and emotions. Lines also have a psychological effect. In the paintings on page 8, the major forms create a suggestion of lines.
ben shahn, dr. J. oppenheiMer, 1954.
charles M. schulz, charlie brown and snoopy, 1973.
lINe - Your teacher will guide this activity.
Divide a page in your source book into nine blocks. Try to use a variety of drawing materials and fill each block with different lines to express the given emotions and concepts. You may not draw a picture, but may only use different qualities of line to express the emotions.
ANgER DEpRESSION LOVE JOY ENERgY LONELINESS pEACE CONfUSIONTRANqUILLITY
ACTIVITY
sO
urCE BOOK
1.1
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Horizontal lines create a feeling of peace and calm. Vertical lines create a feeling of strength and power. Diagonal lines create a feeling of movement and restlessness.
Jan verMeer, view of delfT, 1660 – 61. OIl On cAnVAs.
John consTable, The cornfield, 1826. OIl On cAnVAs.
gerard sekoTo, song of The pick, 1946 – 7. OIl On cAnVAs.
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lINe - Your teacher will guide this activity.
ACTIVITY
sO
urCE BOOK
1.2“A journey of a thousand miles begins with one good pair of boots (shoes).” Michael Gerrish
take one shoe off and place is on the table in front of you.see that you have a few sheets of a4 paper. use a pencil and complete the following:
blind conToÜr drawings
blindcontourdrawingisanexcellentwaytotraintheeyetodrawwhat it really sees rather than what it thinks it sees. Place your pencil on one spot on your paper. now, focus your eye on one spot on the shoe. Move your eye along the outline of the shoes and try to move your pencil the same way you move your eye. once you get the outline done, start moving your eye to the details of the shoe-laces, wrinkles, etc.Try to add as many details as you can WITHoUT lOOkingAtYOuRPAPER.keepdrawingOnEsmoothcontinuous line with your pencil. Do a few of these drawings. The first contour drawings you do will look inaccurate. However, with practice, you will find that you will be able to accurately record an image on paper without looking at your hand as it draws! Choose your most successful drawing and paste it in your source book.
Modified conToÜr drawings
Modified contour drawing is one step removed from blind contour drawing. Here you only draw when you are looking at the subject but may look at your drawing occasionally. When you look at your drawing, to see that you are in the right place and to check your progress, you must not draw.This makes sense because when you draw while looking at your drawing you are either drawing from memory or making up what you draw. The information you need to record in order to draw naturalistic is only available when you look carefully at your subject. Do a few of these drawings.Choose your most successful drawing and paste it into your source book.
conToÜr drawings
Do a final contour drawing of the shoe in your source book. Try to represent your shoe on the paper with lines, in as much detail as you can. remember to look very carefully.
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shape aNd form shape is a two-dimensional area (flat) with a recognisable boundary.
forM is a three-dimensional shape. A form has height, width and depth.It also refers to the illusion of volume in a two-dimensional work. The infinite variety of forms and shapes can be divided into organic and inorganic (geometric) ones.
escher
inorganic forMs are Machine-Made wiTh rigid/
geoMeTric ouTlines
M.c. escher, sky and waTer, 1938. WOOdcuT prInT.
A positive shape is the main shape or object while the negative shape refers to the space or background that surrounds the positive space.It is important to keep the negative spaces interesting while working.
organic forMs froM naTure
whaT do you see?a face or an urn?
SeehowcleverlyEscherplayswithpositiveandnegativeshapes.
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shape - Your teacher will guide this activity.
ACTIVITY
sO
urCE BOOK
1.3
posiTive and negaTive shapes
In your source book draw at least five shoes that overlap. You need only to use their outlines. See that some shoes move outside the edges of the page by drawing big. Take a black koki or any other dark material and fill the negative spaces. Look at the works of your classmates and discuss who made the most interesting use of the negative shapes.
organic shapes
A shoe is a man-made, inorganic object. Let us have some fun with a shoe. Make a contour drawing of a shoe that fills your page. Look through magazines and tear out interesting organic forms and textures. You may use faces, figures, trees, animals, etc. Collage your whole shoe with these pictures. See that you cover the whole shoe with images and textures to create a truly organic shoe. Fit the pictures into the shapes of the shoes.
leonardo da vinci
ToNal value
Tonal value refers to the degree of light and dark in a given artwork. Forms do not have outlines in real life, but are defined by light. Without light we do not see forms. When working with tonal values, one must carefully observe how light falls on a form. Tonal values create volume and three-dimensional shapes. (The representation of three-dimensional objects on a two-dimensional surface.)
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on the rights is a ten step value scale showing different graduations from very light to very dark. A scale like this is a useful aid when working with tonal values. In the bottom row the same tone of gray is placed in each of the blocks. See how dark it appears on the white and how light on the black!
See how the flat circle becomes a round ball with the aid of tonal values.
reMbrandT, arisToTle conTeMplaTing a busT of hoMer,1653. OIl On cAnVAs.
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ChIAROSCURA is the depicting in two-dimensional art of the effects of light and shadow as a means of rendering the solidity of bodies,especiallywhentheyarestronglycontrasted.Thebaroquepainters, such as Caravaggio and rembrandt were masters of using chiaroscura.
ToNal values - Your teacher will guide this activity.
ACTIVITY
sO
urCE BOOK1.4
Do a lifesize tonal drawing of a shoe or pair of shoes in pencil, charcoal or pen. observe carefully how the light falls to create your drawing. It is helpful to start with your own value scale at the bottom of your drawing to ensure that you use a variety of tones. Your teacher can demonstrate different techniques of creating tones, for example hatching and cross-hatching.
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TexTure
Texture refers to the surface quality or feel of an object. How it would feel if we touched it? Textures can be coarse, smooth, slimy, bristly, furry, matted, scratchy, wrinkled…
albrechT dÜrer
Jan verMeer, The Milk Maid, 1658. OIl On cAnVAs.
afrcan power figure, nO dATe. WOOd And meTAl.
SImULATED TExTURE is found in two-dimensional artworks. It can be seen but not felt.
REAL TExTURE – an actual part of the work that you can feel
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oppenheim disorientates the viewer by covering a smooth cup and saucer with fur.
Describe at least five different simulated textures in this painting.
MereT oppenheiM, breakfasT in fur, 1936. Fur-lIned TeAcup, sAucer And spOOn
Jan van eyck, The Madonna of chancellor nicolas rolin, 1435 – 6. OIl On pAnel.
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TexTure - Your teacher will guide this activity.
ACTIVITY
sO
urCE BOOK1.5
Trace the shape of your foot a few times on your paper. See that they overlap and some of the feet moveoutsidetheformatofthepaper.takeasoftmediumsuchasa4bor6bpencilandplaceovera textured area such as a rough wall, the soles of a shoe, a manhole, etc. Move your pencil over the surface to make a rubbing of the surface. See that you rub a different texture in each of your areas. Try to create tonal values (increase or decrease the pressure of your hand) so that your drawing creates an interesting whole. It would be best to do it on a loose paper and then paste it into your sourcebook.
The word for this technique of taking rubbings from rough surfaces is called frottage.
exaMples of froTTage/rubbings
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“Colour is my day-long obsession, joy and torment.”Claude Monet
henri MaTisse
colour
hUE is the name of a colour, for example, red or blue.
thEcOlOuRwhEElcAnbEdiVidEdintO:
3 priMary colours
red, yellow, blue
Primary colours cannot be made by mixing together other colours.
3 secondary colours
orange, purple, green
Eachofthesecoloursismadebymixingtwoprimarycolours together.
Red and yellow = orangeBlue and yellow = greenRed and blue = purple
6 inTerMediaTe colours
Red-orange; yellow-orange; yellow-green
blue-green; blue-purple; red-purple
These colours are between the primary and secondary colours on the colour wheel.
Brown is a tertiary colour created by mixing two complementary colours.
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david hockney, a bigger splash, 1967. OIl On cAnVAs.
Black is the presence of all colours and White is the abscence of all colours. (With light it is exactly the opposite!)
henri MaTisse,The open window, collioure, 1905. OIl On cAnVAs.
TINTS are colours mixed with white.
ShADES are colours mixed with black.
INTENSITY of colour relates to the brightness or dullness of a colour.
cOlOuRScAnbEgROuPEdindiffEREntwAYS.
The most common are:
coMpleMenTary
There are 3 pairs of complementary colours.
Red and green
Yellow and purple
Blue and orange
These are always a pair of colours, one being a primary and one a secondary colour directly opposite each other on the colour wheel. When placed side by side, they contrast strongly and often appear to vibrate.
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MonochroMaTic
A monochromatic painting uses variations of one hue only. A pure hue is used alone with black and/or white or mixed with black and/or white.
analogous
This colour scheme consists of hues adjacent to one another on the colour wheel, each containing the same hue, for example, yellow-green, green and blue-green, which all contain the hue green.
polychroMaTic
random use of hues and their variations.
Colour has a psychological effect. Some colours can be described as warm, for example, red, orange and yellow. These colours seem to come towards the viewer in space. They create a feeling of excitement. Cool colours are blue, green and lemon-green. They seem to recede towards the back of a painting. They have a calming effect on the viewer.
Colours have symbolic meanings. These meanings can differ in different cultures. A colour can usually has two opposite meanings for example, red is a symbol of danger and love, and green a symbol of new life or decay.
franz Marc, The faTe of The aniMals, 1913. OIl On cAnVAs.
warm
“Why do two colours, put one next to the other, sing? Can one really explain this?”Pablo Picasso
vincenT van gogh, sTarry nighT,
1889. OIl On cAnVAs.
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colour - Your teacher will guide
this activity.
ACTIVITY
sO
urCE BOOK
1.6
Make an overlapping line drawing of at least five shoes. Draw the overlapping of the different shoes to create many different areas in your composition.
Divide your drawing into six blocks. You may use a grid or divide free-hand to create uneven sizes in your blocks. Use paints (primary colours and white) or another colour material such as coloured pencils or oil pastels.
Eachblockmustbetreatedin a different colour scheme. You may use flat colours, e.g. each block must be filled with one colour and need not be shaded.
thEcOlOuRSchEmEStObEuSEd:
Secondary colour Complementary colour Intermediate colourAnalogous colour Warm or cool colour Monochromatic colour
giorgione
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In two-dimensional artworks, artists create a feeling of three-dimensional space and depth through the use of pERSpECTIVE.
Linear perspective is based on the observation that parallel lines appear to meet on the horizon at one or more vanishing points. objects become smaller as they are positioned further away.
space In architecture space plays an important role and the architectect must create pleasing, functional and interesting spaces in which people can live, work and play.
Sculpture is three-dimensional. It occupies space, has volume and can be viewed from any direction. The sculptor creates an unique relationship between form and space, or positive and negative.
inside The TaTe Modern in london
alberTo giacoMeTTi, Man poinTing, 1947. BrOnze.
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Aerial perspective (atmospheric perspective) is when the atmosphere softens shapes and colours in the distance. When you are near a tree, you can see individual branches and leaves. At a distance they appear to blend together.
georges seuraT, sunday afTernoon on The island of la grand JaTTe, 1884 – 86. OIl On cAnVAs.
TinToreTTo, The finding of The body of sT. Mark, 1562. OIl On cAnVAs
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fOREShORTENINg is the shortening of the depth dimension. In this painting the figure of Christ is dramatically foreshortened.
ManTegna, The dead chrisT, 1480 – 1490. TemperA On cAnVAs.
space - Your teacher will guide this activity.
ACTIVITY
sO
urCE BOOK
1.7a shoe landscape
See how many pictures of shoes you can collect from magazines, newspaper and/or junkmail. Make photocopies of them in different sizes. You will need at least five shoes. Cut them out and make a composition of them showing depht. remember larger shoes will be placed in the front and smaller shoes towards the back. Use white paint (PVA is a good choice) and soften the shoes in the back by dry-brushing them. Use a black ball point pen to bring out detail in the front shoes. You may consider placing them in a specific space such as your school yard. You can draw this using the rules of perspective. Add more detail with your pen. You can also add black ink washes (drawing ink diluted with water, to create different tones).
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ORGANISING THE ELEMENTS
coMposiTion
Composition is the combination of the art elements to form a pleasing whole. The arrangement of colours, forms, etc. must form a visually pleasing or stimulating unity. The artist is the person who has put these things together, which is called composing. The final result of composing a drawing, painting or sculpture is called a composition.
Composition is very important in the creation of artworks and can often make or break the success of an artwork.
When we look at the raphael painting, we can admire his use of forms, shapes, colour and space, but it is the way he organised them (the composition) that makes it a pleasing whole. The composition was based on underlaying geometric shapes that created a sense of stability and order.
A composition is generally divided into three planes. The foreground of a composition is the visual plane that appears closest to the viewer, while the background is the plane in a composition perceived furthest from the viewer. The middle ground is the part between the foreground and the background.
What do you see as the focal point in this work?
Indicate the foreground, middle ground and background in this painting.
Glossary
fOCAL pOINT is the area of interest to which the viewer’s eye is drawn when viewing the artwork. It could be that the lines in the composition leads to it or that it is the brightest part of the picture, etc.
5 composition and the principles of composition/design
raphael, The engageMenT of The virgin, 1504. OIl And TemperA On pAnel.
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The principles of composition/design refer to the way in which one organises the elements of art in an artwork to achieve a specific result and effect.
balance balancereferstothearrangementoftheelementstocreatestability in an artwork. In other words, it ‘looks’ and ‘feels’ right.
SYmmETRICAL balance is created when both sides are similar in visual weight and almost mirrored. It often looks more stiff and formal.
ASYmmETRICAL balance is created when both sides are similar in visual weight but not mirrored. It usually creates more interesting compositions.
RADIAL balance is not very common in artists’ compositions, but it is like a daisy or sunflower with everything arranged around a centre. rose windows of cathedrals use this design system.
How would you describe the balance of the two artworks above?
boTTicelli, The birTh of venus, 1485. TemperA On cAnVAs.
degas, l’absTinThe, 1876. OIl On cAnVAs.
THE PRINCIPLES OF COMPOSITION/DESIGN
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rhyThM/MoveMenT
rhythm refers to ways of combing art elements to produce the sense of flow or movement in an artwork. It may be achieved through repetition, alternation or progression of an element.
J.h. pierneef, sTudy in blue, 1929. OIl.
Discuss how shapes are repeated and progressive in this work to create a sense of rhythm. (Compare it to music where notes are repeated and progressed).
eMphasis
Emphasisreferstodevelopingpointsofinteresttopulltheviewer’seye to important parts in the work. This also refers to focal points in thecomposition.Emphasiscanbecreatedbyusingcolour,tone,etc.
uniTy/harMony
These refer to the wholeness which results from the successful com-binationoftheelementsofanartwork.Everythingfitswelltogetherand creates a pleasing unity.
conTrasT
Contrast refers to visual differences in an artwork. Contrast is a very important factor in an artwork and creates interesting compositions and artworks. It refers to the differences between for example, lines, shapes, tonal values, colours, etc. brightcoloursarecombined.contrastcanalsobeseenindull colours, angular shapes with round shapes, etc.
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roeTTgen pieTa, eArly 14Th cenTury.
pAInTed WOOd.
proporTion
Proportion is the size relationship of parts to a whole and to one each other. Sometimes proportions are ignored, enlarged or changed to create a certain effect, such as an emotional impact.
The two sculptures both have the same theme: Mother Maria holding the dead body of Christ on her lap. At first glance, Michelangelo’s sculpture seems in proportion, but when you look closer you will see that in relationship with Christ, Mary’s body is enormous. We do not notice the unique proportions of Mary’s figure because Christ’s figure has normal proportions and because Mary’s head is in scale with the head of Christ. In comparison, the earlier medieval sculpture is in proportion – a grown man on the lap of a woman, yet they seem unnatural!
Michelangelo buonarroTi, pieTa, 1501. mArBle.
paTTern
Pattern is the repitition of motifs.
gusTav kliMT, JudiTh 1, 1901. OIl On cAnVAs.
henri MaTisse, harMony in red, 1908. OIl On cAnVAs.
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6 media and techniques
GLOSSARY: The word MediuM (plural is media) refers to the material used for making an artwork. (It can also refer to the liquid ingredient of a paint e.g. water, linseed oil, etc.)
The artist needs a means to express his or her ideas. The artist usually have an idea before a medium is selected. The artist learns through trial and error what a specific medium can do. If the artist wants to portrays a landscape, he or she would consider which medium would best portray the qualities of light, atmosphere and tonal values. A carving in stone might not suit these requirements and the artist could rather turn to a two-dimensional medium such as oil paints or watercolours to express the qualities of a landscape. on the other hand, if the artist receives a commission for a durable work commemorating an important person, a marble sculpture might be more appropriate.
In analysing an artwork, one should consider the relationship between the subject matter and the medium to see if the artist’s intention was successfully conveyed. A distinction can be made between two-dimensional and three-dimensional media.
TwO-DIMENSIONAL MEDIA
drawINGDrawing is perhaps the most direct and basic of all the arts. The marks the artist lays down reflect the movement and skillfulness of the arm and hand.
Michelangelo made many preparatory drawings before tackling the Sistine Chapel ceiling.
Michelangelo, sTudy for adaM, red chAlk drAWIng.
Michelangelo, The creaTion of Man (deTail), 1511 – 12. sIsTIne chApel ceIlIng, FrescO.
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Most artists make use of drawing as preparatory work before doing the final work in another medium. These include rough sketches, observational drawings, compositional sketches, noting down of ideas, etc. These drawings are often appreciated and hung as works of art. There are, however, many artists who choose drawing media to make their final statements. This is especially true in the last few decades and drawing has become the chosen medium for many artists.
drawing MaTerial includes The following:
•charcoal•Pencil–(Thehpencilsbeingthehardandbthesoftpencils)•Avarietyofpens•Penand/orbrushandink•crayons,conté•chalkpastels–needtobesprayedwithfixativetopreserveit
Degas was a master in using chalk pastels. He used them as lines of colour to built up his shapes. Many people see this as painting, rather than drawing.
This fragile medium needs to be protected with fixative.
Drawings can be made with everything that makes a mark and on anything that can be marked on. Many contemporary artists have stretched the boundaries of drawing with their choice of media.
diane vicTor, Three pOrTrAITs FrOm A serIes
OF 36 pOrTrAITs mAde FrOm phOTOgrAphs TAken By VIcTOr OF sT rAphAel hIV/AIds cenTre
dAy clInIc In grAhAmsTOWn, 2004. smOke drAWIngs.
edgar degas, before The Mirror, 1889.pAsTel On pAper.
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paINTINGThe painting media all consist of pIgmENT (coloured powders), a liquid called the VEhICLE OR mEDIUm in which the pigments are mixed on a palette and a surface (a wall, board, canvas, paper, etc.) called a SUppORT to which the mixture is applied.
complete in your v.c.s. workbook.1.1
An artist works in a studio.Identify the following objects found in a painter’s studio.
fig.1a
fig. 1b
fig. 1c
fig. 1d
fig. 1e
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TeMpera
Tempera is an old painting technique known to theEgyptians,greeksandRomans.itdevelopedinto the main medium for small-scale paintings until the development of oil painting during the renaissance. Tempera used colour pigments extracted from minerals, egg yolk used as an adhesive, and water to liquefy the paint. The surface to be painted upon was often prepared with a thin coating of plaster or gesso.
The medium has a linear nature– it is usually neat within the shapes and has a matt finish. Tempera dries too quickly for brush-strokes to be blended, but shapes can be modelled by a series of fine brush-strokes. Gold-leaf decoration was an important part of tempera panels and was used as backgrounds, haloes and drapery detail up until the middle of the 15th century.
ciMabue, Madonna enThroned wiTh angels and propheTs (deTAIl), c. 1280 – 90. TemperA On WOOd.
fresco
Fresco technique was developed by the ancient Mediterranean civilisations and refined by the Italian renaissance painters. A fresco is a painting made using pigments mixed with water and painted onto a wall when the plaster is still wet.Thepigmentisabsorbedbythewetplaster;after several hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. A fresco painted on dry plaster, called fresco secco, is less durable than a true fresco, or buon fresco.
The range of colours was limited and frescoes are usually painted in light and muted colours. It has a chalky appearance. Great emphasis was placed on the drawing which was then coloured in.
piero della francesca, annunciaTion (deTAIl), c. 1455, FrescO..
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oil painTing
oil paint is a slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent such as turpentine or white spirits, and varnish may be added to increase the glossiness of the dried film. oil paints have been adopted as an artistic medium since the early 15th century. Most of the paintings you will be studying over the next three years will be created in oils.
oil paints are popular because of their versatality. It can be used from glazing (thin layers of paint) to impasto (thick, direct painting). Characteristic of oil paints is the rich luminosity. It also can create very dark tones. It blends easily into the surrounding paints and allows the colours to blend very subtly. oil paints have more brilliant and jewel-like colours which make the paintings very attractive and render a glossy surface to them.
waTercolour
Watercolour is a transparent water-soluable painting medium. A watercolour is the medium or the resulting artwork in which the paints are made of pigments suspended in a water-soluble vehicle. The traditional and most common support for watercolour paintings is paper.
Its main quality is the luminous delicacy because light reflects back from the paper through the colour, making the whole vivid and translucent.
caravaggio, Madonna wiTh serpenT (deTAIl) , 1606, OIl On cAnVAs.
egon schiele, The arTisT’s wife, 1918. WATercOlOur On pAper.
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acrylic
This is a waterbased synthetic paint developed during the 20th century. The first professional artist's ranges appeared in the 1960s. For the first time artists had a medium with a body comparable to oil paint yet able to be applied to virtually any surface with minimal preparation, and still capable of producing the delicate effects of all waterbased media. It is also referred to as polymer colours or synthetic polymer.
DID YOU KNOw?
whiTe WAs A deAdly cOlOur.
WhITe leAd WAs A FAVOurITe
cOlOur FOr mAny pAInTers
BecAuse ITs OpAque quAlITy mAde
IT A gOOd pIgmenT. IT WAs hOWeVer
A deAdly cOlOur And cAused leAd
pOIsOnIng, And ITs use hAs Been
BAnned In mOsT cOunTrIes.
DID YOU KNOw?
AnOTher cOlOur TO
dIe FOr WAs eMerald
green OrIgInAlly
mAde FrOm ArsenIc, A
deAdly pOIsOn.
DID YOU KNOw?
Tyrian purple WAs mAde
FrOm The BOdIes OF Whelks-
12,000 Whelks Were needed TO
mAke 1.5 grAms OF pIgmenT.
A prIcey purchAse Indeed. IT
explAIned Why purple WAs
seen As A rOyAl cOlOur,
BecAuse rOyAls Were The Only
Ones WhO cOuld AFFOrd IT!
DID YOU KNOw?
indian yellow WAs BelIeVed TO Be
OBTAIned By cOllecTIng The urIne FrOm
A hOly cOW AFTer IT gOrged On mAngO
leAVes! ThIs yellOW WAs mAde FrOm The
sOIled eArTh OF mAngO leAF-Fed cATTle
In The mOnghyr regIOn OF IndIA. The
eArTh WAs drIed, pOWdered, purIFIed,
And Then pressed InTO lumps. BecAuse
OF The pOOr heAlTh OF The mAngO-Fed
cATTle, The IndIAn gOVernmenT BAnned
prOducTIOn OF The pIgmenT In The eArly
20Th cenTury.
chuck close, phil, 1969. synTheTIc pOlymer On cAnVAs .
DID YOU KNOw?
The painT Tube WAs InVenTed In 1841,
replAcIng pIg BlAdders And glAss
syrInges As The prImAry TOOl OF
pAInT TrAnspOrT. ArTIsTs, Or TheIr
AssIsTAnTs, preVIOusly grOund eAch
pIgmenT By hAnd, cAreFully mIxIng The
BIndIng OIl In The prOper prOpOrTIOns.
pAInTs cOuld nOW Be prOduced In Bulk
And sOld In TIn TuBes WITh A cAp. The
cAp cOuld Be screWed BAck On And
The pAInTs preserVed FOr FuTure use,
prOVIdIng FlexIBIlITy And eFFIcIency FOr
pAInTIng OuTdOOrs.
DID YOU KNOw?
criMson WAs mAde
FrOm drIed And
crushed cOchIneAl
BeeTles.
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more receNT medIacollage
intheearly20thcentury,PabloPicassoandgeorgesbraquemadecollage into an art form. A collage (from the French coller meaning to stick or glue), is a composite image made by sticking newspaper cuttings, photographs and other materials on to a flat surface. It is often combined with drawing and painting media.
phoTo MonTage
This is a form of collage where parts of different photos are stuck together to form an image.
Mixed Media
This is when an artist uses different media, materials and techniques in one work.
phoTography
Photography is the process and art of recording pictures by means of capturing light on a light-sensitive medium, such as film or an electronic sensor. Digital photography works with light-sensitive digital pixels.
Digital art makes use of new digital media such as computers and the Internet.
georges braque, glass, carafe and newspaper , 1914. cOllAge And chAlk And chArcOAl.
hannah höch, dada dance, 1922. mOnTAge.
doroThea lange, whiTe angel breadline, 1932, phOTOgrAph.
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mIxed medIa - Your teacher will guide this activity.
ACTIVITY
sO
urCE BOOK
1.8paper slippers
Use a stiff cardboard to enlarge the pattern on the left to the size of your feet. The top part with the flaps needs to be wider than the sole. remember you need to make both shoes.
Use the theme of ‘Who am I?’ to decorate your shoes. You can include self-portraits and things that express your likes and personality. You may use any media such as pen and ink, paint, collage ele-ments, etc. Think carefully of the colours you are going to use and the overall impression.bewareofascrapbookeffect.Seeitasamixedmediaartwork.cutoutthedifferentparts.foldtheflaps and attach to the soles. The following example made by Grade 10 learners can be used as inspi-ration.
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prINTmakINGwHAT IS A PRINT?
A print can be reproduced several times. Although the different printing techniques differ, most involve the use of ink, paper and a plate and a surface such as a piece of wood or copper on which to make the design. To produce the print, a piece of paper is pressed or rolled against the inked plate.
Traditionally, printmaking was regarded as a means of reproducing paintings and drawings or illustrating books. It is now a fine art form in its own right. Artists produce limited editions that are individually signed and numbered.
relief prinTs
A relief print is so called because the image on the plate is inrelief;thatis,itprojectsorsticksupfromthesurfaceofthe plate. The artist draws on the plate surface, then cuts away the areas that are to remain white (negative areas), leaving the parts that are to print (positive areas) raised fromthebackground.blackinkisrolledacrosstheplateand clings to the parts that are in relief. It can then be printed.
relief prints include woodcuts, wood engravings and linocuts.
woodcuTs were the earliest form of relief print first developed in China. Woodcuts usually have a bold, forceful line. The grain of the wood can play a part.
eMil nolde, The propheT, WOOdcuT, 1912.
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linocuTs allows a freer, more spontaneous line and the work is unhampered by grain, with a softer appearance.
Woodcuts and linocuts can also be printed in colour. A different block can be used for each colour, as in Japanese prints, or reduction printing can be applied. reduction printing is a name used to describe the process of using one block to print several layers of colour on one print.
John MuafangeJo, baTTle of rorkes drifT, 1981. lInOcuT.
hokusai, Travellers crossing The oi river, cOlOured WOOdcuT.
inTaglio prinTs
Intaglio (the Italian for “to cut in”) is the opposite of relief printing. In this form the image is below the surface. The artist cuts the lines that are to be printed in the plate. Usually a sheet of metal such as copper is used.
tYPESOfintAgliOPRinting:
engraving is a direct method of cutting into the plate with a burin. It is a slow and demanding technique. The wider and deeper the cut, the darker the printed lines as the ink fills the engraved line. albrechT dÜrer, knighT, deaTh
and The devil, 1513 – 1514, engrAVIng.
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eTching requires a metal plate coated with two, hard acid-resist grounds – wax on the working surface and varnish on the back. Designs are drawn by scratching the wax ground with a blunt steel needle set in a wooden holder. An acid bath is used to bite out the design drawn on an acid-resistant wax ground, the acid biting only where the metal plate has been exposed. The depth of lines varieswiththetimeandsolutionstrengthoftheacidbath.Etchingallows for a more spontaneous handling than engraving. It is often combined with a toning method known as aquatint.
planographic
inthiStYPEOfPRinting,thEimAgEiSOnthESuRfAcEOfthEPlAtE.thESEincludE:
liThography: The artist draws on a block of limestone with a greasy crayon. The surface is dampened with water and the greasy drawn lines resist the water. Ink is then rolled onto the stone – sticking to the greasy drawing and repelled by the wet background. The final print reflects the marks of the drawing.
francisco goya, The sleep of reason produces MonsTers,
1797 – 8. eTchIng And AquATInT
henri Toulouse-lauTrec, Jane avril, 1899. lIThOgrAph pOsTer.
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screenprinTing: (serigraph) This is a modern printing method and is a stencil method. It uses a stencil made of paper or lacquered film stuck over a fine-mesh fabric stretched over a frame. The printing ink is forced through the screen with a rubber squeegee. Cut stencils produce sharply defined images, but chalky lines and granular textures can be created by drawing on the screen with a waxy or waterproof medium. Warhol used a stencil made from a half-tone film positive. MonoprinTs are a single impression taken from a design painted on a flat surface.
collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process.
Contemporary printmaking may include digital printing, photographic media, or a combination of digital, photographic, and traditional processes.
andy warhol, Turquoise Marilyn, 1962. screenprInT.
Many printing techniques require a printing press.
Some printing techniques can be done without a press. Artists such as John Muafangejo often used the back of a spoon to print their linocuts.
a prinTing press
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THREE-DIMENSIONAL MEDIA
sculpTureSculPtuREcAnbEdiVidEdintO:
carving
Media: hard materials were used, such as different types of stone (marble, sandstone, etc.), wood, ivory, etc.
The material is carved away to ‘liberate’ the form contained in the block. Typical tools are hammers and chisels. Sculptors may start with a model in clay, because cutting away too much is disastrous. In a free-standing form sculpture the sculptor must continually read and work the piece in the round. The surface is usually polished to remove all marks made by tools.
Michelangelo, pieTa, 1501. mArBle
relief sculpture is often a part of architecture. There is a distinction between high relief (on far right), where forms are deeply carved and protrude, and low relief (on the right), where figures exist on nearly the same level as in a drawing.
free-sTanding sculpture is three-dimensional and can be viewed from all sides.
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Modelling
Media: soft, malleable materials such as clay, plaster and wax.
Some materials are so soft that they cannot support their own weight and must be built over an armature, a simple skeleton of harder material such as wood or wire. Plaster is typically built up over an armature by strips of fabric that have been dipped in wet plaster of Paris. The final layer consists of plaster alone and is finished off using hands or knives.
roMan, roMulus and reMus, c. 500 Bc, BrOnze.
alberTo giacoMeTTi, Man poinTing, 1947. BrOnze.
deborah buTTerfield, dapple gray, 1980, WIre And sTeel.
consTrucTion
Media: various materials such as steel, wood, etc.
one or more materials are attached to form an aesthetically unified whole. Some works make use of found objects such as feathers, glass, etc. Tools may include blowtorches, hammers and nails, glue, etc.
casTing
Media: bronze, plastic
Soft materials such as wax must be cast to make them durable. In casting, easily-shaped materials are used to create a negative mould into which a molten material such as bronze or plastic is poured and then allowed to harden. The mould is removed and the sculpture can be finished off.
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Takis, MagneTic field, 1969, elecTrO mAgneTs.
wiM boTha, Mieliepap pieTa, 2004. mAIze meAl And resIn InsTAllATIOn
Sculptures are still-standing objects, but in the 1960s with kineTic arT moving sculptures were created.
Movement is generated by natural forces such as wind in a mobile or electricity, magnets (as in the example on the left), etc.
new Media
Although many artists still make use of the aforementioned materials and techniques, many contemporary artists use unusual materials that are not traditionally seen as art materials.
insTallaTion
An artwork that integrates the exhibition space as part of the work.
asseMblage
A three-dimensional form of collage. often makes use of found objects transforming them into art.
gerda sTeiner and Jorg lenzlinger, brainsTorM, 1999. InsTAllATIOn.
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GLOSSARY
found obJecT- An object that is presented as a work of art or a part of one, but which was not originally intended as art, e.g. a bottle, a feather, etc.
conTeMporary- Contemporary art is usually seen as the art from the 1970s to today that is cutting-edge and non-traditional.
Three dImeNsIoNal work - Your teacher will guide this activity.
ACTIVITY
sO
urCE BOOK
1.9
one of the wonderful things about art is that it makes the unthinkable visible. In the print on the left, Lampert has integrated a locust with an army tank, creating something we might encounter in our dreams.
Take a really old shoe and change it into an insect (locust, dragonfly, etc.) or a machine (tank, helicopter, lawn mower, etc.)
You will need to find source materials (pictures) of your insect or machineMake some working sketches of how you can transform the shoe into the insect or machine. You may use any material to create this transformation. Think of wire, tins, cardboard, string, parts of old toys such as wheels, etc. Discuss the construction of your sculpture with your teacher. Spray or paint the final work in one colour to place the emphasis on the form.
suMMary
A mEDIUm is that which was used to create the artwork. Different media have different characteristics.
TEChNIqUE refers not to the medium, but how it was used. For example, if you look at a painting the technique would refer to how the medium has been used. Are the brushstrokes blended and invisible or can they clearly be seen? Is it smooth, stippled or impasto?
nicholas laMperT, locusT Tank, 2006. dIgITAl prInT
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"What is in this work of art? What is it depicting?"
Artists during different times and in different parts of the globe have interpreted similar subjects in their art. The subject of the work is what the painting, drawing or sculpture is about. The objects contained in the image and the underlying story or idea referenced by those figures and objects is the subject of the work.
lOOkingAtSubjEctmAttERfORmSAhAndYwAYOfcOmPARingwORkSfROmdiffEREnttimESAndPlAcES.
7 subject matter and themes in artworks
fig. 2a
fig. 2b
complete in your v.c.s. workbook.
1.2
Identify the subject matter of the surrounding artworks from this list:
• Portraits• figurestudies• Still-life• landscapes• Animalstudies• Religiousworks• mythology• fantasy• Politics/history• Abstraction
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fig. 2c
fig. 2e
fig. 2f
fig. 2g
fig. 2h
fig. 2i
fig. 2J
fig. 2d
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Style refers to the ‘how’ question about artworks.
‘How has the artist depicted the subject?’ ‘How has the artist put his/her personal mark on the artwork?’
thEfOllOwingREPRESEntSSOmEOfthEmOStuSEdStYlESinARt.
naTuralisM
8 style
claesz, vaniTas sTill-life, 1630. OIl On cAnVAs.
pablo picasso, crying woMan, 1937. OIl On cAnVAs.
naTuralisM
Art that seeks to represent accurately and faithfully the actual appearance of things. (The terms naturalistic and realisticareoftenusedsynonymously;but realism refers to a specific movement in the 19th century.)This is also known as representational art.
figuraTive
Figures and objects are recognisable, but not necessarily lifelike. All naturalistic artworks are figurative, but not all figurative works are naturalistic.
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absTracT
Abstract art that does not depict recognisable scenes or objects. Shapes, lines, colours, etc., exist without any reference to reality, but with aesthetic value. The artwork is ‘read’ in terms of lines, shape and colours. This is also known as non-representational or non-objective art.
expressionisM
Expressionismisanartstylewheretheemphasisisplacedon the expression of the emotions and feelings of the artist. Characteristics of this art include distortion and exaggeration.
vassily kandinsky, coMposiTion v, 1911. OIl On cAnVAs.
edvard Munch, The screaM, 1899. OIl On cAnVAs.
cecil skoTnes, head,1972. engrAVed And cOlOured WOOd pAnel.
henri MaTisse, inTerior wiTh eggplanTs, 1911. oil on canvas.
The above are some of the broad major art styles found in the work of many artists, movements and societies.We can further define ‘style’ as the identifying characteristics of an individual, a group of artists (movement), a period style or an entire society. As you continue with your Visual Arts studies, it will become easier to define styles in art.
sTylised
Stylisation refers to distortion of representational images in accordance with certain artistic conventions or to emphasise certain design qualities. It also refers to when an artist’s use of standard characteristics to portray an object. only the general shape is shown, but detail is ignored. The object is stripped to basic recognisable characteristics.
decoraTive
Artworks where pattern or decoration are emphasised are regarded as decorative.
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sTYle - Your teacher will guide this activity.
ACTIVITY
sO
urCE BOOK
1.10
grade 10 drawing. biTuMen, WhITe AcrylIc pAInT And drAWIng Ink.
grade 10 drawing. BlAck pArker Ink, JIk And drAWIng Inks.
expressionisTic shoes
The drawings of school shoes on this page can be classified as expressionistic. They tell us not only about what the shoes look like, but convey a strong sense of atmosphere.
Create a drawing of shoe/s that portray feelings and emotions. You can do this by using scratchy lines to express the shapes and exaggerate certain aspects of the shoe/s. Also consider the background to create a mood. You may use any medium or a combination of media.
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FUNCTION OF THE ARTwORK
Architectureisthemostfunctionalofthevisualarts.Eversinceprehistoric times, people have built shelters against heat, cold, rain or attack. Architecture organises space for human uses, like religious or civic activities.
What are the functions of other visual art forms such as paintings and sculpture?
As you study different societies and movements, you will encounter different functions of art in different times.
... and the art of today?
9 Function, contextual influences and meaning/interpretation
complete in your v.c.s. workbook.
1.3
Irma Stern is regarded as one of South Africa’s most imminent masters. Her bAhORA gIRL, oil on canvas, 1945, was sold for r26 420 000 in october 2010.
dEbAtEthEfOllOwing:1. What is the function of this painting?
2. Why was somebody prepared to pay such an amount for one work of art?
cOnSidERthEfOllOwing:• Aestheticqualities• Prestige• uniquenessofthework• investment• Ownership• collectinginstinct
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GLOSSARY
aesTheTics is the theory of enjoying something for its beauty and pleasurable qualities.
conTexTual facTors
The context is very important to understand any artwork. This has to do with the social and historical background. It is important to find out as much historical background to artists and artworks as possible, so that our understanding of the work is enriched.
Meanings and inTerpreTaTion
The discussion and consideration of the formal art elements, principles of design, use of media and technique, style and contextual factors will help the viewer to come to a closer understanding of any artwork. However, the viewer is not the artist and may never know the full intention of the artist, but one forms a personal opinion provided that the opinion is substantiated by the artwork, research, interviews and/or discussion.
complete in your v.c.s. workbook.1.4
AllthEfOllOwingARtwORkSPORtRAYchildREn.thEYAllhAVEdiffEREntintERPREtAtiOnS.
Write down what you see as the meaning/message of each of the works in figure 4a - 4h. Motivate your opinion by referring to the use of images in the work. (Write at least three full sentences about each work.) Use the following to guide you:
• hiVAidS• manipulationofchildren• children’srights• Poverty• beautyofchildhood• conflict
It will be a good idea to present these interpretations to your classmates who might have differentopinions.Thiswillensureahealthydebateaboutart.(bewareofunjustifiedstories without any relation to the artwork.)
FIG. 4A. george peMba,MoTher’s child, 1972. OIl On cAnVAs.
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FIG.4C. penelope siopis, aids baby africa,
1996. cIBrAchrOme phOTO.
FIG. 4H. kerry-lyn poTgieTer, push ‘n pull, nO dATe. eTchIng And emBrOIdery.
FIG. 4b. erich fischl, liTTle squirT, 1982. OIl On cAnVAs
FIG. 4E. diane vicTor, blue boys, 2003. eTchIng And AquITInT.
FIG. 4D. david siqueiros, The echo of a screaM, 1937. enAmel On WOOd.
FIG. 4F. Manfred zylla, The boys froM The border series, 1986. drAWIng.
FIG. 4G. Maurizio caTTelan, ÜnTiTled, 2003. BOdy In resIn, synTheTIc hAIr, reAl clOThes,
elecTrOnIc pIeces, BrOnze drum.
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To summarise one can see visual literacy as the ‘reading’ of visual texts. Visual art is about visual images. The visual image or artwork is the most important aspect of Visual Culture Studies.
10 Visual analysis of examples
FIG. 5b. williaM Turner, The slave ship,1840. OIl On cAnVAs. 91 x 123 cm.
complete in your v.c.s. workbook.1.5
List the six artworks (Figures 5a – 5f) in chronological order. Use the correct labeling – name of artist, title, date and medium.
Write next to the correct example the answers to the following:• whichonedatesfromtheRenaissance?• whichonewaspaintedinthetwentiethcentury?• whichoneisthelargest?• whichoneisthesmallest?• whichoneisabstractandwhatmakesitabstract?• forwhomdoyouthinkthepaintingswerepainted?• whichoneisyourfavouriteandgiveareasonforyourchoice.
FIG. 5A. Jan verMeer, The lace Maker, c. 1669 – 70. OIl On pAnel, 24 x 21 cm.
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FIG. 5E. leonardo da vinci,
virgin of The rocks, c. 1483 – 85. OIl On pAnel TrAnsFerred TO
cAnVAs. 199 x 122 cm.
FIG. 5D. david, The oaTh of The horaTii, 1774. OIl On cAnVAs. 330 x 425 cm
FIG. 5C. vassily kandinsky, coMposiTion v, 1911. OIl On
cAnVAs. 190 x 275 cm.
FIG.5F. edgar ManeT, The bar aT The folies bérgere, 1882. OIl On cAnVAs. 96 x 130 cm.
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diScuSSthEFoLLoWInG In CLASS AndmAkEnOtES
• writedown measurements of this painting. Is it big or small? How would you feel standing before this work?• brieflydescribethesceneinthepainting.• describethecoloursusedinthiswork.• isthecolourusednaturalisticallyorexpressivetoenhance mood or emotion? Are the colours contrasted by using warm or cold, complementary, bright, dull, dark or light colours and why?• describeanylinesyouseeinthiswork.• discusstheapplicationofthepaint.isitblended,flatordoyou see clear brushstrokes? How does the character of the paint help with the portrayal of the painting?• compositionmeanshowthepeople,treesand/orother elements are arranged within the space or format of a painting. Take a pen and mark the main shapes in the work.• whatisthemainfocalpointinthepaintingandhowisit achieved?• isthepaintingcluttered,closeuporclaustrophobic,orare there open spaces?• isthereasenseofbalanceand/orrhythmintheworkandhow is this achieved?• howarethefiguresarranged–aretheypaintedclosely together in groups or separated and how does this add to the meaning of the work?• istheredepthinthiswork?howwasthisachieved?
VISUAL ANALYSIS OF SPECIFIC ARTwORKS
thEthEmEchOSEnfORthESEfOuRwORkSiSSOciAlcOmmEntARY–thEARtiSthASSOmEthingtOSAYAbOutSOciEtY.
goya, The Third of May, 1808, 1814. oil on canvans.
“The sleep of reason produces monsters.” – Francisco Goya
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diScuSSthEfOllOwinginclASSAndmAkEnOtES:
• whatisyourinitialreactiontothiswork?doyoulikeitor not? Give a reason for your opinion.• describethesceneinthepainting.
picasso, guernica, 1937. OIl On cAnVAs
conTexTual inforMaTion
In 1808 French troops under napoleon invaded Spain and napoleon installed his brother on the Spanish throne. on May 2, 1808, the inhabitants of Madrid attacked the French soldiers. In retaliation and as a show of force, the French responded the next day by executing numerous Spanish citizens, both rebels and innocent people. According to his gardener, Goya went out during the night to see the corpses in the street. The painting was painted six years later when the Spanish king was restored to power. It is surely one of the best examples of art that can be seen as social protest.
complete in your v.c.s. workbook.
Use the information from your answers and write a paragraph on this work.
1.6
• howarethefrenchsoldiersportrayed? How do you feel about them?• howaretheSpanishpeopleshown?howdoyoufeel about them?• namefourreasonswhythemanwiththewhiteshirt is the most important figure in this painting.• describeyouremotionswhenlookingatthiswork.• whatisthemessageofthispaintingforustoday?
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conTexTÜal inforMaTion
The Spanish Civil War (1936 – 39) was between the nationalists under General Franco, and the leftwing republicans. Franco, who was supported by nazi-Germany and Fascist Italy, was the victor in the end. The Spanish republican government in exile asked Picasso toproducethisenormouspaintingfortheParisinternationalExpo-sition of 1937. It was made in protest against the destroying of the smallbasquetownofguernicathatwasalmosttotallydestructionin an air raid by nazi bombers acting on behalf of Franco, where 1 654 died and 889 were injured.
• whyareallthefiguresandanimalsshownwithopenmouths?• whyareallthefigures,eventhosepaintedfromtheside, shown with two eyes?• whydoyouthinkPicassousedonlyblack,whiteandgrey?• howdidyouropinionofthisworkchangebyknowingthe ‘story’ of the painting?• Therearetwolightsourcesinthiswork.whatdoyouthink are the meanings of the two lights?• whatcanbeseenaspeacesymbolsinthepainting?• whycanthisbeseenasapeacepainting?whatmessage does this work have for us today? • whyisthepaintingfigurativeandnotabstract?
“Painting is not made to decorate apartments. It is an instrument for war against the enemy.” – Pablo Picasso
• nameeightpartsinthepainting.• isitabigorsmallpainting?howwouldyoufeelstandingbefore this work?• describethecoloursusedinthiswork.whatmooddoestheuse of these colours create in this work?• howwouldyoudescribetheshapesinthispainting?• discusstheuseoflineinthispainting.• discusstheapplicationofthepaint.isitblended,flatordoyou see clear brush strokes? How does the character of the paint help with the portrayal of the subject?• howwouldyoudescribethecompositionofthiswork?
Draw the main geometric shape of the composition over the images.
complete in your v.c.s.
workbook.
1.7
Use the information from your answers and write a paragraph on this work.
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Jane alexander, The buTcher boys mIxed medIA IncludIng plAsTer, BOne
And A WOOden Bench, 1985
diScuSSthEfOllOwinginclASSAndmAkEnOtES:
• howdoesasculpturediffer from a painting?• howdoyouthinktheartist made this sculpture?• Thesefiguresarelife-size. Describe your feelings about this work.• describewhatyousee.• howarethenosesandmouths shown?• whathappenedtotheirears?• describedetailsabouttheir bodies.
“My preferred language of expression, and the one I believe I am more articulate in, is visual.” – Jane alexanderconTexTÜal inforMaTion
This work arose from a sense of horror at the increasingly repressive and brutal measures used by the apartheid government to quell the violence of the 1980’s in South African society. This work has become a symbol of institutionalised violence, such as the Security PolicewhowereinvolvedinthedeathofStevebiko,theblackConsciousness leader.
• nowthatyouknowmoreaboutthework,didyouchangeyour opinion? explain how your opinion changed.• whydoyouthinkthisworkgivesone‘shiversdownthespine and sleepless nights’?• whatdoyouthinkarepossiblemeaningsofthetitle?• usuallythesefiguresareseenastheoppressors(thepeoplethat had to uphold the apartheid system). What does this work tell us about the people who had to commit brutal acts? • ThisissurelyoneofSouthAfrica’smoststrikingworksofart. Why would that be and what is the message for us today?
complete in your v.c.s. workbook.
1.8
Use the information from your answers and write a paragraph on this work.
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conTexTÜal facTors
The 1980s was a violent decade especially for black communities in South Africa. There was a great surge in the protest or resistance against the nationalist government. The government answered with reactions such as the state of emergency. In 1987, approximately 5 000 people were detained under the state of emergency law.
resistance Art was a serious attempt to create political change. It also addressed associated social injustices. resistance Art focused on the ‘wounds’ in the South African society.
• doyouthinkholoissuccessfulin‘puttingahumanface’tothe history of the 1980s? Give reasons for your answer.• whatdoyouseeasthemeaningandmessageofthiswork?
sydney holo, no life, nO dATe.lInOcuT On pAper, 29 x 34 cm
diScuSSthEFoLLoWInG In clASSAndmAkEnOtES:
• Thisworkisalinocut.whatcharacteristicsofthismediumcan you see in this print?• whydoyouthinkholodecidedtoportraythissceneina linocut? Give two reasons.• describethesceneinthiswork.• describetheexpressionsonthefacesofthepeople.• discusshisuseoflineandshapeinthiswork.• indicateexamplesoftextureandpatterninthisprint.• whatsortofspacedoyouseeinthiswork?• whatisthefocalpointinthisprintandwhatmakesitthe focal point?• whatisthemoodandatmosphereofthiswork?
“I draw from the heart. I draw what I see happening in the townships. One can put feeling and expression into a work of art.”
complete in your v.c.s. workbook.
1.9
Use the information from your answers and write a paragraph on this work.
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complete in your v.c.s. workbook.1.10
You have now studied four artworks with a similar theme. The next step will be to compare these works – showing similarities and differences.Choose any two of the previous examples and fill in the following table – you need not use full sentences. This is just a guide to structure your answer.
ARTIST
TITLE
mEDIA
DESCRIpTION
fORmAL ART ELEmENTS
COmpOSITION
STYLE AND TEChNIqUE
CONTExT
mESSAgE AND mEANINg
Use the information and write an essay in which you compare the two artworks. remember you must now use full sentences and integrate the information of the two artworks.
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complete in your v.c.s. workbook.1.11
research acTiviTy Throughout the ages the artist has often commented on social injustices in his/her society. Discuss three artworks (about a half page on each artwork) to show different responses to social injustices. You may use the artworks illustrated below and on the next page or your own examples.Sources could include art books in a local library and/or the Internet. remember to include a bibliography of your sources.
eddie adaMs, execuTion of a vieTcong officer, 1968. phOTOgrAph
cape youTh congress banner, 1985. AcrylIc On clOTh
paTrick cockayne, sTop aparTheid wars, 1984. BAsed On ecc pOsTer
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Mandla sibanda, zabalaza, 1987. OIl On BOArd
leon golub, inTerrogaTion ii, 1981. AcrylIc On lInen
willie besTer, who leT The dogs ouT, 2001. mIxed medIA InsTAllATIOn
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how To look aT aN arTwork aNd dIscuss IT
thEfOllOwingiSAguidE(‘REciPE’)OnhOwOnEcAndiScuSSAnARtwORk.
1. label inforMaTion
• Artist,titleofwork,medium,date,size
2. descripTion
• identifythingsthatyoucansee–nameanddescribethem.Ensurethatyourdescriptionisnot evaluating, opinionated or interpreting – say only what you see.• brieflydescribethemainobjectsintheartworkandtheirpositioninrelationtoeachothere.g. the cow is below the tree. only mention what you can see with your eyes as if describing the work to a blind person.• Subjectmatter.• doestheworkbelongtoaspecificartmovement?
3. discussion (analysis)
• technique.• Style.• formalelements–line,shape,form,colour,texture,tone,pattern,space• compositionandfocalpoints.• composition/designprinciplessuchasemphasis,contrasts,scale,proportion,balance, rhythm, etc. (remember – concentrate on the outstanding elements and principles in an artwork.)
4. inTerpreTaTion, Meaning and Message
• indiscussingalloftheabovepoints,theviewerwillcometoacloserunderstandingofanart- work. However, the viewer is not the artist and we may never know the full intention of the artist, but we form our own informed opinion provided that the opinion is substantiated.• contextualfactors-Thecontextoftheworkplaysabigroleindeterminingmeaning–the biography of the artist, political and social situations, historical factors and/or physical place e.g. a work created during apartheid South Africa.• usetheinformationgatheredfromyourdEScRiPtiOnanddiScuSSiOn(AnAlYSiS)to helpyouidentifythecOntEntofworks(whattheartworktellsofthehumanexperience). ThisistodowiththemESSAgEofthework.• defendyourhypothesiswithevidencefromothersources,suchasarthistory,pastexperiences the work reminds you of, or presumed purposes: to praise, criticise, predict, record an event, make a political or social statement, ridicule, and so on.• lookatthesymbolicmeaningswherepossiblee.g.adovemeaningpeace.
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vincenT van gogh, Three pairs of shoes,
1887. OIl On cAnVAs
A shoe is intended to protect and comfort the human foot while doing various activities. The foot contains more bones than any other single part of the body. Throughout the ages the design of shoes has varied enormously. Shoe design was influenced by functionality, status and the availability of materials. Many cultures did not wear shoes. Shoes became cheaper with the advent of mass-production and most people in the world wear shoes today. If we look at today’s shoes, we will find an enormous range of designs. Many shoes are made for very specific purposes, such as sport, work, leisure, etc. Today, shoes have become very desirable items. Many people will spend huge amounts of money to own the ‘in’ brands such as Adidas, nike, Converse, etc. Many women craveapairofmanoloblahnikorchristianlouboutinshoes.
Theme: SHOES
DID YOU KNOw?
The AncIenT cusTOm OF FOOT BIndIng WAs
prAcTIsed In chInA FrOm ABOuT The 10Th
cenTury And ended In 1911. FOOT BIndIng WAs
The AcT OF WrAppIng A Three- TO FIVe-yeAr
Old gIrl’s FeeT WITh BIndIng sO As TO Bend
The TOes under, BreAk The BOnes And FOrce
The BAck OF The FOOT TOgeTher. The AVerAge
lengTh OF The deFOrmed FOOT WAs 12, 7
cm. The smAll FeeT Were seen As A sIgn OF
BeAuTy And ATTrAcTIVeness. The smAller
The WOmAn’s FeeT The mOre desIrABle she
WOuld Be In mArrIAge. IT AlsO meAnT ThAT
The WOmAn WAs less IndependenT And mOre
ABle TO Be cOnTrOlled.
11 practical Assessment task
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These shoes all belonged to people who died in the Auschwitz concentration camp during the Second World War. Today it is placed in a huge glass cabinet at the museum at Auschwitz.
vincenT van gogh, a pair of shoes,
1885. OIl On cAnVAsarTisTs and shoes The most famous shoes in the history of art might be the pairs of shoes that Van Gogh painted, such as the above example. The painting’s simple subject of a pair of worn work boots gave Van Gogh the opportunity to concentrate on colour and brush stroke. He applied his paint thickly, leaving distinct brush strokes in the foreground and working a crosshatch pattern in the back, giving as much importance to his surface as his subject. Van Gogh found beauty in the everyday, in the things that people take for granted, and deemed them worthy of a painting.
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More shoe paintings by Vincent van Gogh:
Other artists who portrayed shoes:
MereT oppenheiM, My nurse Maid, 1936. FOund OBJecT sculpTure
rené MagriTTe, The red Model, 1935. OIl On cAnVAs
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As you can see, shoes are an inspirational medium for art as they come in a huge variety of shapes, sizes, colours as well as wear and tear patterns. not only do shoes have functional identities, symbolically they can imply a journey, a path taken or one soon to be em-barked upon.
andy warhol, diaMond dusT shoes, 1980. AcrylIc pAInT, sIlkscreen Ink And dIAmOnd dusT
Jean shin, hide, 2004. InsTAllATIOn OF decOnsTrucTed shOes
start with your sourCe BooK
You have already created a variety of works on shoe/s in your source book. These form part of your investigation into this theme.You can now expand your research into the theme of shoes by doing some/all of the following:
• makeamindmapofthethemeofshoes.Thinkofthefollowing relating to shoes: types, function, materials, forms, meanings, etc.
• conductresearchonthethemeofshoes.Thinkoflyricsor poems relating to shoes, shoes in artworks, other relevant images, and your own thoughts.
Your brief is to make a final artwork on the theme of shoes.Your art teacher will guide you in this process and may give you further instructions regarding the media, size, technique, etc.
- Your teacher will guide this activity.
develop Your owN creaTIve INTerpreTaTIoN of: shoes
ACTIVITY
sO
urCE BOOK
1.11
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The source book
Is parT of Your
creaTIve jourNeY
INTo developING
The fINal work aNd
should reflecT
Your creaTIvITY as
aN arT learNer bY
beING aesTheTIcallY
excITING aNd
creaTIve IN ITs
preseNTaTIoN.
cOnSidERthEfOllOwingbYdOcumEntingitinwRitingAndSkEtchESinYOuRSOuRcEbOOk:
• Thechoiceofmedium(drawing,painting,mixedmedia,etc.)• Thechoiceoftechniqueandmaterials• Thestyle(naturalistic,expressive,etc.)• Thecomposition(apairofshoes,acollectionofshoes,agrid with different shoes in each, a ‘landscape’ of shoes getting smaller to the back, etc.)
Do some thumbnail compositional sketches. remember to consider the negative shapes.
Any ideas on the meaning of your work. Think of the type of shoes you have chosen, e.g. school shoes, tekkies, etc. Do not try to force ‘deep’ meaning on your work. You have seen how effective Van Gogh’s observation of shoes can be.
After you have finished this task, you can reflect in writing on this whole process.
The arTwork
Complete your artwork under the guidance of your art teacher.
eNjoY IT & be creaTIve.
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