I decided to take the face of the girl in the painting 'Agnes', as this section was most interesting and detailed. I wanted to experiment with the way I drew her face, to see if the painting still had the same effect when focusing on only one of the formal elements.
Line
“The 20th century German artist, Maholy Nage described line as "a record of a path of motion." However, line can be much more than that. It is also a record of vision and feeling. Line is a human invention which allows the ability to communicate what we see. The path made by a moving point can be described as two basic line types: straight and curved. Line may also consist of actual marks that can be drawn, or it can refer to the external edges of a shape or form. Whether seen or implied, line is unquestionably one of the artist's most articulate tools. It encloses or liberates space, expresses feeling, conveys movement, suggests mass or volume and creates an image”.
I decided to explore line using ink and a thin nib. I drew around a copy of my original drawing, focusing on just the edges of her face and facial features. Once I had finished, I looked at my work and saw that it looked much more flat and 2 dimensional. The original painting looks extremely real and the curves that were on her face before suddenly disappeared.
Colour
“Colour is the most emotional element of art. Our awareness of colour is conditioned by our environment and our culture. But colour also affects us intuitively. It effects our emotions directly, affecting our moods, thoughts, actions and even our health. In previous centuries colour was termed the sensual part of art because it attacked emotions directly and had no boundaries or rules. Today terms like "seeing red" and "feeling blue" are part of contemporary language”.
The colours chosen for the original painting of 'Agnes' are probably what made it stand out and catch my eye. Natalie Holland had chosen extremely vibrant colours that contrasted greatly with each other, such as bright blue, pink and yellow. It made it looks almost like a cartoon, which then enhanced the childish and innocent nature of the painting. The girl looked happy and excited, whereas I feel that if it had been painted with extremely dark colours such as red and brown, it would not have had the same effect.
Shape
“Like line, shape is an important element in both the rendering and seeing of art, it is used by the artist for three fundamental purposes.
1. To suggest or represent a physical form.
2. To achieve order, variety, and harmony in the composition.
3. To express different qualities of moods and feelings.The term shape refers to any area of a real or imagined object which is defined and rendered by other elements such as line, texture, colour, space or light. Shapes may be either organic, geometric, symmetrical, or non-symmetrical or a combination of both symmetrical and non-symmetrical. Flat shapes may create the illusion of three dimensions on a two dimensional surface and also appear on the surface of a three dimensional form. Unlike form, shape is actually two dimensional, possessing mass but not volume”.
It is easiest to see the shape of my painting when drawn out using continuous line. Whilst I was drawing my continuous line drawing, I had to continue to look at the original painting, never taking my eye off the page. This made me focus on the exact shape that I was drawing to make sure it was accurate. In the painting 'Agnes', there are many curved areas. The flesh of her skin made her face extremely rounded, and the material of her hooded top caused a lot of movement. Her hair was made up of several shapes, as it flowed in all different directions.
Form
“This term has multiple meanings and may be used in the following ways.
1. A verb meaning to shape or order as in " The ceramist formed the clay into a pot.”
2. Organization or composition, as "The form of the work is elegant."
3. The illusionistic representation of a three dimensional form on a two dimensional surface.
4. A mold in which plaster or another material is poured.
5. A three dimensional solid or contained space.For purposes here, the term form will be used to describe three-dimensional solids and contained spaces. In this context, form has both mass and volume, whereas, shape has only mass. To illustrate this, consider a flat piece of paper. It has two sides, each of which have equal mass. When the same piece of paper is rolled into a cylinder, it possesses both mass and volume”.
The girl sitting within the painting looks extremely life-like, therefore clearly possessing mass and volume. Her hair appears to be quite heavy, and she looks like she is using force to hold it up. Her face is extremely 'full' and rounded, which is emphasised by the way the light shines on her, creating shadows and texture.
Space
“Nothing exists without it. Space can be thought of as the distance or area around, between, above, below or within places. In art, space can be described as either two-dimensional or three dimensional.
The space in two-dimensional artworks such as paintings, drawings, prints and photographs (flat space) is essentially limited to height and width. While there is no actual depth or distance in such works, artists have created techniques to create the illusion of depth or distance on these flat surfaces.
Three dimensional space is recognized as having height, width, depth, and is referred to as actual space. This would include sculpture, furniture, architecture, ceramics and jewellery. In the setting of a three dimensional work of art the viewer can freely move around and (in the case of architecture) through it.
Three dimensional art may use both positive and negative space as a means of revealing content and meaning. For example, in sculpture the spaces in and around the form can be described as negative space. Whereas the form itself may be described as occupying a positive space. Another way to consider distinctions of positive and negative space can be equated as the presence of physical material = positive; or in the absence of it = negative”.
'Agnes' is quite 'flat' painting when it comes to space. The girl is simply sitting in front a blue background, and it does not show any more depth than that. There is also not even a suggestion as to how far away from the blue wall she is sitting. All we can see is that the room she is sitting in is extremely empty, shown by the use of negative space around her".
Texture
“Texture can be both real and imagined. In two-dimensional artworks, the artist may produce a smooth or a rough surface in the application of the medium”.
Natalie Holland, through her use of brush strokes, makes the jumper that Agnes is wearing look extremely life-like. This is done by the 'ripples' and creases in the material, especially within the elbows where she is lifting her arms. Holland has also been extremely delicate with the lines she uses for the hair. She uses thin brush strokes to make her hair looks as if it is extremely thick. The way she has painted the hair also creates a lot of movement, again enhancing the realistic texture of natural hair.
Light
“Primitive feelings about light and dark lie deep inside our subconscious. Light in our culture expresses goodness, intelligence, clarity and completeness. Darkness is just the opposite, expressing mystery, ignorance, evil and emptiness. The contrast between dark and light not only describes space and defines forms in art, it also conveys feelings, drama and a psychological as well as a visual dynamic.Artists often want to create a three dimensional illusion on a two dimensional surface. One of the ways this can be done is by rendering the effects of light and shadow as they fall on solid forms. A form that is lit by a single light source will be brightest when it is closest to the source, while other forms will diminish in intensity as they recede from the light source. Aspects of the forms, blocked from the light, will cast shadows. The effects of light are vitally important to our understanding and appreciation of the three dimensional art forms of sculpture and architecture. Light and shadow define the forms of both sculpture and architecture. In Gaston Lachaise's sculpture, Standing Woman, light striking the figure most directly creates highlights. As the contours of the forms curve away the reflected light becomes dimmer making the surface change in contrast and tonal value. These strong value contrasts allow the viewer to witness the drama of the figure swelling and receding back into space”.
It is clear to see that light is coming from the top left corner, as it is this side of Agnes which is more strongly highlighted. This light causes there to be many shadows within her hair, as well as between the different creases of her jumper. The fact that the light is coming above her makes her seem somewhat innocent, whereas I feel that if it was coming from below her, she would looks much more evil.
Tuesday 12 January 2010
Monday 30 November 2009
Formal Elements
I decided to take the face of the girl in the painting 'Agnes'. I decided that this section was most interesting and detailed, and I wanted to experiment with the way I drew her face, to see if she still has the same expression.
Line
The 20th century German artist, Maholy Nage described line as "a record of a path of motion." However, line can be much more than that. It is also a record of vision and feeling. Line is a human invention which allows the ability to communicate what we see. The path made by a moving point can be described as two basic line types: straight and curved. Line may also consist of actual marks that can be drawn, or it can refer to the external edges of a shape or form. In paintings lines also occur by contrasts of light and shadow or through colour or shape. Whether seen or implied, line is unquestionably one of the artist's most articulate tools. It encloses or liberates space, expresses feeling, conveys movement, suggests mass or volume and creates an image. It may be used evenly or in a modulated way to express a wide range of qualities from fast to slow, from serene to frenetic, or rigid to relaxed.
I decided to explore line using ink and a thin nib. I drew around a copy of my original drawing, focusing on just the edges of her face and facial features. Once I had finished, I looked at my work and saw that it looked much more cartoon-like and 2 dimensional. The orginal painting looks extremely real and the curves that were on her face before suddenly disappeared.
Colour
Colour is the most emotional element of art. Our awareness of colour is conditioned by our environment, our culture and our retinal physiology. But colour also effects us intuitively, arousing our most primitive instincts. It effects our emotions directly, conditioning our moods, thoughts, actions and even our health. In previous centuries colour was termed the sensual part of art because it attacked emotions directly and had no boundaries or rules. Today terms like "seeing red" and "feeling blue" are part of contemporary language.
The colours chosen for the original painting of 'Agnes' are probably what made it stand out and catch my eye. Natalie Holland had chosen extremely vibrant colours that contrasted greatly with each other, such as bright blue, pink and yellow. It made it looks almost like a cartoon, which then enhanced the childish and innocent nature of the painting. The girl looked happy and excited, whereas I feel that if it had been painted with extremely dark colours such as red and brown, it would not have had the same effect.
Shape
Like line, shape is an important element in both the rendering and seeing of art, it is used by the artist for three fundamental purposes.
1. To suggest or represent a physical form.
2. To achieve order, variety, and harmony in the composition.
3. To express different qualities of moods and feelings.
The term shape refers to any area of a real or imagined object which is defined and rendered by other elements such as line, texture, colour, space or light. Shapes may be either organic, geometric, symmetrical, or non-symmetrical or a combination of both symmetrical and non-symmetrical. Flat shapes may create the illusion of three dimensions on a two dimensional surface and also appear on the surface of a three dimensional form. Unlike form, shape is actually two dimensional, possessing mass but not volume.
It is easiest to see the shape of my painting when drawn out using continuous line. Whilst I was drawing my continuous line drawing, I had to continue to look at the original painting, never taking my eye off the page. This made me focus on the exact shape that I was drawing to make sure it was accurate. In the painting 'Agnes', there are many curved areas. The flesh of her skin made her face extremely rounded, and the material of her hooded top caused a lot of movement. Her hair was made up of several shapes, as it flowed in all different directions.
Form
This term has multiple meanings and may be used in the following ways.
1. A verb meaning to shape or order as in " The ceramist formed the clay into a pot.”
2. Organization or composition, as "The form of the work is elegant."
3. The illusionistic representation of a three dimensional form on a two dimensional surface.
4. A mold in which plaster or another material is poured.
5. A three dimensional solid or contained space.
For purposes here, the term form will be used to describe three-dimensional solids and contained spaces. In this context, form has both mass and volume, whereas, shape has only mass. To illustrate this, consider a flat piece of paper. It has two sides, each of which have equal mass. When the same piece of paper is rolled into a cylinder, it possesses both mass and volume.
The girl sitting within the painting looks extremely life-like, therefore clearly possessing mass and volume. Her hair appears to be quite heavy, and she looks like she is using force to hold it up. Her face is extremely 'full' and rounded, which is emphasised by the way the light shines on her, dreating shadows and texture.
Space
Nothing exists without it. Space can be thought of as the distance or area around, between, above, below or within places. In art, space can be described as either two-dimensional or three dimensional.
The space in two-dimensional artworks such as paintings, drawings, prints and photographs (flat space) is essentially limited to height and width. While there is no actual depth or distance in such works, artists have created techniques to create the illusion of depth or distance on these flat surfaces. The following represents some of those techniques:
Line
The 20th century German artist, Maholy Nage described line as "a record of a path of motion." However, line can be much more than that. It is also a record of vision and feeling. Line is a human invention which allows the ability to communicate what we see. The path made by a moving point can be described as two basic line types: straight and curved. Line may also consist of actual marks that can be drawn, or it can refer to the external edges of a shape or form. In paintings lines also occur by contrasts of light and shadow or through colour or shape. Whether seen or implied, line is unquestionably one of the artist's most articulate tools. It encloses or liberates space, expresses feeling, conveys movement, suggests mass or volume and creates an image. It may be used evenly or in a modulated way to express a wide range of qualities from fast to slow, from serene to frenetic, or rigid to relaxed.
I decided to explore line using ink and a thin nib. I drew around a copy of my original drawing, focusing on just the edges of her face and facial features. Once I had finished, I looked at my work and saw that it looked much more cartoon-like and 2 dimensional. The orginal painting looks extremely real and the curves that were on her face before suddenly disappeared.
Colour
Colour is the most emotional element of art. Our awareness of colour is conditioned by our environment, our culture and our retinal physiology. But colour also effects us intuitively, arousing our most primitive instincts. It effects our emotions directly, conditioning our moods, thoughts, actions and even our health. In previous centuries colour was termed the sensual part of art because it attacked emotions directly and had no boundaries or rules. Today terms like "seeing red" and "feeling blue" are part of contemporary language.
The colours chosen for the original painting of 'Agnes' are probably what made it stand out and catch my eye. Natalie Holland had chosen extremely vibrant colours that contrasted greatly with each other, such as bright blue, pink and yellow. It made it looks almost like a cartoon, which then enhanced the childish and innocent nature of the painting. The girl looked happy and excited, whereas I feel that if it had been painted with extremely dark colours such as red and brown, it would not have had the same effect.
Shape
Like line, shape is an important element in both the rendering and seeing of art, it is used by the artist for three fundamental purposes.
1. To suggest or represent a physical form.
2. To achieve order, variety, and harmony in the composition.
3. To express different qualities of moods and feelings.
The term shape refers to any area of a real or imagined object which is defined and rendered by other elements such as line, texture, colour, space or light. Shapes may be either organic, geometric, symmetrical, or non-symmetrical or a combination of both symmetrical and non-symmetrical. Flat shapes may create the illusion of three dimensions on a two dimensional surface and also appear on the surface of a three dimensional form. Unlike form, shape is actually two dimensional, possessing mass but not volume.
It is easiest to see the shape of my painting when drawn out using continuous line. Whilst I was drawing my continuous line drawing, I had to continue to look at the original painting, never taking my eye off the page. This made me focus on the exact shape that I was drawing to make sure it was accurate. In the painting 'Agnes', there are many curved areas. The flesh of her skin made her face extremely rounded, and the material of her hooded top caused a lot of movement. Her hair was made up of several shapes, as it flowed in all different directions.
Form
This term has multiple meanings and may be used in the following ways.
1. A verb meaning to shape or order as in " The ceramist formed the clay into a pot.”
2. Organization or composition, as "The form of the work is elegant."
3. The illusionistic representation of a three dimensional form on a two dimensional surface.
4. A mold in which plaster or another material is poured.
5. A three dimensional solid or contained space.
For purposes here, the term form will be used to describe three-dimensional solids and contained spaces. In this context, form has both mass and volume, whereas, shape has only mass. To illustrate this, consider a flat piece of paper. It has two sides, each of which have equal mass. When the same piece of paper is rolled into a cylinder, it possesses both mass and volume.
The girl sitting within the painting looks extremely life-like, therefore clearly possessing mass and volume. Her hair appears to be quite heavy, and she looks like she is using force to hold it up. Her face is extremely 'full' and rounded, which is emphasised by the way the light shines on her, dreating shadows and texture.
Space
Nothing exists without it. Space can be thought of as the distance or area around, between, above, below or within places. In art, space can be described as either two-dimensional or three dimensional.
The space in two-dimensional artworks such as paintings, drawings, prints and photographs (flat space) is essentially limited to height and width. While there is no actual depth or distance in such works, artists have created techniques to create the illusion of depth or distance on these flat surfaces. The following represents some of those techniques:
•The most prominent of these techniques is the application of linear perspective. Through this application distant objects are rendered proportionately smaller than closer ones. The determining factors of this space depends upon the horizon line and vanishing points.
•Another of the more prominent techniques is known as atmospheric perspective. This application renders distant objects and spaces with less detail and intensity than closer objects. For example, the use of bluer colours for distant shapes can suggest space between the viewer and the shapes.
The placement of objects can give the illusion of space. Distant shapes are higher and closer shapes are lower in the picture plane. Overlapping of objects on the picture plane can also suggest space. Through the rendering of these techniques, the artist appears to destroy the flatness of the picture plane, transporting the viewer into what appears to be a world of actual space.
Three dimensional space is recognized as having height, width, depth, and is referred to as actual space. This would include sculpture, furniture, architecture, ceramics and jewelry. In the setting of a three dimensional work of art the viewer can freely move around and (in the case of architecture) through it.
Three dimensional art may use both positive and negative space as a means of revealing content and meaning. For example, in sculpture the spaces in and around the form can be described as negative space. Whereas the form itself may be described as occupying a positive space. Another way to consider distinctions of positive and negative space can be equated as the presence of physical material = positive; or in the absence of it = negative. The consideration of how the artist uses both positive and negative space in the articulation of their expression is an important factor.
'Agnes' is an quite 'flat' painting where it comes to space. The girl is simply sitting in front a blue background, and it does not show any more depth than that. There is also not even a suggestion as to how far away from the blue wall she is sitting. All we can see is that the room she is sitting in is extremely empty, shown by the use of negative space around her.
Texture
Texture can be both real and imagined. In two-dimensional artworks, the artist may produce a smooth or a rough surface in the application of the medium. In the painting of Jan Van Eycks, The Arnolfini Marriage, 1434, the picture plane is mirror- smooth; nothing calls our attention to the methods of paint application or the painted surface. Yet, the artist illusively creates a whole variety of materials and textures through the application of delicate brush strokes and thin layers of oil paint.
Natalie Holland, through her use of brush strokes, makes the jumper that Agnes is wearing look extremely life-like. This is done by the 'ripples'and creases in the material, especially within the elbows where she is lfiting her arms. Holland has also been extremely delicate with the lines she uses for the hair. She uses thin brush strokes to make her hair looks as if it is extremely thick. The way she has painted the hair also creates a lot of movement, again enhancing the realistic texture of natural hair.
Light
Primitive feelings about light and dark lie deep inside our subconscious. Light in our culture expresses goodness, intelligence, clarity and completeness. Darkness is just the opposite, expressing mystery, ignorance, evil and emptiness. The contrast between dark and light not only describes space and defines forms in art, it also conveys feelings, drama and a psychological as well as an aesthetic dynamic.
Artists often want to create a three dimensional illusion on a two dimensional surface. One of the ways this can be done is by rendering the effects of light and shadow as they fall on solid forms. A form that is lit by a single light source will be brightest when it is closest to the source, while other forms will diminish in intensity as they recede from the light source. Aspects of the forms, blocked from the light, will cast shadows.
The effects of light are vitally important to our understanding and appreciation of the three dimensional art forms of sculpture and architecture. Light and shadow define the forms of both sculpture and architecture. In Gaston Lachaise's sculpture, Standing Woman, light striking the figure most directly creates highlights. As the contours of the forms curve away the reflected light becomes dimmer making the surface change in contrast and tonal value. These strong value contrasts allow the viewer to witness the drama of the figure swelling and receding back into space.
It is clear to see that light is coming from the top left corner, as it is this side of Agnes which is more strongly highlighted. This light causes there to be many shadows within her hair, as well as between the differnt creases of her jumper. The fact that the light is coming above her makes her seem somewhat innocent, whereas I feel that if it was coming from below her, she would looks much more evil.
Wednesday 11 November 2009
Final Essay
How are women seen by others in society, and how art has reflected this over the years?
Towards the end of the term, I decided on a theme of which I wanted to explore further. One particular general theme that I was interested in was ‘women’. I wanted to look at how they are portrayed in life today, and perhaps compare it to how they were seen in the past.
I began my research by looking around different art galleries for inspiration; the first one being the Wallace Collection. This museum is well known for art from the 15th-19th Century, meaning that it would help to give me an idea as to how women were depicted during these times. The first painting which interested me most was an oil painting called “The Swing”, created in 1766 by an artist called Jean-Honoré Fragonard. Fragonard’s work is often said to convey “an atmosphere of intimacy and veiled eroticism[1]”, which suggested that there must be a deeper meaning to this painting that I did not fully understand when I first looked at it. At first glance, this painting appeared to be of a woman casually swinging within a woodland area. She appears to look extremely innocent, almost heavenly, and this is emphasized by the white light that is shining down directly upon her. Another aspect of the painting which makes the whole atmosphere seems to be extremely innocent and child-like are the statues of young angels that are positioned in various places. As I began to look deeper at the painting, and finding out about the themes that run through Froganard’s work, I began to see things that I would not have noticed before. For example, the woman who is swinging is in fact not wearing any underwear, and it is not until I study the painting for longer that I notice there is a man sat within the bushes, who is looking directly under her dress. I was not sure whether this woman was aware of the fact that he was there. If she was not aware, then it shows that women were in fact quite modest about their sexuality, especially by the full bodied dress she is wearing, and the hat to disguise parts of her face. However, it was not until I researched the painting later, when my entire opinion on how women used to act during these times changed. The woman was fully aware of the young man positioned beneath her (I later noticed that she was directly staring at him). I also found out that the shoe she had casually flicked off her foot was “a symbol of the loss of virginity[2]”, and the man pushing her on the swing was in fact a bishop, thought to be in a relationship with her. It seems to be that instead of women appearing to be quite innocent and not flaunting their sexuality, it is quite the opposite. The men are exploiting her, and she appears to be enjoying the attention.
Towards the end of the term, I decided on a theme of which I wanted to explore further. One particular general theme that I was interested in was ‘women’. I wanted to look at how they are portrayed in life today, and perhaps compare it to how they were seen in the past.
I began my research by looking around different art galleries for inspiration; the first one being the Wallace Collection. This museum is well known for art from the 15th-19th Century, meaning that it would help to give me an idea as to how women were depicted during these times. The first painting which interested me most was an oil painting called “The Swing”, created in 1766 by an artist called Jean-Honoré Fragonard. Fragonard’s work is often said to convey “an atmosphere of intimacy and veiled eroticism[1]”, which suggested that there must be a deeper meaning to this painting that I did not fully understand when I first looked at it. At first glance, this painting appeared to be of a woman casually swinging within a woodland area. She appears to look extremely innocent, almost heavenly, and this is emphasized by the white light that is shining down directly upon her. Another aspect of the painting which makes the whole atmosphere seems to be extremely innocent and child-like are the statues of young angels that are positioned in various places. As I began to look deeper at the painting, and finding out about the themes that run through Froganard’s work, I began to see things that I would not have noticed before. For example, the woman who is swinging is in fact not wearing any underwear, and it is not until I study the painting for longer that I notice there is a man sat within the bushes, who is looking directly under her dress. I was not sure whether this woman was aware of the fact that he was there. If she was not aware, then it shows that women were in fact quite modest about their sexuality, especially by the full bodied dress she is wearing, and the hat to disguise parts of her face. However, it was not until I researched the painting later, when my entire opinion on how women used to act during these times changed. The woman was fully aware of the young man positioned beneath her (I later noticed that she was directly staring at him). I also found out that the shoe she had casually flicked off her foot was “a symbol of the loss of virginity[2]”, and the man pushing her on the swing was in fact a bishop, thought to be in a relationship with her. It seems to be that instead of women appearing to be quite innocent and not flaunting their sexuality, it is quite the opposite. The men are exploiting her, and she appears to be enjoying the attention.
I later spotted that one of the statues of the angels is in fact slightly older then the two in the lower right corner. This angel looks to be around 12 years old, and is looking in the direction of the young man hidden in the bushes. This angel also appears to be holding a finger to his mouth, normally a sign used today to tell someone to be quiet. I was unable to find out whether this was deliberate or not, yet I feel that perhaps the angel is telling the woman that although she is allowing this man to peer through her dress, he is willing to keep it a secret, perhaps from her partner who is pushing her behind.
In conclusion, I feel that this particular painting suggests that although women used to wear extremely long and full dresses and partake in activities normally associated with the young (e.g swinging), there are in fact ulterior motives. This woman appears to be having some sort of affair, making my conceptions of women within this era to be quite provocative. However, this is just one painting in that I have looked at from this era, and I need to research this time period fully to see if this is actually true.
I then decided to research art from around the 1800s on the internet, to try and find out more about how women were depicted. This is where I came across Édouard Manet’s painting titled ‘Olympia’, created in 1863. It is an oil painting on canvas, created in the realism style, and many comparisons can be made with Titian’s painting, ‘Venus of Urbino’.
(Above: Manet’s painting titled ‘Olympia’)
(Above: Titian’s painting titled ‘Venus of Urbino’)Manet’s painting is said to have “caused such an uproar that authorities were forced to put two armed guards at the painting to protect it[3]”. But why? When I first looked at this painting, although the woman is nude, I did not see anything else about it that would cause such controversy. I decided to therefore do some more research to find out why, and was quite surprised with what I had found out. The lady in this painting was in fact a courtesan, and it was these women that were “at the top of the prostitutional hierarchy[4]”. During this time period, the public were outraged that this ‘prostitute’ had been “given a face[5]”, let alone the fact that she has direct eye contact with the viewer. She is not intimidated by the audience, and appears to be in complete control of her body. This is not something that people of this period wanted to see, as her body in this painting is that of a commodity.
The harsh contrast between the dark background and her pale skin tone draws a large amount of attention to figure of the painting. Her pale skin also appears to blend in with the bed sheets, again highlighting what her ‘profession’ is. Other aspects of the painting include “the orchid in her hair, her bracelet, pearl earrings and the oriental shawl on which she lies[6]”, which are all symbols of wealth and sensuality. People of this time did not want to be reminded of the shadier side of life, and men, although they were fully aware that they were using women like this, did not want to be confronted with it in an art gallery.
After looking at this painting, it reminded me of the film ‘Moulin Rouge’, set in 1899 (only 36 years after this painting was created). The lead character of this film is also a courtesan, working in a night club where men would go at the end of the day to be entertained by dancers. In a review about the film, this particular area was known as the “city's drug and prostitute infested underworld[7]”. I was unsure as to what they meant by ‘underworld’, and so decided to look it up in the dictionary so that I have a clearer understanding.
underworld n 1. criminals and their associates,
2. (Greek and Roman myth) the regions below the earth’s surface regarded as the abode of the dead
This suggests that this night club where the courtesans would go to perform was seen as being the ‘seedier’ part of the city, and was highly frowned upon in society. It is not something that they would advertise, even though people were well aware it exists. The fact that there is also a business where these women are forced to perform suggests that women in these days were definitely forced to fulfill the needs of the males, whether they wanted to or not.
‘The Moulin Rouge’, the night club of which this film is set, is struggling with money. However, “the club's owner, Harold Zidler, invests in a wealthy Duke to help pay for the club, however, the duke will only pay if Satine is his[8]”. Satine is the name of the lead character, and is also the city’s most famous courtesan. The way she gets ‘sold’ to the Duke suggests that women have no say to who they wish to be with, and are simply seen as an object that can be ‘purchased’ by anyone. Her opinion is not listened to, showing that men in this time had a complete lack of respect for women. Satine also falls in love with a book writer from England, and is forced to have a secret affair with him in case the Duke finds out. Within the film, there is also a scene where the Duke rapes Satine, after he becomes aware of the affair she is having. This is a devastating scene, and shows the complete lack of control that women had during these times. The way the Duke feels he needs to punish Satine also suggests that he feels as if he is superior to her, and is responsible for punishing her.
This paintings and the film that I watched helps to support my views about how women were depicted in the past. ‘The Swing’ shows how women should have been painted; fully clothed, and tending to the males needs. When ‘Olympia’ was put on display, the pubic were shocked and outraged at the fact that this woman was completely naked (I have chosen to no longer describe her as being ‘nude’) and enticing the viewer. Her hand is firmly clamped over her genital area, showing that she is fully in control of how men are allowed to view her. She is also seen rejecting the flowers her black slave is offering her, showing that she will not succumb his ‘charm’. Women were not meant to be seen like this, showing that perhaps women during this period were expected to be passive figures in society.
After finding out quite a lot of information about women in later times, I decided to try and compare it to how they act in society nowadays. To do this, I looked at the exhibition of Diane Arbus, who recently had an exhibition on at the Timothy Taylor gallery. Arbus is an American photographer, and had a total of sixty photographs on display at this gallery when I visited.
“Arbus’s subject matter is people; adolescent couples, young children, sophisticated socialites, circus performers, nudists, eccentrics and transvestites[9]”
This is what I feel makes her photographs so interesting and diverse. She also takes photographs of still life objects, making her artwork a true depiction of real life.
The photograph that I decided to look at was ‘Teenage Couple on Hudson Street, NYC’, 1963. It is a photograph of a couple, and I decided to look at this particular photograph to explore my theme of women and how they are viewed in society. In this case, I was looking at how she was with her boyfriend. As Arbus’ photographs are normally captured in the moment, it gives a true insight into how they really are. In this photograph, the girl appears to be quite comfortable in her boyfriend’s presence. He has a protective arm around her and they are both comfortable with making physical contact with each other. The clothes that the girl is wearing suggest that she doesn’t need to use her body to attract the attention of the opposite sex, unlike the lady in the ‘The Swing’. This could be because she is still quite young, and has not yet become aware of her body. However, the year that this photograph was taken in (1963) was a time where people would often be free and individual; not afraid to do what they want to do. If this woman wanted to use her body to attract his attention, I am sure she would have.
There is a clear difference to how women in the 1800s used their body to attract attention, which shows that it has changed vastly over the years. Around the 18th Century, women’s bodies would merely be seen as an object by their partners, and it was clear that the men had no respect for them. Although the women featured in ‘Olympia’ tried to have control over what people see her for, her profession was still a mistress. In this photograph, the man seems to respect her for who she is as a person.
I have now looked at the 18th Century and the 1960s, yet I have decided that I want to compare them both to the present day that we live in; the 21st Century. In my opinion, I believe that younger girls are becoming a lot older more quickly nowadays, both physically and also the way that they choose to behave. They appear to be wearing much more make-up, in a bid to attract the opposite sex. Instead of what it was like in the 1960s,girls appear to be flaunting their sexualities more, as they become more aware of their bodies and under manipulation from the media.
I decided to visit the Portrait Gallery, in the hope to find detailed paintings of how girls in the 21st Century look. The BP Portrait Award 2009 was currently on display, which is where I came across a striking painting y an artist called Natalie Holland. It was titled ‘Agnes’, and featured a 10 year old girl sitting in a red hooded jumper in front of a blue background. The use of colours here immediately caught my attention, and it is as if it is what this girl intended. She is holding her blonde her close to her chest and looking directly at the viewer. I found out that Holland wanted “to capture the contrast between the girl’s appearance... and her mischievous and feisty personality[10]”. Yet at first, you do not assume that the girl has a “feisty personality”; probably just slightly mischievous, what with the smirk on her face.
This painting was created in 2009, which gives a clear representation of how girls look today. She is wearing a casual hooded top with minimal make-up, something that I would not have expected of girls from this time. I personally feel that girls nowadays are looking physically older, experimenting with different forms of make-up to attract attention.
However, although this girl appears look extremely young and innocent, she seems to know how to use her body to manipulate people into thinking she is something which she is in fact not. For example, the way she is holding her hair closely to her chest suggests at first that she is being quite playful and young, yet if you look closely at the way she is holding it, it appears to become quite seductive. It draws the viewers’ attention down to her chest, which in itself is an area which men find quite enticing. However, there is clear tension in her hands, showing that she is in full control of what she is allowing her audience to see. The firm eye contact with the viewer also gives her the power in the situation. This is extremely similar to how the woman in ‘Olympia’ is seen. Conversely, even though these could suggest she is being quite seductive, I feel that she is still too young, and is not fully aware of what she is doing. This could therefore be a hint to what could come in the future.
In conclusion, I feel that men are probably going to be attracted to a woman because of her body, whether these thoughts are conscious or not. In the past, they had control over the women, and it was just an accepted part of life. Although women tried to gain control over how men would look at them, it was extremely hard during these times. The woman in ‘Olympia’ tried to gain control, yet at the end of the day, she was still a courtesan. It isn’t until recently that the majority of women have begun to gain more respect and power. The woman in Arbus’ photo is respected as a person, yet his arm around her still suggests that he ‘owns’ her, and that she is his property in a way. The girl featured in the painting ‘Arbus’ is the strongest character out of all the women I have looked at. She is featured in the painting alone, as an independent woman of the 21st Century. She is in control of how men view her, and it appears that she no longer needs to use her body as a way for attracting this attention. This could however change as she gets older.
BIBLIOGRAPHY
Collins Dictionary; 9th Revised edition. England. 2007. Accessed 21st October 2009.
Ibiblio. 2002. [online]. [Accessed 16th October 2009]. Available from World Wide Web: < http://www.ibiblio.org/wm/paint/auth/manet/olympia/ >
Jssgalley. 1998. [online]. [Accessed 16th October 2009]. Available from World Wide Web: < http://www.jssgallery.org/Other_Artists/Manet/Olympia.htm >
Musee-orsay. 2006. online]. [Accessed 16th October 2009]. Available from World Wide Web: < http://www.musee-orsay.fr/index.php?id=851&L=1&tx_commentaire_pi1%5BshowUid%5D=7087&no_cache=1 >
Mtholyoke. 2008. [ Accessed 16th October 2009]. Available from World Wide Web: < http://www.mtholyoke.edu/courses/rschwart/hist255-s01/courtesans/defining-the-courtesan.htm >
Mtholyoke. 2008. [ Accessed 16th October 2009]. Available from World Wide Web: < http://www.mtholyoke.edu/courses/rschwart/hist255-s01/courtesans/Manet-olympia.htm >
Moulin Rouge. Baz Luhrmann. Film. 2001. Viewed 21st October 2009.
National Portrait Gallery. 2009. [ Accessed 28th September 2009]. Available from World Wide Web: < http://www.npg.org.uk/bp-portrait-award-20091/the-exhibition/exhibitors4/bp-exhibitor-27.php >
Timothy Taylor Gallery. 2009. [ Accessed 29th September 2009]. Available from World Wide Web: < http://www.timothytaylorgallery.com/exhibitions/diane-arbus/ >
The Wallace Collection, London. Visited 16th August 2009.
The Timothy Taylor Gallery, London. Exhibition of Diane Arbus. Visited 26th June 2009.
The National Portrait Gallery, London. BP Portrait Award. Visited 18th August 2009.
Wikipedia. 2009. [online]. [Accessed 27th September 2009]. Available from World Wide Web: < http://en.wikipedia.org/wiki/Jean-Honor%C3%A9_Fragonard >
Wikipedia. 2009. [online]. [Accessed 27th September 2009]. Available from World Wide Web: < http://en.wikipedia.org/wiki/The_Swing_(painting) >
Wikipedia. 2009. [online]. [Accessed 4th October 2009]. Available from World Wide Web: < http://en.wikipedia.org/wiki/Olympia_(Manet) >
Monday 9 November 2009
The Enid Lawson Gallery
James Hunt 'The Hour of Dreams'
This painting really attracted my attention when I visited the Enid Lawson Gallery, and I felt that it related to myn project quite well so far.
The painting is of a woman sitting on the side of a chair. The lighting is extremely dim, with a deep shade of red in the background. The woman is sitting in quite an open position holding a glass of wine. The dress she is wearing is also quite revealing, and the lighting helps to emphasise her body. The whole atmosphere is extremely seductive, and it gives the impression that women are strongly aware of how to use their body in a way to entice the viewers. I also find that there is an air of mystery in this painting, especially how the identity of the woman is hidden. It is also makes the viewer question what she is doing, or who she is perhaps waiting for. Why else would she be dressed in this way, positioned on a bed with a glass of wine? Could she simply just be enjoying a relaxed night in alone? The artist makes the viewers question these things.
The Nymph of Loch Awe, 1897
When I first saw this sculpture in the Tate Britain, the first thing that I thought was that this woman was in a peaceful sleep, and didn't care that she was positioned in such an open way where viewers were allowed to see her whole body. She appears to be comfortable with her body on display for all to see, which to me makes her appear confident and in control. However, I then read the description beside the sculpture:
This subject was based on an old legend explaining the origin of Loch Awe in the Scottish Highlands. A nymph was asked to watch a magic well to check that the water did not rise above a certain height. She fell asleep, the water rose and she drowned. Dead or dying female figures lying prostrate on the ground were a popular subject in French art at this time. But they were usually more sensuous than Frederick Pomeroy’s figure. In contrast, he arranges the woman’s limbs to emphasise the weight and vulnerability of her body.
My first reaction was surprise, which then turned into sympathy, and I looked at the sculpture in a completely different light as I had done before. When I first saw the sculpture, I only spent a minute, probably even less, looking at it. After I had read the description, I spend over two hours looking and drawing from it, and my opinion on the whole sculpture had changed. Although she still looks to me as if she is in a deep sleep, she looks much more vulnerable then she did before. The smoothness of her skin and the light that reflects off of it also emphasises her innocence.
What I found interesting about this sculpture in particular was how the sculptist had made her hair and the ruffles in the material underneath her look sort of like waves. This relates back to the story of how she drowned. Her hair looks as if it is part of the material beneath her, as if she is slowly drifting away with the water. Eventually, her body will also drift away. The atmosphere is extremely calm and peaceful, even though the story of what happened to her is very upsetting. This whole contrast makes the viewer feel even more sympathetic towards her, feeling that she is much too young and innocent for this to have happened to her.
Wednesday 7 October 2009
Reconstruction
I looked at another piece of work by Jean-Honoré Fragonard, who is also the artist who painted 'The Swing'. This particular painting is called 'The Reader', and it is of a young woman in a yellow dress reading a small book. Shed looks extremely elegant, and the clothes that she is wearing reminds me very much of a later time period, such as the 18th Century. She looks like she is quite an intellectual girl, and would rather spend her time reading and educating herself, then going out and mixing with other people such as the woman in 'The Swing'.
I chose to reconstruct this photo myself, looking at it from two different perspectives.
This is my first reconstruction. I decided to try and capture the elegance of the girl, by positioning my model in the sale upright position, with her hair tied back off of her face and pearls placed around her neck. The lighting is that of the day time, showing that instead of going out in the day, she spends her time indoors and bettering herself.
This is my second reconstruction, and this is what teenagers nowadays stereotypically are more likely to be found doing. Instead of sitting elegantly upright, her posture in this photo is quite the opposite. She is slouching in a relaxed position, and instead of reading a book to better herself, she is reading a magazine as a form of personalo entertainment. Her top is much lower cut, and her hair is down. The lighting is also a lot warmer, therefore suggesting that she is up much later then she should be.
I chose to reconstruct this photo myself, looking at it from two different perspectives.This is my first reconstruction. I decided to try and capture the elegance of the girl, by positioning my model in the sale upright position, with her hair tied back off of her face and pearls placed around her neck. The lighting is that of the day time, showing that instead of going out in the day, she spends her time indoors and bettering herself.
This is my second reconstruction, and this is what teenagers nowadays stereotypically are more likely to be found doing. Instead of sitting elegantly upright, her posture in this photo is quite the opposite. She is slouching in a relaxed position, and instead of reading a book to better herself, she is reading a magazine as a form of personalo entertainment. Her top is much lower cut, and her hair is down. The lighting is also a lot warmer, therefore suggesting that she is up much later then she should be.
Wednesday 30 September 2009
Women
How are women seen by others in society, and how has it changed over the years?
Towards the end of the term, I decided on a theme of which I wanted to explore further. One particular general theme that I was interested in was ‘women’. I wanted to look at how they are portrayed in life today, and perhaps compare it to how they were seen in the past.
The first art gallery that I visited was the Wallace Collection. This museum is well known for art from the 15th-19th Century, meaning that it would help to give me an idea as to how women were depicted during these times. The first painting which interested me most was an oil painting called “The Swing”, created in the 18th Century by an artist called Jean-Honoré Fragonard. Fragonard’s work is often said to convey “an atmosphere of intimacy and veiled eroticism[1]”, which suggested that there must be a deeper meaning to this painting that I did not fully understand when I first looked at it. At first glance, this painting appeared to be of a woman casually swinging within a woodland area. She appears to look extremely innocent, and this is emphasized by the white light that is shining down directly upon her. Another aspect of the painting which makes the whole atmosphere seems to be extremely innocent and child-like are the statues of young angels that are positioned in various places. As I began to look deeper at the painting, and finding out about the themes that run through Froganard’s work, I began to see things that I would not have noticed before. For example, the woman who is swinging is in fact not wearing any underwear, and it isn’t until I study the painting for longer that I notice there is a man sat within the bushes, who is looking directly under her dress! I was not sure whether this woman was aware of the fact that he was there. If she was not aware, then it shows that women were in fact quite modest about their sexuality, especially by the full bodied dress she is wearing, and the hat to disguise parts of her face. However, it wasn’t until I researched the painting later, and my entire opinion on how women used to act during these times changed. The woman was fully aware of the young man positioned beneath her (I later realised that she was directly staring at him). I also found out that the shoe she had casually flicked off her foot was “a symbol of the loss of virginity[2]”, and the man pushing her on the swing was in fact a bishop, said to be in a relationship with her! It seems to be that instead of women appearing to be quite innocent and not flaunting their sexuality, it is quite the opposite. The men are exploiting her, and she appears to be letting them.
I later spotted that one of the statues of the angels is in fat slightly older then the two in the lower right corner. This angel looks to be around 12 years old, and is looking in the direction of the young man hidden in the bushes. This angel also appears to be holding a finger to his mouth, normally a sign used today to tell someone to be quiet. I was unable to find out whether this was deliberate or not, yet I feel that perhaps the angel is telling the woman that although she is allowing this man to peer through her dress, he is willing to keep it a secret, perhaps from her partner who is pushing her behind.
The photograph that I decided to look at was ‘Teenage Couple on Hudson Street, NYC’, 1963. It is a photograph of a couple, and I decided to look at this particular photograph to explore my theme of women and how they are viewed in society. In this case, I was looking at how she was with her, I assume to be, boyfriend. As Arbus’ photographs are normally captured in the moment, it gives a true insight into how they really are. In this photograph, the girl appears to be quite comfortable in her boyfriend’s presence. He has a protective arm around her and they are both making physical contact with each other. The clothes that the girl is wearing suggest that she doesn’t need to use her body to attract the attention of the opposite sex, unlike the lady in the ‘The Swing’. This could be because she is still quite young, and has not yet become aware of her body. However, the year that this photograph was taken in was a time where people would often be free and individual; not afraid to do what they want to do. If this woman wanted to user her body to attract his attention, I’m sure she would have.
I was first drawn to this painting because of the clear contrast within it. The colours stood out and caught my eye almost instantly. After it has caught my attention, I then decided to research further into it. I found out that Holland wanted “to capture the contrast between the girl’s appearance, saying ‘she looks like a princess from a Nordic fairy tale’, and her mischievous and feisty personality[4]”. At first, you do not assume that the girl has a “feisty personality”, yet it isn’t until you look closer that you realise the slight mischievous expression on her face. This shows that appearance can have an extraordinary effect on how you first see someone.
This painting was created in 2009, which gives a clear representation of how women are today. Although the girl features in this painting is in fact only 10 years old, it appears that she is actually aware of how to use her body and manipulate people into thinking something else. She is seen holding her blonde her up closely up against her chest, which in some cases could be seen as being some sort of barrier. However, the mischievous smirk on her face makes me feel that she is in fact using her hair to be quite seductive, and so therefore making this girl similar to the woman in ‘The Swing’. She uses her body and sexuality to get attention from the opposite sex, yet the way she does it is extremely discreet.
In conclusion, I feel that it is difficult to make a general assumption on how all women are seen in society. However, I feel that it is easy to say that all women at some point of their lives do use their bodies to attract attention, yet this normally isn’t until you become much older and more aware of people around you. ‘Agnes’ may appear to be holding her hair in quite a seductive way, yet I feel that she is still too young and is probably just a bit playful. As you get older, like the woman in ‘The Swing’, you are more aware of your body and it is completely your decision as to how you wish to use it.
Towards the end of the term, I decided on a theme of which I wanted to explore further. One particular general theme that I was interested in was ‘women’. I wanted to look at how they are portrayed in life today, and perhaps compare it to how they were seen in the past.
The first art gallery that I visited was the Wallace Collection. This museum is well known for art from the 15th-19th Century, meaning that it would help to give me an idea as to how women were depicted during these times. The first painting which interested me most was an oil painting called “The Swing”, created in the 18th Century by an artist called Jean-Honoré Fragonard. Fragonard’s work is often said to convey “an atmosphere of intimacy and veiled eroticism[1]”, which suggested that there must be a deeper meaning to this painting that I did not fully understand when I first looked at it. At first glance, this painting appeared to be of a woman casually swinging within a woodland area. She appears to look extremely innocent, and this is emphasized by the white light that is shining down directly upon her. Another aspect of the painting which makes the whole atmosphere seems to be extremely innocent and child-like are the statues of young angels that are positioned in various places. As I began to look deeper at the painting, and finding out about the themes that run through Froganard’s work, I began to see things that I would not have noticed before. For example, the woman who is swinging is in fact not wearing any underwear, and it isn’t until I study the painting for longer that I notice there is a man sat within the bushes, who is looking directly under her dress! I was not sure whether this woman was aware of the fact that he was there. If she was not aware, then it shows that women were in fact quite modest about their sexuality, especially by the full bodied dress she is wearing, and the hat to disguise parts of her face. However, it wasn’t until I researched the painting later, and my entire opinion on how women used to act during these times changed. The woman was fully aware of the young man positioned beneath her (I later realised that she was directly staring at him). I also found out that the shoe she had casually flicked off her foot was “a symbol of the loss of virginity[2]”, and the man pushing her on the swing was in fact a bishop, said to be in a relationship with her! It seems to be that instead of women appearing to be quite innocent and not flaunting their sexuality, it is quite the opposite. The men are exploiting her, and she appears to be letting them. I later spotted that one of the statues of the angels is in fat slightly older then the two in the lower right corner. This angel looks to be around 12 years old, and is looking in the direction of the young man hidden in the bushes. This angel also appears to be holding a finger to his mouth, normally a sign used today to tell someone to be quiet. I was unable to find out whether this was deliberate or not, yet I feel that perhaps the angel is telling the woman that although she is allowing this man to peer through her dress, he is willing to keep it a secret, perhaps from her partner who is pushing her behind.
In conclusion, I feel that this painting suggests that although women used to wear extremely long and full dresses and partake in activities normally associated with the young (e.g swinging), there are in fact ulterior motives. This woman appears to be having some sort of affair, overall making my conceptions of women within this era to be quite provocative, even though they do it in a more discreet way.
The second gallery that I visited was the Timothy Taylor Gallery, where I saw the exhibition of Diane Arbus. Arbus is an American photographer and sixty of her photographs were on display in this gallery. “Arbus’s subject matter is people; adolescent couples, young children, sophisticated socialites, circus performers, nudists, eccentrics and transvestites[3]”, which I feel is what makes her photographs so interesting and diverse.
The second gallery that I visited was the Timothy Taylor Gallery, where I saw the exhibition of Diane Arbus. Arbus is an American photographer and sixty of her photographs were on display in this gallery. “Arbus’s subject matter is people; adolescent couples, young children, sophisticated socialites, circus performers, nudists, eccentrics and transvestites[3]”, which I feel is what makes her photographs so interesting and diverse.
The photograph that I decided to look at was ‘Teenage Couple on Hudson Street, NYC’, 1963. It is a photograph of a couple, and I decided to look at this particular photograph to explore my theme of women and how they are viewed in society. In this case, I was looking at how she was with her, I assume to be, boyfriend. As Arbus’ photographs are normally captured in the moment, it gives a true insight into how they really are. In this photograph, the girl appears to be quite comfortable in her boyfriend’s presence. He has a protective arm around her and they are both making physical contact with each other. The clothes that the girl is wearing suggest that she doesn’t need to use her body to attract the attention of the opposite sex, unlike the lady in the ‘The Swing’. This could be because she is still quite young, and has not yet become aware of her body. However, the year that this photograph was taken in was a time where people would often be free and individual; not afraid to do what they want to do. If this woman wanted to user her body to attract his attention, I’m sure she would have.
The last gallery that I visited was the Portrait Gallery, to view the BP Portrait Award 2009. It was here that I came across the painting ‘Agnes’ by Natalie Holland. This painting featured a 10 year old girl, sitting in a red hooded jumper and in front of a blue background. She is holding her blonde her close to her chest and looking directly at the viewer.
I was first drawn to this painting because of the clear contrast within it. The colours stood out and caught my eye almost instantly. After it has caught my attention, I then decided to research further into it. I found out that Holland wanted “to capture the contrast between the girl’s appearance, saying ‘she looks like a princess from a Nordic fairy tale’, and her mischievous and feisty personality[4]”. At first, you do not assume that the girl has a “feisty personality”, yet it isn’t until you look closer that you realise the slight mischievous expression on her face. This shows that appearance can have an extraordinary effect on how you first see someone.
This painting was created in 2009, which gives a clear representation of how women are today. Although the girl features in this painting is in fact only 10 years old, it appears that she is actually aware of how to use her body and manipulate people into thinking something else. She is seen holding her blonde her up closely up against her chest, which in some cases could be seen as being some sort of barrier. However, the mischievous smirk on her face makes me feel that she is in fact using her hair to be quite seductive, and so therefore making this girl similar to the woman in ‘The Swing’. She uses her body and sexuality to get attention from the opposite sex, yet the way she does it is extremely discreet.
In conclusion, I feel that it is difficult to make a general assumption on how all women are seen in society. However, I feel that it is easy to say that all women at some point of their lives do use their bodies to attract attention, yet this normally isn’t until you become much older and more aware of people around you. ‘Agnes’ may appear to be holding her hair in quite a seductive way, yet I feel that she is still too young and is probably just a bit playful. As you get older, like the woman in ‘The Swing’, you are more aware of your body and it is completely your decision as to how you wish to use it.
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