Lesson conducted by Yow Siew Kah on every Friday at 930am - 1230pm in NIE-3-B1-06
Lesson 2: 22 August 2013
lesson focus on formal analysis of images with reference to formal elements of art.
(1) Lines can exist on a
a. planar surface - canvas, wall or the ground or
b. virtual space - identification of item/ object based on its feature on the paper of pigment. eg. the sand in the picture below is a representation of sand in virtual space (cheem right???? actually, i also dun quite get it... wahahahaha......)
|Two women on the beach by Chang Yu (Sanyu)|
the curved lines used gave the picture a more feminine feel
|Self portrait by Ren Xiong (1823 - 1827)|
the use of straight lines in the clothing and angular shapes depicts a more masculine figure
there is also greater emphasize on the shoes to depict stability
|What Do You Want From Me? by Claude Cahun|
the removal of curvy lines (hair) removed the feminine aspect from the picture. so does the picture become more masculine just because the feminine curve is removed???
"Two heads, coupled in a monstrous union - Siamese twins generated by the camera - confront and struggle with each other. One face is alert, anxious, sympathetic: it looks out of the picture, towards the world, wanting to participate in it. The other head is turned inwards, towards its twin, and we catch only one hooded eye in a face that seems drugged, disconnected, vampiric. The shaven heads add to the sense of strangeness, of pathology. We might be looking at a picture in an old medical textbook. This is a violent image of a self divided, with the "normal" woman on the left haunted, preyed on, and somehow chastised by her nocturnal twin." - source
|Farmer with farming tool by Liu Kang|
the intensity of the lines to show light (and shadow) shows mass + volume in the picture
|The Fifer by Edouard Manet|
there's a lot of margin around the picture hence we see the character as a whole. the character also seems further away from the observers.
|On the beach by Paul Gauguin|
the picture is cropped in such a way (fingers cropped off and shoulder leaning against the edge) that the 2 large shape (women) are squeezed in a frame. this technique brings the objects closer to the observers and is commonly seemed in advertising
|The Calling of St Matthew by Caravaggio|
artist is famous for painting light effect on people who are drawn in great details. there is a gradual change in hue/tone to show the light effect (shadow). This artwork shows the light of an unknown source illuminating the room.
formal analysis available here
|Whaam by Roy Lichtenstein|
there's no gradation change in colour to show shadow as compared to the previous artwork. any changes is denoted by a total change in colour (pink and white of aeroplane - yellow, red and white of fire)
this artwork is an example of monumentalizing (super big painting) the trivial (comic strip)
|A Sunday Afternoon on the Island of La Grande Jatte |
by George Seurat
colours are applied directly from the vessel without prior mixing. the different hue were created by placing the dots very closely together (pointillism) to let the observers dissolve the colour based on their own vision.
|Alexandrian Rose from WIlliam Farquahar Collection of |
Natural History Drawings
naturalistic colours - colours used are as close to the real object as possible as can see from the different hue on the flower petals and leaves
|Going to the Market by Hendra Gunawan|
there's a separation of objects with the actual colour as seen in the colour of the face in the lady in white. it is the artist's aim to not duplicate what is seen but what is imagined.
Textile sensation is created when light is reflected off a surface into the eye
|The death of David by Jacques - Louis David|
framing effect of the picture makes it look like a real happening behind a glass pane. the effect of painting (visible brush stroke) is completely smoothened out by the technique - licked finish where excess paint is removed tediously by mini brushes. this allows the observers to focus on the likeness of the content and not on the painting techniques.
reminds me of Luciano Ventrone's oil painting which i saw at Gillman Barrack the last round. You just have to agree that the painting was so smooth and fine that it looks like a real picture.
|Number 8 by Jackson Pollock|
colours used are very random, expressive (warm + loud colours) spontaneous and very obviously handmade
|untitled by Donald Judd|
minimalist to the extend that observers will start looking at the hard + smooth texture of the material (aluminium + glass) which is a common material from every day items. it's an example of making what is not art into art.
|Untitled by Eva Hesse|
Some of her artworks were in response to Judd's above. She uses repetition and the same form (squarish) to show the connection between the two's works yet opposes everything other concepts that Judd's work depicts.
She uses flexible, soft (oppose to hard) material to represent feminine. She created multiple textures with one material (oppose to different material with the same texture - smooth) and using material which are not permanent (disintegrate with time) as oppose to solid material such as aluminium and glass
i really dun understand how can a piece of work remained untitled???? did the artist die b4 naming??? most of the time, the answer is negative.... means the artist was too lazy to name it/ cant be bothered/ can't find a suitable title for it????
(4) Spatial Depth, Perspective & Scale
|View of a Corridor by Samuel van Hoogstraten|
direction of lines, diminishing point, relative size of objects (chair vs broom) to differentiate between far and near, foreground and background
|Woods and Valleys of Mount Yu by No Zan|
this is a hanging stroll which is meant for group appreciation whereby a hand stroll (horizontal) is meant for the purpose of individual appreciation (by parts).
The relative size is not established to differentiate between foreground and background.
|Alexander Visits the Sage Plato, a leaf from the |
dispered manuscript of the Khamsa of Amir Khusrau Dihlavi
main character are placed in the centre of the picture. object/character of importance are usually drawn bigger with relation to others. eg. the sizr of the seated duo is the same as the standing character and larger than characters in the foreground which translate to them being at least 2 - 3 times the height the average characters in the painting.
|Hamlet in the Autumn Mist by Shi Tao|
the objects in the foreground are drawn clearer while those at the background are blurer, creating an atmospheric perspective.
|Harmony in Red by Henri Matisse|
This module is like the logically science & math in art. Very factual in terms of observable facts (lines, colours etc) as compared to the stories and experiences an artwork can make us feel.... in other words, kind of boring yet interesting that artwork can be interpret it in such a boring manner.... =P
this is part 4 of 7 parts to the series "Advanced Diploma in Primary Art Education". A series of blog posts that are updated weekly (from aug - nov) to document the activities, progress and learning point(s) from the week's lessons... =)
Part 4 - IVP4404: Visual Literacy (2),
Part 5 - IVP4405: Artistic Development of Children
Part 7 - IVP4407: Curriculum Development and Assessment