A2 Critical and Contextual Studies Laura Kirk 231549
For my A level personal investigation I will begin by focusing on time and it has been shown in art through history. In doing this I will consider symbolism within the pieces to begin with specifically in still life and potentially in portraiture also.
‘Allegory of Vanity’ Firstly I began by looking at this still life image from the Baroque period ‘Allegory of Vanity’. It was created in 1632 by Antonio de Pereda who has captured an angelic figure surrounded by a number of objects including: skulls, a candle, a rifle, an hourglass, a globe, portraits, a clock, jewellery and money. All of these items are shown to be in the foreground with Pereda ensuring they are the main focus of the audience, this is due to the use of chiaroscuro between the figure and items in the foreground and the background which creates intense lighting on the subjects as a result. As well as the subjects being emphasised through the use of the lighting, the fact Pereda has used oil paints allows a hyperreal effect of the different objects due to the fact small variations in light and shade. This is because of the components of the paint which includes having a longer drying time to, as a result, enable blending of colors and shades which, allows a three dimensional effect to be created. Therefore, as the objects seem more realistic the audience may relate to them better so, the meanings of each of them can be portrayed easier to have a larger impact overall and potential dramatic effect when paired with the large contrast
Baroque The style of baroque was developed after a major religious event of the creation of the two religious groups, the Protestants and the Catholics. These came about when a group of Christians, the Protestants, protested against the current layout of the bible, as they wanted it to not contain any images. Whereas the Catholics wanted images to be included therefore, in order to get more christians to support their version of the bible there were many powerful and dramatic images created.
Peter Paul Rubens, Galileo Galilei, 1630
These pieces of work are other examples of art in the Baroque style as a result of their dramatic use of lighting causing chiaroscuro, as well as the realistic imagery used, which all together creates a more dramatic effect for the The Calling of Saint Matthew, Caravaggio, audience. 1599–1600
Title of the Painting The title of the painting also has a significant reflection on the painting. For instance, ‘Allegory’ can mean that there are hidden meanings, this could reflect on the objects and how each of them supposedly relate to each other as a result of a potential event therefore, as a result, tell as story. Thus when paired with the word ‘vanity’, which means how someone shows pride in their appearance or achievements, it can suggest how the objects are being used to reflect an individual’s vanity. As well as this, as there is only an angel shown in the image it can suggest that no matter what vanities as individual may have it will all be insignificant once they have passed.
In the painting there is only one figure which is presented, the angelic female, which is suggested through the wings seen as well as the pale complexion of her skin. This lack of pigmentation thus can suggest further element of purity due to the relation of white shades and angels. Although this could also reflect the complexion of the dead to, as a result, further indicate mortality. However, the figure’s wings and clothes are also presented to be darker shades of brown as oppose to bright whites, this can add an element of darkness to the painting. This is because the darker shades can indicated a sense of negativity to allow the audience to question if this figure being presented is as pure as Within Christianity, in which was a popular religion at the time, an angel was a figure that was closely related with it, specifically with death. Through this, it can further indicate the mortality of people. Furthermore, the most significant feature of the figure includes the fact that she is looking directly at the audience with an expression on her face suggesting she is disinterested.
Although, through further examination it can be seen that she is pointing to a globe as well as holding up a portrait. This has been done to ensure the audience is drawn to this element of the painting. For instance, through the globe it could reflect how an individual may have travelled, although it could also suggest power, for instance when countries are taken over. Thus, the globe can be a visual representation of the ownership of an individual ruler, hence showing their achievements to reflect their vanities. Furthermore, this could be in relation to the portrait the figure is holding.
Charles V The portrait has been identified to be Charles V. He was born in 1500 and died in 1558, thus the painting was produced around 70 years after his death owned one of the largest empires of all time the Holy Roman Empire owning Spain, Naples, Sicily and America (that he inherited from his mother Jonna); as well as Germany ( the he inherited from his father Philip I). As a result of this, it can be said he was a very powerful person thus, when paired with the glove it can be said it is a visual presentation of his power through all the countries he owned. As well as this he himself was a Catholic which can relate to the religious reference of the angel in the painting.
Another element of the painting that is significant is the candlestick, for instance the fact it has been blown out is an indicator of mortality and life isn’t permanent. This as a result, reflects the limitation on the time individuals have. A similar meaning can be shown through the sand timer, for example all of the sand can be seen to be in the bottom segment of the glass to represent the passing of time. As well as this, again it is a reminder of mortality in relation to people and vanity isn’t permanent. -
Furthermore, in the painting there can also be seen to be pictured many skulls. This firstly creates a further morbid tone for the painting as well as reflecting death again. However, in relation to Charles V it can reflect all of the people that died in combat when fighting for him as a result of different religious views (the Catholics and the Protestants). Finally, there is pictured to be a grand table clock, this overall helps present the passing of time most apparently Within the sentimental items there and helps indicate can also seen to be pictured to be why the other tarot cards, these can be used to help objects such as people make decisions, but they were the candle and popular in Europe after 1530 which hourglass have can help set the time the painting as been added also; reflecting the time around when to present this Charles V died in 1558. whole idea of passing time throughout the painting. There is also armour pictured in the image as well as a rifle which helps add identities to the skulls , as well as depicting that they were potential soldiers.
Moreover, there are books additionally pictured which can help reflect knowledge, although the fact they have been opened can help show how they have been used. However, Pereda has placed them under the skulls which acts as a reminder that once the keeper has passed the knowledge they knew dies with them thus, again, vanity isn’t permanent and presents the passing of time as well as acting as a Memento Mori.
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Additionally, there can be seen to be various sentimental items such as photos, jewellery and money which can again reflects upon an individuals achievements such as a family and wealth earnt over time, although with the constant reminders of death within the painting it shows that over time it is insignificant
Still Life with Mask To continue the theme of still life I began to look at this piece by Hendrick Andriessen, that was created in 1655, which also continues the passing of time as shown through symbolism of the objects. For instance, there are many pictured on a table, with a large proportion of them of these representing vanitas. For example, Ecclesiastes (which was one of 24 books of the Hebrew Bible) uses a phrase to describe it well: ‘Bibilical motto; Vanitas, Vanistum, Omnie Vanitas; all is vanity’ which translates to ‘the worldly riches and values are temporary, they are just a vanity’ Overall in the piece, Andriessen has used a monotone colour palette throughout which can sometimes make it difficult to distinguish between objects. However, he has also used chiaroscuro to specifically highlight the objects and allow them so be seen independently despite them being layered over each other. Through this it ensured the audience will be more likely to acknowledge them as well as emphasise the meanings of why each of them have been included. Furthermore, the greatest contrasts can be seen between the bottom of the image and the objects such as the mask, skull and trophy pictured above, which could suggest they are the most significant.
Furthermore, the fact the objects are overlapped can enhance the composition of the piece through making the individual objects seem as one and indicated to the audience that they have a common meaning; the memento mori. In Holland in the 17th century as mentioned before there were many developments in science and art known as the Dutch Golden Age. For instance during the time period more than five million paintings were produced for the middle class as oppose to the church as they preferred white washed walls. As a result of this many of the paintings were designed to be hung in houses meaning they were on a smaller scale For example, this image ‘still life with mask’ is only 48cm x 43cm which helps indicate the time period as well as the country in which it originated.
One of the objects that is seen is a watch with its hands set to twelve, through this is can be shown how it is leading to the final reckoning as well as the passing of time.
Additionally, in the painting there is a book in the background of the items. This can present knowledge and how once the individual has passed, as reminded by the other objects, the knowledge is seen as merely insignificant and dies with the individual. As well as this, there can be seen a candlestick in the foreground without a lit candle in it to represent the end of life. Although, Andriessen has foreshortened the candle which makes the top part of the candlestick (where the candle should go) to emphasis how the candle is missing.
Furthermore, the most obvious reference to mortality is the skull; which can be seen in the centre in the painting to ensure it will be the first object that the audience see thus, they get an overall tone of memento mori throughout the painting. As well as this, the skull has the largest level of chiaroscuro with the inside of it (the mouth, eyes and neck) being the darkest, which gives a reminder of emptiness and presents the lack of life. Thus, it can present the passing of time and how life will always end. In addition to this it indicates to the audience that the rest of the objects in the painting may also reflect the passing of time and act as memento mories. Another significant Moreover, the most element of the painting is the bubbles in the left important object in the painting is corner that have been the mask, which is indicated through the title: ‘Still Life included. For instance, with Mask.’ Andriessen may have included this as a these can help introduce how fragile the human signifier that during people’s lives their face can be used life is, with it ending as to reflect their personality. Therefore, this association can then be made between them and their achievements. fast as it starts. As well Thus this gives the objects a personal feel to remind the as this, though the audience that they reflect someone’s lives, as well as the highlights used to fact that once the individual has passed only their promote its identity (face) will be remembered as oppose to their translucency it can be personality. This can be seen in the image through the seen as mesmerising to missing eyes in the mask as your eyes are what are said further promoting how to reflect your personality the most. precious life is.
In addition, Andriessen had included a form of trophy which can represent achievement and vanity but when paired with the other objects like the watch, skull and candle stick the audience are reminded of the memento mori. However, there can also be seen on the top of the trophy that there is a statue of a soldier to present war and again power, as with the globe, but again this is insignificant after death. Furthermore, there is also been seen to be some flowers which again present mortality due to the decay in which they can be associated with during the passing of time.
Vanitas Still Life
Andriessen created another painting, ‘Vanitas Still Life’, which similar is similar to ‘still life with mask.’ For example this can be seen through the composition; all the objects are placed on a table and positioned towards the right of the painting with only bubbles situated on the left. As well as this, there is a sweeping light source from the left of the painting creating chiaroscuro throughout the whole painting. However this piece differentiates as there are slightly different objects included such as, most noticeably, a crown. This is because, in this piece specifically, it was created in 1650, a year after Charles I’s death as a result of decapitation. This topic was seen relevant in Dutch work as a result of the Dutch Lawyer Issac In the background of the objects Dorislaus being in the painting, there is a globe involved in the pictured, which can mainly represent travel. However, it can case as no law had been made in also represent power as a result England on the of rulers overtaking different topic of a trial of a countries at the time, which monarch. again isn’t permanent due to mortality of people.
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The Ambassadors Again, with continuing to look at still life I have found this painting (oil on oak) ‘The Ambassadors,’ which is also known as ‘Jean de Dinteville and Georges de Selve,’ by Hans Holbein the Younger. It was created in 1533 which makes it part of the Northern Renaissance as well as part of the reformation period which both fell during the Tudor period also. Within the piece, most obviously, there are two figures, dressed in traditional clothes for the time period, which are being used as framing tools for the shelf between them, that holds a number of objects. For instance, the upper shelf includes a celestial globe, a portable sundial and various other instruments used for understanding the heavens (the first indicator of religion within the piece) and measuring time; all of which are positioned on a patterned cloth. As well as, this on the lower shelf is a lute, a case of flutes, a hymn book, a book of arithmetic and a terrestrial globe. In addition to this, there can be seen to be a skull in the foreground of the painting from a anamorphic perspective, which partially covers the patterned floor. Furthermore, there is also a brightly coloured green curtain that is draped behind the while scene to suggest the whole scene is staged and suggest a further meaning to the painting. As mentioned before the painting was created in oils which allows a realistic finish due to the blendable properties of it thus helps reflect the time period of the Northern Renaissance as result of the achieved affect. Moreover, the size of the painting almost reflects that of real life, for instance, it is 207 x 209.5cm, which further adds to the realism of the piece as well as having a larger impact on the audience.
Northern Renaissance
Reformation
The reformation referrers to the changes in England with regards to the church and how The Northern Renaissance is what the Renaissance religion restricted peoples lives. in northern Europe was named, this referred to the For instance, it began when Henry VIII decided he wanted to divorce his first wife rebirth of Northern Europe. For instance, artists Catherine of Aragon due to the fact she couldn’t produce a male heir for the throne. would use oil paints to recreate and replicate However, under the current Roman Catholic church, led by the Pope, it was forbidden to realistic scenes. This was done as a result of the fact become divorced once married. He requested to have one however was rejected and the people of the time believed that ‘seeing was warned he may become excommunicated (your soul will not go to heaven) , which was believing’ therefore, whatever painting they saw Catherine of Aragon something everyone was fearful of. As a result of failure in getting the priest to grant the they believed it to be able it come true do to its divorce he ordered the Archbishop of Canterbury to do so, which he did in order to keep likeness to real life. a positive image with King Henry VIII. One example of a painting in the Northern As a result, Henry broke away from the Roman Catholic church and became head of the Renaissance includes ‘Dead Christ’ which is a church himself and made divorce legal in 1533. In reaction to this the people of England painting created by Hans Holbein the Younger, also. displayed anger as a result of the Roman Catholic church charging them unnecessarily for: . This painting reflects a realistic dead Jesus due to getting married, getting christened and being buried on the church's grounds, all because the blend of colours highlight and shade completed it was said to ensure you went to heaven. This as a result the Catholic churches were very in oil paint. This, as mentioned before, is completed wealthy where as the towns people were poor thus, creating a large inequality between in this way in order to make it seem truthful to the Anne Boleyn classes. audience and produce a The English church in 1509 (Henry’s reign began): The English church in 1547 (Henry’s death) : greater belief and hence - Head of the Church: the pope based in Rome - Head of the Church : the king support in religion. - Church services: all were held in Latin - Church services : held in Latin Dead Christ in the Tomb - Prayers: all said in Latin - Prayers: all but The “Lord’s Prayer” in Latin Hans Holbein the Younger - Bible: written in Latin - Bible: written in English Oil, 1521-22 - Priests: not allowed to marry - Priests: not allowed to marry As well as this, the monks at the time also believed that there needed to be a change thus, a monk called Martin Luther in 1517 nailed his protests to a church door in Weimar, Germany. He believed art was no longer needed in the bible due to the Guttenberg printing press being invented. As a result of this the bibles were no longer needed to be hand written and could be printed in different languages for all to read and understand. This resulted in the divide of churches, the Protestant Churches were whitewashed, with no art as they believed in the written word only.
Again, there is another globe pictured in this painting like that in painting ‘Allegory of Vanity’ which can represent Jean and George shown in the painting. For instance it can represent travel, in which they have done, as well as power, which can be indicated through their clothes.
Furthermore, the broken string on the lute can reflect the disharmony as a result of all of all of the conflict and uncertainty within the reformation
At the bottom of the painting there is seen to be a skull form an anamorphic perspective. This has been included there to give a final reminder of vanitas and how we are all mortal, although it can only be seen clearly when looking at the painting from the side thus, from a different perspective. Therefore, it could promote how even though death isn’t something we are directly face with all the time it is something that we always have to consider.
In addition to this, there are two open books which are partitioned at the centre. The one on the left is a song book thus, this can indicate the musician is only part way through the song, thus representing the mortality of music and how it cannot be enjoyed infinitely due to the song ending or being interrupted in this case. Where as, the one on this right is a mathematics book that is opened to the division page which can link the bottom shelf of objects to he top.
Moreover, the instruments seen on the top shelf are used to measure the heavens and time, this can reflect intelligence of Jean and George.
In the left top corner of the painting behind the backdrop curtain Holbein has included a Christ figure that appears to be hung from the cross. This is significant in the painting as a result of the paintings in the time period not presenting religious relations as a result of the reformation and the division of the church. Thus, it can reflect the religions of Jean and George, as they are both strict Catholics.
Georges de Selve The figure on the right hand side of the panting is Georges de Selve and was aged 25 when the painting was completed. His job role was bishop of Lavaur and acted as ambassador to the Emperor, the Venetian Republic and the Holy See on several occasions. He began his education under the supervision of the Pierre Danès, a highly regarded professor, in Greek and Latin. From this he a clerk for the gained his first position as clerc tonsuré of the dioceseof Rouen. After this designation as protonotaire apostolique (court), in the cathedral church at Chartres, he became chanoine (title of religious serving). Following this, he was assigned by Francis I to be promoted to the bishopric of Lavaur, because of his contribution in negotiating the Treaty of Madrid. This occurred when he was around the age of sixteen, however he was unable to fulfil the role until he was twenty-seven as a result of the canon law. During a visit to England he was asked to pose with his friend Jean de Dinteville for ‘the Ambassadors’ painting, as a result of his relation with the church and although his stay was brief compared to Jean, he was still included in the painting. Georges can be seen in the painting to wearing darker robes as oppose to jean as well as not wearing clothes to present the broad shoulders as higher status individuals would wear to suggest he doesn’t have as high of a status. However, he is shown to be wearing purple to suggest he still does have a high status within the court although didn’t have any family connections to the court like Jean.
Hans Holbein the Younger Holbein, in 1497 was born in Augsburg in southern Germany, in where he was later taught by his father Hans Holbein the Elder to recreate basic artistic techniques. From this, in 1519, he became a member of the Basel artists’, in Switzerland, and began independent work. As well as this he was know to travel regularly, for instance he was seen in Lucerne, northern Italy and France. Within this time he produced woodcuts and fresco designs as well as panel paintings. Furthermore, in Northern Europe the Detail from Hans Holbein the spread of the Reformation began thus, Younger, 'Self Portrait', 1542-3 there was a decrease in the demand for Below are some more of Holbein portrait religious images and artists looked for alternative work. For this reason, Holbein works of famous figures related to King Henry VIII and the court. made his first of two trips to England in 1526; he was there for two years. For instance, there was more work there as oppose to in Basel, where Protestantism had taken over to ensure art was in low demand. The second time he went to England was in 1532 in which he decided to settle there until his death in 1543 as a result of the plague. Although, in 1533, he entered the service of King Henry VIII where he had been painting court personalities for Portrait of Sir Jane Seymour, four years previously, including ‘the Thomas More Queen of England Ambassadors’. Painting 1527 1536
Jean de Dinteville
Henry VIII
King Henry VIII was born in 1491 and became in The other figure that can be seen on the left of the painting is Jean de Dinteville , also a devoted catholic; he was appointed French ambassador to England in 1533. reign in 1509 until his death in 1547 reign. Although, throughout this time he was famous for having six Furthermore, he was son to Gaucher de Dinteville and Anne du Plessis whom wives; this was as a result of him wanting to have a were both closely related to the French court thus, it was expected that they male heir. Although as a result of this, the English Dinteville was going to later be involved also. In 1533 Jean was sent on his second diplomatic mission to England with the main Reformation began as he needed divorces to marry new woman to bare his children, however as the purpose of reassure Henry VIII of Francis I's support in their alliance. During this catholic church was in charge at the time and didn’t time, he posed for the Ambassadors painting, as he was a highly believe in divorce he formed the church of England. regarded a court figure. In Additionally, he was well known for his extravagant 1531 Jean’s father passed and outfits; these were very recognisable as a result of had passed on the collar of St Michael, that can bes een the materials they round his neck, which were made from represents how he was specifically: appointed Governor to Damask, Felt, Charles Duke of Angouleme. Flannel, Satin, Shag, Silk, and http://www.sixwives.info/tudor-clothes-king.htm http://www.globemakers.com/jean_dinteville.html name a few. As https://www.wga.hu/art/h/holbein/hans_y/1535h/06henry8.jpg well as this, there https://www.britannica.com/biography/Hans-Holbein-the-Younger were also specific http://www.nationalgallery.org.uk/artists/hans-holbein-the-younger http://employees.oneonta.edu/farberas/arth/ARTH214/deselve.html colours that were http://www.historicalportraits.com/ArtWorkImages/henry%20viiil.jpg worn by figures http://www.historylearningsite.co.uk/tudor-england/the-reformation/ with high status; http://www.historylearningsite.co.uk/fileadmin/historyLearningSite/reform1.jpg these were forbidden to lower http://www.historylearningsite.co.uk/fileadmin/historyLearningSite/reform2.jpg https://artstor.files.wordpress.com/2013/09/anglig_10313766667.png?w=500&h=500 classes under the Sumptuary https://collectionimages.npg.org.uk/large/mw03080/King-Henry-VIII-King-Henry-VII.jpg Laws or Statutes of Apparel Portrait of King Henry VIII http://www.nationalgallery.org.uk/upload/img/Holbein-hans-the-younger-c-face-half.jpg 1540c. https://www.nationalgallery.org.uk/paintings/hans-holbein-the-younger-the-ambassadors and included purple, gold, silver and crimson. Circle of Hans Holbein http://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/npg/large/npg_npg_4358_large.jpg -
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Oil on Panel 87 x 72 cm
This is another piece created by Hans Holbein the Younger of King Henry VIII
Portrait of King Henry VIII Ink and Watercolour 1536-1537 57.8 cm x 137.2 cm
The Ray Next, I have decided to look at this piece, created in 1728 by Jean-Baptiste-SimĂŠon Chardin. It carries through the same tones as the previous painting, however it is exploring it in other life forms, for instance in this scene there is an indication of food preparation which is shown though the various cooking utensils and pots placed on a table, along with dead fish carcasses. This was his usual subject of painting however in this one the was an element of shock for the audience due to the gruesome nature of the Skate shown in the center of the image.
Additionally, most noticeably the painting is overall very dark with the main highlights only shown on the cat, the skate and the cloth. In doing this, Chardin has created large levels of chiaroscuro thus ensuring an area that the audience will regard first to then look into the painting further to depict the other objects that make up the scene and set the context.
The Salon
As a result of this, the overall tone of the painting is cold and shocking due to the high intensity of light on the skate as well as on the cat (that is behaving in a defensive manor). Although, this tone is further emphasised through the use of oil paints by Chardin. For instance, due to the blendable properties of the paints, realistic tones are created the ensure relatable images to the audience such as the open flesh of the skate. As well as this, they can be layered which moreover, allows different and small variations in the colour tones, shadows and highlights to ensure realism is achieved and to have a intense relation to the audience. Furthermore, the size of the painting 114 cm x 146 cm is again rather small thus it can be seen to continue the idea that it was made to be displayed in houses.
In France there were popular exhibitions set up annually where artists artwork were exhibited for everyone to view; it was seen as a well know leisure activity that everyone could do. Moreover, if an artists work was exhibited in the exhibition the were viewed as a ‘top’ artist, so it was a fast way for their work to become popular. Although, it was difficult for their work to be selected due to the fact it was selected by a Jury of Judges; which further highlights how largely important the exhibition was. The favoured pieces of work that were selected were neoclassic pieces because they reiterated historical events, which would have the largest impact on the audience as they were true events, therefore making the salon event well known. Also, the fact the paintings were neoclassical creates a sense of emotion behind them making them romanticism pieces as well, which was another popular genre of painting to have in the salon.
One of the most significant elements of the painting includes the skate; it is pictured in the centre of the painting, behind and above all the other objects. Thus, the fact it is layered behind the objects allows it to become part of the whole image and makes it easier for the audience to associate it with the rest of the scene. Although, Chardin has positioned the layer objects well to still leave the open wound of the skate exposed to still allow that impact on the audience.
On the table in the painting Chardin has included some other species of sea creatures a fish as well as some oysters. These could have been included to give context to the painting, for example the oyster shells seem to be empty thus, when paired with the open skate it can be suggested that they are all being prepared for cooking. In addition to this, the oysters are a food source for skates as are other shellfish thus, potentially it could be why it is one of the fish of choice for the painting as it can reflect the passing of time through the food chain. This is because the oysters are eaten by skate and humans are preparing to eat the skate as shown through the painting. This idea could further be being promoted as Chardin has highlighted areas of the oysters which could relect importance or relation of the other highlighted objects in the painting.
As well as this, Chardin has used the layering of the oil paints in order to create a translucent effect on the skate, which indicates the bony structure of the animal, however this gives the illusion of reflecting light which can remind the audience where Within the painting there can the animal was sourced from as it furthermore, be seen to replicated the reflection of light on water. include various utensils that This also adds to the realism of the death of would have been used to it, to further intensify the morbid tone of slaughter and gut the fish the painting. Finally, Chardin has decided to which at first thought may show the side of the skate that includes the not be considered to be eye and mouth and the way they are controversial. However, it can positioned can reflect a deformed human be seen that when face also which again adds to the shock of paired with the destroyed carcass of the skate, that it lcan have a vile outcome the image and due to the realistic tones it and is a reminder of death. This, as a result, means that potentially, the pictures could make the image disturbing to the knife and pliers could represent power as they are a considered weapon and audience. further acts as a memento mori for the audience as they are a reminder of death.
The final significant figure that can be seen in the painting is the cat. It is shown to look shocked and scared by Chardin which, again, carries on the tone of the painting. For instance, all of the fur is standing on end to make the cat look larger; which is used as a defence mechanism. Although, the main feature of the cat are the eyes, as they are focused sharply on a point that is not shown in the image, thus through the reaction of the cat it can add to the drama of the image to show the additional dangers of the sense externally to what is shown.
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Jean-Baptiste-Siméon Chardin
Still Life with a Ray 1743 Oil on canvas
Chardin spent his whole life in Paris in which where he apprenticed under Pierre-Jacques Cazes and NoelNicholas Coypel; both in which were history painters. In his lessons he began to draw from classical sculpture and a model, thus helping to develop his interest in still life which was shown through the number of paintings he completed in the 1720’s. His first major piece of work was ‘The Ray’ that was exhibited in 1728 in the Salon, audiences loved the piece and he become recognised. For instance, he became a member of the French Academy. After this, he presented his work regularly in the exhibition as well as becoming a treasurer in 1755.
The French Academy
The French Academy, founded in 1648, firstly was seen as unsuccessful however in 1661 Jean-Baptiste Colbert, chief adviser to Louis XIV, became one of it relations. He realised the key political advantages that could be achieved through making standards for art; this as a result can help glorify the King. To https://www.thoughtco.com/skate-fish-profile-2291587 further this, he made teaching and displaying art exclusive to http://www.artandpopularculture.com/Paris_Salon_of_1833 http://www.nj.gov/dep/fgw/images/marine/skate_winter.jpg the Academy so, the salon was created as a result. Also, as a http://www.visual-arts-cork.com/old-masters/chardin-jean.htm result of the status that was achieved through having your http://www.visual-arts-cork.com/history-of-art/french-academy.htm work displayed in the Salon the Academy gained control http://brooklynrail.org/article_image/image/10093/elderfield-web1.jpg over the artists in France. However making it hard http://observer.com/2000/07/an-unforgettable-fish-from-honest-chardin/ http://museum.doaks.org/Media/Previews/House_Collection/Paintings/HC.P.1936.38.(O).jpg for artists that were rejected from https://www.1000museums.com/art_works/jean-simeon-chardin-still-life?from=artists&app_id=jean-simeon-chardin the Salon to make a https://lifetakeslemons.files.wordpress.com/2013/03/the-ray-or-the-kitchen-interior-1728-simeon-chardin.jpg?w=604 living.
Still Life 1732 Oil on panel
Denis Diderot
Jean-Jacques Rousseau
Diderot was born in France during 1713 Rousseau was born in Geneva in Switzerland during 1712, the into a Roman Catholic family however year before Diderot. Although, when he reached sixteen he later turned to atheism. During his life moved to travelled around France until he met the Baronnesse he became a philosopher who was de Warens from which he received an education to become a appointed as chief editor of the philosopher. It was not until 1742 when he met Diderot in Paris Encyclopédie (the encyclopaedia). and created the 'Philosophes’ as a result of their shared desire However, it wasn’t until 1745 that he for recognition form their writing. began the work when publisher André Le Breton asked him to contribute in In 1750 he began to publish his thoughts and finding with his bringing out a French translation of first book being 'A Discourse on the Sciences and the Arts’. Ephraim Chambers’ Cyclopaedia (An The front cover of the first This was mainly about how society and civilisation had Universal Dictionary of Arts and edition of the encyclopaedia . corrupted man. However, In 1755, he published 'Discourse Sciences), after the other two on the Origin of Inequality’, where in this book he stated that Diderot also was know for his art translators withdrew. From this, he then began his that original man, when living independently, was happy, good and critiques especially through involvement in writing the encyclopaedia also with the free. The corruption of man originated from comparisons which Chardin: first volume being released in 1751, this is where his instigated pride from the formation of societies. After in 1762 'The name became most recognised. “To look at pictures by other artists Social Contract’ was established and With the creation of the encyclopaedia it helped aid the it seems that I need to borrow a suggested how in the future man might enlightenment during the 1700s, as it was a way of mass different pair of eyes. To look at reinstate his freedom. It was argued spreading that there were alternative explanations, those of Chardin, I only have to that men would receive freedom if through science, to theories that were only explained keep the eyes that nature gave me society was based on social contract, in through religion previously. and make good use of them.” exchange for their obedience to a - https://www.britannica.com/topic/Cyclopaedia self-imposed law. Although, to concluded it was found - https://www.britannica.com/biography/Denis-Diderot that Rousseau described his civil society as united by - http://artyfactory.com/art_appreciation/still_life/chardin.htm agreement on developing the interests of the majority - http://www3.gettysburg.edu/~tshannon/hist106web/site6/encyclo2.jpg with as oppose to the individual interests in which - http://www.bbc.co.uk/history/historic_figures/rousseau_jean_jacques.shtml there would be disagreements. - http://christianyogamagazine.com/wp-content/uploads/2008/07/rousseau.jpg - https://i2.wp.com/www.waggish.org/wp-content/uploads/2011/04/tumblr_l11xk9KvPg1qzzx3jo1_4001.jpg?w=330&ssl=1
‘An Experiment on a Bird in an Air Pump’ I next decided to look at this painting as the use of the darkness is similar, although it has more of a scientific relation to it. For instance, the gruesome imagery seen before instigated the relationship of death between animals, as it had been previously indicated through symbolism, however the death in this painting is as a result of scientific development For instance, in 1768 Joseph Wright of Derby painted a scene of the experiment that resulted in the discovery of oxygen; a bird was placed in an air pump and it was closed and opened so watch the bird suffocate and then be revived. In the painting there can be seen to be ten wealthy figures, all of which are a range of ages as well as there being males and females, gathered to witness the experiment of which is positioned at the centre of the scene.
The Age of Enlightenment The piece was created just after the industrial revolution that began in the 1700s, thus it was in this period that scientific methods began to develop and, as a result, an alternative belief to religion was considered. This period was known as the enlightenment as it was found that individuals were being introduced to new ideas and theories that were never considered.
The painting was created using oil paints which allows tonal properties of shadow and highlight to be achieved and thus, create three dimensional figures that are more realistic. The large scale of the painting, 183 cm Ă— 244, additionally aids in ensuring there is a dramatic impact on the audience as the figures are almost life size, making them seem more realistic to the audience. The main light source in the painting is shown to be at the centre on the table. Due to this, the figures features and expressions are more apparent to the audience as a result of the strong use of chiaroscuro between the figures and the background. Through doing this the audience can experience the varied expressions of the figures, mainly those of fear and interest, in greater depth because of the deeper tones. This ensures there is more emotion and drama portrayed through the work, to emphasise the significance of the act being presented in the development in science.
There can be seen to be a young female and male, both dressed highly for the time period to suggest wealth. They also are shown to be looking at each other as if they are sharing common knowledge or interests.
On the right hand side of the painting Joseph has incorporated a younger male that is shown to be either closing the curtain or pulling a piece of fabric attached to the bird cage to help release the bird. Although, though positioning the boy by the window it draws attention to the full moon that can be seen through the window. Through this it represents the Lunar Society which was a group of scientists who would meet up on the Monday closest to the full moon to exchange ideas and discoveries. These meetings were carried out in secret as a result of them going again the general belief of religion, thus explaining why Joseph has included the boy who is closing the curtain; he is trying to conceal the discovery.
There can also be shown to be two younger females in the painting the are displaying a cautious and horrified reaction. These reactions are contrasts of the other older male figure that can be perceived to be their father, as a result of the caring gesture of his arm being positioned around the older girl. For instance, with his other hand he is pointing towards the air pump to encourage his daughter to witness the experiment. The reason Joseph may have pictured the older girl to be blocking her vision from the experiment is, as she is older she understands the value of life, as well as the fact God was believed to control it. Thus it may go against what she was told to believe (that God is the creator), so she is less likely to accept it, hence why she is hiding her face. Although, the younger child, despite having a cautious expression on her face, she is looking directly at the experiment, highlighting her age further as she is more naive and impressionable to new ideas
Thus through the use of the younger children Joseph can exaggerate the time period of the painting and the importance of the experiment in the development in science. In the bottom right corner of the painting there is pictured to be a man who is staring directly at a scull on the table, which acts as a memento mori, to draws the audiences attention towards it. The scull is also positioned in front of the main source of light, the candle, in the painting thus, due to the high intensity light it highlights it further. Therefore, by doing this Joseph is able to signify the mortality of living organisms and show the context of the painting as the man is brooding over ‘The Age of Reason’.
At the centre of the painting Joseph has included an older male, dressed in a maroon coloured robe. Notably, he is the only figure in that is looking towards the audience, and in addition to this, using his right hand, he is gesturing to the audience as if inviting them to view the discovery. Furthermore, the left hand is positioned to be holding a valve on the air pump that a whit canary is contained in; he opens and closes the valve to vary the amount of oxygen the bird has to survive. The fact he has this control over the canary gives him a large sense of power which could b perceived as him being a god like figure due to his control over life and death. In addition, this emphasis of power the figure has is promoted further, as he is positioned to be the tallest figure in the painting creating a pyramidal layout to the painting. There are two males that can be seen in the bottom corners of the painting; they act as a framing device and act as the base of the pyramidal layout. This framing technique is used to concentrate the attention of the audience to a specific part of the painting, in this instance the centre. In addition to this, this technique was also used notable in landscape painting.
Joseph has used this framing technique to further emphasise the importance of the scull in the painting as well as the experiment itself that is being carried out. As well as this, the main light source from the candle is positioned at the centre to ensure the main and most important part of the painting is highlighted as opposed to the background that is hidden in shadows hence, inducing, as mentioned before, chiaroscuro.
Joseph Wright of Derby
As mentioned before in the air pump there can be seen to be a white canary, one of which is very expensive, even more expensive than all of the equipment being used. This same canary can be seen in a Renaissance interpretation of the Baptism of Jesus Christ, by an Italian artist called Piero Della Francesca. By doing this, the canary is shown to be a symbol of religion, thus when it’s life is being controlled by the older male in ‘An Experiment on a Bird in an Air Pump’ it represents how beliefs in religion was being replaced by the new found discoveries in science. -
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https://www.khanacadamy.org/humanities/monarchy-enlightenment/rococo/a/a-beginnersguide-to-the-age-of-enlightenment http://www.independent.co.uk/arts-entertainment/art/great-works/great-works/great-worksan-experiment-on-a-bird-in-an-air-pump-1768-183-x-244-cm-joseph-wright-of-derby2369978.html http://www.getty.edu/art/collection/artists/687/joseph-wright-of-derby-english-1734-1797/
Joseph Wright of derby was born in Derby, England in 1734 although, he studied in London to become a portrait painter and later returned to Derby after his education. It was then that he began to paint portraits using extreme artificial lighting in his work which, was achieved through the use of candles and lamps. By doing this he was able to create large contrast between the figures that were mainly in the centre of the paintings and the exterior background. Thus he was able to create large emphasis on the figures in the paintings through the use of chiaroscuro, which he was most famously known for in his works. Although, he was also interested in the development of scientific methods that began at the time hence, inventing the scientific Enlightenment subject. This included scenes of experiments, new machinery, and the leaders of the Industrial Revolution, all of which was another factor of what he was recognised for.
An Iron Forge, 1772
A Philosopher Lecturing with a Mechanical Planetary, 1766
‘The Death Of Marat’ This theme of dark paintings has further been explored into this painting, however death has now been reflected also into humans. For instance, in this image, created in 1793, Jacques-Louis David has recorded a single male figure, Jean-Paul Marat, as the main focus. This is mainly emphasised through the use of chiaroscuro between the background and the foreground. For instance, the background is excessively dark to create a sense of mystery and ensure the foreground is the main focus to the audience, which is where Marat is positioned, and can additionally make the painting seem dramatic. As well as this, a innocent tone is therefore reflected onto Marat as a heavenly light falls on him. In addition to this, the way the light creates shadows on Marat makes his figure seem three dimensional and, when paired with the oil paint (that has been applied smoothly) injects naturalism into the painting. Through doing this David can connect with the audience as it seems more realistic, forming a sense of sympathy for Marat, as well as a further sense of mystery, and implying more of a dramatic effect.
The French Revolution
The painting was created in 1793 just, a few months after Marat’s murder on the 13 July 1793, by Charlotte Corday; both Marat’s and David’s names can be seen in the image on the writing block in the foreground.
The French revolution began in 1789 and occurred when in France there was an economic downturn as a result of high taxations from the monarchy of the time. As a result of this, many civilians couldn’t afford to buy basic necessities and Louis XVI (the King at the time) couldn’t control the large scale problems. For this reason, there was a political group created called the Jacobins that later named themselves the National Convention, who wanted to rule against the monarchy, and David and Marat were members of it. Eventually, the national Convention voted to execute King Louis VXI, his wife Queen Marie Antoinette and any other civilian who were against the revolution; this was done with the new invention at the time, known as the guillotine. Marat was responsible for writing all the names of people who were sentenced to the guillotine down, because of this Charlotte Corday (who opposed his violence) organised a meeting with Marot to kill him; she believe once he was dead all national violence in France would come to an end.
Charlotte Corday’s Letter In his Left hand Marat is shown to be holding a letter from Corday which translates to say “Given that I am unhappy, I have a right to your help“. David has put this on the letter to make Corday seem like she was manipulating Marat and not presenting her reason for killing him, this therefore supports how he was idealised and many people see him as this innocent figure. In reality Corday wrote a letter to Marat displaying how she had important information to share with him so he would approve to see her. Once he agreed Corday went to his house with a knife down her corset to later kill him. The fact that in the painting David presents the letter as saying different to the original can depict that he wanted to give a false impression of her and ensure the republican cause was not supported.
The Hanging Arm In the painting David painted Marat to reflect the figure of Jesus Christ, for example the hanging hand was inspired from the Baroque period when many paintings were based around the church. This makes David’s work a Neoclassicism piece to reflect that he wanted to present Marat as a martyr for the revolution through Iconography. Caravaggio piece, especially, is one of the main inspirations of the piece as the chiaroscuro can be seen in both connecting the paintings further. Furthermore, as Marat is shown to resemble Jesus it can also be believed that it is possible for him to resurrect. Therefore, this will support the revolution against the monarchy and act as a piece of propaganda for it to continue. In addition to this the large scale of the painting creates a larger impact on the audience to ensure his message is understood.
Rubens: ‘The Deposition of Christ’, 1611
Caravaggio: ‘The Entombment of Christ’ 1602-1603
Marat is shown to be slumped over in the bath however, David has incorporated a bold red over his chest which can be interpreted as blood, thus suggesting his death. This use of the intense colour layered over the white (which is used to colour the sheets) ensures the contrast in colours is great and therefore, may seem aggressive as the red is more apparent to the audience. Moreover, as the blood is painted over the white sheet it can be interpreted as Charlotte Corday (the woman who killed Marat) going against the innocence of the image and what the angelic feel the white sheet represents. This can then, as a result, reflect how Marat died; in an aggressive way that involved sin from Corday. A knife can be seen to be positioned on the floor below Marat which, reflects his murder or initially suggesting that he committed suicide. This knife is additionally coated in the bold red that is also used on Marat’s chest thus, ensuring the aggressive tone is reflected through to the knife and reflect how it was the murder weapon.
Additionally, in the foreground a writing box is shown with additional pieces of paper that reflect a cheque. This was included as David wanted to idealise Marat to seem innocent and kind, for instance, the cheque is shown to be addressed to a charity which initially aids David’s intention of presenting Marat’s innocence. Furthermore, on his head Marat wears a white cloth that is highlighted through the use of In reality Marat had a medical skin dramatic lighting over the dark background thus, giving him an condition which cause him to have sores over his body and the only way to sooth angelic presentation and making them was to keep them moist, hence him seem like a martyr and a why he is in the bath when he was killed. result. However, in the painting David painted of him he was idealised to look younger Although, his facial expressions and have healthy skin. This is because it allows the sense of innocence and make him look emotionless angelic association not remain with the supporting the idea he is dead. image, as he is seen as being more like However, his facial expression could also be perceived as being an angelic figure if he is seem as perfect and allow the image to be used further depressed due to the lack of as propaganda. emotion.
Marat’s Condition
Charlotte Corday This painting, ‘Charlotte Corday’ was created by Paul Jacques Aimé Baudry in 1860, 67 years after Marat’s death, however this painting is in favour of the republican cause. For instance, this image shows the scene of Marat’s death from a different perspective with Corday visible where as, in David’s painting the knife and letter are the only presence of Charlotte Corday shown.
In this image the room appears to be messier suggesting Marat isn’t as well presented as first seen, however still appears to have no visible signs of his skin condition and is therefore idealised. As well as this there is no chiaroscuro used in regards to highlighting Marat, instead there is less of a contrast so he is not the main focus of the painting and is regarded as less important.
Also, chiaroscuro is demonstrated and Corday is shown to be highlighted in comparison to the background to show her importance and what she is representing in the piece. One thing that can help emphasise the Corday represents (the republican) is the French flag pictured behind her, as it underlines her reasoning for killing Marat; to help rule out violence and allow her country stability.
Jacques-Louis David
- https://www.britannica.com/biography/Jacques-Louis-David-French-painter - https://www.britannica.com/biography/Charlotte-Corday - http://www.bc.edu/bc_org/avp/cas/his/CoreArt/art/neocl_dav_marat.html
David was one of the most influential painters of neoclassicism, hence why he won the Prix de Rome in 1776. After winning this he travelled to Italy from France, specifically he visited Rome to view the ruins at Pompeii and Herculaneum to fulfil his passion for the antique. He took inspiration from the motifs and ideas behind these works to recreate new works along with new ideas and feelings from events of the French revolution. As a result, his work was realistic however had a cold approach, which was presented found when his work was exhibited in the Salon in 1784. After he became well know, he was elected to the revolutionary Convention and voted for the King’s death making him well known for his active part in the French Revolution. As well as this he became a court painter for Napoleon Bonaparte (a French military and political leader who was one of the significant figures during the French Revolution) in 1804.
Jacques-Louis David, Diana and Apollo Piercing Niobe’s Children with their Arrows, 1772
Jacques-Louis David, Antiochus and Stratonica, 1774
Leading on from my focus on time within portraiture, I am now going to focus my research on a more anatomical presentation of death, where as it was previously shown through time and the reminders of mortality through symbolism. This will be done also through studying the discoveries in relation to anatomy. I began to carry this out through viewing the documentary: ‘The Beauty of Anatomy’ by Dr Adam Rutherford.
Claudius Galen
Within his work he also included theories on humous which he explained to be the essential fluids that allowed people to shape their characteristics and health. He described that there were four humours each relating directly to an element as, at the time, people still widely believed they were creations of God thus, reflecting on the rest of the planet
To begin with I looked at Galen who was the most famous physician and surgeon during the Roman Empire and classical world, this was because of his research on human anatomy; he was the first individual to consider the subject materialistically. Even though during the Roman empire human dissection was banned, he still was able to discover the make up of the body through treating gladiators wounds as well as dissecting animals. From this he was able to distinguish, what he thought were the five main elements of the body: muscles, veins, the skeleton, muscles and arteries, in which he documented Medicine at the time was also know to be lead by through writing. star signs and star alignments which is also a belief It was later found that the descriptions of the skeleton and muscles displayed in Galen’s notes, to present how religion were almost correct with minimal errors. However, there were was a major influence on people still. some errors within the work such as the liver being believed to control digestions as well as other bodily functions, with help from the veins, in addition to the heart allowing the body to move, In addition to this, he work was of although this was due to the limited resources and information he interest in Persia thus, it was had on the topic. translated into Persian and recreated From his writing exploring the idea of the human body, he created in a new book the ’anatomy of the basis of classical medicine as well as the renaissance western Mansur’ in 1386. The only difference medicine in addition to inspiring many artists to create illustrations to this version being it contained for his work to, as a result, create art within the subject of human images of interpretations of his anatomy. findings from different artists. There - http://www.bbc.co.uk/history/historic_figures/galen.shtml were five figures included each - http://deskarati.com/wp-content/uploads/2012/05/galen.png showing the systems of the body. - http://themitralvalve.org/mitralvalve/admin/uploads/Homur.jpg - https://www.bing.com/videos/search?q=the+beauty+of+anatomy+rutherford&view=detail&mid=E3F99F8A805BBBC38909E3F99F8A805BBBC38909&FORM=VIRE
Leonardo Da Vinci
During his early career in 1507 Da Vinci worked in a hospital in Florence, which is where he met a patient that claimed to be 100 he said he felt well and was in no pain. Unfortunately he died a few days later in which he described as ‘so sweet a death’. It was for this reason he wanted to research the cause of his death, this then led to the creation of this image. The top of the drawing is very accurate apart from the liver and spleen. For instance, the liver was too small which was as a result of the patient having cirrhosis as well as this the spleen is enlarged which is as a result of him not seeing one before. The bottom of the drawing also includes a uterus, for an unknown reason, which is inaccurate as he had not had the opportunity to dissect a female. Firstly, the uterus is rounded and includes seven spheres within it as said by a fellow scientist, Aristotle. Also, he included uterinal ligaments which is something he witnessed previously in a pregnant cow dissection, thus it presents the fault in his methods.
This was then followed by Da Vinci who was one of the most significant individuals to take inspiration from Galen’s work. He inspired him to carry out further dissections himself, although now using human corpses as it was legalised, with public dissections taking place from 1478. In 1509, Da Vinci claimed to have dissected ten corpses and it later being claimed he worked with thirty before his death in 1519. As well as this, he used them as subjects to recreate over 200 In addition to drawing human anatomy, he also wanted to anatomical drawings and annotations. understand the function of it.; one opportunity he had to do this Furthermore, he saw the human body overall like a microcosm was when he received his first human skull in 1489. Da Vinci with each one being part of a whole larger world, for example the separated the scull into sections which he believe to show three structure of the bronchi in the lungs may seem to look like root chambers. The first one he believed to be the receiver of structures. This again refers to religion as like Galen, Da Vinci impressions and like a seal on wax it passed on the impressions believes that they believe that people are a creation of God, to the second section and the final one was the flask memory connected to the earth and not faulted. (the Memoria). These, however were again found to be incorrect as well but, like Galen, he had limited resources to - http://www.freakingnews.com/pictures/5500/Skull--5671.jpg carry out research. - http://employees.oneonta.edu/farberas/arth/Images/110images/sl6images/leonardo_anatomy.jpg - http://3.bp.blogspot.com/-rRBsZjGYslg/VUcmLBCa-BI/AAAAAAABf38/wrV9y7SIyc4/s1600/LEONARDO-DA-VINCI.jpg
The Anatomy Lesson of Dr. Deijman This development of anatomical documents within art has also been continued into works of the time for instance, Rembrandt created, in 1556, as part of his series of works to promote the golden age, specifically the development of science. Within this he has included two men as well as a corpse positioned on an operating table. One of the men’s faces can be see whereas the other man’s is not. They seem to be performing an operation of the head of the corpse, which suggests they are looking at the brain. Overall, the painting is underexposed which gives it a dull look which could be as a result of the age of the painting. However, like ’The Anatomy Lesson of Dr Tulp’ the only highlighted areas of the painting are the exposed skin of the professors and the table in which the corpse is positioned which helps present the significant parts of the painting to that audience. Additionally, the painting was again created during the Dutch Golden Age which is signified from the lack of reference to religion and the concentration on scientific research.
Preparatory sketch for ‘The Anatomy Lesson of Dr. Deijman, 1656
Within the Dutch Golden age there was a high demand for group portrait commission work due to the from groups such as trading associations, hunting clubs, and guilds or other civil institutions, to name a few. This was due to the lack of demand of art from the church thus, religious paintings were not produced. An example of a group portrait is Night Watch, which is one of Rembrandt’s most famous pieces, that is pictured on the right.
Public Autopsies as Theatre The reason for one of the men’s faces not being pictured is because the image is a central fragment of a larger painting. It originally was 245cm x 300cm to create this large scene of a stage with eight spectators as well as Dr Deijman, his assistant and the corpse included in it. However, this autopsy would have been to an audience also, performed like a show. Within the 18th century it was damaged in a fire to then become lost however it was later found in the 19th century in England, although, again, it was badly damage through being slashed in the 20th century to only leave 113cm x 135cm.
Night Watch, Rembrandt, 1642, Oil on canvas, 363cm × 437cm
During the early Renaissance medical schools in Italy began to carry out autopsies in front of large audiences between two hundred and five hundred. These were specifically popular in Holland with them becoming a regular tradition, however only one was permitted in each city every year thus, is was a major event in the social, educational and entertainment calendar. As well as this, each audience member would have to pay for tickets, which resembles theatre shows in the present, however the subject of the show varies. After the execution of the convict the autopsy lasted between three and five days and was carried out by the communities leading surgeon, who was appointed the city’s ‘praelector chirurgi et anatomie’. Due to them going on for days, they were carried out in the winter, in order to preserve the body, due to the lower temperatures. As well as this they were held during the evening so they could be lit with scented candles and accompanied with flute playing, this is because it created dramatic lighting as well as audio for the performance. Furthermore, the rival professor groups would also be sat separately within the audience.
Joris Fonteyn
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The corpse pictured on the table was Joris Fonteyn who was hung for his ‘habitual criminality’. As mentioned before the corpses they used to carry out the autopsies were convicted criminals that had been sentenced to death. Rembrandt has shown that Rembrandt had firstly done an autopsy of the viscera (cavity in the abdomen where the intestines are situated) and then had moved on to begin one of the head. For instance, the skull has been removed, and is being held by his assistant, and he has pealed back the dura to access the brain. This study is unknown as to whether it was drawn from real life or it was from Vesalius’s book ‘De Humani Corporis Fabrica’ Images of brain due to them looking similar. studies from Vesalius’ Rembrandt has also positioned Fonteyn to book ‘De Humani ensure a foreshortening effect. Through this Corporis Fabrica’. the audience is firstly confronted with his feet, which are of a dark tone, thus through them being presented over a white sheet it makes then more apparent to ensure they are seen by the audience. From this, they are immediately shown his open abdomen and finally his opened head. This ensures the greatest impact of shock especially to modern audiences as autopsies to large groups of people like a performance is unheard of. Furthermore, though the feet being coloured black, the eyes being black out through the use of shadows and the skin being a unique yellow tone it helps add shock further. For instance, Fonteyn is presented as being dead and even though he was once a person he is now a test subject being used as a prop for a performance. http://totallyhistory.com/the-night-watch/ http://portraitgalleryofthegoldenage.com/sites/default/files/Dr-deijman.jpg http://www.cell.com/trends/neurosciences/pdf/S0166-2236(97)01158-2.pdf http://totallyhistory.com/wp-content/uploads/2011/12/The_Night_Watch_by_Rembrandt.jpg http://hollandersvandegoudeneeuw.nl/sites/default/files/Press%20release%20Rembrandt.pdf https://i1.wp.com/nyamcenterforhistory.files.wordpress.com/2014/10/vesalius_fabrica_1543_lambert_606_watermark.jpg https://62e528761d0685343e1c-f3d1b99a743ffa4142d9d7f1978d9686.ssl.cf2.rackcdn.com/files/68080/area14mp/image-20141229-8201-13jrvz5.png
The Anatomy Lesson of Dr Tulp Another painting Rembrandt created within his series was a painting that was also created in 1632 (the same year as ‘Allegory of Vanity’). It has pictured eight men surrounding , what can be considered, a dead figure led on a table to present the development as oppose to the religious views in ‘the Allegory of Vanity’. The eight men around the table are students in a practical demonstration lecture that is being lead by Dr Nicolaes Tulp, thus I have now began to view elements of anatomy within still life. Within the painting Rembrandt has used a large contrast in tone to create a chiaroscuro effect mainly between the background and the figures. Through this it creates a focus point for the audience that includes drawing a focus to the gruesome scene of the dissection, which could create an element of shock for the audience as it is something that is not normally viewed. Furthermore, this has been done through the use of what seems to be a spotlight effect with it highlighting all of the bare skin in the painting, this includes the faces of all the men; the hands of Dr Tulp and the man on the table.
Dutch Golden Age This painting is again part of the Baroque time period however, within this piece there can be no obvious references to religion. This is because of the development of the arts and science practices. This happened after the Netherlands gained independence form Spain in 1609. Thus, as a result of this, to express pride it was shown through art. For instance in many different countries art will still created for the aristocracy class although, in the Netherlands it was created for the middle class the class in which helped develop the stability and improvements in the country. As a result of this the population tripled between 1610 and 1640 from 50,000 to 150,000 as well as becoming on of the most financially stable countries. To mark this they built a new town hall (presently the Royal Palace) which acts as a reminder of their success in the Golden Age.
The element of shock that the audience may experience is further enhanced by the fact, again, like the previous piece, the medium is oil on canvas. For instance, as mentioned before, it allows a hyperreal effect which can make the painting more relatable and realistic. This is due to the three dimensional effect that can be achieved from the small variations in highlights and shade through the blending effects created with the paint.
In the background of the painting is shown to also be one of the students holding a piece of paper containing all of the names of the students that were present at the dissection. The students would of paid a large amount of money to be featured in the work. As well as this, it can be seen the he is the only figure in the image to be looking at the audience thus this could indicate how Rembrandt wants him to communicate with that audience as well as subtlety draw attention to the list.
Dr Nicolaes Tulp Dr Tulp was a surgeon in the time period of the Golden Age as well as being the mayor of Amsterdam. In this painting Rembrandt has pictured him doing his second dissection, his first being in 1631. He is also presented to be the main figure in the painting which, is shown through the fact he is the only one wearing a hat. Through this is can be seen that he is at a higher level compared to the other figures, also, as he is a lecturer. In addition to this, Rembrandt has also promoted his importance by highlighting his face and hands too. For instance, by highlighting his hands specifically it can draw attention to the dissection that is being carried out and leads the audience onto the other highlighted are of the painting.
There were a number of pieced created to reflect scientific practices, hence promoting the golden age and the development of science.
Adriaen het Kint
The Osteology Lesson of Dr Sebastiaen Egbertsz, Nicolaes Elias Pickenoy, 1619.
The body that is led down is known to be Adriaen het Kint, he was a criminal that had been hung earlier that day, as at the time, for the dissections, criminals would be used. For instance, he is pictured on the table and is shown to be a dead through the unsaturated colouration of the skin. Although, like Dr Tulp’s hands and face, Kint is also highlighted and the pale colour of his skin can partially reflect the light to ensure he is the brightest element of the painting, thus acting as a centrepiece. Furthermore, specifically the area that is highlighted is the stomach with parts of the face including the eyes being in a shadow . Through this it further promotes how he is dead as the shadow can act as a cloth that would be normally placed over someone who had passed.
Vesalius Andreas Vesalius, born in 1514 in Brussels, became a anatomist who was interested in dissections of the human body. He also made many discoveries through this which helped change and develop medicine. After studying for his doctorate, that he completed in 1537, he began to carry out dissections himself in which In the painting there can also be seen to be a he created many detailed drawings of book pictured in the bottom right corner that the blood and nervous systems which is open to face the figures. This book is called were shared to his students. ‘De Humani Corporis Fabrica’ which In 1539, he was able to research translates to ‘On the Fabric of the Human further though comparative work to Body’ and was published in 1543. It focused Galen. This is because a Paduan judge mainly on human dissection as well as how became interested in his work and observations must be done practically by granted him permission to use the bodies of executed criminals. Through this, he doing dissections on human bodies. found faults in Galen’s work as at the time (between 130 AD - 210 AD) he was only able to work with apes due to religious reasons thus, it was found that humans The illustrated story of art, DK, page 178-179 and apes don’t have the same anatomy. http://portraitgalleryofthegoldenage.com/exhibition http://www.frick.org/exhibitions/mauritshuis/golden Thus, after this he created his book ‘De Humani http://www.metmuseum.org/toah/images/hb/hb_53.682_av1.jpg Corporis Fabrica’ which documented the http://www.metmuseum.org/toah/images/hb/hb_53.682_av2.jpg importance if dissection in understanding human http://www.metmuseum.org/toah/images/hb/hb_53.682_av3.jpg http://www.bbc.co.uk/history/historic_figures/vesalius_andreas.shtml anatomy. http://www.sciencemuseum.org.uk/broughttolife/people/andreasvesalius Here are some further examples of the images http://www.sciencemuseum.org.uk/hommedia.ashx?id=10136&size=Small featured in ‘De Humani Corporis Fabrica’ that http://morbidanatomy.blogspot.co.uk/2011/01/osteology-lesson-of-dr-sebastiaen.html demonstrate his works of human anatomy. https://ka-perseus-images.s3.amazonaws.com/294fbded64d0d66fb1158ffb9a8e0e468d781305.jpg -
https://www.rembrandthuis.nl/en/rembrandt-2/rembrandt-the-artist/most-important-works/the-anatomy-lesson-of-dr-nicolaes-tulp/
The Anatomy of Frederick Ruysch This painting was also created during the Dutch golden age, in 1683, by Jan Wan Neck and continued the theme of autopsy. He has pictured six men shown surrounding a dissection similar to that in ‘The Anatomy Lesson of Dr Tulp’ however instead they are focusing on the autopsy of a still born child as oppose to a grown male. In addition to the baby, Neck had also included a young boy, which is pictured in the bottom right corner holding a baby’s skeleton. Furthermore, Neck has used a harsh contrast in tones within the painting, with the background and clothes of the figures being dark compared to the exposed skin and their collars being highlighted. In doing this, it draws attention to the expressions of the figures, which are mainly presenting joy and interest, as well as the autopsy that is taking place. In doing this, it creates a focus point for the painting as well as promote to the audience how it is a positive and potentially significant event to the audience. As well as this, despite the majority of the piece being shade the highlighted areas include warm tones which can be the first indicator of the positivity of the painting as it had documented some of the famous works of Frederick Ruyach.
On the table in the centre of the painting Neck has pictured the still born child, this was an unusual corpse The centre four figures are shown to be looking intrigued through their facial expressions as it slight smiles in to be performing an autopsy on as the only available reaction to the autopsy. For instance, between them they ones were criminals, which is also shown in the ‘The are exchanging glances as well as looking mesmerised. Anatomy Lesson of Dr Tulp’. Neck has also included the Through this, excitement can be suggested which placenta the is still attached to the ambilocal cord signifies the significance of the experiment . which helps present to the audience that it is a stillborn and at the start of development. Through this it can explain the interest in the professors The figure on the far left of the painting is shown to be expressions, as it is a rare occurrence to have a looking away from the scene which could suggest that demonstration on a baby, although it can also present there is a separate focus that cannot be seen by the the first studies of the anatomy of a baby’s body. audience. However, he is also In the bottom left corner Neck has included a young seen to be pointing towards the boy which, at first seems odd in comparison to the placenta which could entail that age of the other figures in the painting, however the there is that figure in the room young boy is Hendrick, Frederick’s son. Through this another he wants to view the it can also help explain why he is holding a skeleton, procedure as it was a breakthrough as he is helping his father in with the development of his lecture. As well as this, understanding anatomy. Neck may have included him This figure also acts as a framing in the painting to show how figure along Frederick would like him to with Ruysch The baby, as mentioned before, is highlighted and follow his job role also. for to focus found in the centre of the painting to ensure it is a Furthermore, the fact he is the attention focus point. However, the hands of the professors differentiated to the other of the are also surrounding it to frame it to help draw figures due to his age Neck audience attention to it, this is effective as they are a has isolated him from the rest towards the highlighted areas as well. However, the placenta is of the group however the fact baby. monotone therefore, the hand that is pointing he is looking towards them it towards it also helps to highlight it and help helps include him in the image indicate to the audience the age of the baby. again.
Hendrick Ruyach
Frederik Ruysch The older figure furthest on the right is the professor that is leading the autopsy thus the most important figure. Firstly, this can be suggested though his involvement within the procedure as his hands are holding the ambilocal chord as well as the fact he is wearing a hat. This is something that signifies power and as previously suggested through Dr Tulp. Ruysch, was most famous for being a Dutch botanist and anatomist with his main focus being of the human body. From this he did multiple extractions, in which he created a large collection that he devellpoed through his whole career. He first began his development to becoming an anoomist by becoming praelector of the Amsterdam surgeon's guild in 1667 and a year later in 1668 he was then made the chief instructor to the city's midwives. Aftercompleting these roles for a period in 1679 he was appointed as a forensic advisor to the Amsterdam courts and finally became a professor in botany in the Hortus Botanicus Amsterdamin in 1685.
Ruysch created scenes that consisted of his human extractions, for instance, the two shown below depict infant skeletons weeping into handkerchiefs as well as, one of his skeletons holding two foetuses as if they were puppets. These were possible as a result of his preservatives that he injected into the specimens the allowed them to remain rigid and still look realistic. Moreover, some of the most recognisable elements of the pieces include a bladder, kidney and gallstones acting as rocks, preserved blood vessels as trees and even preserved lung tissue for grass and bushes. However, the most creative elements is the tissues in which the skeletons are crying into as they are made from the membrane that covers the brain.
From these scenes, Cornelius Huyberts, recreated these scenes through engravings.
In 1697, Ruysch was visited a first time by Peter the Great, a science enthusiast, where he taught him how to catch and preserve butterflies. Peter later returned to visit Ruysch in 1717 due to his enthusiasm in Ruysch’s works and, for 30,000 guilders, bought the entire collectionand installed it in his Kunstkamera in St Petersburg. This, as a result, helped to introduce the ideas of European - http://zymoglyphic.org/exhibits/ruysch.html Enlightenment and modern - http://history-world.org/age_of_enlightenment.htm sciences to Russia. - https://embryo.asu.edu/pages/cabinet-frederik-ruysch - https://link.springer.com/article/10.1007/s00268-013-2013-x - http://farm8.staticflickr.com/7336/12946798193_dab8e449a0_c.jpg - http://farm8.staticflickr.com/7452/12947438364_5901cd1df1_b.jpg - https://publicdomainreview.org/2014/03/05/frederik-ruysch-the-artist-of-death/ - https://www.researchgate.net/profile/David_Mazierski/publication/261835186/figure/fig4/AS:296863505895427 @1447789183496/Figure-9-The-Anatomy-Lesson-of-Frederik-Ruysch-painted-by-Jan-van-Neck-1683-Frederick.png
Anatomy of Human Gravid Uterus Brothers William and John Hunter were most know for their creation of their book: ‘Anatomy of Human Gravid uterus’ while they worked and lived in Covent Gardens. The book contained all the stages of pregnancy with detailed illustrations of each stage, which was one of the first documentations of this element of anatomy. This interest initially started when William watched a dissection of heavily pregnant woman, carried out by a leading dissector. From this, they continued to dissect pregnant woman and after after 25 years of research William and John’s findings were published in 1774. Book large so illustration can be life size, parts can be accurately recreated.
William Hunter William Hunter is most known for being an anatomist and physician and, was born in 1907 in Scotland. Despite this, he spent most of his life in Covent Gardens in London. For instance, he created his own school, Covent Garden Anatomy School, in which its first anatomy course was advertised in 1746. Notably, gentlemen would learn the art of dissection all winter season as this was the optimum time due to the cold weather so the corpses could be kept cool. As well as this the lessons were completed in same manor as Paris; French students would learn practically by carrying out autopsies in order to develop ideas independently. As well as this, William was the first professor of anatomy to become a member of the Royal Academy of Arts in 1768. During this time he gave lectures of muscles and skeleton using teaching tools that John and himself had created. This included the full body cast the brothers created in the early 1750s by skinning a corpse, as well as plaster casts of pregnant women dissections and painted life like colours to carry the ‘mark of truth’ (a term used for artwork that replicated the original corpse). In addition to this, the brothers also offered copper versions of the full body cast so students could reference to. Furthermore, while conducting his research he discovered that the circulation of the mothers and Engraving of a painting of all the the foetuses blood did not cross in the placenta which is one of the other significant findings members of the Royal Academy of Arts William is famous for. featuring William , Johann Zoffany
Here is shown one of the miniature copper version, of the full body cast the brothers created.
Also shown here, there is the body cast made of the dissection of the pregnant woman.
Grave Snatching One of the main problems with the Covent Garden Anatomy School was they needed a large number of corpses in order to carry out the classes, however there was not a legal supply of corpses at the time. As a result of this the grave snatching profession was created. For example, the school would contact people who would dig up corpses for them in return for money, these individuals were known as the ‘resurrection men’. These people would work efficiently as they would be able to remove one corpse in less than 15 mins from shallow grave and 10 corpses in total in a single night. Despite the local people opposing the trade the authority figures at the time decided to ignore it due to the fact there was a high demand for well trained surgeons .
John Hunter Like his older brother, John was a anatomist and physician. However, the main difference between them was that he completed most of the dissections of the corpses they obtained, as he was his assistant. As well at this over his life he attended dissections of over 2000 corpses which helped broaden his knowledge overall on how to be successful in his field, Showing he was willing to learn. Therefore from this, later on in his career John became independent as he became a surgeon, specifically, for new treatments for aneurism and gunshot wounds, in which he conducted a range of new experiments. Along with this, John was one of the first people to argue the earth was hundreds of thousands of years old and could function without a creator due to him finding a number of fossils to promote evolution. Where as his brother, William, still believed in God and how the beauty of the human body was made from a creator. Therefore because of the disagreement of beliefs their was conflict between them to the point when they no longer associated with each other.
Jan van Rymsdyk Rymsdyk travelled to bath during his early career to try and become an established artist. This was because there was a demand for artists, specifically portrait painters, thus he put advertisements in the local papers to try and attract clients. From this, the Hunter Brothers saw he was a practicing artist that was interested in realism, therefore they employed him to document their work. Over a twenty-two year period he completed 60 illustrations of their work, each one created using red chalk to present shadow and light and promote a three dimensional structure and again give the work the ‘mark of truth’. Furthermore, thirty-four of the illustrations he created as well as 70 annotations were transferred into the ‘Anatomy of Human Gravid Uterus’ which, as mentioned before, shows each stage of pregnancy.
Example of Vesalius’ work; it displays all the muscles however not in a realistic way
However, through drawing in this way of realism it effected his mental balance to cause a grudge to develop between William and himself. This resentment further advanced as from the work he completed, this is because it made him best known as an anatomical draftsmen instead of painter, which he initially wanted to pursue. In addition to this, William failed to mention Rymsdyk’s name in the book, although he still gave thanks to his brother, John, and the engraver Dr Robert Strange.
Despite this, Rymsdyk had a huge impact on art within science due to the development of the realistic documentation methods. For example compared to other previous anatomists such as Vesalius the autopsy the work has developped to give an impression that the real dissected corpse is before the audience, which us something that had not been achieved before. -
http://www.dailymotion.com/video/x2cih7s https://farm4.staticflickr.com/3658/3550970747_a0539855e2_z.jpg http://assets.londonremembers.com/images/original/46211.jpg?1319382704 https://universityofglasgowlibrary.files.wordpress.com/2015/08/glaha43793_reynoldshunter.jpg https://nyamcenterforhistory.files.wordpress.com/2014/10/vesalius_fabrica_1543_lambert_181_watermark.jpg http://4.bp.blogspot.com/-hG_JZIxC7jk/UydA-vypB2I/AAAAAAAAEUU/KpuMjWcTeXk/s1600/Hunterw_table_06.jpg http://3.bp.blogspot.com/-cklfAHV-ro8/TzG7PJUfR3I/AAAAAAAAARs/kg17c8tO8bU/w1200-h630-p-k-nu/huntertp.jpg https://d1inegp6v2yuxm.cloudfront.net/royal-academy/image/upload/c_limit,f_auto,w_1200/o1ihfdcivdoca7mwoedf.jpg
Examples of Rymsdyk’s work included in the ‘Anatomy of Human Gravid Uterus’
Font Research Firstly, I decided to take inspiration from the logo from the Saw films, this is because I think it reflects well on the theme of the film which to a degree is anatomical. For instance, the three letters that are shown are different sizes and well as there being no consistency within the shapes of them. This therefore reflects the gruesome imagery of autopsy as it is less aesthetically pleasing to look at as it is disformed, which individuals may feel disturbed by as a result.
In addition to this, there are extra lines included within the design although there are lines are positioned in horizontal and vertical lines to reflect the positioning of the text. This can reflect the incisions made when autopsy is taken place, although with the lines being incomplete it can reflect the roughness of them which can add to the gruesome imagery. This reflects directly to the theme of death and autopsies within the paintings. However, the autopsies that are included in the Saw films are more gruesome as oppose to referencing to autopsies, that are completed in a more controlled and educated way, within the paintings I have studied. Therefore, I might decide to design a font that is less rustic and reflects the controlled methods of autopsies. Although, I may be able to include a font that reflects upon the gruesome nature of autopsy also, as this can be considered by present day audiences. This is because public performances of autopsies are unheard of and may be considered inappropriate. Another font in which I have found was from the film Hex; it reflects a similar theme to the Saw font with the letters being different sizes as well as not being refined with the edges of them being irregular as if the different letters had been ripped . This, as a result, also reflects the gruesome nature of autopsy presented within the paintings in the opinions of audiences today. Although, unlike the Saw font, this font is italic which when paired with the irregularity of the shape of the letter, it creates an effect of distortion, in which reflects upon the unrecognisable changes that occur to bodies when they are being cut apart. However by doing this it again takes away from the controlled nature of autopsy to give it a unprofessional reputation therefore a more reserved font may be used, like the Saw font that had a degree conformality within it . -
https://www.bellanaija.com/wp-content/uploads/2015/10/hex-death.jpg
Font Ideas I used a web application to create different fonts of the title of my exhibition. All of the chosen fonts demonstrate a historical feel that was inspired from my font research thus, making them more relevant to what is being presented in the exhibition.
This first font I have decided to use has a deformed effect with the edges of each letter being rough and smudged, giving it a decayed tone. This is something that can relate directly to the deformed nature of the figures that dissections have been carried out on. As well as this, the smudged areas can reflect blood smears that would occur during procedures also. Furthermore, the fact all of the letters are uppercase means they all reach the same cap height, this gives them a powerful effect which can reflect on the poster, ticket and leaflet designs to ensure the title of the exhibition is known.
The second font I have decided to use has a similar effect as the first one in relation to all of the letters having the same cap height, however there are also two lines, one above and one below the font, this acts as a framing device for the font in order to promote the title. Also, it can focus the attention of the audience onto it, especially if there are other elements on the designs of the poster, leaflet or tickets, such as images or other text. Furthermore, the font is also decayed due to the fill of it being incomplete which relates directly to the fact within autopsies they are working with dead bodies which inevitably rot and decay.
Dissect For these reasons, I have decided to use this final font within my poster, ticket and leaflet designs.
I have chosen this font as it has a rustic tone within it due to the incomplete fill as well as the rough edges of each letter; this can reflect the fact that autopsies can make objects abnormal. As well as this, the ‘T’ at the end of the word has tree roots sprouting out the bottom of it. As a result of this it can reflect on Galen’s and Da Vinci’s anatomy work as they believed it was the work of God. For example, they both make references between nature and people, as mentioned before, such as the bronchi in lungs or veins looking like tree roots, therefore the font reflects directly to the topic of the paintings in the exhibition. In addition to this, all of the letters have the same cap height as the previous fonts, however the ‘T’ also extends below the baseline which adds an extra element of size to the font and make it bolder as a result. Also as it is on the end of the word it can act as a framing device for the title to ensure it groups together the whole word.
Logo Research The first logo I researched was the Audi logo. This is because, I like the idea of the of the interconnecting circles which joined together to create this abnormal bubble shape. Despite the fact that in this logo they have left the shape with no fill so that all of the different individual circles can be seen, I would preferer to use the shape they have created to create a block coloured shape. This will then allow me to layer text or other shapes over the top of it. As well as this, I like the colours of the circles and the font (silver/grey and red)when used together as they are complimentary of each other thus, this is something I would like to use within my design.
In addition to this, I found a “Moon� logo which again shows two circles merging together to for a similar shape as the Audi logo. However, in this part of one of the circles has been shaded in to create this crescent shape, this is an element I like as it creates a border for the unshaded circle. Thus, as a result, it is something I would like to use in my logo as it can be used as a framing device in order to ensue the logo looks more complete. - https://tse4.mm.bing.net/th?id=OIP.Ttgl-QACjqzqJelV33mGoAEsDh&pid=15.1 - https://tse4.mm.bing.net/th?id=OIP.y26oOpsXLKkDB_pWZgB2PAEsCW&pid=15.1
To start with I inserted four circles, that are block coloured a shade of maroon, to act as a background for the writing I was later going to insert. Moreover, the shape the circles have made when joined together seems more aesthetically pleasing as oppose to a simple rectangle. Also, the colour of them is a colour seen in many historical paintings, therefore showing relevance to what the logo is representing (a historical museum).
Next, I layered a white, block coloured circle over a grey, block coloured oval to create a grey crescent shape, this therefore adds to the complexity of the logo. However it is still quite simple as a result of, again, the block colouring as a result of this, it makes it easier for the audience to remember, as well as not to distract them from what the logo is representing. Finally, I layered the text onto the top of the maroon circles. I decided to use capital letters to present the writing as it creates a uniform look, as well as making it apparent and clear to the audience what it says. I also used two different text sizes: the larger one to write the gallery name as it is the more important; and the smaller one to state what it is (an art gallery). Furthermore I decided to use a white coloured font as it is visible over the maroon and matches with the colour scheme.
The font used has rounded edges which could have been used due to the soft tone it creates thus, making it contrast to the harsh tones of the background image. As well as this, the text is in block colour and even though it is layered over the drawing it is still bold to the audience as it is positioned to overlap the highlighted areas. This is a technique that has been used to connect the text to the background image. In the design there has been a greyscale drawing that related directly to my theme of anatomy. This is something that I want to include within my design as it allows large contrasts in the tones used to emphasise the highlights and shadows on the subject drawn and create a larger impact due to the nature of the gruesome image being presented. Through doing this, it creates a sense of the theme of the work that is going to be included in the exhibition. As well as this, it can help add a sense of realism as the shading allows three dimensional forms to be created to further add to the shock of the fact the image is gruesome.
In addition, an exhibition logo or sponsorship logo has been included in the bottom left corner, however it is made to be significantly small to possibly prevent distraction to the main poster design.
Poster Research
The rest of the text (the extra information) is made to be in a smaller size, which is mainly because it is as a result of the mass of information that has to be included. Thus, through have a smaller text size it allows it all to be included and not overcrowd the poster to distract from the main focus of the drawing in the background and the overlapping title. Moreover, the text also decreases in size the further down to page it goes to decrease the boldness of it, therefore together this can signify that again, this information is less significant.
Furthermore, the smaller text has been further separated through the use of divider lines to ensure it is easy to understand as it is separated accordingly. As well as this, the divider lines are different depths which could be as a result of the importance of the text it is dividing. Also, through decreasing the depth as they become closer to the block black shaded section of the drawing it decreases the harshness of them, so through doing this it can increase the contrast of the lines and text to the drawing and emphasise the harshness of the shade. -
http://s3.amazonaws.com/auteurs_produc tion/post_images/11563/Zelek_Hunger_Gl od.jpg?1344129017
Within both these posters there are amputated body parts. This is emphasised through the lack of saturation they present which as a result shows they have not got a blood circulation. As well as this, they are positioned on overexposed backgrounds which creates a large contrast to ensure further emphasis on them. This is of great importance, as they help promote the main theme of the film, which is the same impression I would like to give within my poster also thus I will use this contrast technique.
I also found some other film posters from the Saw films, these related directly to my theme of anatomy as the main subject of the film is dissection.
Again, the titles for these posters are bold however, they are not as refined with the text being less uniform as a result of the additional lines and various sizes of the letters. This may be something I incorporate into my design as it could help reflect the gruesome element to autopsy. However, I may look for a more refined text as autopsy and dissection was seen as an art due to it being so precise having such a large impact on science today.
Furthermore, like the other poster the logos of the companies associated with the film are displayed across the bottom and are small also. This again could be to restrict the distraction they may have on the rest of the poster, for instance this is further promoted through greyscale colouration they have been given also. -
https://www.designmantic.com/blog/wp-content/uploads/2014/10/Saw-Horror-Movie.jpg https://www.pixelroaddesigns.com/wrdp/wp-content/uploads/2013/10/Saw-movie-poster.jpg
In addition to this, the extra information for the film has been included in a smaller font at bottom of the posters, to again prevent from distraction of the rest of the poster, as with the logos. The spacing between the letters has been decreased which is a god method to ensure all the information can be included without taking up a large proportion of the poster. This is something I might include in my poser to enable more room for my image.
Within this poster it reflects a glitch effect which is something that I think is relevant in reflecting the paintings I have researched. For instance, through the use of the effect if distorts an image which in effect is what autopsy does. This is because, within autopsy it changes the initial look of a person to be unrecognisable, therefore a glitch effect is a method of changing an image.
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Additionally, the dark background that is used gives an element of fear and mystery within the poster, this can relate to the fact that many individuals may be disturbed by autopsy in the present day, as mentioned before. Although, it also allows there to be a significant contrast with the deformed face as it is highlighted using a paler colour, as a result of this it helps introduce the element of fear further. Furthermore, as well as there being lines present within the glitch there is also the use of a blur effect to deform the image further. Thus, this helps heighten the element of fear and mystery further as the image becomes more unrecognisable. Therefore, I would like to include these techniques (the blur and the glitch) within my work as a result.
Drawings From the autopsy references within the paintings in which I have studied, as well as the posters I researched, I decided to recreate some of the analytical studies of body parts with emphasis of the different bones visible to represent anatomy.
Poster Idea 1 To begin with I inserted an ink pattern, which will act as a background underlay layer for the final poster design. In addition to this, I created multiple layers of this design in order to cover the image I am going to include later.
Next, I inserted the drawing of the hand I created over the ink pattern; I decided to use this drawing as it has a direct relation to the autopsies shown in the paintings I studied. As well as this, I increased the contrast of it was well as added a dry brush effect to it also and increasing the blur of the image also.
After this, I then created clip in masks for them hand layer as well as the backgrounds in addition to inverting the image. This allowed me to see the background layers through the hand shape and create a decaying effect on the hand. In doing this it add to the effect to highlight how the hand is dethatched and dead.
Following this, I added some red highlights, to reflect blood, over the hand which helps indicate further how the hand has been removed. In addition to this, I have added the chosen font to the top of the poster as I want it to be distinctive over the rest of the poster to help indicate the theme of the exhibition, especially when paired with the hand underneath. In addition to this I coloured the title the same colour as the blood in order to show their relation to each other.
After that, I added a background of tiles as I wanted to recreate the same effect that is achieved within the Saw film poster; this includes the contrast between the white and the image presented over it as well as give the poster a clinical reference to reflect on autopsy. In addition to this, I also decided to layer red colorations below and over the hand to replicate blood, therefore presenting how the bodies that were used were recently dead individuals. Finally, I added a logo to the poster in the bottom left corner, as I found with my researched poster designs. Although, I decided to recolour the logo to replicate that of the blood and the title on the poster, this is so it doesn’t distract from the main face of it. As well as this, I added some additional text to the poster in Colonna MT font; form this it supplies some additional information in relation to the dates of the exhibition as well as contact information; this adds to the authenticity of it. I decided to use this font as each letter is completed with two parallel lines, which relates to the incisions made within the autopsies in the paintings.
To begin with, in this design, I inserted the drawing of the hand as, again, it reflects the autopsies within the paintings within my exhibition.
Next, I duplicated the hand and added a green tint to it as well as a green background.
After, I added a pixilate effect as well as adding a new layer to create a distorted wave throughout the image. As well as this, I deleted some of this new layer to only expose lines of the wave distortion.
Poster Idea 2 Then, I rearranged the layers as well as changed the opacity of the wave layer to create the effect of a wave running across it . Also, I deleted lines across the image to expose the pixilated image underneath as well as creating lines over it that are paler than others and create this overall glitch effect. Next, I transferred the hand image onto a A4 template and extended the glitched background over the whole template, using the same methods as previously.
After, I added the chosen font for the title of the exhibition across the top of the poster. I included this in a green tint to match the rest of the poster although the tint of it is much lighter in order for it to be visible.
Finally, I added the other informative text across the bottom, however to ensure there was not more of a contrast than with the title, as it would distract from the rest of the poster, I rearranged the pixilated lines to position the text over them. The font I decided to use for this was Elephant as it reflected the title’s font although there is a lower case letters included in it as well to signify is of less importance than the title also. In addition to this, I added another layer of the title and extra information over the original layers however, I slightly displaced them to give a blurred effect. Also, the new text layers are lighter than the bottom layer to add extra highlight to them to reflect the tones of the hand. Finally, I added a logo to the bottom left corner to replicate what I found in my research, although I used a darker tone for the red in order to not distract from the rest of the poster.
Poster Idea 3 I first began by inserting the image of my drawing of the hand as, again, it reflects directly on the topics of the paintings within my exhibition.
Next, I changed the colour of the background to black as well as changing the colour balance to make it blue. In doing this, it creates cool tones which can reflect against the negative tones accosted with human autopsy. Furthermore the contrast of the hand has also been increased to ensure the tines within the blue are more harsh.
After, I created some cut outs of the image and repositioned them to create a distorted image as of that in the glitched image within my research. Then, I created a rendered layer over the hand to give it texture and distort it further to, again, promote the distorted image.
Next, I added the previously chosen title as well and the extra information; I coloured them a pale blue tone to reflect the colours of the hand. In doing this, it helps to ensure the elements of the poster reflect upon each other. In addition to this, I added the logo for my exhibition also, however I decreased the brightness of it so the saturation of the red didn’t have large contrasts with the black background to distract from the rest of the poster. Finally, I added the rendered effect to the text on the poster to reflect that on the hand, this, again, helps to ensure the elements of the poster reflect each other. Therefore, overall the poster gives a distorted look to reflect that of autopsies in relation to the abnormal changes that can occur to human bodies. In addition to this, the dark tones of the poster can reflect upon the negative and fearful associations that human autopsy can present at some of the times periods of the paintings such as throughout Galen’s work and when grave snatching was an issue.
Museum Research I am going to examine different museums to analyse how they are created in order to present the different works. This will include looking at the shapes and colours of the rooms as well as additional features that have been used to enhance the presentation.
The National Gallery To help develop some ideas for the design of my art gallery I decided to view the National Gallery. As shown, most of the rooms are shaped as quadrilaterals making them simplistic. Also, the colour scheme of the rooms compliment the colours of the paintings being displayed, as well as all this, the walls being a single colour, again, making it simplistic. Therefore this ensures attention is not taken away from the pieces of art work. Furthermore, the floor is a light coloured wood so light can be reflected and illuminate the room as well as, again, not distracting from the work being displayed. In my opinion, the simplistic colours scheme is what should be in a museum because, as mentioned before, it complements the work and doesn’t distract from it. Despite this, I believe the colours that should be used as part of the colour scheme should be light in order to reflect light, making the room seem larger, as well as, making sure there is better lighting to view the paintings with. As well as this, the lighter colours give a modern look to the museum which contrasts the historic paintings to which could indicate how we are trying to reintroduce these historic events back into modern society. Furthermore, one of the rooms in the National Gallery are hexagonal shaped which acts as a main centre to the museum where all rooms can be accessed from it. However, this is something that may distract the audience from the works on the walls as it is irregular from the rest of the rooms.
The Ashmolean Museum Another gallery I visited had a similar design, with single coloured walls, that changed depending what room it was to reflect the colour schemes of the work, as well as contrasting skirting boards and door fames. As a result of this, it allowed the floor, which was also a pale wooden colour, to be seen as separate to the walls to give the rom a structures feel, thus I would like to continue this into my design. Furthermore, in the museum there can also be seen to be information plates next to all the pieces of work, to give a brief insight into each piece, which is something I would like to use in my exhibition to make it seem more authentic.
Although, in this exhibition as well as benches in the centre of the room, there can also be seen to be relevant sculptures and artefacts, this therefore gives the paintings even more context which I think is a complementary element although, it may distract attention away from the works.
Museum Boijmans Van Beuningen Finally, I decided to look at this museum as it is situated in the Netherlands, where many of the artists I have research were born. Through this, I can interpret how the works are presented to recreate it for my own exhibition Firstly, it can be seen that in comparison to the British museums the walls are coloured more naturally through using a pale grey. Through this it makes the room seem larger due to the reflection of light it allows to ensure there is a clam atmosphere, also. Through this it can compliment the works as a relaxing tone is created for the audience. Also, the neutral colour does not distract form the works to make them easier to view and the colours seem more vivid. Moreover, the floor is a darker shade of grey although, it is still neutral to continue the calming tone of the room, this tone is something I believe is essential in a museum in order to ensure the audience can effectively view the work. Furthermore, wood has also been used however, it acts as a skirting board for the room. I like the idea of using it as it frames the walls, thus promoting the structure of how the paintings are hung parallel to it and making it more organised and aesthetic to view. However, I like the traditional setting of having the wooden floor as it reflects the traditional painting in which will be hung in the room. Finally, there can be seen to be descriptors of the overall theme of the works in the room which is something I like as it sets context to improve the understanding of the work thus, I will use this in my design.
First Exhibition Design In my design I used a simplistic layout using quadrilaterals to create the layout, although I added and extension to the entrance of the museum to emphasise how it is the entrance and give a greater impression towards it. Additionally, I decided to use a light colour (frayed hessian) as it doesn’t distract from the art work as it is a neutral colour. Furthermore, I used a light coloured wooden floor for the same reasons as the lightly coloured walls however, also, because it matches the colour scheme of the walls making it look more sophisticated. Moreover, I have added some darker coloured wooden benches as they still match the colour scheme however give the room more depth as a result of the contrasting colours. Also, it makes the room seem more authentic to replicate a museum. As well as this, I have introduced Additionally, in my design I used bordered door some darker grey skirting boards frames, without a door in order for people to walk which makes the room seem more about the museum freely. This therefore gives it presentable. Furthermore, I added more of an open plan and allows the audience to some windows to the entrance of view all the rooms as part of the same exhibition as the museum which gives it more of oppose to different ones in every room. an authentic look to represent a museum.
Moreover, I have added a painting that will be in my exhibition to the plan, and have ensure it is in a grand frame that will present it well. Also, the colour of the frames must compliment the tones in the paintings as well as match the colour scheme of the museum.
Second Exhibition Design In my second design I decided to continue to use the pale coloured walls as I believe it is more complementary to the pieces of work in the exhibition because, as mentioned before, it doesn’t distract from the art work. The darker grey skirting board was also used in this design as it helps to give a more For this design I took inspiration from the hexagonal design of the National Gallery. For instance, I like the fact it could act as a central location to link all the different finalized look to the rooms. Finally, third element I carried into the second rooms together to make the exhibition pieces link together as one exhibition design are the benches as they compete the colour scheme and give an despite the fact they were created by different artists in different time periods. In authentic exhibition look. addition to this, it makes all the paintings more accessible, and when paired with the fact the doorways don’t contain doors it makes it more convenient for the audience to walk around the exhibition. Finally, I have only incorporated 4 main rooms meaning it is more open plan to make it more suitable to display the paintings.
Using a room planner application, I created a three dimensional model of my exhibition prior to the creation of my real exhibition model. This allowed me to view each individual room to identify if placements were going to be successful of the paintings in when taking into account doorways as well as wall spaces that are available.
Exhibition Guide Research In the inside cover of the guide there is a Around the top and the bottom border The title of the of each page there is a dotted pattern. exhibition, as well map included which again is in greyscale to The fact the dots are positioned as the other text, continue the colour scheme. In the map the different rooms are labelled to represent uniformly at equal intervals across the all meet a mean the different artists or themed rooms. borders adds to the sophistication of line giving it a the uniform look which appearance when paired with of the the simplistic overall colour scheme booklet. gives it a sense of sophistication, this would be something I would like to use as a As well as result of this. this, the Despite this the second page second ‘0’ in the includes an dates used doesn’t introduction meet the base line to the giving the cover context of something a bit the pieces of more visually work. For exciting as is breaks the overall instance uniformity. The other difference in information about the time period they was set in is stated giving the audience an the text is the size of the font and insight into the types of work being displayed in the exhibition, hence this is another the boldness of the title compared element I would like to incorporate into my guide. In addition to this, the text that is to the limited, extra information used is easily legible and coordinates well with the title page to continue the giving the title importance. simplistic and uniform theme from the text on the front page.
This guide was used to accompany the Gustav Klimt exhibition showing works from 1900. The colour scheme of the front cover of the guide is greyscale including a black background and white text, which I believe is complementary of each other. The black background gives it a morbid tone as well as reflecting the age of the work. The box used to conceal the text implies a sense of being confined in addition to framing it to reflect the work in the exhibition. Although, I like the way it separates the date to the exhibition title as it makes it easier to comprehend for the viewer.
Leaflet Design I have used my final poster design for the cover of my poster, this is because it shows a continuous theme, and the relation between all the separate documents thus the audience can associate it with the same event. The rest of the colour scheme for the leaflet further, continues the same colour scheme and fonts as the poster hence, ensuring the leaflet looks relevant to the cover page and other advertisement documents. Furthermore, in the leaflet I have included an introduction page as I saw it as being relevant in relation to the fact it was in my researched leaflet, as well as the fact it can give the audience a general insight to the context of the exhibition. Furthermore, for the same reasons I have included a map page that again reflects the colour scheme of the booklet. The font I have also chosen to use was Bell MT for the main informative text as it reflects with the text on the cover page. However for the titles throughout the booklet I have used Colonna MT. This is the font I used on the front cover to write ‘exhibition guide’ as it was the same font used on the poster design, therefore, again, it carries the same theme across all the documents.
Furthermore, I have separated the different sections of the booklet into the rooms of where the paintings are contained making it into more of a logical order for the audience, as a result simplifying it, therefore as they walk round the exhibition the paintings are in chronological order. Also, I have included the different paintings as images under a brief description of the context of each of them I found from my previous research. Around each of the images I have included a rough border of red smudges using a wet brush tool, this colour used reflects the blood pool on the front of the booklet to present consistency. As well as this, I used another wet brush tool to reflect ot create splotches also, to reflect blood drops, this then all together reflect the gruesome imagery in the paintings in the exhibition as well as encourages them to be more apparent. Finally I have added an information page to the leaflet to make it seem more authentic as an exhibition guide. On this page I have included the image of the hand on the front cover to again remind the audience of the theme of the exhibition.
The first ticket design I have found is from an art exhibition.
Ticket Research
Firstly, it can be seen that there is the main and significant information in the ticket. This includes the title of the exhibition as well as the venue, date, times, contact details and extra information. This extra information is specific to art exhibitions such as not allowing food or drink into the exhibition, which is something I will consider when creating my ticket.
Also, on the ticket there is a barcode included which adds to the authenticity of the overall design.
The font that has been used on the ticket is additionally easy to read, thus making it practical and professional. Throughout most of the poster there is a greyscale design, this is something that I don’t think is effective in presenting what the exhibition contains.
One of the only elements on the ticket that presents colour is the logo for the exhibition, this is something that I think is essential in providing a association with the exhibition. Additionally, the fact that the ticket is overall greyscale it ensures the logo for the exhibition is more prominent as it is coloured, therefore contrasts within the design help to highlight different features.
Overall, this design is not very personal to the exhibition due to the lack of colour as well as images, therefore I will find another design that can be considered more personal to it. This can be done through relevant images and fonts used in other advertisement documents. However, within this ticket I will consider using similar information as well as large contrast to highlight areas.
Another coloured element to the ticket is the contact details, these have been coloured to promote their importance.
This second ticket design I have found is a sample template created by a company that designs them for events.
Firstly, they have included a background of an image, this could be something that reflects the even so the audience is aware of the type of event that it is. With this, it could include an extract from my poster design or a image of my exhibition space.
Over the top of this image, there is a bold title in a contrasting colour to the background image. This is important in ensuring this name is recognised by audiences to advertise the event. Thus, I will include this in my poster, however I will include the font I have used within the rest of my designs. This bold colour contrast is also used with the banner across the bottom of the ticket to continue the theme throughout it. Again, this colour is bold although this is to ensure the information displayed over it is visible. -
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Additionally, there is an extended element to the ticket that can be detached as it is removed once the ticket had been used. On this there is a condensed version of all the information on the main ticket including the barcode, the event name, date and venue name. Also, the colour of this element is complementary of the image that is used in the background with the text over the top of the block colour being contrasting so it is visible.
Furthermore, some of the key information that has been used is the name of the venue as well as the date of the event which is relevant and adds to the authenticity of it. Additionally, a barcode has been added to it also for the same reasons. Overall, in order to create my design I will use a combination of all the elements in this ticket as they are all more visually exciting and as a result successful compared to the first design. However, with this I will make it relevant to my exhibition though changes the images as well as the text to ensure the ticket is relevant to the exhibition.
Ticket Design Within my ticket design I wanted to continue the same theme as all the other documents in order to carry on the theme. For instance, to begin with I separated the rectangle shape I createdinto two parts like my researched ticket. Within the smaller rectangle I used is the same tone of red I have used within all my other documents. In addition to this, in the larger rectangle I used the tiled background therefore this created a contrast to show an obvious difference in the two elements On the white side, I inserted the title (Dissect) as well as the information of the dates times and location of the exhibition, these reflect the fonts on the other documents. In addition to this, I have entered the hand used in the other documents, however I have reflected it so it can frame the edge of the ticket as well as text to frame it and make it apparent. This information has also been included on the red side of the ticket although in abbreviated format. In addition to this, I have included as smaller version of the title and have coloured all this text white in order to create a large contrast and make it visible. Furthermore, I have included the exhibition logo on both sides of the ticket however the one on the red side has its colours inverted between the test and the fill of the shape to introduce a contrast.
After this, I then created a barcode that I could include in my design. I decided to put one down the This is an enlarged version of my barcode left side of the design. white section of the ticket like on my researched ticket. Although, I positioned it above the hand image to ensure it was not covered. The other barcode I included was on the red part of the ticket, as on my researched ticket, which again is positioned down the left side of the section.
Following this, I then created a ticket number box and included it on both the the red and white side of the ticket. The ticket number text is white within a black box to not only create a contrast between the text but the background also. On the white side it is positioned with the rest of the information like on my researched ticket so it doesn’t distract from the main image on it. On the red side it is with the rest of the information, however all of the information is separated with white line, this makes it more distinguishable to the audience. Finally, I decided to include extra information such as ‘no food or drink is permitted in the gallery’. This is because it was something I found was included in my research when looking at exhibition specific tickets. Again, depending on what side of the ticket I was on I coloured I with the corresponding colours to the rest of the text to encourages uniformity. Although it is in a smaller font size to indicate it is of less importance than the other information.