Tonal

Tonal Laura Kirk 231549

‘The Arnolfini Portrait’ In this painting created by Jan Van Eyck in 1434 he introduces two figures, a male on the left and a female on the right, holding hands. In addition to this, they are shown to be situated in a bedroom, that can be suspected to be in their house, due to the fact into the background there is a bed pictured.

The painting itself was created using oil paints, allowing Van Eyck to create a realistic scene. This is due to the fact that oil paints take longer to dry hence, they can be blended, and little variations in light and shade can be produced. Also, multiple layers of translucent paint can be applied to create tone in the work therefore all of this allows a greater effect of a three dimensional shape.

Northern Renaissance The Northern Renaissance is what the Renaissance in northern Europe was named, this referred to the rebirth of Northern Europe. For instance, artists would use oil paints to recreate and replicate realistic scenes. This was done as a result of the fact the people of the time believed that ‘seeing was believing’ therefore, whatever painting they saw they believed it to be able it come true do to its likeness to real life.

One example of a painting in the Northern Renaissance includes ‘Dead Christ’. This painting reflects a realistic dead Jesus due to the blend of colours highlight and shade completed in oil paint. This, as mentioned before, is completed in this way in order to make it seem truthful to the audience and produce a greater belief and hence support in religion.

Dead Christ by Hans Holbein the Younger, oil, 1521-22

On the left hand side of the image there can be seen to be a window that introduces the main light source of the painting. For instance, it produces diffused lighting through all the objects in the image such as the chandelier and faces and hands of both the figures, which helps introduce the 3D form of the figures and space in which they are positioned.

Also, the window introduces the lightest tone suggesting there is a larger space through the window.

Therefore, to the support this Van Eyck has included a blossom tree that can be seen through the window, this additionally suggests it is spring time.

All together the light sources creates bold shadows that are of high contrast of the highlighted areas that are created, hence creating chiaroscuro throughout the painting. One of the main specific spaces where chiaroscuro is more apparent is through the drapes and the folds in the figures clothing to ensure the forms are created.

The depth of the room is also expressed through the creation of the floorboards; they are shown to be positioned diagonally and can be seen through the legs of the figures at the front of the painting.

As well as this, there is shown to be a second light source emitted from the front left side of the painting. This initially can be thought to be a second window through the fact it emits the same tone as the light from the other window. As a result of this, it gives the painting more depth due to the fact it can introduce that the room pictured continues past what the audience is shown.

Furthermore, Van Eyck has ensured to incorporate a back wall to the room and layer the different objects over it, such as the chair behind the figures and the figures, themselves to again create depth to the room.

The second light source that is suggested by Van Eyck can be seen through a mirror on the far wall of the room. As well as this there is pictured to be two other figures standing in a doorway, this suggests they could be witnessing something such as a marriage or an important discussion. This leads the audience to question the relation of the male and the female figure.

In addition to this, the figures wealth can be expressed through some oranges found behind the male figure. This is because oranges were hard to obtain in Belgium at the time and would have been expensive to purchase, hence it shows a sign of wealth.

Furthermore the oranges can be a sign of fertility suggesting why the female figure is shown to look pregnant.

Around the mirror there can be ten images of the passion of Christ seen, this can reflect how the eye of God will always watch over them. Hence again supporting that they are religious.

There are additionally some prayer beads to the left of the mirror to further support this.

Also, in the bottom left corner of the painting there are some shoes that are apparent, these were used to prevent individuals feet becoming covered in sewage as drainage systems were not created at the time. Thus if you owned these you were considered part of the wealthy population. Furthermore, as the figures have remover their shoes it reflects how they see the bed chamber as a holy place.

Van Eyck also included a dog in the painting which during the Northern Renaissance represented loyalty and being faithful, hence why the viewer may see the two figures being married.

On the back wall there can be seen “Johannes de Eyck fuit hic 1434� which translates to Jan van Eyck was here. This helps supports the idea that there is something to witness in the painting. In addition to this the font used is legalistic to show how the scene could be serious.

Hanging on the headboard there can be seen to be a the brush that might suggest St Martha Patron saint of housewives, which could suggest how despite their wealth they still carry out household chores

Both the main figures in the painting are unknow to the audience however, they were thought to potentially be Giovanni di Arrigo Arnolfini from Lucca, Italy who lived in Bruges and his wife Giovanna Cenami. Although, be Giovanni di Arrigo Arnolfini and Giovanna Cenami were married in 1447 13 years later and 6 years after Van Eyck’s death. Hence logistically it couldn’t be them in the portrait.

Therefore, historians later suggested that the figures could also be Giovanni di Nicolao Arnolfini (Giovanni di Arrigo Arnolfini’s cousin) who also worked in Bruges and his wife Costanza Trenta but she died before 1433, when the painting was created. As a result it was believed it was a posthumous portrait of his wife to act as a memorial for her.

In addition to this, Costanza has been pictured to be gathering her dress at the front to look as like she is pregnant. Hence this could represent her fertility or the fact she died at a young age.

On the chandelier there can be seen a single candle and Van Eyck has positioned it to be over the male figure in the paining. The act this has been done it help support the theory of the two figures in the panting being Giovanni di Nicolao Arnolfini and Costanza Trent. This is because it can be suggested that the candle signifies life, hence suggesting that Giovanni di Nicolao Arnolfini is still alive and represent the death of his wife Costanza Trenta.

Giovanni di Nicolao Arnolfini is shown to be wearing a tunic made of around 100 pine martins’ fur coats. They would have been imported from the forests of Poland and Russia and were the second most expensive fur after sable. Also over the tunic he is wearing a dark purple velvet from Lucca, Arnolfini’s home town, as well as an oversized hat made of straw dyed black; this was considered a highly fashionable renaissance trend.

The fact Van Eyck has presented Giovanni di Nicolao Arnolfini and Costanza Trenta to be wearing these clothes highlights their wealth, through the fact they are fashionable at the time and how expensive they were as they wear made of animal fur.

Costanza Trenta is pictured to be wearing a emerald coloured dress made from wool that was imported from England to Bruges, and then weaved by Flemish weavers. It is additionally lined with the miniver of 2000 red squirrels.

Furthermore, she is shown to have white linen, that has been folded 5 times and kept in place with pins, on her head.

Jan Van Eyck

David Hockney

David Hockey also uses tonal modelling in his work which could be said to be inspired by Van Eyck and the Northern Renaissance through the stages scenes created.

For instance there are two figures pictured a male on the right sat down and a female on the left with her hand on her hip. Both of them David Hockney, Mr and Mrs Clark and Percy, 1970 -71 have been positioned unnaturally and are not interacting with each other, instead the are making coy facial expressions to the audience. This cold relationship the two figures are presenting is further reflected into the rest of the scene through the dull and monotone colours creating a mellow tone throughout the image, in addition.

Van Eyck, an early Netherlandish painter, was seen as one of the most significant painters in Northern Europe in the 15th century. This was because of his ability to create intricate tones in the figures he captured to represent shadows and highlights hence, making the figures seem realistic and encourage the belief that ‘seeing is believing’.

In October 1422, he was recorded as the varlet de chambre et peintre (“honorary equerry and painter”) of John of Bavaria, count of Holland, where he worked in the palace, he continued to work there until the count’s death in 1425.

Then settled briefly in Bruges until he was asked to Lille to serve Philip the Good, duke of Burgundy and continued to work for the duke Man in a Turban, In the room, Hockney has included an open window with scenic trees, a until his death.

Jan Van Eyck, 1433 balcony and another building being seen out of it. By doing this he is able to After this time, he carried out a number of This piece is questioned to create shadows and highlights on the staged figures and objects in the room, secret missions during the next decade, the two be a self portrait thus having a tonal effect to make to scene more realistic and as a result most significant ones were two journeys relatable to the audience to have a greater effect on them. to the Iberian Peninsula. Firstly, one in 1427 to try to contract a marriage for Philip with Isabella of Spain as well as a trip in 1428–29 to wed Isabella of Portugal which was Furthermore, the fact the objects are layered on top of each other (where the table overlaps the woman’s dress) creates a sense of depth in the painting all more successful. of which is relatable to Van Eyck’s painting of the Armolfinis portrait.

The fact he carried out these secret missions, thus questions the actions of the figures in the Arnolfini Portrait, for instance it could suggest Van Eyck is documenting another - http://www.themasterpiececards.com/famous-paintings-reviewed/bid/27677/Famous-Paintings- Arnolfini-Portrait - https://www.youtube.com/watch?v=txuPVAUFGE0 secret mission; Giovanni di Nicolao Arnolfini and Costanza Trenta’s marraige.

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https://www.britannica.com/biography/Jan-van-Eyck

‘Judith Beheading Holofernes’ In this image created from 1598-1599 Caravaggio captured the scene of Judith (the younger female pictured on the right) murdering Holofernes (the male shown on the right) while laying down. Furthermore there is a third figure, also on the right hand side of the image seen to be holding a fabric bag.

This image was created during the Baroque period of artworks Caravaggio which is shown through the highly detailed and analytical studies in the work, as this was something that was used in the period to dramatize the pieces of work.

As well as this, the scale of the work is life size meaning it was a larger impact on the audience as they can relate to it and see it as being more realistic.

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. Where as the Catholics wanted images to be included therefore, in order to get more christens to support their version of the bible there were many powerful and dramatic images created.

The Calling of Saint Matthew, Caravaggio, 1599–1600

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 audience.

Peter Paul Rubens, Galileo Galilei, 1630

The male in this painting is Holofernes, in the bible it states that the king of Nineveh, Nebuchadnezzar, sent his general, Holofernes, to conquer the Jews. As a result of this the Jews were sieged in Bethania and quickly lost hope of victory, as well as this famine began among the people which as a result made them consider surrender.

Holofernes, additionally, is seen to be the main focus of the painting, for example, Caravaggio highlighted him through the use of dramatic lighting compared to the background creating chiaroscuro. As well as this all of the other figures are see to be positioned to be looking at him ensuring he is the main focus.

The younger female in the image is Judith who's name mean ‘Jewish woman’ was seen as being beautiful. As Despite Caravaggio highlighting Holofernes, he also a result of this she was able used this dramatic lighting to highlight Judith as well, to seduce Holofernes, then this is to ensure the main part of the narrative is once he was drunk she was apparent and therefore captured by the audience. then able to cut off his head. This was done as she Furthermore, Judith is pictured to be stood up over shad heard the roomers of Holofernes with a monotone expression on her face the Jews surrendering this indicates the power she has over him despite her hence, the head could then small build that is considered powerless. be taken back to Bethania and presented as a trophy. As well as this, the fact she has intense light focused on This then gave the Jewish her gives her a god like image which can link to the fact people confidence to fight that she could be seen as a martyr. This is because of against the enemy and the act she is carrying out. drive them away.

The other more elderly woman that can be seen on the right of the painting is seen to be a maid which can be seen through her tired clothing. One of the reasons she has been included in the image is the fact that it creates a contrast, for instance it sets a reminder to the audience that Judith will not be youthful and beautiful as she grows older and that we are all mortal.

As well as this, she is shown to be holding a bag, one that the head will be collected in, suggesting she could be Jewish to as she is supporting the act.

Caravaggio has incorporated monotone colours into the painting to complement the most apparent colour, red. This contrast then helps to highlight it to the audience to portray the death and loss in the paining.

As well as the red being used to represent the blood, the drape in the background is also coloured a deep red. Thus, when the colour of the drape is paired with the large scale of it, Caravaggio has added drama to the painting.

Caravaggio was considered one of the main artists to inspire the Baroque period of art, and was well known in early Baroque. For instance, many artists such as Artemesia Gentilleschi reinterpreted his work to be known as ‘Caravaggisti’.

Although, there is a apparent dark red drape in the background, where the creases are in it shows the shadows. This are highly contrasting compared to the bright foreground. As well as the dark shadows in the drape, Caravaggio has ensured the rest of the background is dark as well to create chiaroscuro. This as a result makes the figures seem more important as they are highlighted to create a grater sense of drama to the painting.

This piece Judith Slaying Holofernes is shown to be inspired by Caravaggio for example, through the fact there are three figures included, Judith, Holofernes and the maid. However they are positioned differently in the scene, for instance he maid seems to be having more of an active role in the scene. As well as this the maid is shown to be younger and more beautiful so the element of the reminder of mortality is lost.

In addition to this, the chiaroscuro has been continued into the image with the background being darker and the figures being highlighted with intense lighting. This helps to add drama to the painting as the audience’s attention is concentrated on the actions of the figures.

However, Judith isn’t seen to be wearing white clothing, instead she is in blue, which advocates only her arms to be highlighted, this then highlights her actions which are a Judith Slaying Holofernes, Artemesia Gentilleschi, significant part in the piece.

1614-20,

Salome with the Head of John the Baptist, 1607

Caravaggio was an Italian painter from the 16 and 17th centuries.

He originally lived in Rome working for the Church however, he got accused of murder so he had to flee to another country. Later he was accused of murdering more people so he continued to move around, although during this time he continued to paint.

David with the Head of Goliath, 1607

As Caravaggio was said to have murdered a number of people, and not been caught for it, it can be interpreted that he incorporated his face into many of his paintings. For instance he was always made to be the victim of the events which, can reflect how he is mentally punishing himself for the crimes he supposedly committed. This leads us to believe that he was guilty.

‘An Experiment on a Bird in an Air Pump’ In this work the use of tone is similar however, there is less concentration on religious events.

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’ 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

The use of tone from works in the 1700s is further continued into works from later time periods also, thus I am going to focus on historical events through the 1800s and 1900s.

‘The Execution of Lady Jane Grey’ In this image, painted in 1833, Paul Delaroche has documented Lady Jane Grey (the former queen of England) a few moments before her execution. She can be found at the centre of the image, dressed in white and wearing a blindfold (which is also white), being guided towards the execution block by an aging Lieutenant. Through this use of the white over the darker background it induces chiaroscuro, as well as emphasise the shadows of the figures to help aid the creation of three dimensional figures that seem more realistic to the audience, thus making the scene an ideological recreation of the event . In addition to this, on the left hand side of the painting there are two women. Also, on the right hand side there is a middle aged man pictured holding an axe that is positioned to face the main focus of the image, Lady Jane, and foreshadow later events. As well as this, in the background the architecture of the dated walls and pillars of Tower Green are shown to as a result set the time period of the event (1554).

The Salon 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 The painting was created on an excessively large scale, 246 x 297 cm, a ‘top’ artist, so it was a fast way for their work to become popular. Although, it was which made the figures almost life size. This therefore makes the image difficult for their work to be selected due to the fact it was selected by a Jury of Judges; seem more realistic especially because of the fact it is modulated also. which further highlights how largely important the exhibition was. The favoured pieces As a result of this, it causes the image to have a greater impact on the of work that were selected were neoclassic pieces because they reiterated historical audience to strongly communicate the reality of the historical event as it events, which would have the largest impact on the audience as they were true events, is seen as more reliable as people could picture themselves in the image therefore making the salon event well known. Also, the fact the paintings were also or it is like they are watching the scene take place on 12 February neoclassical creates a sense of emotion behind them making them romanticism pieces 1554. as well, which was another popular genre of painting to have in the salon.

As mentioned before, on the left hand side of the painting two females are shown, which could be Lady Janes ladies suggesting why they are present at her execution.

For instance, one is sat down slouched against the wall where as the other is stood with her back to the rest of the scene, leaning against the wall with her hands raised, which could show she is making a reference of praying to God. Therefore, through their body language it emphasises the solemn and morbid mood of the whole image and emphasising that is part of the romantic era as well as the fact they are grieving for the queens death.

Another colour that is apparent is the crimson red of the tights and hat of the figure if the right hand side of the image, this is done because it helps present the occupation of the man and show his aggressive nature, as well as the fact it could represent the blood he draws from his victims.

Also, the Lieutenant shown is wearing a gold rimmed robe to remind the audience of the class of Lady Jane, the gold rim further could make reference to a lion to present the power the Lieutenant has over lady Jane.

Below the execution block, hay can be seen which would have been positioned there to absorb the blood after the execution, therefore the reality of the event becomes more Moreover, even though the initial tone of the apparent to have a larger dramatic effect on painting is morbid, which is shown through the audience. the expressions and body language of the different figures, the majority of the colours In addition to this, an emerald coloured cushion is being used by Lady Jane to kneel are warm giving it an uplifting feeling that on, thus this helps present her status and social class to the audience. For instance, presents the attitude of the Catholics about the emerald colour is often associated with expensive jewels, hence being the beheading and standing against the associated with royalty. Also, the fact she has a cushion to kneel on is a luxury an protestants (whom Lady Jane represented). individual from a lower class wouldn’t have, to again signify wealth.

As mentioned before Lady Jane is found at the centre of the painting and indicates that it was elements of a neoclassicism piece.

Furthermore, the colour of her dress can further induce a sense of innocence towards herself to foreshadow the fact how young she was (she was only 16); the way the paint is applied also help indicate her age, as it has been applied smoothly and further makes the image modulated.

Lady Jane Grey Lady Jane was the granddaughter of King Henry VIII and was supported by the Protestant worshippers, she became Queen after the death of King Henry VIII’s son (Edward VI) died from TB at the age of fifteen in 1553.

Although, she was only Queen for nine days until she was tried for treason by Mary (also the daughter of King Henry VIII), who was seen to be more legitimate, and was later executed at Tower Green (which is pictured in ‘the Execution of Lady Jane Grey’) in 1554 at the age of 16. Mary then came to have a large amount of support form the Catholic worshippers and was later crowned Queen Mary I to replace Lady Jane.

Queen Mary I then reined for 32 years.

Paul Delaroche At first he was encouraged to take up art, specifically landscape painting, by his family. However, after being unsuccessful he continued to join other studios to help develop his skills and ideas to create his well known piece ‘the Execution of Lady Jane Grey’, that was resented in the Salon. The work he produces is very detailed and precise giving it a realistic look and is often related to historical and religious events, although the different compositions he uses makes the work more dramatic.

In this piece ‘Assassinat du duc de Guise’ he is recreating another historical execution. The composition of the painting is well concidered leaving the main subject of the painting, on the right, seperated from the rest of the figures, on the left, to emphisies the dramatic recreaton of the event to create a romantic style as oppose to neoclassic.

- http://www.artandpopularculture.com/Paris_Salon_of_1833 Paul Delaroche, Assassinat du Queen Mary I - https://www.nationalgallery.org.uk/artists/paul-delaroche duc de Guise, 1838 1554 - http://www.bbc.co.uk/history/historic_figures/grey_lady_jane.shtml

Paul Delaroche, Strafford Led to Execution, 1836

As well as the composition in this piece, the lighting also creates a dramatic feel due to the large contrast it demonstrates. In addition to this, the expressions of the figures portrays the feelings of the paining further as well to make a romantic style of work.

What Is Romanticism?

Romanticism was a style that was shown visual arts, music, and literature and it first began in the early 1800s until 1850, and for the first time focused on portraying emotion as oppose to recreating important historical events through aesthetic appreciation. The style also focuses on the fact the ideas are irrational making it different from neoclassicism.

Some of the places that were most known for their romanticism pieces were France, England, Germany and Spain as it was a style that become popular in Europe. William Blake and Samuel Palmer where both well known and were part of the Ancients art group in England. Although, even though they were all part of the same group they had different styles of working even though they were all presenting it in the style of romanticism. Therefore, through this it helps promote how the image isn’t distinguished by its visuals, but the emotions and ideals it portrays.

The Raft of the Medusa In this image, painted by ThĂŠodore GĂŠricault in 1818-19, there are around 18 men pictured to be stranded on an demolished raft in the ocean. All of the men are shown to be wearing rags or nothing at all suggesting they are of a lower class or have been isolated for a long period of time. As well as this, the initial tone of the image is reflecting the storm shown, depressive, dramatic and hopeless, because the colours of the image reflect chiaroscuro to induce a dramatic tone and represent the emotion behind what is happening in the painting, making it a romanticism piece. Although, through the chiaroscuro the figures can be seen to be highlighted with a heavenly light that is shown to be coming from above to foreshadow that they are going to be rescued by a passing ship in the far distance.

Additionally, in the image there are elements of bright red colour shown to help remind the audience of the danger of the individuals in the painting are in, as well as reflect the death and loss in the image.

The Pyramid of Hope In the painting Gericault has structured the people to recreate a pyramid shape known at the ‘pyramid of hope’; it is called this due to the fact at the base of pyramid there is a lack of hope with glimpses of death where as at the peek of the pyramid there is the most optimistic tone shown in the painting.

For instance, at the base of the pyramid there is pictured an older man mourning over his dead son’s body, also he is picture wearing red to reflect his loss. However this man also is shown to be facing away from the hope in the image emphasising further his sadness over his son; he no longer cares for being saved.

Furthermore, at the base of the pyramid the ‘face of death’ is shown reflecting the reality behind what has happened in the painting and oppose the emotion at the top of the painting emphasising further drama. This face also, helps present all the others people that died on the raft as well as himself. In addition, in order to realistically recreate this Gericault studied from dead bodies in order to convey the same amount of emotion.

At the peak of the pyramid there is a man painted that is waving a piece of cloth to signal the ship in the distance, however the cloth is red which, again, signifies danger and loss. Although, there is another man beneath him waving a cloth also but his cloth is white which symbolises innocence, purity and hope.

This contrast therefore reflects the different emotions of the painting however as the red cloth is higher it represents how most of the experience involved death and loss.

Also, adjacent to the top of the pyramid there can be ‘rays of hope’ seen, showing how at the to of the pyramid there is hope of being saved, this if further contrasted by the use of chiaroscuro of the rays compare to the dark and aggressive clouds.

About the Raft of Medusa On the 2nd July 1816 the French ship frigate MÊduse collided with a sandbank making it stranded in order to get to land the crew decided to use six bats to transfer everyone to shore. However, not everyone could fit on the boats so a raft was built for everyone who couldn’t fit onto a boat (150 people, 149 men and one woman) and it was attached to one of the life boats with rope. Although, the crew left the raft for the passengers to occupy while they boarded the life boats. However, after a period of time, one night, the crew decided to cut the rope, connecting the raft to he life boat, leaving the fact stranded at sea with only a bag of biscuits; two casks of water and six casks of wine. Therefore, due to the lack of food and water many died leaving only 15 on the raft after 13 days when they were rescued; only 10 of them survived.

Furthermore, this painting was created by Gericault on a larger scale than life like (491 x 716 cm); this was done to create the largest impact possible on the audience about how he was trying to insult the French Government and the ruling monarch Louis XVIII by recreating the event. In doing this, also, he has allowed the audience to see how the scene would of looked on the day they were rescued as well as imagine themselves in the scene due to the fact Gericault has made it seem like the painting exists out of the frame.

Moreover, Gericault had included the boat that saved the survivors, the Argus, on the horizon on the right side of the painting however, he has painted it so the audience almost cannot see it. He has done this to encourage the audience to engage with the painting and ensure they are reacting to it.

Despite this, in order to survive the survivors resorted to cabalism criticising the French Government although, the main person who was blamed for the shipwreck was the captain, for this reason Gericault included an officers uniform in the water criticise his decisions and show he still has a presence in the later events; show he had an effect on them and his influence.

As well as this, a bloodied axe was included to represent the cannibalism on the raft.

Théodore Géricault

Théodore Géricault, Portrait of a Woman Suffering from Obsessive Envy (The Hyena), 1822,

In his work Géricault reproduces scenes of violence and destress as it is his preferred subject matter, hence his work reproduces the style of romanticism. For instance even his personal life was romantic as he had a hopeless affair with his uncle’s young wife, breaking down his family. As well as this, he had a short career in the military which again exposed him to devastating scenes that he may have taken inspiration from.

The painting ‘the Raft of the Medusa’ was created after his military experience meaning he was more aware of the events related it, therefore he used these images to recreate the scene realistically.

Théodore Géricault, A Woman Addicted to Gambling, 1822,

After creating the Raft of the Medusa and moving to England to follow his painting in 1820 Géricault moved back to France a year later and created a series of portraits of mentally ill individuals. The paintings he created, again, represented romanticism through the dramatic lighting for instance, the chiaroscuro between the background and the figures in the foreground helps to emphasise this as there is more focus on the expressions on the faces of the individuals.

One thing that is emphasised if the monotone looks of the subjects as well as the fact there is no eye - http://www.louvre.fr/en/oeuvre-notices/raft-medusa contact made which together gives a feeling of discomfort to reflect the feelings of the subjects.

- https://www.britannica.com/art/Romanticism - https://www.britannica.com/biography/Theodore-Gericault

‘Liberty Leading the People’ The idea of the ‘rays of hope’ has additionally been continued into this painting, therefore reintroducing the idea of victory. The piece was created by Eugène Delacroix in 1830 and it captures the point in history of the Revolution that took place in France in 1830 against the Bourbon King Charles X. In the image there is a crowd of individuals pictured that are all walking together although, the most apparent figure is the woman in the centre panel of the piece. Furthermore, the traditional technique of subtlety blending colours and been averted with pungent primary colours being used, the most apparent being in the tricolored flag, which could reflect the colours of the French flag.

Also, the background is shown to be clouded over suggesting there has been a form of violence through weapons such as guns as well as the fact it is in the city.

The Central Woman

Unity of Figures In the midground there are two men picture who represent two different figures in society. For example, the man dressed in a top hat represents the middle class, where as the man to the left of him represents the working class which can be seen through his simplistic clothes. Therefore, the fact the two classes have come together to fight in the revolution shows the desire for freedom, and the rage of people that agree with democracy and want to oppose against the aristocracy. .

Delacroix has created this woman (Marianne) to be a personification of liberty, for instance he has pictured her to wear the red Phrygian cap that was worn during the first French revolution, Therefore through this it promotes optimism as they expect to gain liberty the same as the first revolution. Also, she is shown to hold the tricolore flag in her right hand, which was banned at the time, this helps present her rebellious nature as well as (when pair with the musket in her left hand) the fight for independence and freedom from King Charles X. In addition to this, it creates a sense of controversy and how she represents the democracy. Therefore, to further this Delacroix painted the figure to be partly nude to reference to work from ancient Greece, where democracy began. Moreover, the way the figure is highlighted compared to the rest of the figures promotes how she represents democracy as she is seen as the innocent and empowered figure as appose to the royal troop on the floor.

The Dead Figures

Notre Dame In the background of the painting Delacroix has painted the Notre Dame as initially it resembles the Kings power creating pessimism about the revolution. However, on the top of it there is a tricolour flag shown to be flown to counteract the King’s power due to the fact it has been ruled over by the revolutionists. However, this can be a nerving representation of how a mob can cause a society to become unstable, as well as how the French peoples determination allowed them to achieve their aims.

The fact the flag pictured it so small encourages the audience to engage with the painting as it is on a large scale, although because of the overall tone of the painting is optimistic about the revolution many people will agree with the fact it has been flown.

In addition to this, the clouded background of the painting is shown to part and to reveal the Notre dame with the flag, thus Delacroix did this to emphasise this part of the image. Also, this shows this flag in the background has more meaning and controversy than the one in the midground creating more drama and emotion about the piece to make it a romanticism piece.

In the foreground there are two further figures that appear to be dead although for different reasons. The man on the lest is shown to be in the working class through his white shirt although he isn’t picture to have any trousers on this indicates that Delacroix wanted to expose what the Royal Troops did to suspected revolutionary sympathizers; they would murder them in heir sleep then transfer heir bodies to the street to cause fear and help inhibit the revolution. However, through doing this, Delacroix has created a piece of propaganda to support the revolution although he didn’t play a part in it. Despite this the dead figure could have also died, as a sacrifice, on the street to support the democracy with the image of Marianne as his last sight, this would therefore have a large impact on the audience due to the fact it shows the amount of people that died during the revolution.

As opposed to this, on the right Delacroix painted one of the Royal troops which would have been killed in order for the revolutionists to pass through the barricades; these were created by the troops in small alleyways (as it was a medieval city) to prevent the free movement of revolutionists. Therefore, through showing the troops dead, it represents how the revolution was a success and the aristocracy could be overcome; and are venerable as a result.

Eugène Delacroix Delacroix was one of the leading artists in the romantic movement along with Géricault, who he was greatly inspired by, so much so he posed as one of the figures in his piece ‘the Raft of the Medusa’.

He contrasted the neoclassicism approach of art that was most common in the time period and began to recreate his new approach of romanticism in his work, for which he praised for. The work he completed was inspired and developed from emotions he has seen and experiences especially form his travels to Morocco, Algeria and Spain.

Eugène Delacroix, The Massacre of Chios, April 1822 In this piece, he tried to portray the reality of the civilians who were believed to be aiding the Greek rebels the Turkish soldiers slaughtered, on the island of Chios. To ensure it was realistic he carried out interviews for some of the eyewitnesses, thus he was able to covey the emotions and suffering that was felt, this was again praised.

In this piece he wanted to reflect the reality of harems as being understated and far more realistic as oppose to how they are perceived to be: extravagant and artificial.

Eugène Delacroix, The Woman of Algiers, 1834 - https://www.nationalgallery.org.uk/artists/eugene-delacroix - http://www.notredamecathedralparis.com/ - http://www.louvre.fr/en/oeuvre-notices/july-28-liberty-leading-people

‘The Third of May 1808’ In this painting (which is also known as The Execution of the Defenders of Madrid), by Francisco Goya, it is shown that some Spanish defendants, pictured on the left, are about to be executed by the French Napoleon, in formation on the right. This image is set at night as it gives a gloomier and mysterious tone to reflect the event that is being pictured; also the lantern that illuminates the foreground creates some dramatic lighting to emphasise the intense feeling felt by the figures in the image.

In the foreground of the painting Goya has included the French firing squad, making them the closest subject to the audience. Moreover, when paired with the dramatic lighting from the lantern it makes them seem powerful and therefore, feared as they would have been at the time.

Surrounding the Christ figure there are many other French civilians showing various reactions towards the shooting and the reality of death. For instance some people have facial expressions showing fear, disbelief and shock (the figures on the left) where as, the figures where as, the figures on the right can’t even bare to look. Moreover Goya showed this range of reactions to show the reality and cruelty behind the event therefore, the audience can empathise the figures and as a result interact with the painting.

The most apparent figure in the painting is the man stood with his hands above his head. This is because of his white shirt, which gives the figure a sense of innocence and is illuminated by the lantern, as it creates a reference to a Christ figure Also, to support this, the man has stigmata on the palms of his hands to reference to suggesting he, and all the other individuals killed by the Napoleon, will be resurrected and the Napoleon will be defeated by the new Spanish rulers.

In the bottom left of the painting Goya has included some dead corpses surrounded by blood, which further adds to the reality of the painting and exposes the truth of what the Napoleon did. The fact he has included the dead civilians as well as the civilians waiting to be killed shows that is was an event over a long period of time, and represents the mass number of people that were killed and affected. Furthermore, the dead corpses have been left piled over each other presenting the lack of respect they had and conveying a further sense of sympathy towards them.

Goya has used well know buildings of Madrid in the background of the painting, to set where the it is, therefore in doing this it emphasise, again, the event was truthful. This is because the audience can, in the present day, go and visit the same buildings hence the same area of where it happened.

Moreover, this creates a sense of relatability to the painting to allow the audience to feel all of the emotions in the painting to a greater extent.

The Disasters of War

Desastre de la Guerra (Disasters of War) 11; Ni Por Esas 1810-1811

Between 1810-1820 Goya created a number of prints while the French Napoleon were in power, however in order for them not to be found he completed them on a small scale. Moreover, the events he witnessed he could not share with anyone so in order to overcome this he printed them as a way of sharing them. The prints display scenes of violence and demonstrates how the violence encouraged both the French and the Spanish to become dehumanised, as the Spanish reacted to the French. Although, the prints also portray that the napoleon were unorganised and acted like savages. However, these prints were not published until after Goya’s death in 1863 as they were for his personal reference to the events he witnessed, yet now there are many more examples of the cruel scenes at the time.

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1808-1814.

Disasters of War By Jake and Dinos Chapman In 1993 Jake and Dinos Chapman recreated the printings produced

by Goya as three dimensional figurines, however using: plastic, polyester resin, synthetic fibres, wood and guitar strings. These figures still capture the violence scenes of Goya’s original prints, although as they are 3D it gives the audience a larger sense of reality compared to the original prints.

In addition to this, the models contain colour so the audience can relate to the scenes they are displayed in more to therefore, have a larger effect on them. As a result of this, the audience can understand Goya’s original work further and hence, compliment it and what he was originally attempting to communicate (the truthful scenes of violence he witnessed).

Jake and Dinos Chapman, also created a life size, large scale model of one of the miniature figurines; they used mannequins for the body parts however. The fact it is life size further induces a sense of reality to the audience, this is done due to the size of the sculpture.

Therefore, it creates a greater and dramatic impact, more so than the miniature figurines.

Francisco Goya Goya was a Spanish painter who was employed by the Spanish Royal Family at the time, King Charles IV, and painted regular portraits for them. Also, in these portraits he would picture himself in them to make it known he was associated with the family although, he would be pictured in the background to emphasise he is of less importance.

However, in 1808 Spain became politically and socially corrupted, thus emphasising how weak Charles IV was in power. As a result of this, the French Armies of Napoleon invaded Spain taking power over the country therefore, Goya, aged 62, was then employed by the Napoleon.

Although, during the six years of war and revolution in Spain, Goya witnessed tragic events of violence and death but, through fear of losing his life, he wasn’t allowed to share the experiences as long as he worked for the French rulers. It wasn’t until the Battle of Waterloo that the Napoleon was defeated and there were new Spanish rulers; after this Goya was then allowed to paint his experiences in 1814.

Hence, in 1814 Goya created two paintings named ‘The Second of May 1808’ and ‘The Third of May 1808’. The first is about the confusion of the battle and when it first began where as the second is about emphasises of the brutality of war.

‘The Second of May 1808’

‘The Third of May 1808’

The Second of May 1808

The Peninsular War

In this painting Goya has presented the outbreak of the Peninsular War in Madrid, which can be seen through the types of buildings pictured in the background (pale brick). Despite this the background is monotone, showing little contrast, in order to limit the sharpness of the buildings and promote the figures in the foreground.

Before the outbreak of war in Spain between Spain and France, Napoleon (French military and political leader) had achieved domination over the major parts of the European continent. This was done through victories at Ulm (1805), Austerlitz (1805), JenaAuerstädt (1806) and Friedland (1807) as well as their armies successfully eliminating Austria, Prussia and Russia as military opponents. However, France and Spain were considered to be allies thus, Spain allowed 55,000 French troops into the country as they were said to be passing through to Portugal. However, in January 1808 the French army revealed that they were looking to capture and overrule the Spanish to increase their power over Europe.

In the foreground, Goya has included an excess of figures to promote the chaos of the war as well as reflect the uncertainty and confusion.

Although, all of the figures but one (the male on the right hand side with a green jacket, the colour of fertility, and yellow breeches) are less defined, this singular figure is painted to have larger contrast and be highlighted through the use of lighter tones.

Goya has highlighted this figure as he is presenting him to be the as the painter thus the rest of the image is a scene in a studio.’ For instance, the figure holds a dagger, to represent a paintbrush, that is stabbing the horse and where contact is made blood spurts to represent paint .As well as this, the figure is shown to be crouching like the painter in one of his earlier pieces to suggest the audience is looking at the figures Family of Infante Don Luis painting.

On the 2nd May 1808 there was a large uprising in the streets of Madrid where the invaders (the French troops) were able to supress the Spanish civilians who retaliated against the troops. This was because the French army had attempted to move the daughter and youngest son of Charles IV of Spain to the French city of Bayonne where heir to the throne Ferdinand his father, the Spanish King, had already been taken prisoners. Thus, on the third of May the French army had to account for the Spanish rebels hence, a large number of arrests took place as well as executions that additionally took place on the hill Principe Pio, on the outskirts of the city. As a result of this invasion Napoleon was able to depose the existing Spanish monarch in April 1808 to allow his own brother Joseph a place on the throne.

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Art The Definitive Visual guide, Foreword by Ross King, Editorial consultant Andrew Graham-Dixon, Page 306 www.peninsularwar.org/penwar_e.htm http://historywarsweapons.com/peninsular-war/ https://www.nationalgallery.org.uk/artists/francisco-de-goya http://www.richardharrisartcollection.com/portfolio-view/francisco-goya-2/ http://totallyhistory.com/the-third-of-may-1808/ http://www.everypainterpaintshimself.com/article/goyas_2nd_may_1808/

‘Guernica’

Also, he created the painting in a greyscale format to reflect a sorrowful atmosphere and highlight the amount of suffering and disorder in the scene; as well as this the background is shown to be considerably darker than the figures in the foreground, therefore this dramatic change in brightness reflects the chaotic scene.

The use of chiaroscuro additionally induces a sense of mystery and, as a result, fear into the painting for instance, most of the walls are dark however they do give the audience the impression the figures are trapped.

Although, in the right of the image an open door can be seen, questioning if they are trapped and why the are not escaping heightening the sense of mystery further.

This mural, painted by Pablo Picasso in 1937, incudes demonstrations the uprising of the Spanish civil war causing death and destruction on innocent civilians in Spain.

In the painting there can be seen both animalistic figures as well as human figures of many ages, which Picasso painted in order to portray the wide variety of people effected, that seem to be trapped in a room. Moreover, Picasso’s style of cubism helped to portray the panicked emotion behind the image further, allowing the audience to understand the emotions of the figures in the image at the time and sympathise them, in addition.

Furthermore, in the backdrop of the painting Picasso has included a form of textural pattern to resemble written text, the fact it is illegible is how Picasso communicates the confused thoughts of the figures. However, the fact it is used on the horse figure highlights the lack of ability it has to communicate compared to the humans, this therefore conveys, again, a further sense of sympathy. Moreover, the way the pattern is in regular lines it resembles a newspaper, this has been done to reflect how the painting is being used to communicate a message (of the Spanish civil war) to the rest of the word, as a newspaper would.

On the top of the image there is a light bulb suggested to light up the room however, it can resemble a single bulb like in a prison cell which helps depict they are trapped. Also, it can be seen like an evil eye of the Spanish monarchy looking over the figures, as well as this there are spikes that are pointing away form the bulb. Through this it shows how the light is being projected however, it also suggests that he bulb is exploding which is supported as the Spanish translation of the word bulb is In the bottom left of the of the painting there is a mutilated soldier shown; in his right hand there is ‘bombilla’ which relates to a bomb and reminds the audience of a broken sword which represents the defeat of the Spanish people by their conquerors. Although, the impact technology had to the civil war. growing from his right hand there is also a flower to resemble how the people of Spain will be reborn. Furthermore, this idea of being reborn is further promoted by the fact, in his left hand a stigmata can be seen to reflect Jesus and how he sacrificed himself for a greater cause therefore, making the soldier a martyr figure also and suggesting he will be resurrected.

In the top right there is a fearful female figure that is shown to be floating through a window and in her hand she is holding a flaming lantern. This can symbolise a sense of hope as it opposes the new technology the light bulb represents, as it is more traditional and a reminder of before the civil war.

On the left hand side of the image there is a bull shown to be standing over a woman who is grieving over her dead child. The woman is another figure that is looking to the heavens to pray for mercy and express her pain to the audience, which will create a large reaction as many people will sympathise with the mother in the painting. Moreover, the fact that the bull, a powerful creature, stands over the woman shows how the all the figures are so desperate they will unite. Furthermore Picasso has ensured the tail of the bull resembles a flame to remind the audience of the aggression behind the paining despite the relationship between the unrelated figures.

In the painting there is one figure on the right that is shown to be trapped in a burning room as there are flames leaking out of the top and bottom of the door. Also, both the figures hands are pointing towards the sky as will as he is looking up, as if he is praying for mercy, this therefore highlights to the audience the extent of violence at the time.

The horse in the centre of the painting is the main focus as it is in the foreground as well as the centre of it. As well as this, the horse is shown to have been stabbed by a spear like object highlighting the distress of the figure and the expression on its face. In addition to this, the is a hidden figure in the leg of the horse of another bull, for instance the knee cap of the horse is the bulls lower leg is the bulls cheek. The reason for incorporating another bull Is because it is seen as an aggressive and well known animal in Spain and is another optimism of the people fighting for resurrection due to its power. Furthermore, the fact the bull is made of part of the horse presents how Picasso wanted to present how everyone had to work together and how the figures in the painting represent a large population and the civil was affected a large amount of people.

Pablo Picasso Pablo Picasso was originally born in Spain, however in 1904 he move to and settled in France and said he never wanted to go back to Spain. Although, in 1937 the Spanish government appointed him to paint a large mural about the bombings in the civil war of Spain to be displayed in the World fair in Paris. Although, as he left Spain in 1904 he didn’t witness the events of the war first hand so, he had to work from other peoples opinions and experiences.

Therefore from these primary experiences he was able to create a painting that reflects the uprising of war as well as the anguish and destruction on the civilians of Spain. The painting also acted as an anti-war icon as it was shown worldwide to reflect the effects of war and raise awareness of the civil war in Spain.

In 1985 Nick Rockefeller requested to buy the original painting, but Picasso declined the sale so a tapestry was made as a recreation and put on loan to the UN by Rockefeller estate. The tapestry that was created however, included shades od brown making the painting less monochromatic therefore, this may have caused some of the effect the grayscale palette induced such as the sorrowful atmosphere; the original although, is contained Musea Reina Sofía (Spain’s National Museum).

Spanish Civil War In the 1930s Spain was divided into the right wing Nationalist party, which included monarchists, landowners, employers, the Roman Catholic Church and the army, and the left wing Republican party, which was made up of workers, the trade unions, socialists and peasants. As a result of the Wall Street crash in 1929, the military dictatorship that has ruled since 1923 collapsed due to the poor economic state of Spain. In addition to this, the King abdicated his throne in 1931 and the left wing Republicans came into power however, after there was a period until 1936 that both the parties had periods of power through being elected government.

Through this strong divide eventually, the army rebelled and forcibly removed the republicans out of power which began the civil war in Spain.

After the war broke out both Hitler and Mussolini (Italy's Fascist leader) sent thousands of troops and weapons to Spain in order to aid the Nationalist forces, this was done as they both had common aims: to spread Communism. As well as this if Spain was run by the Nationalists the country could become and important ally if further war was to break out and would increase the power their alliances had together.

France and Britain furthermore supported the Republicans through creating a Non-Intervention Committee that effectively blocked international aid reaching Spain to help prevent war however, it didn’t stop the resources sent by Italy and Germany. Through this Spain’s republicans had to rely solely on dubious charity and benevolence from the Soviet Union (USSR) which was situated in Russia. Although, these resources were only enough to keep the Republicans fighting as they were not as committed to the conflict as Germany or Italy.

As well as this, young men and women from all over Europe and the USA came to Spain in order to fight for the Republicans against Fascism thus, at any one time up to 15,000 people were fighting in the International Brigades in order to uphold the democracy against the Nationalists.

Left Wing Republicans

In 1939, Spain was captured by the better equipped right wing Nationalist party, thus winning then the war. This also strengthened Hitler’s position in Europe and due to Germany and Italy having the same views and working together to help the right wing Nationalist party they now formed a firm ally.

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http://www.bbc.co.uk/bitesize/higher/history/roadwar/spancivil/revision/1/ http://1.bp.blogspot.com/-PsPSDQWVxhE/U4DgToqbcUI/AAAAAAAAoUg/17kvEXV2hNE/s1600/Spanish+Civil+War,+ca.+1936-1939+(21).jpeg http://www.museumsyndicate.com/images/6/58298.jpg Art The Definitive Visual guide, Foreword by Ross King, Editorial consultant Andrew Graham-Dixon, Page 424 – 425

Right Wing Nationalists

‘We Are Making A New World’ The destruction of war is additionally presented in this work, however the destruction is shown through the environment as opposed to through people. This painting by Paul Nash was painted in 1918 in reference to the no man lands in Ypres Salient, Belgium during WW1. In the painting Nash has presented a scene of what was once a living forest, however, now, after the war, the area is destroyed and damaged resembling little similarities to the area it was once known as.

Firstly, Nash has painted the trees so the side the audience sees are in the shadows making them excessively dark therefore, given them a morbid tone. Also, the way the trees are shaped is unnatural, with most of them drooping, in doing this Nash has ensured the trees are seen as damaged with no life. In addition to this, as well, the lack of colour that is seen on the trees supports the fact they are lifeless. As a result of this, they reflect the soldiers of WW1 (their main bodies still exist, but all life is removed from them).

However, one of the trees resembles an arm with a hand that appears to be reaching out of the ground. This Furthermore, in the painting there are irregular mounds throughout that have could therefore show how the scene become apparent as a result of the war and the machinery weapons used, therefore is beginning to regrow giving it a these mounds can further reflect the dead soldiers that witnessed the events. sense of life or, as there is only one Additionally, the mounds can be seen to tree demonstrating this association, resemble gravestones for the soldiers the little life left in the scene. that died there so they can be Although, the fact a hand and arm is remembered, however the fact that the incorporated into a tree in the image scene that is left reflects the soldiers creates a sense of fear which is even though no figures can be seen is reflected onto the audience. what makes Nash's work most powerful.

Moreover, in addition to the sun (that can represent fire) all the other ancient elements are shown in the painting suggesting, that over time the subject matter in the scene will eventually regrow and “make a new world”, regardless of human interference. For instance, a lake can be seen to represent water; land to represent earth and air is everywhere in the painting. However, as the forest is shown to be destroyed and the dark shades of the scene can indicated there was a fire, these dark tones and deformed objects can also reflect the fire.

“We are making a new world” was based on a ink drawing Nash completed before, however also in 1918 called “Sunrise, Inverness Copse”.

In many ways the composition of the two pieces of work with the “Sunrise, Inverness Copse” including all the subject matter demonstrated in “We are making a new world” such as: the irregular mounds; misshaped trees; the sun over the hills and the lake in the background. Despite this, in the “Sunrise, Inverness Copse” Nash has demonstrated a limited colour pallet, only including shades of brown and blue. By doing this it makes the scene look even less lifeless than the one in “We are making a new world” and creating a more depressing tone to reflect the events of war and death.

The most lively subject in the painting is the sun, that is shown to be rising or setting over the hills however, due to the fact it illuminates the scene (which is emphasised through the rays), it also revels the destruction it has experienced.

Through this, it is one of the most important subjects to the painting, as it allows Nash to share the effect of war. For this reason it is especially important he has used a brighter colour compared to the rest of the dull palette as it draws the audience to acknowledge it first, and therefore follow the equally bright rays into the rest of the painting, ensuring the whole scene is viewed by the audience. Also, it one of the first apparent signs of existing life and therefore optimism of “making a new world”

World War 1 In Europe Germany was growing in power thus he balance of power between the nations was becoming unstable so the Triple Alliance (made up of Germany, Austria and Italy) and the Triple Entente (made up of France, Britain and Russia) were created. As well as this in 1839, a treaty was created that Britain had promised to defend Belgium in events of war.

Before the war began Germany had developed a plan if war was to break out as it was thought that they would be at war with France and Russia at the same time, this was called the ‘Schlieffen Plan’. This plan involved the German soldiers first invading France as they believed they would be easy to defeat quickly and then invading Russia as they would be stronger, thus taking longer to defeat, as they would take longer to mobilise its army.

In 1914 Austrian Archduke Franz Ferdinand (the heir to the throne of Austria-Hungary) was assasinated by a young Bosnian Serb, thus Austria-Hungary declared war on Serbia. Also, as a result of the alliances all of the European countries in alliance were immediately involved in the war and conflict to begin world war one.

As a result of Belgium being situated between France and Germany, the German soldiers had to pass through there to reach France therefore, Britain became part of the war to defend Belgium and abide by their treaty. As a result of this Belgium was a the war ground in which the English and French soldiers fought the German soldiers.

Ypres Salient, Belgium There were a total of 5 battles in the ancient town of Ypres that occurred between began in 1914 (when the German troops first arrived there) and ended in 1918 (when they were finally pushed to leave by the British, French, Canadian and Belgian Forces) as part of WW1. In this time the town was destroyed leaving all the known buildings demolished which included well know landmarks of the town. Despite this the town was never in German occupation during the whole of the war it was just used as a battle ground causing the destruction of most of it.

After the war in 1919, the people of the town began to rebuild the demolished town to a likeness of before.

- http://www.bbc.co.uk/education/guides/z4n4jxs/revision/3 - http://www.bbc.co.uk/schools/gcsebitesize/history/mwh/ir1/schlieffenplanrev3.shtml

Paul Nash Nash first discovered his enjoyment for landscapes when he was growing up in Buckinghamshire and later developed an interest in subjects like ancient history. However, when WW1 started he began to get involved in the war efforts by at first becoming a private for home service in the Second Battalion until later in1916 training to become an officer. Later in 1917 he was sent to Ypres and based there until he was returned back to England as a result of an injury, therefore during his time in England he recorded the scenes and events he witnesses mostly in ink, chalk and watercolours.

This work was later recognised and he was appointed as an official war artist to be sent back to Ypres in late 1917 it was at this time he started using oil paints in addition to his other mediums, and when he painted “We Are making A New World”.

My Intention After researching different, significant paintings, that document events in history, I now intend to answer the exam question: I have decided to do this by creating a three dimensional model of an exhibition, a poster and a leaflet. As well as this I will record the development of my work and record any further research that will aid me to my final outcome.

Font Research The first font I found was used on a bar and grill restaurant poster and it introduces an illusion of it being three dimensional as well as it imitating calligraphy. This style is one that I believe is more relevant as it would have been used to present the venue due to its longer history of being established.

As well as this, the first letter of the title is the only letter to meet the ascender line through its cap height, this signifies the letter has importance to, as a result, ensure the word is apparent to the audience. As well as this, the fact there are multiple tones used within the font gives it a sense of depth, for instance there is the bold sections as well as the crosshatched sections which I think is a god technique in order to show hoe it is the main title as oppose to other informational text.

The next font I found is a logo for historical TV show, thus I thought it would be relevant to the exhibition due to the similar themes. For instance, this font presents a number of sheriffs on each letter despite them being all in capitals which, as a result gives the font a boulder look. As well as this, the font all meets the mean like with no descending letters which aids this appearance further. Although, this font is shown to be block coloured with a fine black border around each letter to define each letter and allow them to be seen despite their similar sizes.

The final font I found is similar to the second one, in the sense that all the letters are presented as capitals however, the “G” and the “F” in this font meet the ascender line, where as the other letters only meet the x-height to present how they are titling the words “GoodFellas” as two words despite there being no space between them. This effect is significant. In addition to this, I like the way the font is block coloured to add an emphasis to each letter, also like the second font, however it is bolder as the width of each character is more. As well as this, it has been coloured in a contrasting colour to the background, this is another element I like as it adds to the emphasis of it further.

- http://a.files.bbci.co.uk/childrens-binarystore/cbbc/horrible-histories_brand_logo_image_bid.png - https://tse1.mm.bing.net/th?id=OIP.Xqn5WhQQ-4SeLXkcjNZulQCfEs&pid=15.1 - http://media-cache-ak0.pinimg.com/736x/ad/c2/13/adc213a45e092162c981d1b1e36d8e8a.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 font suggests that it was created by a typewriter, meaning it has a vintage and authentic feel to it, this therefore follows the theme of the gallery and would represent it positively. However the density of the text is very low meaning it is less visible to the audience, so potentially may not be seen or remembered as there is less of an impact on the audience.

This font, again, reflects that of a typewriter however, it is bolder to therefore be more visible to the audience and easier to recognise and remember. Also, the shape of each letter is easily legible to further make it easy for the audience to interpret it. As well as this, the man line of the font is much lower than that of the capital letters hence, making it, again, more interpretable to the audience compared to the first and third fonts. Hence, I would like to take this font forward to my poster designs.

This font resembles the density of the first font which, as mentioned before, is low so it effects the visibility of the title and not have as large as an impact compared to the second font.

Although, it has got an aged style to it which will reflect and represent the exhibition accurately. Although the man line is considerably higher and, again, similar to the first one so it is similar to the height of the first letters of each word. As a result of this, it limits the impact the capital letters have and makes the words conform together however, through this it can distort them to seem less legible.

For these designs I created my own calligraphy through the use of fine liners.

Within this design I used a bolder font, as this was an element of my third researched font that I saw as successful due to the fact it will enable it to be easily interpreted and viewed over a contrasting background. As well as this, the overall shape of the font was seen to be similar to the first researched font, which represented a historic subject, thus it seemed relevant to have a similar calligraphy styled font.

In addition to this, the way I have laid out the different characters is similar to the first font also, with the first one of each word meeting an ascender line and the others meeting a x-height as I saw this as the most successful way is distinguishing the different word from each other. Also, with the first letters of each word I have added extra cross bars which again helps emphasise how they are superior to the other letters to differentiate each word from another. This overall, allows a clear title that can be viewed easily and interpreted well by the audience to make it successful on my poster design. Therefore, this is one I would like to take forward to my poster designs, also.

With my other design I decided to again create a font that replicated a style of calligraphy however, this font was a lot less bold. This, as a result, makes the font look more elegant and reflect past periods of time such as the French revolution in 1789 (which can be seen in the letter in the Death of Marat) however, less apparent which can be less successful when using it to present an exhibition.

In addition to this, I decided to have the same layout of uppercase and lowercase letters for each word however, I believe that with this font all of the letters should be joined together to allow it to flow more. For instance, each letter is spaced too far apart from another which makes it difficult to distinguish each word separately thus, counteracting the purpose of the upper and lowercase letters. Therefore, as a result I believe that it would be less successful on a poster design.

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.

In the background of the poster a piece of Hockney’s work is shown, however this specific piece was chosen because of its vivid colours that grasp the audience’s attention. Furthermore, the fact it is his work makes it relevant to the exhibition and gives an impression of the content of the rest of it. As well as this, the image used demonstrates leading lines, giving the overall poster depth. Furthermore, this background has been displayed like the painting in the gallery would giving a further sense of what the gallery contains.

Poster Research

The white title has been used as it is the most contrasting colour over the background colours meaning, it is more visible to the audience.

This has been done because it is one of the most important pieces of information on the poster, hence why this text is the largest on the poster therefore because of this it is something I would like to use this on my poster design.

Sponsors have additionally been featured on the poster in the same area as the other information. https://tse4.mm.bing.net/th?id=OIP.rrZ-WXQH96W1U0A_6uzqkgEsEs&pid=15.1

In the top right corner of the poster the logo has been added to indicate to the audience where the exhibition will be held, as well as what gallery Hockney is representing.

Included in the poster there is an image of Hockney, that has been taken and edited onto the poster, painting the piece of his work in the background. This has been done to present to the audience further this is his work and highlight further the poster is advertising an exhibition of Hockney’s work.

The title of the exhibition has additionally been included however in a less contrasting colour the Hockney’s name, as the colours of the title are similar to those in the background. This has been done to help the title reflect the work in the exhibition. Therefore, because of the apparent text this is something I would also like to use in my work.

The date and contact details of the exhibition has been included on the bottom of the poster in again a contrasting colour, of black, compared to the background it is on.

However, this text is smaller due to it not being the main focus of initially advertising the exhibition.

Poster Designs

After, I added a sponsor to the poster in the To begin with I layered the image of ‘The Raft Of bottom right corner to add to the authenticity of Medusa’ on top of a newspaper print as I believe the poster further, moreover the sponsor I the paintings that are being presented in the Next, I added the title of the exhibition ‘Vision of History’, in decided to use produces art materials meaning, it gallery would have been used to communicate a one of my chosen fonts, to the top band of the poster. I is relevant. Also, the colour of the logo again message as a newspaper would of. After that I decided to colour the text black as it makes it visible over the then layered brown, block coloured boxes over background however is no to bright to distract you from the compliments the the newspaper to enable the text I later applied rest of the poster. Additionally, I added the logo I created in tones in the to be easily visible, also the brown matched the painting as it is the top right corner of the poster, which advertises the colours found in the painting and the newspaper red. Furthermore, museum where the exhibition is going to be held. making the overall look more aesthetically I have begun Furthermore, the red and grey colouring of the logo also pleasing. enhances the colours used in the painting, as they are similar. again, as it allows it to be seen Finally, I added the rest of the text although, the easier. important details such as contact details and the address of the museum I changed into a bolder font to signify the importance of them. However, these details are not as bold as the title to ensure they do not distract the audience from it. Additionally, the font I decided to use for the text is legible as well as, I have additionally created an animation of this poster which having a dated feel to reflect what the poster is can be found through this QR advertising. code.

During my research I found an example of a dispersion effect that I believe could be used on my own poster to make it more aesthetically pleasing to the audience. Also, the fact I am going to be using the effect on a historical painting can reflect the fact that the events are aging to therefore reflect how they are less clear in the present.

After, I began to rub out the different layers to reveal the distorted image, this created a dispersion effect that reflected the original image. Also, the fact that the dispersion effect was used on Lady Jane Grey can present the meaning of the historical event in the painting to a greater extent as it represents she could be feeling at the time as she is about the be executed.

To begin with I inserted a cropped part of the painting ‘the excitation of Lady jane Grey’, after I cropped the figure of Lady Jane Grey and inserted it into a new layer. Next, I distorted one of the Lady jane grey layers by stretching it and put it behind the none distorted layer.

Finally, I used the distorted image of ‘The Execution Of Lady jane Grey’ and added text, my museum logo and sponsorship logo as well as a neutral toned background that I dispersed into the image as it is relevant to the effect used on the painting. I used the white text for the title of the exhibition as it highly contrasts the background, and is the most important text on the poster. But, the other text, at the base of the poster, is black as this still contrasts the background although, is presented to be less important compared to the title due to the darker colour of the font. https://i.ytimg.com/vi/nwUCSybaibA/maxresdefault.jpg

Poster Research The text used in this poster is smart and uniform with all the letters meeting the base line and the medium line, as well as the fact it is bold.

Therefore, as a result of this I could use this in my poster as it reflects the professionalism of my exhibition as well as allowing me to complete a ‘clip in mask’ to ass depth to my final poster design. Furthermore, the colour of the text contrasts the background to increase the statement of the title of the event and emphasise the significance of the name or tile, again, for these reasons it is something I would like to carry into my poster design.

The additional information for the poster, under the main title, is also the same colour as the main title which adds to the uniformity to the poster to ensure a neat design that is more aesthetically appealing.

The text font also replicates the title however is a smaller size to further highlight the importance of the title. Hence again this element is something I would like to incorporate into my poster.

The image in the background is also something I believe that would look appropriate on my poster design. For example the way there is a more prominent part where the image can be seen clearly in the centre of the main poster and then it fades out to have a faint imprint of the rest of the image, therefore it gives an impression of the main image through many layers which makes it more aesthetically appealing to the audience.

- https://www.somersethouse.org.uk/whats-on/skate-somerset-house

The pale background gives a calming tone to the poster to make it seem more appealing to the audience. For instance, as an exhibition is perceived to be calming and relaxed it should be reflected in the poster which is the reason that I believe tat should be reflected in the posters design.

To begin with I layered the two figures from ‘the Execution of lady Jane Grey’ over the scene of ‘the Third of May 1808’ and converted it to greyscale as I believe it is more relevant to the subject of historical pieces of work.

After I duplicated the layer of the figures I stretched the bottom layer and began to rub each of them out to create a dispersion effect, this then helps the two images to merge together to give a sense of the whole exhibition together.

Next I added the title of the exhibition in the fist chosen font in the centre of the poster creates a bold statement to the audience which some of what I wanted to recreate from my research. Also I only added the dates of the exhibition in order to not make the poster look over crowded and therefore disinterest the audience.

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.

In addition, through overlapping the text over the drawing, it conceals a part of it which can encourage the audience to attend the exhibition to view the whole complete drawing.

In the design there was been a greyscale drawing included that had been created with either biro, graphite pencils or charcoal. This is due to the large contrasts in the tones used to emphasise the highlights and shadows on the subject drawn.

Through doing this it creates a sense of realism in the piece despite the unusual look of the figure (it has no outer layer of skin). Thus, it makes the audience study the poster further in order to depict what the study is showing due to is individuality and have a larger impact, as a result, in the sense of ensuring that the exhibition becomes known.

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.

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_production/post_ima ges/11563/Zelek_Hunger_Glod.jpg?1344129017

In order to develop the idea of how I can portray the themes of the paintings (historical events that represent a moment in time) I took inspiration especially from the painting of �An Experiment on a Bird in an Air Pump�. From this I collected some science related items such as flasks and human body parts which I then took pictures of.

Out of all the images my favourite ones were of that with the magnifying glass structure and one of the images of the flasks that presented a strong depth of field. This is because, the lighting in which was used in the images creates a great contrast within the different sections if the objects. For instance, on the magnifying glass there are strong highlighted areas around the rim of the glass, which is the main focus point, as well as more subtle highlighted areas which just help give the impression of a three dimensional structure.

This is then continued into the second chosen image, with the different angles of the glass being presented through the highlights again. Although, in addition to this, in both of the pictures there is a large contrast to the highlights with the shadowed areas aiding the, formation of the three dimensional objects further. As well as this a sense of depth is added to the images, thus this is something that I would like to include in my poster design as when used in others it can be seen to be highly successful.

Using inspiration from the images I captured, I created a drawing and painting from the images that I thought represented the paintings in the exhibition the most.

For instance, the first artwork I created was a painting of a flask, as I feel it best reflects the painting of ‘An Experiment On A Bird In An Air Pump’ specifically although it can be said to represent the rest of the paintings also from this historical subject in the painting. For instance, I decided to keep the dark tones of the original image as it would reflect the lack of understanding of the paintings of the time.

With the other artwork I created, I decided to complete it in graphite pencil, as I felt that this would allow me to recreate the shadows and highlights of the object well. Thus, this makes the object have depth as well as promotes the dramatic lighting of the original image, to as a result add drama to the poster designs when completed.

To begin with I used my painting and transformed it into greyscale. As well as this, I wanted to focus on the main flask in the foreground. Thus through inspiration from my researched poster, in order to do this, I increased the contrast of the background so there were only two tones where as, the flack in the foreground has multiple. In doing this it enhances the depth of the poster, as well as creating a focus on the flask to further promote the theme of some of the works in the exhibition.

After, I inserted the calligraphy title I created into a new layer over every other one. I decided to block colour the title white, as it is the most contrasting colour to the darker toned background and this technique was successful in my researched poster therefore, it makes the title more visible to the audience. As well as this, I decided to make the text size relatively large as it is more likely to be acknowledged and when paired with the contrast between the title and the background be remembered by the audience.

Next, I inserted other informative text to the poster, the information I have included is concise to prevent distraction from the main representation of the poster (to reflect the scientific themes of the work in the exhibition).

For instance, I only included the date and times of the exhibition. In addition to this, I have made the text a considerable smaller size in order to suggest how it is the excess information thus, not distracting from the title, again. I have also coloured the text white for the same reasons as the main title.

To finalise the poster I have included the logo I created for the gallery, which, as a result, brands the poster.

I have also added the main title on the top left of the poster, this is because it is the part of the poster with the darkest tones thus it will create the largest contrast towards the title. For instance, because of the dark tones of the background I have also decided to ensure the title is coloured white to also enhance the contrast. In addition to this, I have ensured the title is of a larger size compared to the other informative text to ensure it is the first section the audience is drawn to.

I have furthermore included some more informative text at the base of the poster in the Bell MT font. I have done this because I feel it is the font that most reflects and compliments the title due to a similar use of ascenders and descenders. Moreover, I have also layered this font over one of the other darker areas of the poster to create the most contrast and make it more visible.

In the top right corner I have further added a logo for my exhibition to add to the authenticity of the poster. For instance, this was what was seen on most of the posters I researched.

In this poster design I have used on of my original paintings however I have separated it into two different sections. For instance the main flask I have left as an analytical painting with multiple tones in order to present the shadows and highlights of the overall shape of it; however the background of the painting I have increased the contrast to make it only contain two tones. This, as a result, emphasises the main flask more as there are less tones to distract from it as well as creating a single-coloured background to enable me to place text over it and it still be visible. In addition to this, I have ensured the lighter tone of the background is darker than the lightest tones of the flask to ensure these highlights are emphasised and overall ensure the poster has depth.

To begin with I isolated the main flask in the image I painted and layered it over a plain white background. After, I used the paintbrush tool to create an ombrĂŠ effect around the edges and towards the centre. I decided to use a musty green a it coordinates with the colours of the flask as well as the fact it was not too dark, thus it still emphasises the darker tones of the flask to make it one of the main components of the poster. In addition to this, I enhanced the contrast of the painting to increase the depth of the poster as the would be a larger scale of tones.

Next, I created a dispersion effect through layering two of the same picture over each other and rubbing out each layer in order to create the effect. This therefore adds a more exciting element to the piece as well as incorporates it into the background. For instance, the background colour can be seen through the dispersed sections of the flask, although, because only one side of the flask has the effect it still makes it have a large contrast between the background and the flask to ensure it is still apparent.

After, I added some informative text for the exhibition, such as the date and contact details. I decided to make the date and the phone number a larger size as they are the most important forms of information, compared to the excess extra information which I made smaller(although all of the extra text is smaller than the title). Therefore, the size of the text represents the importance of information; the larger the text the more important it is. The text is also the same colour as the title, thus it follows the colour scheme of the poster.

To finalise the poster I have included the logo I created for the gallery, which, as a result, brands the poster.

In this poster I have created again, used one of my paintings I have created although in this one I have decided to incorporated different tones as well as colour. For instance, I have used the painting of the flask, and as well as that I have used a dispersion effect to help in merge with the background of the poster and make it blend together. In addition to this, I have layered one of the most relevant paintings that I studied over the flask which helps the audience to further anticipate the theme of the exhibition.

Also, for the background I have used a pale brown and created a ombrĂŠ effect with the centre of the poster being lighter than the outside. Through this it creates a focus point to the centre of the poster where all of the images and text are situated. As well as this the background colour is based on some of the colours from the flask thus it compliments it to ensure it is ascetically pleasing.

I have decided to use this as my final poster design

Again, I have added the calligraphy styled title I designed into the top corner of the poster, however this time I have decided to colour it black as it is the most contrasting colour over the pale background. Through this the title is seen to be more visible as well as the fact all of the different shapes of each letter are emphasised to ensure the audience can interpret that it is representing historical text.

Furthermore, I have added, again, informative text in the font Bell MT as it worked in my previous poster design.

Additionally, with the text I decided to colour it a darker brown as opposed to black, like the title, in order to make it still contrast over the background however, not to the extent of the title.

Thus this helps show a hierarchy of importance to the different pieces of text. As well as this, I have also used the sizing of the text to display this.

Moreover, I have added the logo of the exhibition to the poster which, again, is in the bottom corner of the poster to reflect some of my researched examples.

Museum Research 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.

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 finalized look to the rooms. Finally, third element I carried into the second design are the benches as they compete the colour scheme and give an authentic exhibition look.

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 rooms together to make the exhibition pieces link together as one exhibition despite the fact they were created by different artists in different time periods. In 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.

Exhibition Guide Research

Around the top and the bottom border of each page there is a dotted pattern.

The fact the dots are positioned uniformly at equal intervals across the In the inside cover of the guide there is a The title of the This guide was used to accompany exhibition, as well map included which again is in greyscale to borders adds to the sophistication of the Gustav Klimt exhibition as the other text, continue the colour scheme. In the map the the appearance of the overall booklet. showing works from 1900.

This idea of sophistication is an element different rooms are labelled to represent all meet a mean The colour I would like to continue into my guide, the different artists or themed rooms. line giving it a scheme of the as it will be uniform look which front cover of the more when paired with guide is greyscale appealing to the simplistic including a black the audience colour scheme background and and make it gives it a sense of white text, which look more sophistication, this I believe is professional. would be complementary something I would of each other. like to use as a As well as The black result of this. this, the background gives Despite this the second page it a morbid tone second ‘0’ in the includes an as well as dates used doesn’t introduction reflecting the age meet the base line to the of the work. giving the cover context of something a bit the pieces of The box used to more visually work. For conceal the text exciting as is breaks the overall instance implies a sense of being confined in uniformity. The other difference in information about the time period they was set in is stated giving the audience an addition to framing it to reflect the the text is the size of the font and insight into the types of work being displayed in the exhibition, hence this is another work in the exhibition. Although, I the boldness of the title compared element I would like to incorporate into my guide. In addition to this, the text that is like the way it separates the date to to the limited, extra information used is easily legible and coordinates well with the title page to continue the the exhibition title as it makes it simplistic and uniform theme from the text on the front page. easier to comprehend for the viewer. giving the title importance.

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.

In addition to this, I have included a boarder to the pages in the leaflet to give it a more finished look and define each page in the booklet further.

The font I have also chosen to use was Bell MT for the main informative text as it corresponds with the text on the cover page. However for the titles throughout the booklet I have used Adobe Calson which is a similar font but, it has sharper edges to ensure the titles are clearer and easily interpretable. Also, the first letter of each word meets the ascender line and the rest of the letters meet the mean line, therefore reflecting the text on the front page further.

Furthermore, on the introduction page I have included one of the drawing I had created from the pictures of the scientific objects. By doing this it gives the audience a further visual insight into the subject of the exhibition.

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.

Also, I have included the different paintings as images next to a brief description behind the context of each of them. Each of the images has a white border around them to frame them on the page and encourage 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.

Ticket Design To begin with I layered some of the elements of my poster, as this will help show the links between the different documents of the exhibition, over the original images I took to create my paintings from. Although, in order to present the different layers I ensure the background image and tones. had a lower opacity to emphasise them due to the different contrasts

https://i.ytimg.com/vi/xBpUxaFR2zs/hqdefault.jpg

Next, I layered the calligraphy text I created over the top however, I coloured it white this time to allow a large contrast over the background.

In addition to this, I added a barcode to the right hand side of the ticket as it adds to the authenticity of it.

Furthermore, in order to separate the barcode to the rest of the ticket to design I incorporated some bordered lines with three of the edges having bolder lines and the side in contact with the rest of the ticket having a finer line as a bolder line was too harsh and divided the ticket too much.