Death
The theme of DEATH is one of the oldest and most common themes in the history of art. Scenes of DEATH are tied to the single most inescapable aspect of our existence and are intertwined with every aspect of existence. This theme of DEATH spans all cultures, all human history and all creeds and confession, it can safely be described as immortal.
By Eleanor Bruce
Antonio de Pereda, 1611-1678 Antonio de Pereda was a Spanish artist who began as a history painter and was mainly active in Madrid. His Relief of Genoa (1635, Prado, Madrid) was painted for the Buen Retiro Palace in Madrid as part of the same series as VelĂĄzquez's Surrender of Breda. Pereda is now best known for his still life's. The most famous painting associated with him is The Knight's Dream (also called The Dream of Life or Life is a Dream, c. 1650, Real Academia de San Fernando, Madrid), a splendidly sensuous composition, full of brilliantly painted still-life details, in which worldly pleasures and treasures are seen to be as insubstantial as a dream. It was a key work in the development of the moralizing still life in Spain, influencing ValdĂŠs Leal in particular. However, the attribution to Pereda has recently been questioned and Francisco de Palacios (1622/5-52) has been suggested as the author. His artwork includes meanings, hidden within the paintings, many of which depict death. Pereda links death in his work with skulls, guns, candles as well as several paintings of Jesus and his crucifixion.
Christ, Man of Sorrows Oil on canvas, 1641 (Museo Nacional del Prado, Madrid)
The Knight's Dream Oil on canvas, 1655 (Real Academia de Bellas Artes de San Fernando)
Still Life with an Ebony Chest Oil on canvas, 1652 (The State Hermitage Museum, St Petersburg)
Allegory of Vanity, 1632 Antonio De Pereda (oil on canvas, 1740 x 1395cm) In this painting, Antonio de Pereda has created an allegory meaning there's hidden narratives within this piece of art. Firstly, this artwork shows many objects placed randomly around a table and chest with surrounds a woman who appears quite angelic with her expression, pale skin and wings. The angel holds a miniature portrait of the Emperor Charles V and balances it on a globe. With her other hand she points to somewhere off the northern coast of South America. Since Charles was dead when the picture was painted, this may be a reference to the fact that Charles’ dominion over the New World availed him nothing against death.
Perhaps Antonio de Pereda is trying to tell us that time is precious because we never know how much we have left, for example the burnt out candle is mostly full and yet it’s burnt out. This suggests that time can come to an end whenever it wants, even when you’re young or fighting in a battle (reflecting on the gun). More symbolisms are shown of time with the clock to the right of the figure and the hour glass, front centre, which again reflects on the sense of a cloud of time.
The objects are arranged in a way that suggests whoever placed them was very carefree, as well as it gives a sense that the objects were accumulated over a period of time. Pereda has created a mysterious mood in this artwork from which the skulls immediately invoke thoughts of death. From here the eye moves on to the other objects in the painting this creates the contrast between death and luxury, however, when combined with elements such as the candle and gun there is a strong sense of a cloud of time.
The colours are very simple which contrasts with the luxury and prosperity that comes with the objects that are portrayed in the painting. The fact that the colours are so similar carries the message that possessions carry the same pricelessness although they are different values.
The economic situation in Spain may have inspired Pereda to use the strong symbolism of Vanitas in a way that represented his society at the time. This representation of society’s current focus is contrasted by other objects in the painting, specifically, the candle which represents the speed of life passing by. The skulls represent a similar concept but in a more blunt and literal way. They portray death and when combined with the items of luxury, show that no matter how successful we are in this life, we will all end up in the same place.
Finally, unlike some Vanitas artists who kept the lighting very realistic, Pereda has disregarded the background and has not painted the falling shadows of the objects or the woman. He has focused on painting the objects in the foreground with exquisite detail. Not only does this allow us to focus on the objects and decipher their meaning but it adds to the mood of impermanence, loneliness and isolation.
Bronzino, 1503-1572 Developing out of the Renaissance, and inspired by the late works of Michelangelo, a group of painters, rejected balance and harmony favoured by Renaissance artists such as Raphael and Da Vinci in favour of emotional intensity and ambiguity. These Mannerist painters used severe distortions of perspective and scale like complex and crowded compositions with strong, sometimes harsh or discordant colours also including elongated figures in exaggerated poses. Bronzino was the best portrayers. His career is interwoven with the history of Mannerism. As the official painter of the Grand Duchy and of a small circle of cultured aristocrats, Bronzino developed his own style in addition to an almost maniacal insistence on accurate drawing, Bronzino added his own very personal use of colour which he applied in a clear and compact fashion that almost gave the effect of varnish. By 1540 Bronzino was the darling of the Medici court and Florentine aristocracy, not least thanks to his literary talents, for he was also poet. He alternated his production of smooth, almost crystalline portraits, with noteworthy decorative schemes, such as the frescos in the Medici villas, and from 1560 onward, he produced numerous religious paintings for altars in the major Florentine churches.
Cosimo I de Medici Oil on Wood, 1545 74 x 58 cm (Galleria degli Uffizi, Florence)
Holy Family with St. John Oil on canvas, 1528 191.3 x 78.7 cm (National Gallery of Art) Adoration of the Shepherds Oil on Wood, 1536 (Uffizi Gallery, Florence) Deposition from the Cross Oil on Wood, 1565 350 x 235 cm (Galleria dell'Accademia, Florence)
An Allegory with Venus and Cupid, 1545 Bronzino (oil on panel, 146.1 x 116.2cm) This painting by Bronzino is an allegory which is a word used to describe a piece of artwork which has a hidden meaning or narrative. It has an asymmetrical composition which suggests disorder within the artwork where something more than the allegory of love, not only between Venus (the goddess of love) and cupid (her son), is both satisfaction and agony.
In this painting, the artist has painted all figures bar one, in the nude as well as idealised. As you can see in the painting Venus is centrally positioned (with the golden apple from Paris in her left hand) as well as lifting cupids arrow in her right hand. Cupid, however is on the left perching around Venus whilst grasping her bosom with his right hand as well as leaning in to kiss Venus on the lips. We know that this figure is Cupid due to being able to see the bow across his back. These few actions such as this child grasping the mothers bosom were considered very shocking for the contemporary London audience in 1860 when Sir Charles Eastlake bought this artwork. Many parts were painted over, in addiction they where removed in 1958.
Moreover, In traditional Western paintings you can identify the characters in each story by their attributes but the background figures don’t have the traditional attributes, meaning it’s difficult to identify who they are.
Bronzino has used various symbolism with this painting. Many of these symbols include the doves below Cupid’s feet signifying love/lovers as well as the boy on the right scattering rose petals (whom is portrayed as Pleasure), however he is stepping on a thorn suggesting that there is pain within love and perhaps love is not all happiness! Although this boy has stood on a thorn, yet he is still smiling. This may mean he can’t feel his foot and that the boy is suffering from tabes dorsalis (a late manifestation of untreated syphilis). More symbolism within this artwork is the clothed girl in the back right hiding behind the boy scattering the petals. She holds honeycomb in her left hand signifying the sweetness of love, one the other hand she has the legs of a lion and a scaly serpent's tail with a sort of sting at the end: possibly the figure of Deceit. Meanwhile, behind Cupid (on the left) is a dark screaming figure who perhaps symbolizes either Jealousy/Envy or the effects of syphilis, which may have reached the stages of his brain causing the figure to go crazy. The figure in the top left of the painting depicts with a mask like face that cannot remember anything as its head is hollow. This could represent Oblivion. This unusual figure seems to be trying to pull the veil down over the event of below but she is being stopped by the male figure in the top right corner. Perched behind this male figure is an hour-glass, possibly a symbol for the deadly long term effects of tabes dorsalis (syphilis) or even a common memento mori that reached a high mark in the Vanitas painting of the 17th century.
Furthermore, the claustrophobic lack of space with the interweaved figures pressing up against each other as well as the picture plane is definitely in the composition of the faces, in their coldness and the shimmering colour of the background draperies.
Finally leading onto my last point, is that altogether we have an anxious and unhappy group of figures to be attending Venus the Goddess of Love with a hidden meaning in this work that if you take the pleasures of life then over time they will be revealed to be full of despair and disappointment, possibly ending in death.
Jacques Louis David, 1748-1825 David was a highly influential French painter in the Neoclassical period and many of his paintings contained propaganda. He considered to be the prominent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward a classical austerity and severity, chiming with the moral climate of the final years of the ancient regime.
Napoleon Crossing the Alps oil on canvas, 1800-01 261 x 221 cm Self Portrait (Chateau de Oil on canvas, 1794, Malmaison, (Musée du Rueil-Malmaison) Louvre)
Jacques Louis David later became an active supporter of the French Revolution and friend of Maximilien Robespierre, and was effectively a dictator of the arts under the French Republic. Imprisoned after Robespierre's fall from power, he aligned himself with yet another political regime upon his release, that of Napoleon I. It was at this time that he developed his 'Empire style', notable for its use of warm Venetian colours. David had a huge number of pupils, making him the strongest influence in French art of the 19th century, especially academic Salon painting. Throughout these political changes over David’s time, he remained absolutely true to his view of art, as an exercise in moral integrity..
Oath of the Horatii Oil on canvas, 1784 330 x 425 cm (Musée du Louvre)
The Death Of Marat, 1793 Jacques Louis David (oil on canvas, 162 x 128cm) This painting, by David, shows the assassination of Jean-Paul Marat, who was part of the Jacobin group in the French Revolution. Charlotte Corday, the daughter of an impoverished aristocrat and an ally of the Girondists in Normandy, came to regard Marat as the unholy enemy of France and plotted his assassination. Many people disagreed with the successful defeated the king and queen of France by the Jacobins therefore Marat was in charge of writing all the names of these unhappy people as they were to be executed by Dr Joseph Guillotine invention, the ‘Guillotine’.
His right arm is positioned trailing down which is iconography of the painting by Caravaggio INCLUDE IMAGE called ‘The Entombment of Christ’ resembling Jesus, a tool David used as manipulation, suggesting that Marat will be resurrected.
In The Death Of Marat, David has depicted the single figure of Marat whom is sat in his bathtub, because of his skin condition. His left arm is resting upon a table holding a piece of paper, reading ‘Given that I am unhappy, I have a right to your help’. His right arm has fallen over the side of the bath whilst still gripping a quill, here we receive an impression that he was caught in the moment of writing a letter perhaps, on the wooden box next to him. If you look closer the water is coloured red with blood from his wound near his right shoulder, with the knife stained of blood lying on the floor next to his Marat’s hand.
The painting is very saturated in the foreground yet the background is simplistic with no details at all that doesn’t lead the viewers away from Marat himself in the bathtub. The background is dark and empty with a small, soft, yellow glow over the scene from the right hand side, but overall there is a strong contrast of dark and light with in the painting. The use of chiaroscuro has created a dramatic effect focusing on the scene in the foreground. We see that Marat’s chest, half his face and arms are shadowed but his left hand and the letter are completely in the light causing it to be prominent signifying the importance of the message on the letter. David has clearly used colour in The Death Of Marat to manipulate the viewers by using white for the turban on Marat’s head and the sheets signifying the idea of purity or innocence and the yellow/golden light gives the impression of God/heaven, as if now Jean-Paul Marat is in heaven; the relaxed expression on his face also hints to this idea. The artist also uses many techniques within this painting to suggest Marat’s innocence. The use of colour, lighting and placement of objects enhance his interpretation of the event. Along side this, the size of the panting creates an illusion that upon seeing this piece of art in person, you were on the actual scene of the crime. David was charged and sent to prison after painting due to The other colours in this painting are very his false imagery of Marat, making him falsely subtle as they aren't bold, which are used in recognised as a martyr of the French Revolution and paintings of wealthier people. This is another an idealised hero. part of David’s propaganda, Marat would have Moving onto my last point, one of the most important been quite wealthy considering his position, aspect of this painting has been the use of although, through these colours David gets propaganda as well because Jean-Paul Marat had viewers to believe that Marat was actually one been elected to the National Convention as a with the people, portraying his death as the Deputy, and then enthusiastically supported the murder of a poor, innocent man. David has guillotining of Louis XVI. Finally with another chosen to paint the image in a realistic and important aspect was the letter Marat holds which naturalistic way by applying the paint smoothly. can be read as an admiration from Marat’s killer, The artwork almost looks like a photograph. Charlotte Corday, and her asking for his help.
Paul Delaroche , 1797-1856
Edward V and the Duke of York in the Tower Oil on canvas, 1831 Delaroche, in his time, was one of the most famous 43.5 x 51.3 cm painters in France. He concentrated mostly on (Musée du Louvre) history paintings, choosing subjects based on stories of English Kings and Queens. These melodramatic compositions, which achieved huge sales in the form of engravings, brought him European-wide fame and made him the doyen of the French Academy, which itself was notorious for its conservative aesthetics, its love of history painting and its preference for classical realism. The latter work clearly showed the influence of his teacher Gros, and it was greatly praised by Gericault. At the Salon Delacroix exhibited a highly influential painting which could be said to mark the arrival of Romanticism in Paris, challenging the dominance of Neo-classicism. Delaroche’s response to this conflict of influences was to steer a course between the two currents, unwilling to opt for full-blooded Romanticism for fear of jeopardizing his public standing. Three of his best known masterpieces of French painting were; The Princes in the Tower, Oliver Cromwell Gazing at the Body of King Charles I and the Execution of Lady Jane Grey.
Cromwell Before the Coffin of Charles I Oil on canvas, 1831 (Fine Arts Museum, Nimes) Joan of Arc in Prison Oil on canvas, 1825 (Musée des Beaux-Arts, Rouen)
The Execution Of Lady Jane Grey, 1833 Paul Delaroche (oil on canvas, 246 × 297cm) The Execution Of Lady Jane Grey, painted by Delaroche, shows it’s importance through the large sized canvas which was in fact used for historical events just like the execution of the nine day queen. Delaroche has painted this in both styles of neoclassical and romanticism perhaps inspired by his mentor Gros as these styles are used through all his artwork. Even more, this piece of art is Delaroche’s own interpretation of the event at the Tower Green on February 1554 where Lady Jane Grey (aged only 16) was sentenced to death. Surrounding the execution block lays straw to soak up all the blood, giving the viewers a realistic image of the event in their heads.
In ‘The Execution Of Lady Jane Grey’ there are five figures depicted within the painting, of which Lady Jane Grey, the great niece of Henry VIII, is centrally positioned and boldly presented by Delaroche from the white garments she wears that stands out from the dark surroundings and other figures. The two women on the left hand side seem to be crying in distraught with their positions signifying their grief from which the event entails. Leaving the other two figures on the right, one being the executioner, whom stands in contraposto, and the other gentleman who leads Lady Jane Grey to the block where she will be decapitated.
To the left is a sculpture by Michelangelo of David (1504) who is standing in a contraposto stance just like in Paul Delaroche’s painting of the executioner.
Lady Jane Grey is presented in this painting with light ivory clothing and a matching blindfold reaching for the block with a facial expression of acceptance and innocence. She is almost vulnerable in a way. Her skin is much more fair and smooth in contrast to the figure leading her to her death, signifying her young age as well as Delaroche’s aim to promote Lady Jane Grey as this vision of purity and innocence. This links with the impact of this painting which was to influence our perception of Lady Jane Grey for the next 175 year. Moving back to the Delaroche’s painting, Lady Jane Grey and the male figure directing her are positioned in a pyramidal form which creates the main focus of this painting. The artist has painted the scene up high, perhaps a stage, as we can see the Corinthian capitals at the top of the columns as well as the black cloth that covers the platform, signifying Delaroche’s interpretation was an illusion of a play being acted out. This produces more tense within this artwork.
I believe the significance of this painting is to remind people that the innocent can be punished, even though they are pure of heart and haven’t caused harm. To me, this message Delaroche is trying to portray is very sinister in a way that Lady Jane Grey is shown both young and harmless, however, a 16 year old is lead to her death blindfolded and not knowing where or when she will die.
However, the other colours Delaroche has used in the painting are much more natural, producing a dull atmosphere. Additionally this, along with the smoothly applied paint, gives the artwork a hyper realistic overview and a virtual appearance of a photograph. Furthermore, the general mood created within The Execution Of Lady Jane Grey is a depressing and disheartening atmosphere which all figures contribute towards by reason of everyone's eyes, including the executioners, avoid the harsh execution block in the centre of the painting. Here is another depiction of Lady Jane Greys executions which is an authentic version of the protestant heroine who walked boldly and confidently to her death. Lady Jane Grey also wears black, reading a prayer book with no hesitation where as Delaroche shows an innocent victim in white who’s been manipulated and abused by those around her.
Theodore Gericault, 1791-1824 Gericault was as romantic as a Romantic painter could be. While he began his career with grand military statements for the Emperor Napoleon, it was his later works, with their emotional brutality and raw empathy that captured the hearts of audiences for generations.
His masterpiece, The Raft of the Medusa was iconic in the era in which he lived, forging a new emphasis on raw emotion and sharply veering away from the refined compositional studies of Neoclassicism. Unfortunately, Gericault's death at an early age prevents us from knowing how much further into the depths of humanity Gericault was capable of plunging. However, the work he did leave was of great importance to the Romantic Movement. A painting by Gericault is recognizable by its individuality. This was a major tenet of his works, which draws him tightly into the Romantic fold. Through his subject matter, techniques, and stylistic quirks, the young and talented artist painted like no other.
The Charging Chasseur Oil on canvas, 1812 349 x 266 cm (Musée du Louvre) The Wounded Cuirassier Oil on canvas, 1814 358 x 294 cm (Musée du Louvre)
Riderless Horse Races Oil on canvas, 1817 45 x 60 cm (Musée du Louvre)
The Raft Of The Medusa, 1818-19 Géricault (oil on canvas, 491 x 716cm) Theodore Gericault has depicted the affect of a contemporary French shipwreck of The Medusa, in which the captain had left not only his crew but his passengers to die on board. This event became a national scandal and Gericault’s interpretation presented a tragedy on a monumental scale which he wanted to show the fatal struggles of the surviving passengers by giving them the ‘spotlight’. The Medusa was a navy frigate that crashed on a sandy reef off the west coast of Africa. The carpenter on board the ship created a raft from the sinking ship where the unfortunate passengers were sent back out to sea. The lucky passengers on the other hand were taken to safety onto the ship’s boats. The colours Gericault has used in this artwork suggest sinister In this painting you can see about 19 mood particularly the rough sky with the darkness behind the figures, of which to start off with there was clouds which creates a mysterious yet gloomy mood. 150 passengers. Gericault creates the figures to be slumped across the raft and raised up into a pyramidal composition with the point at the top being a figure waving red cloth at a ship they see in the background. Stormy waves surround the raft, especially to the left where a violent wave seems about to crash over the raft perhaps pushing everyone off and killing the remaining survivors. With the ship in the background, if you look carefully under the arm of the figure waving the white cloth, a grey silhouette of a ship has been painted in.
The colour red appears vastly throughout the painting, hidden amongst the struggle of the people, signifying danger, death and blood!. In the distance is a golden yellow light within the sky which can represent a slight amount of hope which these survivors need to get back home.
The artist has used chiaroscuro to produce the intense and dramatic appearance of the uncontrollable chaos of the event. The scale of The Raft Of The Medusa also makes it appear to be life-size which adds to the dramatic mood because it seems as if the event is happening right in front of the viewers eyes. Paintings of large scale were actually reserved for heroes of the time or historical events of importance, therefore, Gericault created this painting this large to make a political rebellion, signifying the stories of the survivors as heroes and making an audience aware of what they did to endure through the horrific tragedy of this artwork.
Gericault included hidden objects within the painting like a bloodied axe and a French officers uniform from the monarchy, possible the captain’s which hints at the conspicuous theory that the Medusa was purposely devastated under order of the monarchy. The bloodied axe symbolises the horror of the passengers who had to feed off the others to stay alive, cannibalism.
Before The Raft Of The Medusa was painted Gericault had planned out various studies he had drawn from preferences. One of which was an exact replica of the raft created by the same carpenter whom put together the actual raft itself. The other preferences Gericault used were real facts and information he gathered from interviewing the survivors, especially when they said about cannibalism to stay alive, and finally the artist visited morgues to sketch dead bodies as well as cut off limbs. This was so Gericault could show a realist view on this tragic event.
Eugene Delacroix, 1798-1863 Delacroix was a leading figure of the French Romantic movement and was greatly influenced by Gericault. He posed for one of the figures in Gericault's The Raft of The Medusa (1818-19) and was astounded by the passion and energy of the finished work. Its impact can be in the remarkable series of paintings that Delacroix produced during the 1820s.
The Death of Sardanapalus Oil on canvas, 1827 392 x 496 cm (Musée du Louvre) Orphan Girl at the Cemetery Oil on canvas, 1823–1824 54 x 66 cm (Musée du Louvre)
In 1832 he travelled to north Africa which broadened the range of his work, providing him with new kinds of Orientalist subjects. In these, Delacroix was unbridled in his use of colour, which was late to exert a powerful influence on the Impressionists. Today, Eugene Delacroix is remembered as one of the world's most influential French Romantic painters and his expertise and genius is fully recognized and appreciated by modern day art critics.
The Barque of Dante Oil on canvas, 1822 189 x 241 cm (Musée du Louvre)
Liberty Leading The People, 1830 Delacroix (oil on canvas, 259 x 325cm) In this painting, Liberty Leading The People, Delacroix depicts a exactly what the title includes, Liberty leading the people in the French Revolution against King Charles X. The painting tones are dark with muted colours apart from the ‘tricolore’ flag, which was the banned flag of the revolution, that Liberty hold in her right arm, these colours stand out from the background showing importance of the flag and what it means. The centre figure of a semi-nude and muscular body is a symbol of Liberty. She wasn’t a real person, she was a metaphor of a group of people - a representation. Delacroix didn’t take part in the French revolution, but he gave a strong visual impact that suggests optimism and belief of the French people.
Altogether Liberty is portrayed as a strong symbol of struggle for freedom.
Delacroix has represented men by there classes, such as the figure wearing a top hat and holding a large gun signifies higher class in comparison to the other figures shown. The two men wearing beret’s, one on the far left and the other to the right of Liberty, are of the lower class. However, the young figure on the right wearing the beret is lower than the other, wearing the white shirt, as he would’ve been a ‘street urchin’.
Delacroix breaks tradition of the subtle modulation of colour as seen in neoclassical art by applying unmixed paint such as the sharp primary colours; blues, yellows and especially the vibrant reds in the painting. For example the flag and parts of Liberty’s dress. The composition of Liberty is dominating because she leads the people across the canvas trampling over corpses as she attracts attention. With the figure of Liberty as the peak, Delacroix created a pyramid structure and uses the corpses lead on the group as the base. This insignificant and unclear configuratio n provides balance to the dramatic The artists message and chaotic shows the revolution scene. unites the distant classes against the ruling aristocracy.
Two dead bodies lay in the foreground at the bottom. The body on the left is dressed in night wear suggesting he was shot in his own bed, then dragged out onto the streets. The artist is drawing attention to King Charles’ guards who spread terror by murdering suspected revolutionary supporters in their own homes and dragging them onto the streets as a warning. This is showing a sense of propaganda.
Francisco de Goya , 1746-1828 This Spanish painter and printmaker was one of the most outstanding figures of the Romantic movement. Goya’s talent only started increasing by the 1780s of which his skills as a portraitist were increasingly in demand. The artist also worked alone on more ambitious themes, in which he gave full rein to his imagination. Francisco de Goya, in his final years, portrayed his own dark vision of the human soul with its petty obsessions and cruelty. These were the Black Paintings. Goya was an exceptionally versatile artist whose output was vast, leaving about 700 surviving paintings, 300 prints and 1000 drawings.
The Clothed Maja Oil on canvas, 1800-1805 95 x 190 cm (Museo Nacional del Prado, Madrid)
The Second of May Oil on canvas, 1814 266 x 345 cm (Museo Nacional Prado, Madrid)
del
‘The Second of May’ is a painting concentrating on the uprising of the Peninsular War (1808-14) compared to ‘The Third of Saturn Devouring One Of May’ which focuses more His Sons on the bloody aftermath. Oil on canvas, 1821-1823 Both these artworks contrast with a lukewarm reception which was 143.5 x 81.4 cm (Museo Nacional del partly because of Goya’s radical nature of his approach. Moreover, his paintings were quietly accepted but they deposited, Prado, Madrid) and not displayed, in the storerooms of the Prado, where they lay forgotten for two generation.
The Third of May, 1814 Francisco de Goya (oil on canvas, 270 x 408 cm) This painting by Goya depicts an atrocity committed by French forces during the Peninsular War (1808-14), when Napoleon’s troops occupied Spain. On 2nd May 1008 there was a violent uprising on the streets of Madrid, which the invaders managed to suppress. Their reprisal were swift and brutal. On the following day, ‘The Third of May’, soldiers arrested many people and started a series of executions on the hill of Principe Pio, just outside the city. Goya captures the event in this painting, as well as his other masterpiece on the same theme (The Second of May).
The viewers are immediately drawn to this brightly lit figure signifying his importance, due to him being the centre of attention. Goya depicts this man kneeling down however this figure seems much taller even knelt down that if he was standing her would tower over everyone.
The man in white has been posed with his arms raised in a protesting manner similar to the Crucifixion. Which seems to fit association for an innocent symbol of persecution and martyrdom.
Techniques such as colour and form have been used by Goya to create an emotional response towards his work rather than a direct, journalist record of the actual event. The shootings in fact happened in the day, however, he painted a dark setting to add to the nightmarish theme. Sombre colours (blacks, browns, greys and yellows) are applied, giving a foretaste of the gloomy Black Paintings.
Goya’s created a silhouette of an unidentifiable town, which he may of invented himself. This town however signifies a ghostly effect against the starless sky adding to the nightmarish atmosphere of the event happening in the painting.
In the centre left, surrounding the man in white, Goya depicts pain on the condemned men each with differing reactions on their faces. The closest figure to the viewer, who seems to be a monk, has his head low and claps his hands in prayer, while his neighbour stares his killers in the face, in defence to the last. Completing the tragedy, Goya includes a long line of victims in a line leading up to their death. Most of which he paints with hands hiding their face and with scared gestures creating effect that they can hardly bear to look at the fate that awaits them.
Francisco de Goya understood that his work would be powerful to show the things he saw from this war, even if some of these details remained vague for example on the naked body in the bottom left. There has been painted unknown black marks on the body as well as the head which is also in an unclear position, however, the overall mood is perfectly convincing. In The Third of May the sky is pitch black with no stars or moon. This lit box that Goya has painted is the only light in this piece of work, lighting up the entire scene. This signifies a sturdy dividing line on the ground, separating the enemies from the victims, and also long, ominous shadows.
In contrast to the victims, the soldiers have been created with order and mystery as the murderers faces are hidden from view, underlining their role as faceless assassins of violence and oppression.
Ghent Altarpiece Oil on panel, 1432 350 x 461 cm (Saint Bavo Cathedral, Ghent, Belgium)
Jan Van Eyck, 1390-1441 Van Eyck as one of the greatest and most important painters of the Northern Renaissance. He did not invent oil painting, as 16th-century artists-biographer Vasari suggested, but he did perfect the technique of glazing – building up layers of transparent paint. This allowed him to create wonderfully deep colours and to work up minute details. Nobody before – and very few since – had mimicked reality so exquisitely. Jan Van Eyck’s painstaking craftsmanship was matched by rigorous observation. He was extraordinarily sensitive to the fall of the light. He loved describing folds in cloth, delineating the precise point at which the form turns away from the light. Van Eyck’s portraits were brought to life by this close scrutiny. For his burst-length portraits, he would register stubble, light reflected in the eyes, and every crease in the skin.
The Virgin of Chancellor Rolin Oil on panel, 1435 66 x 62 cm (Musée du Louvre)
Portrait of a Man (Self Portrait) Oil on panel, 1433 26 x 19 cm (National Gallery, London)
The Arnolfini Portrait, 1434 Jan Van Eyck (oil on oak panel, 82 x 60 cm) To start off with, many have wondered whom and what this paintings depicts. It used to be known as ‘The Arnolfini Marriage’, following the classical interpretation by art historian Erwin Panofsky. Only until recently, the couple were identified as Giovanni di Arrigo Arnolfini and Giovanna Cenami, a wealthy Italian couple living in Bruges. Experts now believe, because this couple didn’t get married until 1447, that the painting depicts Giovanni’s cousin and his wife. However, what nobody disputes is that this masterpiece displays Van Eyck’s skill at using oil paint to create an image of unprecedented illusion.
Here, on the back wall of the painting hangs a mirror in which two figures are reflected. Perhaps Arnolfini raises his hand to greet these figures.
The artist ‘s composition creates the illusion of two figures in a believable scene, even though the linear perspective is approximate rather than absolutely accurate, and the figures are too large in proportion to the room. It’s a beautifully balanced composition Arnolfini’s wooden pattens, that he wears outside, in which apparently significant elements, such as show Van Eyck’s extraordinary level of observation. the chandelier, Van Eyck’s signature, the ornate He distinguishes different textures with minute convex mirror, he wife’s red shoes, the couple’s detail. The smooth upper surface heels, where the joined hands, and he little dog, are arranged along artist uses strokes of grey and pink to indicate an imaginary central vertical and flanked by the chisel marks. The strongly cast shadows make the figures themselves. pattens appear to project into “real” space.
This is a brussels griffon, the descendant of a long line of flanders terriers bred to catch rats, in the centre foreground represents fidelity and wealth as apparently it was a rare Belgium breed. This dog looks directly at the viewer, unlike the humans, which was later added. The vertical line of the floorboards is visible beneath its meticulously painted wiry coat and there is no underdrawing. The use of green on the dress is heightened by placing it Van Eyck captures the different ways light next to its complementary is reflected on this polished, meticulously colour, red. The colours may In Bruges, oranges were a rare delicacy imported from the far detailed chandelier’s surface and even have symbolic significance; south. They were prized for their culinary properties, adding shows the tool marks. With this chandelier, green signifying fertility and zest to sauces that livened up dull Flemish winter fare. The he demonstrates a very powerful message red signifying passion. Tiny fruit and its blossom were symbols of love and marriage, and of death. With this he paints a lit candle dots of paint suggest the doctors recommended that oranges be carried in order to above Arnolfini and above the other figure intricate decorate cut-work on stave off the plague. Perhaps is was also displayed because Van Eyck creates a burnt out candle, the dress. Van Eyck wanted to show his skill at modelling its spherical signifying that she has passed away. form.
Another symbolism of death is shown around on the wood frame of the convex mirror showing scenes from the Passion of Christ. This shows scenes from when Jesus carried his crucifixion up on Mount Calvary and his death.
The Boyhood of Raleigh Oil on canvas, 1870 48 cm x 56 cm (Tate Modern, London)
John Everett Millais, 1829-1896 Millais was a child prodigy, becoming the youngest ever pupil at the Royal Academy Schools. His superb technical skills were well suited to the precision that the Pre-Raphaelites sought to achieve. In his early work, Millais opted for literary themes – drawn from Shakespeare, Tennyson and Keats – and autumnal scenes that were reflections on mortality. Gradually, he abandoned his Pre-Raphaelite roots and veered towards a sentimental style, which was in line with mainstream Victorian taste. Millais had a particular gift for portraying children and they feature prominently in his most famous pictures, such as The Boyhood of Raleigh and Bubble.
Bubbles Oil on canvas, 1885-86 94.8 x 63.8 cm (Lady Lever Art Gallery, Port Sunlight)
Isabella Oil on canvas, 1848-49 103 x 142.8 cm (Walker Art Gallery, Liverpool)
Ophelia, 1851-52 John Everett Millais (oil on canvas, 76 x 112 cm) Ophelia is considered to be one of the great masterpieces of the PreRaphaelite style. Combining his interest in Shakespearean subjects with intense attention to natural details, Millais created a powerful and memorable image. His selection of the moment in the play Hamlet when Ophelia, driven mad by Hamlet’s murder of her father, drowns herself was very unusual for the time. However, it allowed Millais to show off both his technical skill and artistic vision.
Here you see the figure floating in the water with her mid section slowly beginning to sink. She is clothed in an antique dress that the Millais purchased specially for the painting. The artist has shown clearly that the weight of the fabric is not too heavy as it floats, but it’s heavy enough that it also pulls her down. As you can see at her waist, in the painting, disappears beneath the waters surface.
Ophelia’s hands are in the pose of submission, accepting of her fate. She is surrounded by a variety of summer flowers and other botanicals, some of which were explicitly described in Shakespeare’s text, while others are included for their symbolic meaning. For example, the ring of violets around Ophelia’s neck is a symbol of faithfulness, but can also refer to chastity and death.
Pablo Picasso, 1881-1973 Between 1909-1914, Picasso and Georges Braque were the leading figures in the development of Cubism. They took further then any of their contemporaries the fragmentation of form, the collapsing of perspective, and the playing with reality and illusion, which were all aspects of this complex and large influential movement.
Les Demoiselles d'Avignon Oil on canvas, 1907 243.9 x 233.7 cm (Museum of Modern Art, New York City)
For a while after World War 1, Picasso took part in the widespread revival of classicism, a tendency usually associated with political and artistic restraint. Picasso surprised again in 1925 when he associated himself with the surrealists, then the most extreme wing of the Parisians avant-garde. After World War 2 he moved to Vallauris, where he took up ceramics. Notorious for his womanizing, Picasso made his wives a frequent subject for his art. His work went through several recognizable phases, often triggered by his mood or environment. Never adopting a style or movement for long, Picasso cannibalized ideas from everywhere – medieval and African art, bullfighting, mythology – reprocessing them through his unique humorous and original vision.
Ma Jolie Oil on canvas, 1911-12 100 x 64.5 cm (Museum of Modern Art, New York City) The Weeping Woman Oil on canvas, 1937 60 x 49 cm (Tate Modern, London)
Guernica, 1937 Pablo Picasso (oil on canvas, 350 x 780 cm) Most people would consider Guernica to be the greatest painting of the 20th century. It is certainly the most famous anti-war piece, becoming as much a symbol for the misery of modern war in general as for atrocity in the Spanish Civil War. Initially, for a mural for the Spanish Pavilion, Picasso planned a studio scene but the bombing of Guernica changed everything, providing Picasso for his theme. On the first showing, it came under severe criticism from fascists and communists alike, besides baffling many critics and viewers. This half clothed figure is suggested to be dashing into the frame from the right side. Perhaps to understand what’s happening, although she glazes at the lightbulb unaware of her dress state. The uncertain bull figure has a visible presence of a faded third eye, showing how Picasso continually reworked this painting. The final outcome depicts a helpless bull confronting the viewer with two unusual human eyes.
Picasso took five weeks to complete Guernica, which was staggeringly fast for such a monumental work piece. By painting this as an allegorical history, Picasso was drawing on an established, traditional genre, to which he added a frieze-like, triptych structure and seven figures drawn from a combination of art tradition and his own highly personal stock of imagery.
From the beginning, shades of grey were used, drawing inspiration from both the expressive possibility of Goya’s Disaster of War etching and the distressing photographs he had seen in newspaper reports. The absence of colour, irregular perspective, and use of dark and light areas unrelated to any light source all serve to heighten the scene’s nightmarish quality. Picasso used artistic styles to express universal suffering, drawing on his personal iconography and the Cubist and Surrealist traditions of distorting and fragmenting shapes.
A lightbulb has been painted in a eye shape, which was originally a sun before the artist changed it. Picasso painted a lightbulb to demonstrate the links of the Spanish terminology linking to his painting theme. The Spanish word for lightbulb is bombilla, which is similar to bomba, the Spanish word for bomb. This figure has been distorted which has been taken from Picasso’s surrealist experiments in distorting human form. Her floating, elongated head and stretched arm, holding a lamp, signifies a ghostly appearance as she illuminates the chaotic scene. This allegorical motif, just like the Statue of Liberty, was a recognized symbol of enlightenment.
The story behind this whole artwork is about the Basque town in Guernica which was devastated by German bombers and fighters from the Condor Legion acting on Franco’s orders. It lasted three ours, destroying half the town and left over 1,600 defenceless civilians dead.
The composition of Guernica is divided into three parts, like a triptych, which are brought together by a triangular structure. The two diagonals, as seen on the left, meet a lamp held by the ghostly, woman figure. This draws the viewers attention to the screaming horse that is almost centrally positioned within the triangular shape.
Originally, Picasso drew a boldly raised arm with a clenched fist as the painting’s focal point, however, unhappy with its obvious symbolism he replaced the its with the twisted features of the horse, whose spiked tongue evokes the primal screams of the innocent victims pain of the war. From erasing many of the artists overtly symbolic imagery, he could not resist leaving several hidden motifs within the painting. These include another bull’s head, formed by the horse’s bent, front right leg, which appears to be nuzzling the statue’s hand. While the bull appears to be neutral, it could be goring the horse from underneath.
Moreover, Picasso included several subliminal motifs of death to demonstrate the lose of all the innocent victims of the bombing, including this skull, formed out of the horse’s nostrils and upper teeth. Another larger skull in profile is concealed in the horse’s body, forming the lower jawbone out of its bent knee.
The image of the griefstricken mother grasping her dead child echoes a familiar pose of suffering in art, mostly famously in Michelangelo’s Pietà. Picasso distorts the mother’s body with splayed fingers, an arched, long neck, and gaping mouth to heighten the emotional impact further to the viewers.
Intentions Finally after exploring various paintings that link with death, my intensions are to create a practical piece on the same genre through an exhibition. My aim is to create a visual 3D digital plan of the exhibition including the paintings I want to include. Afterwards I will create my own 3D exhibition model, by hand, with a leaflet, ticket stubs and a digital poster. Throughout this process I will be showing the step by step procedure of how I’ve come up with ideas and how I have further developed them onto my final piece. With the theme of death carried throughout my process I will try and incorporate symbolism such as memento mori, for example; skulls, blood, guns or any weapons. I want to show, in my poster, a mystery to death which will pull the audience closer making them want to find out more in the exhibition itself.
Poster Research
Here are many posters I’ve collected from various events/exhibitions which I will use for inspiration on my own poster. Each poster has its own theme with colour and style specific to their own event.
This poster is eye catching to the audience from its bright use of colour which brings them closer so see what the posters all about. In the top right corner of the poster you can see the gallery logo where this exhibition is being held. This gives the audience a clear understanding of what the poster is all about and what genre of paintings there will be without having the viewer read all the small print at the bottom.
I’m inspired by this poster which uses a unique technique which draws the viewers in so they can see closer at what the poster is demonstrating. The use of little colour has been used effectively to show the build up of the sketch. This is also signify depth behind the image from the bold colours and the simple font style. The title is as clear as the other poster, on the left, and creates a dramatic effect with ‘ATTENTION’ being bold as it in fact draws attention.
Existing Poster Analysis
‘David Hockney’ is shown in a big, white, simplistic font in front of a colourful background making the name pop out. Which makes it easy to get information out to the audience with just a name, due to the fact that the well known name tells us what the poster is all about. Moving on, the use of a primary colour as well as continuing the same colour which is used in the background painting creates the writing to be bold in the foreground. Finally, at the bottom of the poster is all the writing that is necessary with the date, place, time, where to get tickets and what train station its next to. However, this has been placed in a much smaller font to the title and doesn't draw the attention of the audience down from the picture and title.
How they’ve made the image start off with a light sketch and builds up in a bright, colourful image emphasizes the writing around the page. This unifies text and the image together extremely well, therefore, it’s an idea I will try myself using photoshop to create a similar style but with a painting from my exhibition. On the top right corner of the poster is the gallery logo, just like in the ‘David Hockney’ one. This shows the audience directly what and where this exhibition will take place. Not much information is displayed around which is useful as it doesn’t confuse the viewers, however, all the necessary details are shown like; the date, time, place and website address.
This poster is simple and different to the others I’ve analysed in a way the paintings is used as the background with the writing in front. Using the image behind the font creates depth but the image is of an impressionist painting meaning there is less detail due to the fact impressionist paintings are not very realistic.
Existing Poster Analysis
The gallery details; like the dates, where it is, website address and contact number is all included on the poster. Using the same font throughout the poster creates a unified display as well as making the font colour white with the main title pink. This is eye catching, due to the bold and bright use of the colour, for the viewer so they know the title as it stands out more then all the other writing in the foreground. In the top right corner locates the exhibition with the logo of the art gallery, this is clear and visible for the viewers to see when they glance at the poster for a brief moment. I am influenced by this poster to use font over the top of the painting, to create a mystery of what is underneath the writing, linking in with my title; The Vault Of Mystery.
At the bottom is all the relevant detail and information displayed which the audience need to know for the wear about of the exhibition as well as the dates and ticket info. This ‘Monet’ poster is very successful due the artist has created a realistic painting. Again, this poster it is also successful with the use of the faded font in the centre of the image, leading the viewers in towards the middle of the poster were the colourful and vibrant colours are shown. The writing about the gallery itself is at the bottom on a blank background separating the painting with the information so it is clear for everyone to read and not get confused within the painting.
In this poster, you can see a clear title which blends well with the paintings used in the background. The bright and vibrant colours catch the viewers eyes more then the other posters I’ve analysed.
I’m really inspired by this poster to create a font that has a medium opacity that you can not only see the writing but you can see through the writing itself. Especially when the figure in the painting overlaps part of the writing, creating depth and mystery.
Font Styles
I’ve chosen, not only to make plain font styles, to develop my own fonts using photoshop to create unique styles interpreting paintings that I will use in my exhibition within the actual font. Here I will demonstrate my findings and ideas to create an unusual, yet unique, font.
Vault Of Mystery
Vault Of Mystery
Vault Of Mystery
Final Font Styles
The previous page shows the title of my exhibition, ‘Vault Of Mystery’, in various style fonts to help me understand which fonts work we for my exhibition poster and ticket stubs. From all these styles, below, I’ve brought forward three of my favourite. This font style portrays the past just like the paintings in the exhibition which I’ll be using. The font is like quill and ink writing which links with the painting ‘Death of Marat’ as Marat has a quill and ink jar on his box suggesting he was writing… perhaps in a similar way as this font style.
To my right is a photoshop designed font which I’ve created by using clipping masks. This font shows the image underneath the writing with is very effective for my title as it’s a ‘mystery’ to what’s behind the text. This font style can be seen as an angry yet spontaneous style which acts like its going against the system. This is very unusual and unique for a title of an exhibition which attracts more audience and catches everyone's eyes. Consequently this font will stick in viewers mind, from on a bus or driving a car leading those people to search up this exhibition to find out more. This style of font is one I tried whilst creating a poster design. I just changed the opacity of the text to 75% and it shows a black and white image of the background painting behind the title.
Chosen Font Style I’ve chosen, from these four font styles above, the fourth design which I was able to create in photoshop. I believe this style is most effective for my exhibition and most suited to the purpose and the contents of my exhibition because the text is opaque just like ghost which link in with death. The simple yet bold font also grabs the attention of the viewer as well as the use of hiding parts of the title behind elements in the background painting, making the audience intrigued.
Poster Development (1)
On the next few slides I will be developing my ideas from analysing existing posters into my own design for my final exhibition piece. I will be including paintings which I’ve analysed previously in this presentation because the audience will have an understanding of what the exhibition will be about and what it will actually include.
(2)
(3)
I’ve created a dispersion effect using ‘The Death Of Marat’, on the next pages I have shown how I’ve achieved this effect. I really like how this has turned out and I will defiantly interpret this design into my final poster. However, I will develop this further by adding the information and title of my exhibition in a similar font to the writing on the box which states ‘À Marat, David’. Using this design can relate both to my exhibition title and to my theme of Death by using the dispersion effect it creates a sense of both mystery and the passing of someone who’s dispersing away. Number (1) was my first try attempt which didn’t turn out how I would’ve like however number (2) was much better in a way it looks more realistic. Attempt (3) is my favourite because its almost lifelike, therefore, I will be using the 3rd design to develop further for my final poster.
Using photoshop I wanted to create a dispersion effect from Marat’s arms upwards to show he’s moving on from life.
From starting off with a painting I wanted to use, which was ‘The Death Of Marat’, I moved onto pasting the painting into photoshop on an international paper format
Using the selecting tool I drew round the area I would like to disperse and chose layer via copy.
Then I stretched the selected parts of the painting using free transformation. This would allow me to rub away, using a scattered brush, speckles around Marat’s arms to create the dispersion effect. In order for this to work I would need to stretch the image as far as I would like to disperse.
Here I finished stretching the image to the right amount that I would’ve liked for the dispersion effect to work. As well, I added a white mask to this layer.
By placing this layer under the origin image of The Death of Marat and adding a mask to create the scatter.
After choosing the wanted scatter effect all I had to do was click where I wanted to disperse Marat’s body, as you can see in these last two screenshots. I will definitely be using this in my final poster design because it has worked out extremely well and it’s unique which makes my exhibition unique as well.
Before creating the scatter effect I had to make sure the original image layer had a black background mask.
To create the scatter effect you have to choose which brush effect you wanted, including spacing and size.
This was my first poster design I created, which a mixture of photography and photoshop work. This wasn’t very successful because, not only was there too much unnecessary information, they painting wasn’t exactly the same as the previous painting I worked with for the dispersion effect. Both of the posters font styles didn’t work out well as they aren’t eye catching enough for the viewers as well as getting lost within the posters details which isn’t what a poster should do. I will put this idea to the side for now and work on other effects and techniques I could use for a bold and unique poster for my exhibition.
Poster Design This is a poster design I started off to experiment with various elements, like the font and adding in parts of my own drawing. From taking inspiration from previous posters I’ve analysed, I have combined them into one poster design using photoshop. The font is a simple yet effective style which is opaque slightly, inspired by Monet’s poster, which is hidden behind Marat’s left arm, creating a mysterious mood within the audience. The black and white sketch, which I drew then scanned in, was an idea from the ‘Drawing Attention’ poster and has work well to link in with the mystery of my exhibition title. Again I have reused the dispersion effect as I believe it works very effectively in the last tries, therefore, bringing it back to develop further was a great idea due to bringing more attention into the poster. On the top left hand corner displays the gallery logo I designed from using the initials of the gallery name; ‘Bruce’ and ‘Molian’. With all the information a poster needs for the exhibition on Marat’s box in the foreground stating; the where about, date and website. Within the next two pages are my development stages in creating this poster design. I will further explore poster designs that I am satisfied with for my final poster piece which will like to my theme of death as well as developing more techniques.
Firstly, to create this poster design, I started off with The Death of Marat image just like in my dispersion design.
On a new layer I created a text box with my exhibition title within it. After playing around with the font style, spacing and size I placed the title where I wanted it to be displayed.
As you can see here, I wanted my title to overlap the figure in the background, just like in the poster for Monet’s exhibition.
Monet’s poster, which I analysed in my previous slide, inspired me to create an opacity font style. I created this my changing the opacity level on the menu bar in photoshop to the level of which I wanted. To hide my title behind the arm of Marat, to show a mysterious mood, I selected his arm then copied via layer. With this, I moved the layer with the font behind the layer I just copied leaving the title hidden behind part of the arm.
Next, I wanted to add in parts inspired by the ‘Drawing Attention’ poster of my actual drawings using the computer. I Just drew on top of each different part I wanted on the image in black and white to add the mysterious effect.
Previously, I tried the dispersion effect which turned out extremely well, therefore, I wanted to incorporate it again into my final poster design.
As you can see above, I added the dispersion effect around Marat’s trailing arm. I also added the details every poster should have on the wooden box for all to see.
To finish with, I not only made the information on the box bolder, by adding a shadow, but I added my own logo design for my gallery as well as media icon links which gets the audience that have their electronic devices out already and who are on Facebook, Instagram or Twitter to quickly search the art gallery and exhibition.
Final Poster Design This is my final poster design which I’ve gathered ideas from analysing poster from previous exhibitions. I wanted to incorporate brushstroke designs into this poster due to the fact this is for an ‘art’ exhibition. Bringing forward the ‘B&M’ logo and the media icons was a success because they add to the realistic elements of an actual poster. With the title font I have changed my mind from the previous as I believe this style is unique and less dull compared to my other designs. Incorporating colours onto a rustic yet plain background attracts the viewers with the vibrant pop of the brushstrokes in the background, leading the information around the poster to stand out and not get lost within the poster design. I am happy this has worked very well and I will defiantly be using this design as a final poster as well as on my ticket stubs and exhibition guide/leaflet.
On the next few pages is my step by step tutorial of how I’ve managed to create this poster using photoshop, including the background brushstrokes and how I have created the Death of Marat to be designed as a brushstroke itself.
To begin with, I created several brushstroke patterns with various colours that complement the painting; The Death of Marat.
On a separate layer I create more brushstrokes which will be layered over the original in the poster. Finishing with these, I saved them both separately as a Jpeg file.
As you can see here, I create one last brushstroke which will have The Death of Marat behind it. Again saving this as a Jpeg file.
Layering each brushstroke file into the centre including the file I will replace with Marat. To create the image behind the brushstroke you’ll have to place the image on top and select inverse on the stroke you want to place the image behind. Using the rubber tool, all you need to do now is rub of the image on the outside of the brushstroke outline. Afterwards you can go around the edges and create an opaque outline leaving a soft stroke and not a solid, harsh line.
Above is the finished design which is in the right place where I want it, however, all that is left to do is add on the writing and information about the exhibition.
After choosing a font style previously, I wanted something more unique and eye-catching. Therefore I created my title and placed this where I wanted on my poster.
Using a similar font style which is easier to read, for the viewers, I added effects therefore the writing would stand out from the background and not get lost.
Onto the finishing touches, I just had to add my logo and media icons for; Facebook, Instagram and Twitter. This was to create a more realist poster design rather then a simple, ineffective one. I removed the white background of my original logo design, so it could stand out more, and then I filled the lines creating a much bolder effect. After placing these finishing touches in the right layout, the poster was finished.
Exhibition Analysis This gallery, below, has a very open composition with four plinths in the middle of the room containing more artwork on top making the room not fell empty.. This gallery has grey painted walls which helps the paintings and other artwork standout because it’s a neutral tone. Also this, and other galleries I have been to haven’t got many windows which creates more wall space for artwork. The paintings in this room have been compact together, leaving blank spaces at the top due to placing the paintings only at eye height of the viewers.
In this room they have placed the paintings with wire from above to display the artwork instead of attaching them straight onto the wall. All the paintings are equally spaced out and has a very open composition. This adds to the effect of the sizing of paintings displayed. The gallery also places benches in the middle of the room allowing people to sit and look at the paintings whilst easily being able to walk around them. The dark, red walls blend in with the paintings, suggesting that you have to look at each individual painting rather then all of them together. Moving on, this gallery has an open layout just like the others on this page, however, they have created a half wall divider for more wall space and there is still lots of room to walk around. The artwork here are evenly space apart neatly and unified, which is a common concept in galleries so paintings are equally represented. The light orange wall colour creates a warm yet spacious feeling which makes the viewers relaxed and enjoy looking around at the art.
Exhibition Analysis Below, I have looked at The Louvre museum floor plan to help myself understand how I can layout my exhibition floor plan. The Louvre’s first floor plan shows the general shape of the building, which is symmetrical, with all the rooms numbers as well as coloured to their specific themes. I like how they incorporate a small brief of six main paintings located in this gallery to help the viewer understand where they are, like ‘The Mona Lisa’ which is labelled ‘E’ and shown on the map. So much detail has been included on the floor plan just like the toilets, café’s, stairs/lifts, entrances and exits.
Here is another floor plan of an art gallery which is designed unsymmetrical with several different shaped walls and rooms. The rooms are clearly labelled what is in them including; Asian, Contemporary and Renaissance themes. Even the museum shop, toilets, entrances and disabled access is located on the map making it easy for the viewers to make their way around without getting lost and confused.
Exhibition Plan Here is a floor plan for a small gallery exhibition I have created. I made it so the gallery flows in and out through the different rooms which at least 2 door for people to move out creating less congested. I love the unique, symmetrical layout, however, I don’t like the diagonal walls circling the entrance hall of the plan so next time I will make my rooms more rectangular with more room for half wall dividers perhaps. From looking at other gallery floor plans and visiting a few in person I’ve found out that quadrilaterals are the common room shape, therefore, I wanted to create a few rooms unusual; such as room 1 and 3.
Room 2
Room 4
From sketching a quick floor plan for inspiration I drew more onto the computer and creating a 3D vision (as shown on next slide). My favourite one I believe is this design to my left which I then created as a floor plan in black and white (top right).
To the right is a few map symbols to help the visitors make there way around more easily as well as letting them know what facilities are offered. I will display my floor plan on my leaflet with each artwork piece labelled with numbers to help the visitors know what painting they are looking at.
Café
Information/ Gift Shop Toilets
Artwork
Exhibition Plan I wanted a visual plan of my exhibition, therefore, I created a 3D model on the computer with similar wall colours and correct positions of where doors/arch ways should be. On each camera shot of my exhibition I have labelled with numbers where each painting will be located. When creating this exhibition by hand I will try and stick to the same layout as much as I can, however, I may not include a few parts like the back door or windows so I can have more wall space to work with for my paintings. I will definitely be carrying through the red wall colour just like in the ‘Louvre’ due to the warmth and dramatic feel it gives the visitors. I’ve chosen this placement of paintings, which you’ll be able to see in my final leaflet design, because I wanted to demonstrate monumental in most paintings of large scale, such as number 4 which is ‘The Raft of The Medusa’ and that has the whole room’s width to itself as well as being the first painting to be seen when you walk though the main doors to show the scale and symbolisms through the placement.
Ticket Analysis To the right is a ticket stub I located on the internet which has a simple yet sophisticated design. The font is unified throughout and it contains all the information the holder need for when and where. It also includes a barcode and rip off part for when you are at the exhibition itself. The use of black and white is bold but use of colour would look more compelling for the holder of the ticket which can help to be noticed more, meaning there’s a lower chance of losing it.
Although this ticket stub if for an American football game, the layout is different compared to most ticket stubs which I like. This ticket includes all the information as well as the others, including where, when, where the seat is and it even has a barcode. The colours bring the whole design together and reflects the whole concept of what the event is. This final ticket design is from a festival in another country, however, all the concepts are easily shown, for example; the date, time, seat position, where, what it is and the barcode. The three colours black, red and white are bold and eye catching. The logo is also clear which is located on the tear off part, just like the first ticket stub I analysed. I do like the simplistic approach but it does look a little boring compared to the football one.
Ticket Designs Looking at previous tickets form real events I have created a layout for my own exhibition ticket design. To the right is my first design I created, showing all the necessary information needed, my gallery logo and also a barcode I created on PowerPoint. The detail is lacking throughout the ticket design. To the left, is another design I created using the same layout as my final poster design. I have used the Moving on, here is another design I’ve developed from the original image for the design on the left by adding a text box which doesn’t block background as a the background, due to changing the opacity. Further more I brushstroke as well as set out the text in an order which is relevant for the ticker adding the Facebook, holder to read and also the ticket number, making it become Instagram and Twitter logo a real issued ticket next to the B&M logo. Moving around the information and adding a few more details creates a realist ticket which is sophisticated. At the bottom is a tear off code when entering the exhibition they can remove this part so it can’t be used again.
Final Ticket Design From gathering ideas off other ticket designs and developing my own ticket designs (on the previous slide) I’ve created a final design for my art exhibition. I moved across elements from my poster onto this ticket to link both the poster and ticket to the same exhibition event. I love how this design for my ticket has worked out as it is simple, like other tickets I have looked at, however, its unique to my event. I’ve toned down the colours in the background image to help make the information pop out more for the holder of this stub. I’ve added on all the necessary information the ticket holder needs such like; where it is, when, how long its valid for, price, website and telephone number. I wanted to add all the information on this ticket to be clear and not getting lost with the background, making it easier for viewers to see. With this I tried several approaches (as you can see to on the previous page), which weren’t to clear to read because they got mixed in with the surroundings.
Final Leaflet Design
For my exhibition guide/leaflet design I will be using the same image and font style as my poster and tickets because all my advertisement will be unified with the same scheme. Below is my final layout styles I’ve put together from inspiration brought forward by previous designs from both posters and tickets stubs.
Page 1
Final Leaflet Design
Page 2 & 3
Page 4 & 5
Final Leaflet Design
Page 6 & 7
Page 8 & 9
Final Leaflet Design
Page 10 & 11
Page 12 & 13
Final Leaflet Design
Page 14 & 15
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