Francesca Sellars Critical and Contextual Studies exam work Theme 6 question e
Narrative Analysis and development
Definition of Narrative artwork Some ways in which narrative is conveyed are ;
Storytelling through a single scene or conveyed by continuous narrative. Arrangement of composition to tell a story Poses and gestures of characters to convey meanings and relationships between them. Use of symbolism within artwork
For my research into the question ‘Narrative’ I am going to look at 3 themes ; historical events, mythology and religious/biblical and look at famous artworks which show different types of narrative .
Historical events To start my research into narrative artwork I am going to look at narratives depicting historical events. I have looked at the following paintings that capture the action, emotion and stories behind historical events
Paolo Uccello, The Battle of San Romano, Niccolò da Tolentino Leads the Florentine Troops c. 1435–1460, egg tempera with walnut oil and linseed oil on poplar National Gallery
https://en.wikipedia.org/wiki/The_Battle_of_San_Romano
The battle of San Romano is a set of three paintings by the Florentine painting Paolo Uccello depicting the events that took place at the Battle of San Romano between Florentine and Pienese forces in 1432. The composition is asymmetric and consists of many soldiers on horses in battle in the foreground. The general on a white horse is the central focus of this painting . The horse is raising its front legs and the general is holding up his weapon as he prepares to charge into the battle. To the right of the general is a crown of men on horses holding their weapons high in the air, also preparing to charge. One holds a large white flag in the air above the general and his horse. To the right of the painting are more men but this time captured in the fighting . In the mid ground are many hedges and orange trees which envelopes the scene . In the background, many fields and trees can be seen as well as more figures fighting. The artist, Paolo Uccello was obsessed with perspective. Atmospheric perspective has been used in the background of the painting and clear orthogonals can be seen.
Context and summary points •The events shown in the painting took place in 1432 when the Florentines defeated the
Sienese troops • a contrast between the formal decorative elements and a more scientific approach to perspective and three-dimensional composition. • a receding background is shown by fallen soldiers, discarded and broken weapons and the movement of horses, but no great sense of background and/or depth in the landscape. • Elements overlap across the foreground plane. • Renaissance creation of space and Gothic style pattern are both present and the effect is often tapestry like. • No sense of extreme violence or aggression and appears more a staged tournament than a military battle. • The warriors and horses are in frozen poses and are overlapped and arranged for the impact • The pictures may originally have had arched tops designed to fit below Gothic vaults. They were made into rectangular panels in the 15th century, possibly by Uccello himself. • Though the three Ucello paintings were thought to have been commissioned by the Medici (probably Cosimo), it was recently discovered that the paintings first belonged to the Bartolini Salimbeni family and they were forcibly removed on the orders of Lorenzo de’ Medici.
Pablo Picasso ,Guernica, 1937 Oil on canvas 349 cm × 776 cm (137.4 in × 305.5 in) Museo Reina Sofia, Madrid, Spain
https://en.wikipedia.org/wiki/Guernica_(Picasso)
The Guernica is a large mural- size ,oil on canvas painting created in 1937 by Pablo Picasso. The painting only uses a monotone colour palette of grey, white and black shades. It is known as one of the mot powerful, emotional and moving anti-war paintings in art history. The large 349 cm Ă— 776 cm mural depicts the bombing of Guernica, a county village in northern Spain. The painting shows the suffering of people and animals due to the chaos of the bombings. The scene is based in a room, on the left a bull stands over a grieving woman holding her dead child , a victim of the violence.
At the centre of the painting is a large horse falling who expresses pain as if it has just been stabbed by a spear. There is a large hole in the horses side which is a major focus of this painting. Below the horse is a dead dismembered soldier who’s arm is clenching a broken sword which is growing a flower. In the palm of his other hand is a stigma symbol derived from the stigmata of Christ. At the top of the painting is a large lightbulb which takes the form of an evil eye above the horses head. In the upper right next to the horse is a frightened figure witnessing the chaos. She seams to have floated into the room from a small window, she is carrying a lit lamp with her elongated arm.
Symbolism There is symbolism in this painting due to the Spanish word for lightbulb being ‘bombilla’ which is similar to the word ‘bomba’ meaning bomb in Spanish. The symbolism of the lamp clashes with the symbolism of the lightbulb as the lamp symbolises hope .
On the right of the painting is a woman staggering towards the centre below the floating female figure. Her expression is blank as she looks up towards the lightbulb above. Another symbolic element of this painting is the replacing of the bull, grieving woman and horses tongues with daggers to symbolise the severity of the war and suffering. In addition a dove holding an olive branch ( a symbol of peace) is engraved onto the back wall behind the bull. On the far right of the painting a figure with its arms raised in terror and distress is trapped in fire from above. It is believed that the figures right hand suggests the shape of aeroplane. A dark side wall with an open door defines the right end of the painting. There are also some unknown meanings formed by the figures; The first is a human skull created by the horses head. The second is a bull that appears to gore the horse from underneath. The bulls head is formed by the horses front legs and knee the knee cap forms the nose of the head and a horn is created from the shape of the horses breast.
Context and summary points In summary the Guernica is an example of a contemporary painting of the bombing of the Basque town by the Luftwaffe Condor Legion, on behalf of Franco’s Nationalists, during the Spanish Civil War , between 1936 to 1938. The painting was Commissioned by Spanish Republicans in Paris for 1937 Spanish Pavilion at Universal Exhibition and taken up eagerly by the anti-Nationalist Picasso. The composition shows fleeing, terrified figures and victims – from left to right – a mother weeping over a dead child, watched over by impassive bull: a fallen warrior ,a horse in agony; a female holding a lamp at an upper window; a running female who looks at the lamp, and a figure engulfed in flame and a dove is engraved on the back wall. • ‘evil eye’ transformed into the shape of a lightbulb. • Set within a room, open at the left hand side. • Propaganda painting , large scale intended to enlist support for the Republic and outrage at the bombings • Although recognisable the forms are very simplified and presented in a linear /geometric way. • monochrome palette, bold and simplified forms, expressive faces of figures • Symbolic content, hidden symbolism
Trajan’s Column , 107~113 AD , Roman Triumphal column in Trajan's Forum ,Rome ,Italy
https://en.wikipedia.org/wiki/Trajan%27s_Column
Trajan's Column ‘Colonna Traiana’ or ‘COLVMNA·TRAIANI’ in Latin is a Roman triumphal column in situated in Rome, Italy. It commemorates Roman emperor Trajan's victory in the Dacian Wars. It is believed to have been constructed under the supervision of the architect Apollodorus of Damascus at the order of the Roman Senate. It is located in Trajan's Forum, built near the Quirinal Hill, north of the Roman Forum. It was completed in AD 113 and is most famous for its spiral bas relief, which artistically depicts the epic wars between the Romans and Dacians (101–102 and 105–106). Its unique design has inspired numerous other victory columns, both ancient and modern.
Roman carroballista, a cart-mounted field artillery weapon (relief detail)
The column structure is about 30 metres (98 ft) in height and 35 metres (125 ft) including its large pedestal base. The shaft of the column is made from a series of 20 colossal Carrara marble drums, each weighing about 32 tons, with a diameter of 3.7 metres (11 ft). The frieze winds around the shaft 23 times. Inside the shaft, a spiral staircase of 185 steps provides the public access to a viewing platform at the top. The capital block of Trajan's Column weighs 53.3 tons. The inscription plate above the entrance to the interior
Ancient coins indicated that there were preliminary plans to top the Trajan column with a statue of a bird, such as an eagle but after construction, a statue of Trajan was put in place; this statue then disappeared in the Middle Ages. On December 4, 1587,Pope Sixtus V topped the column with a bronze figure of St. Peter which remains to this day. A noted Italian archaeologist, Filippo Coarelli, explains that: When it was built, the column stood between two libraries, which perhaps held the soldier-emperor's account of the Roman-Dacian Wars. Working under the supervision of a maestro, Coarelli says, sculptors followed a plan to create a sky-scraping version of Trajan's scroll on 17 drums of the finest Carrara marble.
Narrative The relief sculpture depicts Trajan's two victorious military campaigns against the Dacians; the lower half illustrating the first (101–102), and the top half illustrating the second campaign (105–106). Throughout, the frieze repeats scenes of imperial address, sacrifice and the army setting out on campaign. Scenes of battle are very much minimal on the column, instead it emphasizes images of orderly soldiers carrying out ceremony and construction.
Mythological narrative Subjects and stories or tales taken from ancient myths, usually from Greece or Rome, and frequently involving the loves of ancient gods and goddesses.
Sandro Botticelli, The Birth Of Venus , c. 1486 ,tempera https://en.wikipedia.org/wiki/The_Birth_of_Venus
The Birth Of Venus by Sandro Botticelli, 1486 is a large scale tempera on canvas painting located in the Uffizi, Florence. The painting shows four figures; Zephyrus, Chloris, Venus and Horae in a vivid scene by the edge of the sea. In the scene, the Greek god of the wind, Zephyrus, is embracing Chloris, who he has captured. Zephyrus is pictured blowing winds towards the nude goddess of love Venus. She is stood on a large seashell, arriving from the sea. To the right if Venus, Horae (a nymph) is leaping up to clothe the newly born goddess in a floral shawl as she arrives on the beach . Venus is the main focus of the composition, portraying love, fertility, beauty and fortune. This is shown by the figures surrounding Venus and bringing the viewers attention to her in the centre. Plato, one of the greatest Greek philosophers said that the contemplation of physical beauty allowed the mind to better understand spiritual beauty. It is said that the nude Venus’ body and beauty lifted viewers minds towards god. Venus’ contrapposto stance and Venus pudica positioning of her hands adds to her idealistic form, inspired by many other classical female sculptures. The scene also pictures roses blowing in the wind which were said to have been born along with Venus.
Botticelli The artist behind The Birth Of Venus, Sandro Botticelli (1445-1510) spent almost his entire lifetime in the republic of Florence. Botticelli was famous for many renaissance paintings alongside decorating the Sistine chapel. Aside from painting the primavera, Botticelli's most famous work , painted for the Medici family was The Birth Of Venus. This was the first large-scale renaissance painting of its kind with an exclusively secular and mythological subject. Although so famous, it is not known who exactly the painting was created for or where the painting was located. Unfortunately Botticelli’s fame for his work was not resurrected until the late 19th century, long after his death.
Mythological context and likeness of figure The figure of Venus was inspired by the ‘Aphrodite of Cnidus’ the first life-sized representation of the female nude. Also the figure was based on the account of the fabled classical artist Apelles’ lost painting of the goddess rising from the waves of the sea. The Greeks story of Venus’ birth explains that Venus arose from the foam of the sea shore. Venus was created after Saturn castrated his father ,Uranus, the god of the sky. The parts were thrown into the sea by Saturn and this fomented the growth of the child who became the goddess Venus. Many people believe that the figure of Venus was possibly based on an Italian noblewoman, Simonetta Vespucci ( 1453-1476) nicknamed La Bella Simonetta. She was the face of spiritual beauty at the time of the paintings creation. Although it is not known if the painting was supposed to resemble Simonetta, the painting was finished 9 years after her death. Botticelli was also buried at her feet as requested when he died 34 years later in 1510.
Botticelli, Primavera, c 1482, Tempera on panel, 202 cm Ă— 314 cm (80 in Ă— 124) in Florence,Uffizi Gallery https://en.wikipedia.org/wiki/Primavera_(painting)
The Primavera, 1482, by Botticelli also known as the ‘Allegory of Spring’ is a large tempera on panel painting depicting the beginning of spring in a busy, fertile orange grove. The painting, described as one of Botticelli’s most famous works shows a spring setting with the goddess Venus directly in the centre , surrounded by a halo of trees and foliage. Venus is welcoming the viewer into her domain, while a blindfolded Cupid flies above her. She looks directly at the viewer and holds out her right hand to her side. She is dressed in a long flowing dress. On her left are the three graces, who hold their hands up together and seem to be dancing ,they further portray idealistic beauty. On the far left is mars, the god of war. He is seen pushing away clouds that are appearing at the very edge of the painting. On the far right Zephyrus is seen abducting Chloris (a nymph) Flowers come out of her mouth as she is transformed into the goddess Flora. Her fully transformed form is then shown strewing flowers. Next to them a woman is collecting flowers into the fabric of her dress. This scene portrays the fertility of nature in the springtime.
Allegory of Spring One of the most visible features of this painting is that all of the figures are elongated to add to the idealistic style and visual beauty. Although the Primavera has a strong mythological theme , the exact meaning of the painting is not known. The Primavera can also be considered as a classicising allegory in which the mythical gods are introduced to stand for abstract qualities: Chloris is raped by Zephyr and then metamorphosing into Flora stands for sexuality; the Three Graces represent beauty; Mercury is eloquence and wisdom. Botticelli’s interpretation of the springtime seems to be a poetic idea based on material gathered from a combination of ancient texts eg Ovid, Lucretius, Seneca, Horace, etc. Although the picture’s classical values are associated with the Renaissance , its ‘Garden of Love’ convention and abundant bright ornament, naturalistic detail and tapestry-like effect are of late medieval style. The painting decorated an anteroom attached to Lorenzo di Pier francesco Medici’s chambers. it is a Transformation of mythology into large scale imagery for secular, domestic http://www.wikiart.org/en/antonio-canova/theuse three-graces-1817
https://en.wikipedia.org/wiki/The_Rape_of_the_Daughters_of_Leucippus
Peter Paul Rubens Rape of the Daughters of Leucippus (1617) Oil on canvas 224 cm x 210.5 cm
Peter Paul Rubens’ Rape of the Daughters of Leucippus (1617) is a mythological painting that depicts the moment when the two daughters of King Leucippus, Phoebe and Hilaeira, were abducted and then married by Castor and Pollux. The painting shows dynamic action and poses as the sisters are carried off by the men. Two cupids are seen, each grabbing the reins of the two large horses, to signify that this was not a violent abduction and that love was present. The Group of figures are composed like a free-standing sculpture, set against a low horizon landscape. There is Emphasis on fleshy nudity of the maidens and their form. The two nudes are formally complementary and each presents a different view of the dynamic action , which is close to the viewer. In antiquity this abduction symbolised angels taking souls to heaven and so this sensuous mythological rendering was given a philosophical and Christian significance.
By Alvesgaspar - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=43523056
Gian Lorenzo Bernini Apollo and Daphne (1622-25) Marble
Gian Lorenzo Bernini’s Apollo and Daphne sculpture (1622-25) depicts the subject from Ovid’s Metamorphoses, where the nymph Daphne is turned into a laurel tree while Apollo ,the god of music ,is in amorous pursuit of her. The moment of transformation is shown by dynamic movement of the figures and captures how Daphne cries out in surprise and alarm. The are marked differences between the handling of the flesh, the hair and the bark and leaves of the laurel tree. The drapery of Apollo's tunic seems to move with the action as if it is being blown in the wind and the sculptor, Bernini ,succeeds in making solid marble appear light and flowing.
Apollo’s figure based on the classic sculpture Apollo Belvedere there is a sense of emulating and going beyond antiquity. The sculpture was originally displayed against a wall in the Borghese Palace so the spectator can see the drama unfold upon entering the room.
By Alvesgaspar - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?c urid=43523056
Apollo Belvedere
By Livioandronico2013 - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=36412 498
Apollo and Daphne
http://media.vam.ac.uk/media/thira/collection_ima ges/2006AF/2006AF4678.jpg
Antonio Canova Theseus and the Minotaur (1781-83)
Antonio Canova’s marble sculpture Theseus and the Minotaur (1781-83) borrows ideas and takes inspiration from the ancient world. The painting depicts the Ancient Greek myth of Theseus defeating the monstrous Minotaur in the labyrinth of King Minos’ palace in Crete. Theseus sits proudly on the body of the defeated monster looking down at him as he holds a club in his eft arm. The form of seated Theseus is inspired from an antique statue of Hercules, the Greek god of war and strength. The Head of Theseus is also derived from ancient sources and his torso is based on study of Belvedere Torso. Narrative clues given in the sculpture such as the thread used by Theseus to escape from the labyrinth. The sculpture is of an ancient subject representing reason conquering brute force.
Belvedere torso https://www.bukowskis.com/en/auctions/580/92 9-constantin-hansen-a-study-after-the-belvederetorso
Theseus’ Torso
Michelangelo, The Creation of Adam, c. 1512, Fresco, 280 cm × 570 cm (9 ft 2 in × 18 ft 8 in) https://en.wikipedia.org/wiki/The_Creation_of_Adam
The Creation of Adam, c. 1512 by Michelangelo is a 9 ft 2 in × 18 ft 8 in fresco which forms part of the Sistine chapel’s ceiling. It depicts the biblical narrative creation from the Book of Genesis in which God breathes life into the first man , Adam.
The fresco is part of a complex iconographic scheme and is chronologically the fourth in the series of panels depicting episodes from Genesis. It is the most well-known fresco if the Sistine chapel fresco series , and its fame is rivalled only by Leonardo Da Vinci’s Mona Lisa .The image of Adam near-touching the hands of God has become iconic of Humanity. The painting has been reproduced in countless parodies throughout art , media, television ect . Leonardo da Vinci's Last Supper and Michelangelo's Creation of Adam are the most replicated religious paintings in history .
God is depicted as an elderly bearded man wrapped in a swirling cloak surrounded by men while Adam, on the lower left, is led completely nude on the land . The pair exchange a strong glance towards each other and god's right arm is outstretched to impart the spark of life from his own finger into Adam. Adams arm is outstretched mirroring gods ,a reminder that man is created in the image and likeness of God (Genesis 1:26). Another point is that Adam's finger and God's finger are not touching. It gives the impression that God, the giver of life, is reaching out to Adam who has yet not received his touch . Symbolically they are not on "the same level" as would be two humans engaging with one another .
Many theories have been created regarding the identity and meaning of the figures surrounding God. The person protected by God's left arm may be Eve due to the figure's feminine appearance and gaze towards Adam, but was also suggested to be Virgin Mary or an angel. The inspiration for Michelangelo's treatment of the subject may come from a medieval hymn called Veni Creator or Spiritus, which asks the 'finger of the paternal right hand' (god) to give the faithful speech.
Masaccio The Tribute Money (c.1427), Fresco, 247 cm × 597 cm (97.2 in × 235 in)
https://en.wikipedia.org/wiki/The_Tribute_Money_(Masaccio)
The Tribute Money is a fresco by the Italian renaissance painter Masaccio created c.1427. the fresco is located in the Brancacci Chapel of the basilica of Santa Maria del Carmine, Florence, and was completed by his senior collaborator, Masolino. Painted some time in the1420’s, it is widely considered one of Masaccio's best works, and a vital part of the development of renaissance art. In the painting Christ is the central figure in this subject about paying the temple tax at Capernaum. The painting depicts a Continuous narrative as St Peter appears three times. The figures are also sharply characterised and dextrously grouped to exchange gestures and convey narrative The composition is powerfully modelled and fall of light over the painted figures is from the same direction as the real light of chapel. also, there is use of single light source that gives figures mass and weight. The painting shows emotional involvement of figures and anatomical accuracy as well as Influence of the perspective and the figure grouping in The Tribute Money is reminiscent of Nanni di Banco’s Four Crowned Saints at Orsanmichele.
Peter removing money from a fish's mouth
Peter with the tax collector
The story of the Tribute Money is told in three separate scenes within the same fresco. The way an entire story is told in one painting is a continuous narrative. In the Tribute Money, a Roman tax collector (the figure in the foreground in a short orange tunic) demands tax money from Christ and the twelve apostles who don't have the money to pay. Christ (in the centre, wearing a pinkish robe, with a blue toga-like wrap) points to the left, and tells peter to go to the lake, catch a fish and money will be found in the fishes mouth to pay for the taxes . Christ performed a miracle—and the apostles have the money to pay the tax collector. In the centre of the fresco (scene 1), we see the tax collector demanding the money, and Christ instructing Peter. On the far left (scene 2), we see Peter kneeling down and retrieving the money from the mouth of a fish, and on the far right (scene 3), St. Peter pays the tax collector. In the fresco, the tax collector appears twice, and St. Peter appears three times.
BartolomĂŠ Bermejo,Saint Michael Triumphs over the Devil, 1468 http://uploads3.wikiart.org/images/bartolome-bermejo/saint-michaeltriumphs-over-the-devil-1468.jpg
Saint Michael Triumphs over the Devil 1468, by BartolomĂŠ Bermejo is an oil and gold on wood painting representing war in heaven . The painting was probably the central panel of an altarpiece which was formerly in the church of San Miguel in Tous, near Valencia. The kneeling donor on the left is Antonio Juan, Lord of Tous. He holds a psalter open at two penitential Psalms. The heavy chain and sword indicate that he is a knight. Bermejo's mastery of the Netherlandish technique of painting in oil can be seen in the modelling of the donor's head, in Saint Michael's crystal shield and in the reflections of the Heavenly City on his breastplate.
The action occurs very close to the picture plane to increases the dramatic intensity for the viewer . As well as illustrating the story of St Michael defeating the devil ,the artist has also included the kneeling donor ,who is much smaller in scale. He holds a psalm book open on two potential psalms , 51 and 130 ..
Ancient Egyptian narrative art Ancient Egyptians used hieroglyphic art to write and depict scenes which contain mythological gods, goddesses, animals and other symbols . They combined logographic imagery and alphabetic elements along with used cursive hieroglyphs for religious literature on papyrus and wood.
The Narmer Palette (the Great Hierakonpolis Palette) or the Palette of Narmer, siltstone , 31st century BC
https://en.wikipedia.org/wiki/Narmer_Palette
The Narmer Palette, also known as the Great Hierakonpolis Palette or the Palette of Narmer, is a significant Egyptian archaeological find, dating from about the 31st century BC, containing some of the earliest hieroglyphic inscriptions ever found.
Mace- pose used for the next 300+ years , also referred to as a ‘smiting pose’
The falcon with a human arm is the god Horus, Shown holding a rope blinding foe’s head , which is emerging from a marsh. (Likely a personification of lower Egypt)
Sandal-bearer An impotent foe, signs may name his region of origin
Narmer wearing the ‘white crown’ of upper Egypt , bull tail, royal beard, and a kilt associated with the goddess bat
Dead foes with a walled city. perhaps personification of cities
Head of the goddess Bat (or the goddess Hathor)
Narmer with a sandal bearer behind him wearing the Red Crown of Lower Egypt, a bull tail and a kilt known as the “Lower Egyptian Costume” Priest wearing a leopard skin following 4 divine standards
Serpopards (a mythical animal) with entwined necks defining a recess for mixing makeup
Narmer’s name written in symbols; a catfish and chisel within a palace Boat preceded by swallow and an open door (unclear meaning)
Foes decapitated and castrated; several parts placed together between legs
May represent the king as a bull, knocking down the walls of a city