Francesca Sellars Personal Investigation
Time in Art Humans have always been aware of the concept of time and its value. As we age we are made aware that time cannot be defeated and in art we are given symbolic reminders of time and mortality. Artists have regularly dealt with the nature of time by using these symbolic objects such as clocks and hourglasses to show the importance of time. My aim is to explore paintings that depict this passing of time in various ways.
Antonio de Pereda. Allegory of Vanity c. 1632
A
n Allegory ‌
This allegorical painting by Antonio de Pereda features a centrally placed angel like figure engaging with the viewer. The figure is holding a globe which could represent knowledge or travel, which at the time was extremely valuable. The angels large lifelike wings are given extreme detail and are textured like bird feathers . They are highlighted from an unseen light source from the top left of the painting The angel is wearing fine draping clothing which resembles silk or satin, which also emphasises wealth and vanity. The reflective and shiny material is also used in art to suggest the passing of time. The reflection is here one minute then gone the next. The figure is somewhat idealised with smooth pale skin, rouged cheeks and fair curled hair.
On the angels left next to the globe is a large golden embellished clock, which represents the passing of time , also a momento mori. Beside the clock are a collection of coins, jewellery and a collection of small portraits, all on top of a table covered in an orange and gold extravagant tablecloth. The portraits, money and jewellery represent human wealth and status, which are worthless possessions when faced with mortality .
The allegory of vanities shares similarities with Harmen Steenwyck’s ‘Vanitas’ , with a stopwatch and a bunt out watch which also symbolizes the passing of time
The artist has created an allegory of vanity by depicting the ‘Vanitas’ style scene of still life symbolic artwork , popular of the 16th and 17th centuries in Flanders and the Neverlands . The image describes the meaningless efforts of a collection of valuable material objects, goods and human pleasures for the purpose of vanity, a popular theme at this time . The painting shows smooth brushwork and the black background creates a contrast , highlighting the important symbolic items in the scene as well as the angel in the centre.
Other symbolic items ,known as a ‘Momento mori’ a reminder of mortality, are shown as the skull, a symbol of death , the candle, which will eventually burn out , and the hourglass which represents the major theme of time. Additionally , the reflections shown on the metal armour are also considered a Momento mori due to their transient nature.
On the angels right is an assembled collection of items presented to the viewer by the angel on a bare wooden table . It seems that that the painting is split between the beautiful materialistic items and the darker ambiguous symbolism of the skulls, weapon and burnt out candle which all represent death as a momento mori . Other symbolic items include the large horn , representing music as a luxury , the hourglass showing the wasting of time and stacked brittle folio books which could represent knowledge .
The arnolfini portrait, burnt out candle above the female figure could symbolise a similar theme of death
Vanitas style Painting
Harmen Steenwyck , an Allegory of the Vanities of Human Life
In a recent visit to the University of Birmingham’s Barber Institute Of Fine Arts I looked at a still life painting by Evaristo Baschenis called A Still Life with musical instruments . This 17th century still life painting resembles many elements from similar paintings like Steenwycks’s Allegory of The Vanities of Human Life as mentioned before . Both paintings have a collective of assembled ‘vanity’ objects .
Baschenis’ still life features a collection of musical instruments representing music as another human vanity. Although this is a still life painting , human existence can be shown by the fingerprint marks left in the dust of the instrument on the right of the painting
Bronzino ‘An Allegory with Venus and Cupid, c. 1545, oil on canvas
This painting describes , by use of symbolism , the twisted truth of love and shows a contrast between the pain and pleasure of love . The composition is asymmetrical reflecting the chaos and disorder in the painting. This composition indicates there is something more behind the image , showing love with pain rather than traditional straightforward depictions of love . The composition features seven figures , none of which engaging with the viewer . Venus the goddess of love and her son , Cupid , are seen in the in the centre in a close loving embrace .
Both figures are centrally placed and show dramatic poses in the mannerist style .The figures are both nude and idealised to emphasising their beauty .. The are easily identified by their attributes , used in western traditional painting to identify characters .For example, Venus holds the golden apple she won in the Judgement of Paris. Another traditional Western painting that identifies a character by their attribute; St Catherine and the wheel she was martyred on.
Mannerism In this image Bronzino has created an love in a twisted form showing disorder , mainly exaggerated by the use of mannerism and dramatic placement of figures . The mannerism style, a culmination of art from the High Renaissance features disproportioned figures with elongated torso’s and limbs which seam to curve and twist in impossible ways ,adding fluidity to the composition. The figures are Over stylised but powerful in elongated or distorted poses. In 1860 when Sir Charles Eastlake bought this painting, it was considered too shocking for the contemporary London audience, so various parts were painted over.
Parmigianino 's Madonna with the Long Neck (1534-40)
The child shown in this painting is extremely elongated , other signs of the mannerist style are shown in the woman's body compared to the size of her head.
At the top of the painting on the right is a bearded who could be Time or Cronus, god of time , identified by the hourglass behind him . He reaches his muscular arm across the blue drapery behind the central figures and seems to pull it across ,although this gesture has no certain reasoning . On the other side of the painting , directly opposite is a figure who shields the incestuous transgressions of Venus and the adolescent Cupid with the blue fabric that provides a screen between the figures in the fore and background. The figure opposite Time, is said to be called Oblivion His less human like, almost mask appearance is similar to the two masks on the bottom left of the painting .
The identity of the remaining figures is slightly more ambiguous with no certain story behind. The old figure grasping her hair in immense pain or terror has been called jealousy although some believe her to represent the extreme painful effects of syphilis . Syphyillis was a common disease at the time due to these types of careless love affairs and the painting somewhat uses this to symbolise the aspect of danger and pain in love. The young Folly may represent the early symptoms of the disease caused by a polluted, transgressive Venus . This is shown by his calm ,joyous expression although stepping upon painful thorns which could be numbing of his feet due to the starting of the disease , believed to have started in the fert, leading through the body , causing
To the right of Venus and cupid is Folly , represented as a young male child , frolicking in the scene holding a bunch of petals, the figure is also shown to be standing on thorns, representing the pain of love in contrast to the beauty and pleasure. The creature at the right-hand side behind Folly, with a girl's face but disjointed, grotesque body, and a large dragons foot , may represent Pleasure or Fraud but it I not known . The figure holds out some honeycomb with her right hand which represents sweetness whilst her right hand is awkwardly twisted holding her serpent tail.
in conclusion, with the theme of time in mind , I think that the symbolism and characters in this image show a clear message . the painting shows a contrast between love and pleasure and its consequences , shown by the aspect of pain.
Harmen Steenwyck –Vanitas/ Still Life: An Allegory of the Vanities of Human Life 1640 (oil on oak panel)
Dutch still life ‘ An Allegory of the Vanities of Human Life ‘ by Harmen Steenwyck is a typical small scale, Dutch still life Vanitas painting , for the purpose of homes of the bourgeoisie in the 17th century. The painting focusses on the vanity of earthly things and the transience of life and inevitability of death . The painting is a ‘momento mori’ Latin for a reminder of death. The Anatomy Lesson of Dr. Nicolaes Tulp
1632 oil painting on canvas by Rembrandt
During the 17th century , these paintings were common and showed everyday objects as vanity items d ue to the Christian ideas of life and how it should be lived. The painting was created to be spiritually uplifting without the presence of god. . At the time the genre of still life was the lowest, compared to large scale history and mythological paintings. In Holland, trade ,science and art were the most advanced in the world, and this progressed the Dutch to use their scientific discoveries to inform and influence their artwork .
The painting is a ‘Vanitas’ , Latin for vanity, where pleasure and human ambition are considered pointless when faced with the great leveller of death that puts an end to all worldly achievements.
The painting has smooth paintwork due to the use of multiple thin glazes of paint onto wooden panel. In addition a raking light source from the left hand side of the painting has created dramatic tonal values and chiaroscuro. The items in the painting are assembled on a table almost as if death is being presented in front of you. The artist has also carefully placed the items in the composition so that some of them hang over the edge of the table . This technique adds suspense and a dramatic feel to the painting , as if something is about to tip over and go wrong
On the end of the table there is a large shell , highlighted by the raking light . It represents wealth and is a rare and prized possession, this could also symbolise foreign travel and that the emptiness of the shell will one day be our own bodies . Next to the empty shell is a Chronometer , set at 12 o clock , symbolising the limited time of life , which is most valuable. Further inwards is a large skull , simply showing the raw aspect of death . Next to it is an opened book showing wealth and that any book used other than the bible is considered worthless. Other symbolic items include the musical instruments such as the lute and recorder, showing the human pleasure of music. The large Japanese sword seen in the centre resting with a rich purple silk fabric represents war and fighting and the efforts being pointless as all ends in death. In addition the fabric is showing the materialistic element of vanity , possible representing the richer class and the fabrics they would wear . Finally the burnt out lamp could symbolise the end of life and time running out and being wasted . Whereas the large jug of wine simply shows drinking as a vanity , wasting life .
Death in Art After looking at time in art, Symbolism and momento mori art my intention is to focus on death in art and how it is symbolised within artwork. From this research and development I plan to create designs for an exhibition as well as advertising material based on my development. For my initial analysis I am going to look at a timeline of art depicting death from early works to modern art , and show how the meaning of death and how it Is represented changes .
The Death of Marat Edvard Munch
Saturn Devouring His Son Francisco Goya
Symbolism of Death
Northern Renaissance 15th century
Religious altarpiece , 15th century Northern Renaissance
The Descent from the Cross (or Deposition of Christ, or Descent of Christ from the Cross) c. 1435. Oil on oak panel, 220cm Ă— 262 cm. Museo del Prado , Madrid
The composition of the painting was based on earlier altarpieces like this oneThe Riemenschn​eider Altarpiece
The Descent from the Cross (or Deposition of Christ), is a altarpiece panel painting by the Flemish artist Rogier van der Weyden created c. 1435, now held in the Museo del Prado , Madrid. The crucified body of Christ is lowered from the cross and his lifeless body held by Joseph of Arimathea and Necodemus. At first glance this religious painting shows death as a sacrifice and is an image showing emotion. The early Netherlandish artwork is a unique style with repeated forms , for example the positioning of Christ is almost identical to the female figure below him dressed in blue, who is Mary. In this painting , with the main theme of death , the artistis invites the reader or viewer to personally identify with the suffering of Christ and Mary in this dramatic emotional scene. In addition ,as this is a religious image , it heightens the importance and overall emotional value of the scene On the left of the painting Mary of Clopas, Saint John the Evangelist and Mary Salome who are looking down at the swooning Mary , holding her up as she falls , echoing the form of Christ. Behind Christ, holding his body is Joseph of Arimathea- who obtained permission to take down Christ's body. Behind Joseph is another figure climbing a ladder , leading up to the cross which Christ will be nailed to. The unknown figure holds a tool with his right hand and Christ's arm with his left, looking down at him as he climbs the ladder. On the right of the painting are another three figures; Nicodemus , Mary Magdalene and an unknown male figure behind them , holding a bottle of ointment .
Although the painting directly shows death with the body of Christ , in the bottom left of the painting a small skull is included as a symbol of death, which can also relate to a ‘momento mori’ in art , shown in still life paintings. In addition more symbolism is used , although not symbolising death, Christ is wearing a white shawl. In art the colour white symbolises associated with light, goodness, innocence and purity.
15th century Northern Renaissance
The Arnolfini Portrait, Jan Van Eyck ,1434, oil on 3 vertical oak panels , 82.2 cm × 60 cm (32.4 in × 23.6 in); panel 84.5 cm × 62.5 cm (33.3 in × 24.6 in) , National Gallery London
The Arnolfini Portrait is a northern renaissance painting by early Netherlandish painter, Jan Van Eyck. The painting is a full length double portrait is believed to show Italian merchant Giovanni di Nicolao Arnolfini and his wife at their home in Bruges. Although the painting is a portrait of the couple it was not intended to show their marriage. The painting is considered one of the most unique and complex paintings in Western art, because of its beauty, symbolism , geometric orthogonal perspective and expansion of space by the use of a mirror. Van Eyck used the technique of applying layers and thin glazes of translucent paint to create intense tone and colours . The glowing colours also help to highlight the aspect of realism , and to show the material wealth of the couple.
Room recess indicated by diagonals of floor boards between legs of figures, this shows depth and space in the composition.
Below the couple is a small dog representing loyalty, the dog is also an emblem of lust and could suggest the couples desire to have a child. The placement of the two figures suggests typical 15th century views of marriage and gender roles within the home . Mrs Arnolfini stands near the bed symbolic of her role as the caretaker of the house, whereas Giovanni stands near the open window, symbolic of his role in the outside world. Next to the dog below Giovanni are a pair of sandals , which appear to be muddy, showing his role outside and his work. In contrast to this there area par of indoor slippers close to the bed , representing her being domestic. Other symbolic items in the painting include the oranges on a table behind mr arnolfini symbolising wealth and a house brush hanging on mrs arnolfinis bed which also represents her being domestic and maintaining the home. It could also be liked to suggest, St Martha Patron saint of housewives.
Mr Arnolfini on the right of the painting wears a long extravagant cloak made of the fur of pine martins. He also wars a large black hat and smart boots ,showing wealth and the ability to purchase expensive fabrics. Although he is not engaging with the viewer he looks slightly away , holding his right hand up whilst his left hand holds the hand of Mrs Arnolfini , unifying the figures. The female figure , suggested to be Mrs Arnolfini wears an extravagant emerald green and blue dress lined with the fur of squirrels, also showing her wealth and status . Her hair is tied in two knots and she wears a white lace fabric over her head . Mrs Arnolfini’s left hand is resting on her stomach and her figure makes her appear pregnant although this is not known. The ruffles and layers of her dress may have been used to recreate this look as at was fashionable to appear pregnant and fertile . Mrs Arnolfini is also not engaging with the viewer and seems to be gazing at her husband.
Form has been created in the image though tonal modelling. And is almost Chiaroscuro-with a strong contrast of light and dark, creating special awareness and shadows. The painting also has a shallow foreground with recessive linear perspective. The figures of the couple also appear monumental and somewhat sculptural.
In the image the diffused light source coming from the window on the left hand side Illuminates important features such as the faces of the figure , their ands and important objects such as the oranges and the mirror in the background. The painting also feature Rich bright colours adding to the overall composition . A Mysterious atmosphere is created due to the gestures of the figures linking arms leading us into the
Symbolism of death In the background , a chandelier hangs above the figures and one candle , above Giovanni , is lit whilst the candle above Mrs Arnolfini is burnt out . In art a burnt out candle may represent death , an in the context of this painting , it may represent that the portrait shows Mr Arnolfini and his wife who may in fact be dead . Around the convex mirror we can see small paintings of the 10 stations of the cross: Jesus Christ’s journey to His crucifixion. This also adds some mystery to the painting as well as introducing the death of Christ as a symbol of sacrifice and Christianity . It is possible this is a portrait of the living Giovanni di Nicolao Arnolfini and a posthumous portrait (after death) of his wife Costanza.
17th century
Dutch Golden Age painting, 17th century
The Anatomy Lesson of Dr. Nicolaes Tulp, Rembrandt, 1632, oil on canvas , 216.5cm x 169.5 cm , Mauritshuis , The Hague
Depictions of death in paintings of Anatomy Dissection / scientific advances Throughout the history of art , artists have represented death in many ways , one of these ways has been through showing death in the use of experimentation , knowledge and scientific advances . Anatomy lessons including disections of the body were a social event, popular in the 17th century, taking place in lecture rooms and theatres , with students, colleagues and the general public being allowed to attend when paying a fee . Artists would use these anatomy dissections as a theme for their artwork to show important discoveries as well as knowledge of the human body. The Anatomy Lesson of Dr. Nicolaes Tulp , by Rembrandt is an example of this , showing the doctor performing a dissection lesson to students, showing the muscular structure and anatomy of a dissected arm of a dead criminal.
In the 1632, oil on canvas painting , a group of students are arranged in almost a pyramidal type structure , crowding around the body. The students are all dressed in formal attire for the dissection lecture , held by Dr.Tulp, who is wearing similar clothing as well as a large black hat which heightens his status as a teaching doctor. The students are carefully observing the dissection , although two figures at the top, left of Dr.Tulp are engaging with the viewer, as if to invite us into the scene. Dr pulp is shown with his left hand raised , possibly showing he is speaking or is about to speak, and his right hand holds a instrument, holding the muscles or tendons of the dissected arm being presented to the students. Below them is the body of the criminal subject ,Aris Kindt, who's grey body gives a cold and sombre tone to the painting .
Rembrandt (1606 - 1669), The Anatomy Lesson of Dr. Deijman, 1656, Amsterdam Museum
It is also clear from the painting that Rembrandt was aware of anatomy and shows a clear scientifically accurate representation of a dissected arm. The scene is set in a dark room with no architecture or background seen, creating a stage like scene. There is also dramatic chiaroscuro and shadows created , seen especially on the dead body’s legs . In addition the faces of the figures and the body are highlighted by an unknown light source.
Leonardo da Vinci Anatomical drawing
Looking at the aspect of death in art , the Dutch artist has represented death as purely for scientific and academic use , and showing the advances made in the dutch golden age . The painting is also based on fact and reason rather than conveying the artists ideas and emotions. Le bœuf écorché – Rembrandt
Neo Classicism 18th Century
Neo Classicism 18th century
The Death of Marat, Jacques-Louis David, 1793,oil on canvas 165cmx 128 cm , Royal Museum of Fine Arts of Belgium
The Death of Marat by Jacques-Louis David is a neoclassical style painting showing David's view of the murdered French revolutionary leader Jean- Paul Marat , killed in his bathtub. Davis was a friend of Marat at the time and the painting is an extremely political, scandalous painting , as the imagery used in the composition is in fact false. Marat was murdered 13 July 1793 by Charlotte Corday , a Girondin from a minor aristocratic family and a political enemy of Marat .Corday blamed him for the September Massacre . She then gained entrance to Marat's rooms with a note promising details of a counterrevolutionary ring in Caen. Marat was murdered in his bathtub where he spent a lot of his time, even working, bathing due to a skin disease. Corday fatally stabbed Marat, though she did not attempt to flee. She was later trailed for the murder and then executed. In the composition the artist has created chiaroscuro and tonal modelling, highlighting his body from a light source in the top right hand corner of the painting .Marat is lying with a trailing arm, taken this pose from classical paintings of the death of Christ. This trailing arm and the link to Christ, as well as the white cloth around Marat’s bath tub and on his head, may be trying to show he is a saint or martyr. In the painting Marat has been heavily idealised in many ways, the smooth appearance of his skin although he really has an aggressive skin disease , as well as the small, clean stab wound. Marat’s facial expression also seems a lot more relaxed and idealised for an older man who has been brutally murdered.
David, Head of the Dead Marat , 1793 Pen, black and brown ink, 270 x 210 mm Musée National du Château, Versailles
On a block table beside the bathtub , there is a charity note/donation cheque that Marat was supposedly in the process of writing to a grieving mother . Next to that is an ink pot and quill on the edge of the table and there is also another quill in Marat's right hand which has dropped to the ground.
In Marat's left hand is a letter, written to Marat by charlotte Corday, which reads ; (in French) "Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance" "Given that I am unhappy, I have a right to your help“. In the letter Charlotte Corday’s name can clearly be seen
The artist, David, has signed the work on the table/box ‘A Marat, David’ along with ‘year two’ engraved at the bottom marking the
In reality the painting showed this to portray Marat as a saint and a charitable, generous man, to hide who he was and his position in society and role in the revolution. Overall we have a piece of propaganda for the National Convention, promoting the republican cause.
Romanticism late 18th-19th century
The Raft of the Medusa, Theodore Gericault ,1818-19, oil on canvas 491cm x 716cm , Louvre Paris
The Raft of the Medusa , 1818-19, by Gericault is a romantic painting depicting the terror and tragedy brought upon by the aftermath of the wreck of the French naval ship Meduse , which ran aground off the coast of today's Mauritania on 2 July 1816. On the 5th July 1816, at least 147 people were left in the sea on a man made raft following the wreck .All passengers but 15 died in the 13 days before their rescue, and those who survived suffered starvation, dehydration and many resulted to cannibalism. The event became an international due to the incompetence of the French captain of the ship . And the painting itself was extremely famous for its political subject although it was never purchased by the state .
Gericault’s pen and ink study of figures for The Raft of The Medusa 17.6 cm × 24.5 cm,
The paintings composition is clearly pyramidal with two pyramid structures of passengers on the raft . The overlapping and piling of both dead and living figures adds to the dramatic subject and also creates dramatic chiaroscuro as well as tonal modelling of forms from the light above. As the painting is so large and figures are life-size , the status and importance of the painting is elevated as well as the dramatic emphasis . In the composition the figure protruding from the raft and hanging overboard that is cropped, acts as a repoussoir, almost drawing us into the scene and including us in the terror . In addition to the figures themselves , Gericault has included a bloodied axe , representing cannibalism on the raft , most likely as a result of starvation and desperation, as well as including the uniform of the captain floating into the water, which provokes the idea that the captain is to blame for the death and suffering of the passengers
Although Gericault's work was of romantic style, showing the emotions of the individual , the composition was extremely realistic in representing the real event. Gericault began to Research and produce preparatory studies after the event to help him recreate the event as accurately as possible. A raft was recreated to replicate the medusa raft created by a carpenter on the ship, and the artist used this on the water to see how it would of looked at sea . In addition to this, Gericault visited morgues after the event to create drawings and paintings of dead bodies and limbs of the deceased, to further his research into the devastation caused by the scandal.
Morgue studies; Preparatory Paintings for "Raft of the Medusa,"
I chose to look at this painting as unlike the other paintings I have looked at this is an extremely realistic , dynamic composition. In addition the overlapping and compiling of figures creates drama and tension for the viewer. Gericault has also carefully shown death and tragedy by the use of the figures movement and posing . For example the use of trailing arms traditionally used in religious art showing the death of Christ.
Salon style painting 19th century
Salon style painting 19th century
Paul Delaroche, The Execution of Lady Jane Grey,1833, oil on canvas,Large scale, 246 x 297 cm
The execution of lady jane grey Is a large scale ‘salon style’ painting by Delaroche depicting the scene before Lady Jane Grey’s execution. Lady jane grey, at the centre As a Protestant ,Lady Jane Grey was crowned queen in a bid to shore up Protestantism and keep Catholic influence at bay. Jane became Queen of England after the death of her cousin, Edward VI in 1553, but only for nine days. Mary and her officials had her tried for treason and Lady and her husband were sent to the tower of London and sentenced to death. Lady Jane Grey was executed at Tower Green on 12 February 1554. She was just 16 years old. Delaroche painted this as an interpretation of what the scene may have looked like and the painting was extremely popular as a large scale historic painting , which was the highest genre in art.
The composition seems to be divided into three sections, all set in a tower room which gives dark chiaroscuro and highlights lady jane grey in the centre as the main figure . The ground has also been covered in a sheet and is pulled back slightly ,acting as a repoussoir, giving the appearance of a stage like set that us as the viewer are invited into .
In the painting Lady jane grey is blindfolded and dressed in white, symbolising her innocence and purity. She is guided to the execution block by a male figure behind her. On the right of the painting, the executioner watches on , resting against his axe. On the left had side of the painting on the back wall, two female figures rest against the walls in despair , moments before the execution. The positioning of these figures are based on Delaroche’s drawings in the academic style of ingres.
Symbolism of white us similarly here with the death of Christ , wearing a white shawl
Modern art 20th and 21st century
1960’s Art
Andy Warhol, Electric Chair, 1964 screen-print and acrylic paint on canvas, Tate
Created by the American pop artist Andy Warhol, Electric Chair 1964 is a print of a mediumsize canvas that has been screenprinted with silver acrylic paint. In the centre of the canvas is an empty electric chair set in an empty room. A cable running from underneath the chair lies curled in front of the chair. The empty floor space in front of the chair is highlighted by saturated silver acrylic which the fades and blends into patchy sombre shadows in the walls . On the top of the door on the right hand side , the sign ‘silence’ has been included.
Death by electrocution was a controversial subject in the city of New York, where Warhol lived and worked . The subject was especially controversial after the last two executions at Sing Sing Correctional Facility in 1963. Warhol managed to take a photograph of the empty execution chamber, which became the basis for the series of prints. The composition portrays the subject of death as an extremely dark and sombre experience as the composition is dealing with a form of punishment of death. Also in contrast to other depictions of art as a natural part of life , the image shows an un natural process which provokes the emotions of the viewer . The artist has used a monochromatic to add to the dark, cold mood of the image as well as feeling of isolation and loneliness in the room.
Electric Chair is part of Warhol’s Death and Disaster series that started in 1962, early examples of for the collection included photos which depicted car crashes and suicides as illustrated in newspaper images. Andy Warhol used all forms of daily media and collected various newspapers, magazines, tabloids. He recognized the power of masscirculated media images in American culture and used these as source material for his work. Other pieces of work focus on a narrative that may be less obvious to us but is symbolic of death and disaster , such as the Tuna Fish Disaster, Electric Chair and Jackie series.
With this series Warhol began to explore the effect of reproducing the shocking images repeatedly across a canvas, testing his quote suggested in 1963, ‘when you see a gruesome picture over and over again, it doesn’t really have an effect’
Big Electric Chair 1967 silkscreen ink on synthetic polymer on canvas
Little Electric Chair 1964 acrylic and silkscreen ink on canvas 20 x 28 in.
In other productions of the chair image, Warhol has experimented with colour and composition. In 1971 he produced a series of ten electric chair screen-prints on paper. These images are more focussed on the chair itself, occupying larger proportion of the space, and each print from the series features bold colours such as green, orange , yellow and purple.
Modern sculpture 21st century
For the Love of God, Damien Hirst , 2007 , Platinum cast, diamonds and Human teeth
For the love of God , 2007, is a sculpture by sculpture artist Damien Hirst . It consists of a Platinum cast of an 18th-century human skull encrusted with over 8.6 thousand diamonds, including a pear-shaped diamond on the forehead that is known as the Skull Star Diamond. The skull's has original human teeth which were purchased by Hirst in London. The artwork is a Momento Mori , reminding us as viewers of our own mortality.
When the sculpture was shown , an art historian Rudi Fuchs, commented : 'The skull is out of this world, celestial almost. It proclaims victory over decay. At the same time it represents death as something infinitely more relentless. Compared to the tearful sadness of a vanitas scene, the diamond skull is glory itself.‘ The skull costed £14 million to produce, and was placed on its inaugural display at the White Cube gallery in London . The skull is part of an exhibition ’Beyond belief ’ with an asking price of £50 million. This would have been the highest price ever paid for a single work by a living artist
Damien Hirst,For Heaven’s Sake, 2008 Platinum, pink and white diamonds ,85 x 85 x 100 mm
Another sculpture by Hirst , ‘for Heavens sake’ is an Infant human skull pavé-set with pink and fine white diamonds. The cast is set with 8,128 over 7,000 of which are naturally pink diamonds, while the fontanel (where the infants skull is not fully formed) contains 1,023 white diamonds. The sculpture was unveiled in 2010 at Gagosian Gallery Hong Kong’s inaugural exhibition, ‘Forgotten Promises’. The skull from which the cast was taken was bought by Hirst whilst he was working on the first diamond skull, ‘For the Love of God’ created in 2007. The skull is believed to be of an infant estimated to be between 40 and 42 weeks old and was purchased as part of a rare collection of 19th century human skulls and skeletons ,from a pathology collection.