SEASON THE ARTISTIC HARROVIAN
ISSUE I
About Us Hello and Welcome from the Art Society! We are both delighted and proud to introduce the Artistic Harrovian, the school’s first ever pupil-led art magazine! The Artistic Harrovian was born from the Art Society's desire to provide a space for those passionate about art; a platform for creative output and interests to be shared with the wider student body. From analytical art history to original character designs, the Artistic Harrovian aims to reflect the boundless potential and variety within Art, as well as its value and meaning to each individual contributor. Our theme for this issue is ‘Season’. At a glance, this may seem onedimensional, but can refer to the seasons of the year, the action of adding flavour to food and so much more! We have chosen a theme that we hoped would capture, in its many interpretations, the volatility and stability of change, the memorialisation of a passage in time and the muse that is the natural world. We are excited to share the ideas that have come out of our talented illustrators and writers from this one word alone, in the Artistic Harrovian’s first ‘season’ of existence. We hope that this magazine will inspire you to create and encourage you to share something of your own.
SINCERELY, THE ARTISTIC HARROVIAN TEAM
Enjoy !
CONTENTS ALL SEASONS
WINTER
4-5
Alicia Yau
23
Jolie Wong
6
Reika Oh
24-25
Brynn Gordon
7
Kayan Tam
26
Se Lyn Lim
8
Megan Siu
27
Hebe Cheuk
9-10
Se Lyn Lim
28
Zia Cheung
29-30
Andrei Hui
SUMMER 11
Victoria Lee
12
Coco Wei
SPRING 31-32
Rachel Li
AUTUMN
33
Julia Fu
34
Katie Onyschenko
13
Jasmine Hui
35
Justin Chan
14
Rainy Lai
36-38
Joy Chen
15
Jayden Ong
39
Yulu Wu
16-18
Polina Chelpanova
40
Estelle Chen
19
Ambi Matharu
20-21 Andrew Tai 22
Jolie Wong
All Seasons Alicia Yau Year 9 Anderson My inspirations come from Ghibli because the atmosphere in every frame is widely acknowledged to be impeccable in creating a whimsical, wondrous ambience. Although the process led me to regret a lot of decisions of having never created environments before; or anything without lines for that matter. Starting it during half-term exams was a stellar choice as well - although it did pay off in the end, I promise.
After getting frames out of the way, I blocked out background and foreground and started painting the clouds and sea. The trees and flowers in each section took a lot of digging through free Procreate texture brushes. I also used Ghibli frames as floral references because real ones have a high possibility of accidentally being butchered for the sake of art. Colour adjustments are a godsend, so, with a million overlay and multiply layers, it finally resembled what I had in my mind.
Seasons invariably replace each other throughout the year gradually transitioning through increased use of air conditioning, animal crossing special events, and occasionally through wildlife. They sometimes pass by unconsciously, perhaps with the exception of seasonal buzzfeed quizzes, so I wanted to paint a concept that contrasts with the fleeting nature of seasons flowing through paintings, representing an inherently timeless quality.
Process
s s e c o r P
Final Piece
SEASONS LLA R
KA OH EI
X O
N
1Y
X O
R
1 OH LLEG
i H s t t o r r o y h o S f A KAYAN TAM YEAR 13 WU
Pocky sticks. Pen-shaped biscuits coated in a layer of chocolate, first released in Japan. The only form of chocolate available in the country at time (1966) was thick, brick-like bars imported from Europe. Pocky quickly became a well-received snack in the 1970s as it was favoured by young women due to their convenient design. This allowed the brand to expand with the introduction of new flavours like Pocky Almond in 1971, and Pocky Strawberry in 1976. Pocky’s popularity was also due to genius sales growth plans and packaging designs.
The marketing team at Glico executed a Pocky promotion plan through the inspirations of its various uses, such as the chocolate biscuit being used as stirring sticks in drinks at cafes. This gave the Glico marketers the idea for the campaign, “Pocky on the Rocks.” Pocky on the Rocks was a campaign targeted towards an older audience, more specifically as an ad campaign that was launched to combine the idea of nightlife with Pocky through using pocky sticks as stirring rods for alcoholic drinks.
The large array of creative suggestions, such as presenting different scenarios and flavours, allowed Pocky to expand its popularity and audience beyond their original target consumers, which were initially a young female demographic. This propelled Pocky’s growth to become a snack that is not only beloved in Japan, but also enjoyed globally by people from all walks of life.
MEGAN SI U YEAR 1 1 W U
All sons a e S
My piece represents a man portrayed as various seasons through the utilisation of numerous types of plants. The roses symbolise love and purity, the lilies symbolise rebirth, the daisies symbolise innocence and morality while the leaves symbolise growth. This piece is inspired by Philip Haas’ work and his different interpretations of the four seasons through the creation of outdoor sculptures. “Playing with Arcimboldo’s imagination and reinterpreting it allowed me to make the Renaissance contemporary and make contemporary art have a root in the history of art,” Haas stated. Furthermore, Haas also gives viewers the opportunity to see his work transform depending on their changing environments, as the seasons come and go.
DAVID HOCKNEY’S DEPICTIONS OF SEASONS SE LYN LIM Y12 WU
PORTRAIT OF AN ARTIST (POOL WITH TWO FIGURES) 1971
David Hockney’s ‘Portrait of an Artist (Pool with Two Figures) is one of the 20th century’s most widely recognised and loved works. This painting depicting a man leaning over a swimming pool as another swims towards him underwater, broke the record for the most expensive work by a living artist. Hockney created the scene in a St Tropez villa, inspired by his private life. In 1971, Hockney was inspired by the juxtaposition of two photographs, stating, “One of a figure swimming underwater and therefore quite distorted… the other was a boy gazing at something on the ground… The idea of painting two figures in different styles appealed so much that I began the painting immediately.” Although he destroyed the initial work after months of reworking, he started it again in 1972, photographing a villa outside Saint-Tropez, France. When he returned to his studio in London, he composed the poolside photographs along with photographs of his partner, Peter Schlesinger, in a pink jacket. For the next 2 weeks, Hockney worked tirelessly for 18 hours a day, finishing the painting the night before the shippers came to transport it to New York. He recalls that he loved working on the picture with such intensity and thrill. Hockney’s iconic swimming pool motif came together as an accident. Upon realising the vast number of blue swimming pools all over Los Angeles, he had realised how much of a luxury it would be to have swimming pools in England.
Hockney created this iconic piece using acrylic paint on a canvas, depicting the summer season. He emerged as a significant contributor to the pop art movement of the 1960s and is one of the most influential British artists of the 20th century.
'the splash' 1966
‘A Bigger Splash’ 1967
Hockney’s other pool paintings such as ‘The Splash’ and ‘A Bigger Splash’ were created due to his interest in using paint to capture the transparency of water and fleeting moments like the splash. The 1960s proved to be a period of optimism after Britain emerged from the difficulties of post-war years. The colourfulness of his work symbolised these feelings of hope.
SPRING
AUTUMN
‘The Arrival of Spring in Woldgate, East Yorkshire’ 2011
‘Woldgate Woods’ 2006
In one of Hockney’s late works, he portrayed Yorkshire landscapes, using intense, bright colours to create a tropical atmosphere. In this visual world, he prioritised increasing the intensity and vividity of the colours to reflect the image he perceived in his imagination. Hockney says he was inspired by Van Gogh’s use of colour where they strengthened towards the south, creating a realistic texture. In this piece, Hockney wished to express the energy of spring, where nature emerges and straightens up.
This is one of Hockney’s many depictions of autumn. This piece was painted straight from nature - a Plein air painting. In contrast to his brighter and more energetic paintings of summer and spring, he used more neutral and warm tones to create an autumnal atmosphere. Hockney also effectively creates a contrast between the skeletal trees and blue sky, while the high pitched purples and oranges produce a luminosity, emphasising on the vast layer of fallen autumn leaves. The exceptionally large scale of the painting, when viewed in person, allows people to experience the excitement and energy that Hockney felt himself.
WINTER
‘Winter Timber’ 2009 In this portrayal of winter, Hockney juxtaposes the freshly-cut logs against the verticality of the purple ‘totem’ trunk, suggesting that the myriad blue trees which remain standing are protectively surrounding the deadwood. This piece is also very expressionistic, with vivid patterning, drawing viewers’ eyes along the line of the logs and the cure of the pink track. The swirled pattern of the distant trees is again reminiscent of Van Gogh’s work. In contrast to his best-known works inspired by photographs, ‘Winter Timber’ was painted in front of a scene depicted at the corner of a road in Yorkshire, near his birthplace. The purple palette shapes a contemporary and computer-generated fairytale-like atmosphere. The composition of the piece is also significant as there are two roads leading into the woods, one curved and one straight. This rebukes the Western art style of traditional composition. The two roads enhance the hallucinatory and unreal effect when one views this piece.
SUMMER Victoria Lee Y12 Gellhorn
夏与磷
My work “ '' (Xià yǔ lín) - explores the relationship between nature and gemstone, the masterpiece created by nature, and the beauty of Anthropomorphism. I decided to digitally illustrate this artwork since it is one of mediums that I am confident with. I found that adding on different layers can create a shimmering crystal-like tone for the hair, and adding a thin layer above the skin can create a sense of the reflections of the mint turquoise water on the hair. I decided to use a simple background to form a contrast with the character.
A gemstone is a piece of mineral crystal which, when cut and polished, is used to make jewellery or other adornment. The character in my work is inspired by a Japanese anime series based on Haruko Ichikawa’s manga “ ” Land of the Lustrous, in which immortal humanoid lifeforms of gemstones defend themselves against those who seek to harvest their bodies for decoration.
国
宝⽯の
r e m m Su s t a e B
COCO WEI Y13 GELLHORN
J A S M I N E
H U I
Y 1 3
W U
AUTUMN
Dahlia flowers are often referred to as the ‘Queen of the Autumn Garden’. These plants begin to open in summer but go into full bloom from September to October. They are associated with various meanings including elegance, creativity and strength. This digital drawing was created in the style of Art Nouveau, an art movement inspired by nature and characterised by long and organic lines that resemble the stems and flowers of plants. The colours used are often muted and soft to emphasise the contours and lines. For this piece, I first drafted an original sketch on paper and scanned it onto my computer before adjusting the positions of the flowers and colouring them in digitally.
AUTUMN RAINY LAI Y6 PARKS
OIL ON CANVAS
I drew this picture of my family on a boat when we went to Thailand on holiday. It showed the beauty of the Autumn sunset. The natural scenery was stunning while we were rowing the boat on the lake. The atmosphere was peaceful and calm and I really enjoyed spending this time with my mother, father, brother and sister. From the blank canvas, I first sketched the shape of the trees, boat, people, and finally where the water would be using a pencil very lightly. For the colours, I mixed linseed oil with dry paint. I used a fan brush, a filbert brush to draw the dots and the round brush to draw the boat, the sunlight's reflection on the lake and the dark shade that shows the boat’s reflection. Firstly, I painted the largest sections with bright colours and painted thinly so I could fix any mistakes if I painted into the trees. Next, I painted the water, then the trees, and lastly, the boat and the human figures. When I was done, I let it dry for over five days. Finally, I used the varnish to put a thin layer on top of the painting after it had completely dried.
AUTUMN
JAYDEN ONG Y7 BANKS
I chose to paint a depiction of Autumn because I thought it would be the most interesting, as there are a variety of colours I could use. When I think of Autumn, I associate it with Halloween and falling leaves; that is why I added pumpkins. It is a time where crops are harvested during the harvest moon. It is the time that families spend together and go trick or treating. Autumn is the opposite of Spring, It is the end of growth and the last of beauty. Yet the season I admire, The sweet chill of the pumpkins and golden leaves. And that is why I created a painting inspired by autumn.
A SEASON OF CHANGE IN RUSSIA: COMMUNISM AND CONSTRUCTIVISM POLINA CHELPANOVA Y13 KELLER
In the early 20th century, Russia entered a season of revolution. The Russian Empire fell in 1917 following the February Revolution (known as such because of Russia’s use of the Julian calendar until February 1918) and the country was in a state of political turmoil. From this period, the Soviet Union was born, as well as the architectural movement that came to be known as Constructivism. In this article, I hope to provide you with some historical context about the origins of Constructivism to illustrate the parallels between politics and art. I will also explore the life and work of Vlamidir Tatlin, a pioneer of the movement.
THE 1917 REVOLUTION
To understand what defined Constructivism and how it came about, we must look into the 1917 Communist revolution. Social unrest had been simmering in the Russian Empire for decades; as one of the most impoverished countries in Europe, the peasantry was enormous and the number of poor industrial workers was growing. Between 1890 and 1910, the population of major Russian cities (such as St. Petersburg and Moscow) nearly doubled, resulting in overcrowding and poor living conditions for a new class of Russian industrial workers. Serfdom was practiced in the Russian Empire until the emancipation of the serfs in 1861; this form of feudalism, in which landless peasants served the land-owning nobility, was in comparison abolished in most of Western Europe by the Middle Ages. The poor conditions within the country were exacerbated by the impact of WWI. As the economy suffered greatly, food and fuel shortages plagued Russia and inflation mounted. Unrest grew after events such as the Bloody Sunday massacre of 1905 (in which the Tsar’s troops opened fire on hundreds of unarmed protesters) and the dissolvement of several Dumas promised by the Tsar. In March 1917, Russia saw the end of the Romanov dynasty and centuries of Russian Imperial rule when Nicholass II finally abdicated. The power vacuum was filled by the Bolshevik party on 7 November 1917, who were led by Lenin and Trotsky. The party’s promise of a Soviet government that would be ruled directly by councils, or soviets (consisting of soldiers, peasants and workers), as well as the promise. : “Bread, Peace, Land”, was enticing considering the state of the country.
THE BEGINNING OF CONSTRUCTIVISM AND WHAT CHARACTERISED IT
Constructivism paralleled the political changes within the nation; the end of Imperial rule also meant the rejection of academic art in Russia. This new generation of artists, such as Vladimir Tatlin, sought to attack the false seriousness and hollow moral ideas of academic art through the movement. Constructivism was intentionally reductive and aimed to simplify everything to the most fundamental level. Objective, universal forms had replaced previous ideas of subjectivity and individuality. Traditional figural representation was replaced by geometry and mechanics. As Russia’s economy entered a new era of science, industry, and production, so did Russian artists. Constructivists were often referred to as artist-engineers due to their love for the use of man-made materials like glass, iron, bronze and plastic. Although Constructivism is said to be the precursor of Russian Futurism, in the machines where Futurists saw violence, Constructivists saw beauty. Constructivists had great admiration for the process of invention that created these machines and their artistry. Whether light, elegant, or complex, the construction of machinery is mirrored in Constructivist sculptures through their precision and calculation. Instead of carving, modelling or casting, these sculptures were formed by cutting, welding, or literally constructing: thus the name Constructivism. Three-dimensional construction was the artists’ way of participating in the industry.
VLADIMIR TATLIN
Vladimir Tatlin graduated from the Moscow Academy of Fine Arts in 1910. In late 1913, he visited Paris where he saw Pablo Picasso’s reliefs in sheet iron, wood, and cardboard. Evidently this had a great impression on him as upon returning to Moscow, Tatlin constructed the “Painting Reliefs”. These were part of the Futurist exhibition in Petrograd (now known as St. Petersburg) in February 1915. From all the work exhibited, I chose to look more closely at “Counter Reliefs”, a piece that demonstrates the influence of icons in Tatlin’s work. An icon is a sacred image of a person or event of biblical (or church) history, traditionally made on a linden board covered with levkas as part of Eastern Christian tradition. Tatlin’s use of a wooden base and metal embellishment recalls the process of creating an icon. Though the term ‘Constructivism’ wouldn’t be coined for another seven years, until the publication of the Realist Manifesto in 1920 (written by Antoine Pevsner, Naum Gabo and of course, Vladimir Tatlin), the key characteristics of the movement can already be discerned.
However, “Counter Reliefs” lacks the precision and accuracy that came to define Constructivism. Some of his other “painting reliefs” are more three-dimensional and show the evolution of Tatlin’s desire to construct and go beyond the canvas. The influence of icons is continued here as the sculpture is set up in the corner of the room (i.e. where a religious icon would be displayed in a Russian household). Through this choice, Tatlin suggested that modernity and experimentation were Russia’s new gods. This was in line with the general decline of Christianity in Russia. The Bolsheviks believed that there should only be one ideology and therefore rejected religion, but independent of this, many in Russia wanted to experiment with new ideas after the fall of Nicholas II. It was a time of change and revolution; what better opportunity would there be to deviate from tradition? To produce this sculpture, Tatlin may have been inspired by the Technical Manifesto of Futurist Sculpture (1912), in which the Italian Futurist Umberto Boccioni calls on sculptors to “Split open our figures and place the environment inside them." The intersecting elements of Tatlin’s work could be seen as a literal response to “splitting” figures open. This sculpture is dynamic; the different direction the pieces are moving in creates a simultaneous sense of rhythm and tension. Some have also observed that Tatlin’s use of strings may be a nod to his experience as a musical instrument maker, which creates a new sense of rhythm, as if there is a musical dimension to the sculpture.
RELIEF 1913
The viewer’s attention is drawn to the surface texture; metal and leather attachments of various shapes and sizes highlight the man-made element of Tatlin’s work. His use of the wooden background reveals the process of construction; it is worn and distressed, not hiding the journey of the materials. We also see Picasso’s influence in Tatlin’s “painting reliefs”, as he too rejected the Western tradition of sculpture as a unified mass made from a single material (traditionally marble or bronze), and instead created assemblages or collections of a variety of materials.
CORNER COUNTER RELIEF 1514-1915
TATLIN'S TOWER 1919-20
Monument to the Third International, often referred to as “Tatlin’s Tower”, might be Tatlin’s most famous work. There was a brief period of time when the utopian aspirations of the communist leaders were allied with the futuristic visions of modern artists. Though never realised, the tower was intended to act as a fully functional conference space and propaganda center for the Communist Third International. Tatlin’s plan was ambitious: the tower was meant to stand at 1,300 feet, but ironically was never built because of the economic and technological limitations of the early Soviet state. If it were to be fully built, the Monument would surpass Paris’ Eiffel Tower in scale and complexity, making it the tallest structure in the world at the time. In the plan, the tower consisted of a contracting upward spiral, supported by a diagonal girder, while four different geometric shapes made of glass, spun inside at different speeds. These interior structures and materials (glass and metal) were intended to be both functional and symbolic. The lowest and biggest part, a cube, was supposed to revolve once per year and act as a meeting room for the Comintern. The next volume up was planned to be a pyramid, making one revolution per month and would host the Comintern Executive. Above that was a cylinder, making a full revolution every day and housing the Comintern propaganda services (press, poster and pamphlet designers).
Finally, the Comintern radio station would be in the half sphere at the top, completing a revolution every hour. Tatlin wanted to use glass for the interior to mimic the promised transparency of the Communist party — an important promise considering how alienated the public felt during the Russian Empire, but the propaganda sphere acts a reminder that it would be one that the party didn’t intend to fulfill. The upward spiral shape of the construction was intended to mimic the aspirations of the new government, while the mechanically revolving volumes likened the government to an efficient modern machine. Evidently, “Tatlin’s Tower” was a piece of communist propaganda on its own. Moreover, the revolving volumes were symbolic of the astronomical movement of the sun, earth and moon, suggesting the universe’s alignment with the Communist world revolution. Models of the tower were built and displayed at political meetings, parades and demonstrations throughout the 1920s. Many Soviet Constructivists were inspired by Tatlin’s work and so many more began blurring the lines between science, art and construction as their contribution to the formation of a new world. However, Tatlin (and others like Aleksandr Rodchenko) broke with the Constructivists shortly after (around 1920), in a search for postwar identity, security and permanence. REJECTED BY THE COMMUNISTS
Despite the apparent support the Constructivists had for the new Soviet government and the similarities between the revolution and the movement, Constructivism was later opposed by the government and replaced with Socialist Realism. This led to the disbandment of the Constructivist group; some fled the country, others stayed. Stalin came to power after Lenin’s death in 1924 and in his push for increased industrial production, he used Socialist Realism to promote productivity and hard labour — qualities that would make up the heroic Soviet worker. Socialist Realist imagery had to remain naturalist in order to appeal to the masses. By the end of the 1920s, abstract art, like all avant-garde styles, was condemned as subversive, and therefore banned by Stalin’s government. This marked the end of Constructivism in Russia.
AUTUMN
A mb i M a t h a r u Y12 Wu
This composition is inspired by something I saw in Barcelona and is a development piece from a life drawing workshop I attended last year. Although it isn’t directly linked to the topic of ‘seasons,’ I decided to focus on using cool-toned colours as a representation of Autumn. Contrastingly, I figured that it linked to ‘seasons’ in the sense that it represents the Renaissance, an era in art history, where artists such as Botticelli and Michelangelo focused predominantly on figurative paintings and religious art, whereas in this day and age, we’ve reached the movement of modern art. Elements from Renaissance, Cubism, Impressionism and Pop art, have been carried forward to modern art, forming a cycle where certain styles come ‘back into fashion.’ This is linked to seasons, by bringing previous artistic elements forth, resulting in a repetition of themes from art periods before.
The Representation of Autumn in art Andrew Tai Y11 Churchill When the word “Autumn” comes up, what do you envision? Perhaps the sweeping of red, yellow and orange leaves off their bristle branches, or maybe the dining table stuffed with pumpkins and turkeys at Thanksgiving dinner? Autumn, both the word and season, has a broad spectrum of meaning, different for each and every person. After all, something objective can trigger many memories to surface, various interpretations, and diverse mentalities.
This
involves
artists
too,
especially with their colourful and natural ways of expressing their thoughts. Many celebrations happen during Autumn, the most historically prevalent being harvest festivals. It dates back to ancient times when most people were farmers, and civilizations would celebrate in vivid fashion after a long
It depicts a rabbit and osmanthus branch under the
year’s of hard work had come to fruition For
light of a full Mid-Autumn moon. Along the sides of
example, the Mid-Autumn Festival in China:
the traditional painting come seven-word couplets,
one of the major festivals in the Chinese
from the classical Chinese poem of the Song
Calendar. Autumn was seen as the chilly yet
Dynasty, ‘The Taste of Tea’ by Lu You. The rabbit
warmer sibling to Winter, and this gave birth
and Osmanthus are symbolic of important values
to the slightly more negative view of Winter
in China; Rabbits were an ancient symbol for well-
that we have today.
being, prosperity and fertility, as well as for being on the moon in various different legends such as
One such painting that represents these
Chang'e and the Jade Rabbit. The Osmanthus
traditional values is an unnamed painting by
branch is mostly native to eastern Asia, and it’s
Tang Yun, a Chinese painter famous for his
sweet-scented leaves are usually harvested in
lively depiction of natural landscape and
Autumn to use in Chinese flower tea, earning it the
animals.
nickname ‘Sweet Olive’. These are only a small portion of Chinese traditions linked to the MidAutumn festival, and are still not representative of all the different Autumn festivals acros the World.
COMING OF WINTER
‘A Late Autumn Day in Jægersborg Deer Park, North of Copenhagen’ 1884
Winter is implied in many Autumn paintings,
The meanings of Autumn are diverse and varied
mostly through darker shades and colours. These
and trying to cover all of them would take an
colours are mixed with a warmer palette typical of
endless journey around the world. Here I cover
Summer, and so one painting can be interpreted
two meanings, and you yourself may very well
differently, either as the ending of Autumn, or the
have different interpretations of what the season
coming of Winter.
means to you. Either way, I hope you have found this article intriguing, and thanks for reading!
Impressionist painter Theodore Philipsen’s ‘A Late Autumn Day in Jægersborg Deer Park, North of Copenhagen’ is a good portrayal of this. Painted in 1884, the hyper-realistic detail and complementary palette of colours immerse the viewer in the painting intimately. The mix of brown, red and yellow symbolises that warmth is still present in the air, yet the bare branches and path littered with fallen leaves suggests that Winter is coming very soon. The soft pastel sky insinuates a lazy day, when the sun is about to rise or set, giving the viewer space to interpret the time of day and atmosphere as they wish.
FALL in fashion jolie wong
Year 13 Gellhorn
In these collages, I responded to the theme of seasons through my interest in fashion. I compiled images from runways and street styles, taken from magazines like Vogue, Elle, and Marie Claire; specifically focusing on my favourite trends of the Fall/Winter season of 2020. I chose these seasons specifically because they are my favourite seasons of the year, as well as in fashion. The two collages are tonally distinct from one another— one has a warm colour palette for Fall, and one cool colour palette for Winter. There is a mix of feminine and masculine styles as well because the styles are so versatile, but I did end up focusing on just women’s fashion.
In the Fall collage, I wanted to feature trends like the Dark Academia and Cottage-Core aesthetic that grew in popularity this year thanks to Tiktok and Instagram. This placed the spotlight on patterns such as plaid, check, and argyle; and materials such as tweed, knit, and quilt; wrapped under timeless blazers and trenchcoats, giving an overall romantic and scholarly vibe.
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WINTER
WINTER
EDVARD MUNCH: SURROUNDINGS AND EMOTION
BRYNN GORDON Y12 WU
You probably know this painting as “The Scream”. “The Scream” is not the name of this painting. This title is a shortened version of what Munch named it, implying that the focus of the painting is on the central figure who we assume is producing the scream. Indeed, the human form seems to be the artist’s chosen means of projecting his message. The dark figures in the far left are unfinished, skeletal and quickly receding- isolating the screaming figure in the centre of the canvas. The viewer is left alone with the uncertain, emotive rendering of his features. The architectural, almost violent brushstrokes of the bridge connecting the forms only heighten this tension, as the solid texture of the wood is contrasted with the uncertain lines of the figure which conveys an intense, almost manic anxiety. It is easy to perceive that this work is intended as an expression of Munch’s own feelings, a comment on physical, emotional and mental isolation. However, while the sentiment of isolation is correct, it can be argued that the aura of discomfort that pervades the piece does not primarily come from Munch’s
depiction
of
human
suffering;
the
subliminal cause of these feelings is pointed to
This idea of a disturbed environment inspiring disquiet in an individual can be traced
explicitly in the painting’s true name. Rather, it is the
back to Munch’s childhood. Edvard Munch was born in December 1863, his early years in
landscape and the weather, behind the figure. Upon
Oslo being marked by death, sickness and mental illness in his immediate family. His
closer inspection, despite the initial impact of the
mother contracted tuberculosis and passed away when he was five, leaving him to be
central figure, these are what cries out to the viewer.
raised by his deeply religious, psychotic depressive father. Among the seminal events of
Munch called the painting “Der Schrei der Natur”, or
Munch’s childhood was the development of schizophrenia in his younger sister Laura.
“The Scream of Nature”. The “Scream” in question,
Diagnosed by contemporary doctors as “hysterical”, she spent her life periodically in and
instead of emanating from a disturbance intrinsic to
out of hospital. Munch’s childhood has often been cited by critics as the origin of the
the central figure, is entirely external. The central
pervading melancholy in his work and may have been one of the motivations behind
figure is simply reacting to an unnatural disturbance
Munch’s decision to leave Norway between 1893 to 1908. In 1892, immediately preceding
in his environment that would logically cause shock
this self-imposed exile, Munch visited Laura in the mental hospital where she was
and trauma.
interned. On the day of this particular visit he recalled this experience:.
“I was walking along the road with two friends – the sun went down
These culminate in the loss of the day, abandonment by what should
– I felt a gust of melancholy – suddenly the sky turned a bloody red. I
have been a protective environment to oncoming metaphorical
stopped, leaned against the railing, tired to death – as the flaming
darkness. However, as previously stated, “The Scream of Nature” was
skies hung like blood and sword over the blue-black fjord and the
painted in 1893, while Munch was in the process of relocating to Berlin,
city – my friends went on – I stood there trembling with anxiety – and
capital of bohemian culture. He was well regarded in the city, and there
I felt a vast infinite scream through nature.”
was the promise of a real reversal of fortune, and a potential sense of hope and artistic fulfilment that is at odds with the coming dark that
On this particular day, the knowledge that he was soon to leave for
the Warwicks present. Retrospectively, Munch would experience a
Berlin, and the hope of La Vie Boheme and the artistic growth this
“dark” (my speech marks) period in his personal life after leaving
promised, would have been juxtaposed by the dip in Laura’s mental
Norway, his growing alcoholism and failed romantic exploits isolating
health and the landscape of the Oslo fjord, transporting him back
him in a new city, despite the popularity of his work in Germany.
both physically and psychologically to the darkness of his childhood.
Munch, however, was unaware of what was to come. In this light, “The
Reconciling this promise of the future and the responsibilities to a
Scream” may be an attempt on his part to put an end to an era of his
dark and unsettled past would have weighed heavily on Munch. The
life defined by losses by condensing them all into the landscape of his
unusual “bloody red” sky would have echoed and amplified these
childhood in a cathartic “scream”, in the (futile) hope he would be able
emotions, perhaps seeming like a pathetic fallacy to the haunting
to move into the next chapter of life without burden.s mother’s passing,
nature of Munch’s upbringing.
meant that Munch was truly alone.
The painting’s composition points to the impact this red sky had on
As a final note, to emphasise the relationship between environment
Munch. Starting from the figure, the viewer’s eye is drawn up to the
and emotion in Munch’s art, many experts have linked the striking
left in the near-vertical line of the bridge, and by the meandering
“flaming sky” depicted in the scream to an actual astronomical
gestural lines of the landscape to the right. In either direction,
phenomenon that took place across Europe in the early 1880s. The 1883
Munch directs our attention to the sky itself, the figure merely being
eruption of the Indonesian volcano Mount Krakatoa was immensely
a starting point. This is supported by the contrast between the
powerful, creating shockwaves felt as far away as Australia. The sheer
colours used to depict the man-made and the natural world: The
amount of volcanic dust and minerals it released into the atmosphere
bridge and the figures are dark, similar to one another in colour and
caused
tone (black on brown is not considered a particularly striking colour
unnaturally bright red sunsets over the winter of 1883, known as
combination). When compared to the jarring contrast between the
“Krakatoa Twilights”. Munch would have undoubtedly witnessed this
sky and fjord, the man-made world looks dull and uninteresting.
spectacle while in Norway, a full ten years before the hospital visit that
However, the use of contrasting colours of the bright orange sky and
would inspire “The Scream”. While this rules out the “bloody” sky over
dark blue hills, instead of portraying the natural world as exciting
the fjord being caused by the after-effects of Krakatoa, the Expressionist
and engaging, only expresses a sense of unnatural and ominous
and Symbolist movements Munch was part of emphasised the
tension, reversing the expected image of nature as gentle and
importance of the psychological landscape over that of the physical, so
inviting. This impression further confirmed by the juxtaposition
despite the disparity in dates, the fact that Munch would have seen
between the exacting, precise lines that make up the bridge and the
these vivid Krakatoa Twilights during his turbulent years lends more
expressionistic flowing contours of the shore and mountains, echoed
weight the interpretation of “The Scream” as an attempt to start a new
in the sky itself. Despite the uniformity of the human world, at least
chapter. Munch shows his determination to bring an end to this era of
it
his life by utilizing one of the strongest visual reference points from his
provides
stability,
unlike
the
undulating,
anxious
and
unpredictable line nature follows. Similar strategies are used
astronomical
disturbances
across
the
world,
causing
formative years.
elsewhere in his practice to the same effect, most notably echoed in the work titled “Anxiety”. All these visual strategies were employed
Munch reproduced “The Scream” in many different mediums, two in
by Munch to place emphasis on the unstable and frightening state
paint, two in pastels, as well as many lithograph prints. This work has
of the natural world.
come
to
exemplify
the
Modern
art
movement,
specifically
Expressionism. Paintings from the series have been stolen on two The reasoning behind Munch’s presentation of such intense panic in
different occasions, and have both subsequently been recovered. It has
this way is much debated. Here, we will discuss one such
become a cultural icon and is referenced in many unexpected places,
interpretation. Elaine and Lawrence Warwick propose “The Scream”
from the screaming face emoji to the poster for the first “Home Alone”
to be concerned primarily with the loss Munch experienced thought
movie.
his childhood: loss of self (as seen in the distorted central figure), loss of parents (as seen in the vague figures on the left), and loss of day (taking the red sky as a sunset). The first two losses are easily addressed, as witnessing first hand the ease with which a person can undergo mental collapse in the cases of his father and sister impressed upon Munch the fragility of one’s “self” from a very early age, accounting for the almost disintegrated presentation of the human form, and the death of his father in 1889, twenty-five years after his mother’s passing, meant that Munch was truly alone.
WINTER SE LYN LIM Y12 WU
I’m Se Lyn Lim in Year 12 from Wu House and using procreate, I created this digital illustration depicting the season of winter. The illustration shows a path of snow lined with trees. I started by filling the background with large patches of colour to create the first layer of the landscape using shades of blue, purple, yellow and orange. I then built on top of this by decreasing my brush size to add details and build colour and tone. These details included the trees, branches, a layer of snow, the grass and the rising sun. I also added orange and yellow highlights to create a reflection of sunlight against the snow. Finally, I added a snowy effect to heighten the wintry atmosphere.
DIGITAL DRAWING CREATED ON MEDIBANG PAINT PRO
The theme of this artwork is the celebration of winter. I tried to convey this by drawing the characters Nunu and Willump (a child and a yeti from the video game League of Legends) playing joyfully in the snow. I chose the pose of Nunu riding Willump with both of them smiling widely to express the exhilaration of playing on a snowy day. As for the setting, I chose night because that not only emphasises the snow better, but it also creates a dreamlike atmosphere.
Hebe Cheuk Y12 Wu
WINTER
retniW ZIA CHEUNG Y11 WU
THE SEASONS AS INTERPRETED THROUGH MONET andrei hui y11 churchill
Snow at Argenteuil, 1874
Claude Monet was a highly influential French artist in the 19th Century and the founder of the Impressionist art movement. He was famously known for his interpretations of recurring landscapes in various conditions, such as his paintings of Rouen Cathedral, Belle-Île and the water lilies in his pond in Giverny.
Monet
paid
This painting, simply titled Snow
utmost attention to minor details,
was
an
at Argenteuil, was created in the
especially the effect of light and
winter of 1874 as part of an 18-
colour on the view that he was
landscape series in the commune
depicting. It is no surprise that he
where Monet lived. Here, Monet
produced
when
uses varying tones of blue and
depicting the various landscapes
grey in order to create a cool and
in different seasons.
chilly
vivid
artist
who
contrast
atmosphere,
contradicted
with
which the
is
slight
shades of yellow to create the impression of sunlight. The deeper blue of the passersby in the centre and
the
shades
background
help
of
red
in
the
to
anchor
the
viewer, while also creating a sense of perspective. In addition to this, it is said that Monet applied extra layers of paint onto the snowladen path in order to give it a more realistic feel.
'autumn effect at argenteuil' 1873 Despite painting the same location, Autumn Effect at Argenteuil creates a serene and calm feeling with its use of colour. Although the base tone of the background is deep blue, it is employed to highlight the effect of light on the river. Light tones of pink are mixed into the background to provide visual contrast. The autumn leaves themselves are rendered with varied shades of warm browns and yellows, dotted with blues and greens.
'waterlilies and japanese bridge' 1899 Another
set
of
paintings
is
his
series
of
paintings of the Japanese Bridge over Water Lilies, which is located in his residence in Giverny.
Despite
only
employing
a
few
colours, Monet deftly uses a wide gradient of greens, blues and yellows to portray the lush landscape in springtime. The expressive but controlled brushstrokes are very reminiscent of his style, and the white and pink lilies themselves
provide
interesting
visual
contrast.
'the Japanese footbridge' 1899
This painting is very different compared to one of his paintings of the same view during his later years in the 20th Century. By this time, Monet had experienced radical changes both in circumstance (racked with terrible grief from the loss of his wife and his son) and in physical condition (nearing the end of his life, he suffered from cataracts in both eyes and declining colour vision). He turned to express himself in a more wild and abstract style, with bold choices of colour to compensate for his own dulled perception. Impressionism is shown off in its most raw form here, almost depicting the artist’s emotional state. The most logical choice of green is remarkably absent from the painting, but through the much messier layers you can still see the original ideas and concepts surrounding colour that Monet stuck with until his death. Overall, Claude Monet truly was a brilliant artist, and he completed a long and fulfilling life, painting his last Water Lilies (Revisited) masterpieces before his death at the age of 86. It is difficult to understand the profound impact that he left on the artistic world, from shocking the Paris salon to greatly inspiring future movements such as neoimpressionism and even cubism. I highly recommend viewing some of Monet's paintings for yourself in the future, as many of his works are on display in art galleries across the world. If you are interested, his most famous Late Year Water Lilies are displayed in the L’Orangerie gallery, whilst many others from all periods of his life are kept in the Museé Monet-Marmottan. Monet also worked closely with other artists of the Impressionist movement. In any case, thank you for reading what is just a basic introduction to the artistic genius of Claude Monet and his seasonal paintings.
Spring Rachel Li Y12 Wu
This is Spring. A character a friend and I made for a webtoon in 2017. We spent a long time talking about the concept and ideas for this comic. However, this was a hard project for us to balance with school and we ultimately stopped working on it.
The comic was based on characters that had traits from seasons and had lots of flaws in design and story. First of all, we did not have a plot line. I would love to describe the story so there is context for these drawings but we did not plan ahead at all, leading to lots of complications. Designs were also not thought about much. This made the characters incredibly bland, uninteresting and mostly unlikeable. Looking back at this, it made me want to try and improve on my old art. I decided to redesign spring as she was my favourite character when I first created her. Spring is shy, but bubbly when you know her. That’s all we planned. This made it incredibly hard to extend on (design wise) as it’s super vague and has no background to it. But I wanted to capture the idea we had while creating her 3 years ago. Which means I couldn’t change much of her personality. I wanted to keep the lolita-esque dress she had and so I came up with this:
In the re-design I wanted to capture Spring’s personality. I stuck with a pink, yellow and green colour scheme as it reminded me of spring. I had to keep the yellow bow as it was her signature look. But I made it so that it was tying up a side ponytail instead of just hovering above her head. Her skirt is changed so that it resembles the petals of a flower. Her cape has a light green gradient to bring more aspects of nature into her look. Her silhouette is puffy and bubbly to match her personality. Even though I had many ideas I could only implement a few of them. As this is a webcomic character, the designs have to be simple and easy to replicate over and over again. This made it harder for me but in the end I got a design that I was over all happy with. This is the final illustration I created. Overall I am much happier with it as it shows improvement, but there is still a lot to learn. I feel that the tone of this image is too warm and the pose is also too stiff. One way to fix this would be drawing poses before settling into one. It is also out of my comfort zone as I do not usually paint digitally. This was a nostalgic yet embarrassing experience. I don’t often like to look back at old drawings as it makes me cringe inside. But, looking back and realising how much I’ve improved since then makes me hopeful for the longer path of change and improvement ahead of me.
Re-Designing Spring
Julia Fu
Y11
Gellhorn
Really Great Site
SPRING
Initially, I wished to draw a landscape of my all-time favourite season - spring. However, in 2020, I spent my time feeling lonely during the spring season. Therefore, I made up an idea of drawing my point of view towards spring and how it should look. The girl’s facial expression showed the idea of loneliness, but at the same time, longing for the season to arrive.I emphasised the concept of spring by building up a variety of textures and details such as the koi fish, butterflies, clouds, wind and some flower petals (Sakura).
Leonardo Da Vinci, Van Gogh And Their Lucky Paintings
KATHERINE ONYSCHENKO Y6 PARKS
Who was Leonardo Da Vinci? He was an Italian painter who created the famous painting: ‘The Mona Lisa’. Van Gogh was another famous painter who produced many paintings, such as two self portraits and his ‘Sunflowers’ still life series.
Why are Da Vinci’s paintings so famous?
'MONA LISA' 1503
‘The Mona Lisa’ is particularly famous, because of her smile. It is more of a subtle smile, which caught the eye of so many people, as this style had never been used before. The sale price was $100 million US dollars. This painting links to the seasons autumn and winter, as the landscape for the painting consists of withered yellow colours as well as cold colours.
Van Gogh’s ‘The Starry Night’
'THE STARRY NIGHT' 1889
Starry Night is a very successful painting - it was sold for 1 billion dollars! Van Gogh created this in the year 1889 during his stay at the asylum of Saint-Paul-deMausole, near Saint-Rémy-de-Provence. This painting is associated with the winter season, as the colours are cold and dark with just a hint of warmth and light.
The ‘Sunflowers’ Although Van Gogh created many pieces, one of his most famous one was the ‘Sunflowers’, created in the south of France, Arles in 1888 and 1889. The original was sold for $39.85 million dollars, however the artist himself hoped to sell it for only $125 dollars! This painting is linked to the seasons spring and summer, as spring is when flowers bloom, while the colour scheme depicts the bright summer sun. 'SUNFLOWERRS' 1888
JUSTIN CHAN Y11 CHURCHILL
SPRING
I decided to create a painting of a festive favourite childhood character, Mickey Mouse. I was inspired by Andy Warhol's style to create this art piece. Most of the colours I used are lucky Chinese colours, for example, gold, red and yellow. Through this art piece, I want to promote Chinese culture around the world and in Harrow Hong Kong. Through mixing art styles from both China and America, people from different parts of the world can view this art piece from different perspectives.
o o R R s s e e s s ’ ’ PPeerr o o s s s s i i a a oodd c c i i PP Joy Chen Y10 Gellhorn
From the fall of 1904 to the end of 1906, Picasso’s work became
Other aspects of the travelling circus, like its feelings of
much softer and warmer, a dramatic shift from his previously
melancholy and alienation, inspired the generation of artists that
depressing Blue Period. This became known as his Rose Period.
followed; these included Seurat and Toulouse-Lautrec. The strange sadness of the circus may have stemmed from the myth
By 1905, there was growth in the narrative element in Picasso’s
of the sad clown; a commonly used trope in performances
art as a whole, as he moved away from pure Realism to more
wherein a clown does everything to entertain the audience, but
expressive stylisation. During the Rose period, Picasso’s work
deep down is very somber and lonely. This appealed to travelling
regained its romantic quality. It became a lot more pleasant than
artists (like Picasso himself) because they felt like they could
his artwork during his Blue Period, tending towards warmer
relate to feeling estranged at times, as they too lived on the
colours, such as pink and orange, with much more vivid hues.
outskirts of society. In some cases, the sad clown also became a
While he still used the colour blue, the paint was now much more
parallel to the realities of some artists, who treated the irony of it
diluted to show earthy red undertones. Picasso’s studio was
almost
frequented by clowns, harlequins and circus performers who, at
narratives onto canvas. Pablo Picasso had a tendency to paint
the time, were known in France as saltimbanques. All of his art
every aspect of his life, which is why he is so well known today, as
during this period is related to the marvel that was the life of a
the documentation of his dramatic personal life greatly
travelling circus - his newfound conceptual changes, the
contributed to the development of his now-iconic styles.
appearance of certain motifs throughout different paintings and
Depicted in the “Family of Saltimbanques, 1905” is a group of
the new work on composition was what comprised the
pensive, grim looking circus performers, which professor
Saltimbanque Period. This circus-inspired interrelated body of
Thomson claimed was created to represent the artist and his
work reached its climax when Picasso produced his amazing oil
circle: a gang of sad clowns.
autobiographically,
reflecting
their
own
painting: “The Family of Saltimbanques'' in 1905. Throughout Picasso’s oeuvre on this theme, the characters he depicted were rarely real people whom he knew, and were more like strangers coupled with improvised figments of his imagination, which added to the dreamlike and surreal quality of his artwork. According to Richard Thomson, a professor of Fine Art at the University of Edinburgh, Picasso’s clown obsession was not an alien concept. Modern artists during the 19th to the 20th century frequently painted the circus, especially French travelling groups. Many artists were attracted to these spectacles due to their impermanence - the circuses were constantly changing to excite modern audiences - and that need for change greatly attracted impressionist artists (such as Renoir and Degas) who were drawn in by the spectacle of modernity.
“FAMILY OF SALTIMBANQUES' '1905
internal
In 1904, the depressing quarter-life crisis that Picasso was experiencing had reached its peak, and was replaced by a new stage in his individual development. In April of that year, the Andalusian artist returned to Paris and moved into a studio building known as the Bateau Lavoir- a dilapidated wooden house with a “bohemian air”. His relationship with life grew more solid and positive, and he started meeting creative figures from other fields who would gather in the Bateau Lavoir, as it was a cheap place to live for struggling artists. He also liked to frequent the Cirque Medrano.
‘FERNANDE WITH A BLACK MANTILLA’ 1905
‘LES DEMOISELLES D’AVIGNON’ 1907
Picasso’s newfound positivity was reflected in his art; from late 1904 to the first half of 1905, his art centred around a feeling of sentimental melancholy. As proven time and time again, Picasso’s external circumstances always influenced his artwork. At this point in his life, Picasso's relationship with Fernande Olivier (a French artist and model whom he’d met in 1904) became serious and she took up residence at his studio. Their seven-year relationship, from 1905 to 1912 spanned one of Picassos’s most
The painting ‘Maternidad,” that he created in 1905 is also notable for how different it was compared to his other depictions of maternity in the Blue period and later cubist phases. The softer warm colours and feelings of tenderness created within the painting may represent his feelings towards his new relationship at the time, as Fernande was his first great love.
creative periods - ending with experimentation in Cubism, which ultimately caused the couple to break up. Fernande was eventually repelled by Picasso’s darker visions, but in retrospect, called her time with him the happiest years of her life. In her memoirs, a slightly unsettled Fernande noted Picasso’s growing obsession with her and its influence on his art. Olivier has been suggested by many art historians to be one of the possible reasons Picasso changed his style of painting, and is known as his first muse. Between 1905 and 1906, Picasso dedicated works to her such as ‘Fernande with a black mantilla’ or the sculpture ‘Head of a woman’. Furthermore, one of the women in ‘Les Demoiselles d’Avignon’ - one of Picasso’s most well known Cubist works - was inspired by Olivier.
‘MATERNIDAD’ 1905, ROSE PERIOD
‘FAMILIA DE ACRÓBATAS CON MONO’ 1905, ROSE PERIOD
The work that Picasso created throughout his Rose period had a drastic contrast to the despair that he illustrated throughout his Blue Period. The earnestness of his Blue Period was replaced with a Parisian elegance (shown in Girl in Chemise, 1905) and vivacity (landscapes showing Saltimbanques and domestic scenes). During his Blue Period, during which he continued his quest to show the prominence of suffering everywhere, the words of Ecclesiastes: “The heart of the wise is in the house of mourning”, seemed to mirror the exact thoughts of the 20 year old depressed artist. Picasso even went as far as to go to the St. Lazare prison to paint the women .
"AMID THE HUSTLE AND BUSTLE OF THE BELLE ÈPOQUE PARIS, ST. LAZARE PRISON STOOD OUT AS A STRANGE WORLD, TURNED IN UPON ITSELF, SOMEHOW TIMELESS.” - ANATOLIĬ PODOKSI, FROM HIS BIOGRAPHY OF PABLO PICASSO.
Picasso observed the touching scenes of women with their children in prison, as the inmates- who were mainly incarcerated due to their sex work- were allowed to keep their infants. He developed the theme, keeping their faces unrecognisable in order to erase individuality and generalise them to show the dark side of the ‘Eternal Feminine’; which was what he saw as the metaphysical, suffering essence of women.
‘YOUNG ACROBAT ON A BALL’ 1905,
‘THE TRAGEDY’ 1903
Picasso’s life and emotions dramatically altered his perception of life, which manifested itself in what he chose to focus on in his art; these phases of Picasso’s life can also be conveyed through his different periods. His style development throughout the course of his life is fascinating to observe for this reason, especially because Picasso lived such an exciting life.
Spring The season I chose was spring, and my initial idea was a regular flower that has petals in different hues of green. It was painted with oil on canvas and was my first oil painting piece. I wanted to make the composition more interesting, so I added an eyeball at the centre of the flower. The final piece consists of a monster-like flower watching its surroundings in the green shadows of spring.
Yulu Wu LHORN Y13 GEL
ESTELLE Y11
CHEN
GELLHORN
I SAW THIS FLOWER FIELD WITH MY FRIENDS IN SHANGHAI DURING THE SUMMER VACATION LAST YEAR. THE FLOWER FIELD WAS HUGE AND HAD DIFFERENT FULL-SIZED, WHITE AND SCARLET FLOWERS. THE SCENE WAS SPIRIT-REFRESHING AND PASTORAL; AS THE FLOWERS WERE SIMPLE BUT PROFOUNDLY BEAUTIFUL. I LIKE TO USE ACRYLIC PAINT BECAUSE IT’S WATER-BASED, WHICH MEANS THEY CAN BE THINNED BY ONLY USING WATER (NO TOXIC CHEMICALS ARE REQUIRED), BUT CAN ALSO HAVE A THICK CONSISTENCY LIKE OIL PAINT. HOWEVER, DIFFERENT FROM OIL PAINT, IT DRIES QUICKLY. WHEN I WAS WORKING ON THIS PAINTING, I WANTED TO FILL IT WITH TEXTURE BY APPLYING A LOT OF ACRYLIC PAINT, AS IF THE FLOWERS WERE REALLY ABOUT TO BLOOM. THROUGH THIS PIECE, I WANTED TO SHOW THE FLORAL AND VIBRANT SEASON OF SPRING.
SPRING Since 2012
Bibliography DAVID HOCKNEY’S DEPICTION OF SEASONS
Person. “David Hockney's Portrait of an Artist ( Pool with Two Figures): Christie's.” Hockney's Portrait of an Artist (Pool with Two Figures) | Christie's, Christies, 12 Dec. 2018, www.christies.com/features/David-Hockney-Portrait-of-an-Artist-Pool-with-Two-Figures-9372-3.aspx. Sperling, Matthew, and Name *. “Hockney and Van Gogh in Amsterdam.” Apollo Magazine, 7 Mar. 2019, www.apollomagazine.com/hockney-van-gogh/. “David Hockney: A Bigger Picture – Review.” The Guardian, Guardian News and Media, 22 Jan. 2012,www.theguardian.com/artanddesign/2012/jan/22/david-hockney-bigger-picture-review. David Hockney - Winter Timber, 2009, arthur.io/art/david-hockney/winter-timber.
A SEASON OF CHANGE IN RUSSIA: COMMUNISM AND CONSTRUCTIVISM
“Constructivism and Dada.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/art/Western-sculpture/Constructivism-and-Dada. “Constructivism.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/art/Constructivism-art. Dr. Charles Cramer and Dr. Kim Grant, et al. “Tatlin's Tower.” Smarthistory, smarthistory.org/tatlin-tower/. History.com Editors. “Russian Revolution.” History.com, A&E Television Networks, 9 Nov. 2009, www.history.com/topics/russia/russian-revolution. Jodi. “What Is Constructivism.” Austin Artists Market, 12 Nov. 2018, www.austinartistsmarket.com/what-is-constructivism/. “Russian Constructivism (C.1914-1932).” Constructivism, Russian Art Movement: History, Characteristics, www.visual-arts-cork.com/history-of-art/constructivism.htm. “Vladimir Tatlin Artworks & Famous Sculptures+.” The Art Story, www.theartstory.org/artist/tatlin-vladimir/artworks/.
THE REPRESENTATION OF AUTUMN IN ART
http://en.srpoia.com/projects/cultural/news_738.html http://www.artnet.com/artists/tang-yun/ https://artsandculture.google.com/story/12-beautiful-autumn-scenes/wgKCbZB1XcM8Lg https://www.vincentvangogh.org/autumn-landscape.jsp https://artsandculture.google.com/asset/video/5wFdRCOEXk_hxQ
EDVARD MUNCH: SURROUNDINGS AND EMOTION
“Astronomical Sleuths Link Krakatoa to Edvard Munch's painting The Scream.” Sky & Telescope, 20 Apr. 2020, skyandtelescope.org/press-releases/astronomical-sleuths-link-krakatoa-to-edvard-munchs-painting-thescream/. “Edvard Munch and His Paintings.” Edvard Munch - Paintings, Biography, Quotes of Edvard Munch, www.edvardmunch.org/. “Edvard Munch Artworks & Famous Paintings.” The Art Story, www.theartstory.org/artist/munch-edvard/artworks/. Høifødt, Frank. “Edvard Munch, Father of Expressionism.” Biography of Edvard Munch, www.mnc.net/norway/munch.htm. Scott, Dan, et al. “A Closer Look at The Scream by Edvard Munch.” Draw Paint Academy, 27 Sept. 2020, drawpaintacademy.com/the-scream/. Warick, Lawrence, and Warick, Elaine. “Edvard Munch, A Study of Loss, Grief and Creativity.” Munch, msu.edu/course/ha/446/panter.htm. “What Is the Meaning of The Scream?” BBC Culture, BBC, www.bbc.com/culture/article/20160303-what-is-the-meaning-of-the-scream. Whitaker, Gillian. Edvard Munch's Oscillations of the Self: Masterpieces of Art, blog.flametreepublishing.com/art-of-fine-gifts/bid/77535/Edvard-Munch-s-Oscillations-of-the-Self-Masterpiecesof-Art. “Yonder Edvard Munch and Nature.” Munchmuseet, www.munchmuseet.no/en/exhibitions/yonder---edvard-munch-and-nature/.
Bibliography PICASSO’S ROSE PERIOD “." Women in World History: A Biographical Encyclopedia. . Encyclopedia.com. 16 Oct. 2020, <Https://Www.encyclopedia.com>.” Encyclopedia.com, Encyclopedia.com, 17 Nov. 2020 www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/olivier-fernande-1884-1966. “1904 To 1906.” Pablo Picasso's Rose Period, www.pablopicasso.org/rose-period.jsp. Blum, H., et al. “The Models of Picasso's Rose Period: The Family of Saltimbanques.” The American Journal of Psychoanalysis, Palgrave Macmillan UK, 1 Jan. 1970, link.springer.com/article/10.1057/palgrave.ajp.3350023. Museu, Author: Redacció del. “The Inhabitants of the Museum: Fernande Olivier, Picasso's First Muse.” Museum Picasso Blog, 18 Apr. 2018, www.blogmuseupicassobcn.org/2018/04/the-inhabitants-of-the-museum-fernande-olivier-picassos-first-muse/? lang=en. Olivier, Fernande. “'Loving Picasso: The Private Journal of Fernande Olivier'.” The New York Times, The New York Times, 5 Aug. 2001, www.nytimes.com/2001/08/05/books/chapters/loving-picasso-the-private-journal-of-fernande-olivier.html. “Why the Circus Fascinated Modern Artists.” BBC Culture, BBC, www.bbc.com/culture/article/20170306-why-the-circus-fascinated-modern-artists.
Credits ADMIN TEAM
EDITOR IN CHIEFS
HEAD ARTICLE EDITOR
Jarra Sisowath Jasmine Hui Kayan Tam Se Lyn Lim
Jasmine Hui Kayan Tam
Ambi Matharu Jarra Sisowath
ILLUSTRATORS
WRITERS
EDITORS
Alicia Yau Ambi Matharu Coco Wei Estelle Chen Hebe Cheuk Jasmine Hui Jayden Ong Jolie Wong Julia Fu Justin Chan Megan Siu Rachel Li Rainy Lai Reika Oh Se Lyn Lim Victoria lee Yulu WuZ ia Cheung
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Ambi Matharu Coco Wei Jarra Sisowath Jasmine Hui Jolie Wong Se Lyn Lim Yew Shen Ong Yulu Wu
u o y k n a th ! g n i d a e r r fo