Symbolism Rebooted Unit 1

A2 Critical and Contextualize Studies 2017 For my personal project I have decided initially to focus on the the theme of time in art. I intend to explore symbolic paintings and see how they represent the passing of time. This will form the basis for my exhibition.

Melisha Dias

Allegory of Vanity, 1632 – Antonio de Pereda (oil on canvas, 1740 x 1395 cm)

Antonio de Pereda, Allegory of Vanity - 1632 Antonio de Pereda Antonio de Pereda is a Spanish artist who was active in Madrid. He started off as a history painter but is now best known for his still life’s. One of his famous paintings is The Knight’s Dream (1650).

This is a very detailed still-life painting, with a sensuous composition which shows worldly pleasures, treasures are seen as a dream.

Pereda’s work artwork portrays symbols within the paintings which depict death.

Often, his work contains links to death through objects such as skulls, guns, and candles.

The Knight’s Dream, 1650

Skull representing death from Pereda’s The Knight's Dream

Antonio de Pereda, Allegory of Vanity - 1632 There are a range of meanings within this artwork which Antonio de Pereda uses to create an allegory. For example, in this piece of art a women has been centrally placed and appears to be an angel. We know this due to quite angelic appearance, with her pale skin and wings. The angel holds a miniature portrait which is said to be the portrait of the Emperor Charles V. The female holds the portrait on top of a globe balancing it. The other hand points to northern coast of South America, this could show Charles death but also make a reference to the fact that although Charles is dead when this was painted, he still had dominance over the New World.

However, this painting suggests that although the King conquered the world, death is inevitable no matter the luxury a person possesses.

The angel holding Emperor Charles V miniature portrait and the globe in the other hand.

Emperor Charles V died in 1558 and could symbolize his death through the portrait.

Allegory of Vanity, 1632 – Antonio de Pereda (oil on canvas, 1740 x 1395 cm)

Titian (1490 – 1576), An Elderly Charles V

Antonio de Pereda, Allegory of Vanity - 1632 A full but blown out candle is placed on the left hand side of the painting. This could suggest that Pereda is trying to tell us that time is precious. Because we never know how much time we have left and it could end whenever it wants which can be seen on the full yet burnt out candle.

A gun is also placed at the foreground of the painting which could portray similar ideas of time running out. However, it can also portray death through battle. Furthermore, the idea of death through objects continues with the hour glass, placed before the gun, the skull and even the golden towered clock placed on the right of the painting. The objects present in this painting look to be placed carelessly. The state of these objects is placed in such a way which shows that were accumulated over a period of time.

The use of the skull easily invokes imagery of death and decay however other objects such as the money shows luxury and riches. This is a contrast between death and luxury with a strong sense of time.

Antonio de Pereda, Allegory of Vanity - 1632 In the painting, there are a range of objects which symbolize luxury however, they are all painted with unified colours. The colours and tones are very realistic so these luxurious objects portrays the same concept of no matter what you own, you are eventually going to die.

Similarly, the economic state of Spain could have inspired Pereda to use symbolism in the “Allegory of Vanitas”.

Vanitas artists normally kept the lighting very realistic and life like and Pereda has disregarded the background without painting the background the shadows of the women or the objects present in the painting. Instead, Pereda focuses his attention on the objects in the foreground and painted them with exquisite detail which gives them a sense of isolation, impermanence and loneliness.

To further my knowledge in understanding symbolic paintings, I am now going to also analyse “The Ambassadors” by Hans Holbein. In analyzing this painting, I will gain further knowledge not only in symbols but also how they represent the passing of time.

The next painting I will look at also has symbolism and ideas of vanity.

Hans Holbein the Younger, The Ambassadors 1533

Hans Holbein the Younger, The Ambassadors - 1533 Hans Holbein the Younger The portraitists of the 16th century, Holbein, showing the Tudors court nobility.

He created multiple portraits, until 1543 and his famous works include the “Portrait of Henry VIII 1536-37” and “The Ambassadors 1533”.

Self-portrait, 1542

Hans Holbein was initially a member of the Basel artists’ guild in 1519. He travelled to countries such as Italy and France. During these years he produced woodcuts and fresco designs and panel paintings.

Holbein first travelled to England 1526 during the reformation in Northern Europe.

Hans Holbein gets his name from his father, Hans Holbein the Elder who was also an accomplished artist amongst his time. Hans Holbein’s work included symbolism, allusion and paradox.

Portrait of Henry VII, 1536

Hans Holbein the Younger, The Ambassadors - 1533

Hans Holbein’s work is known for its use symbols, allusions and ironic motifs. This painting, “The Ambassadors” was painted during the break between Henry VIII and the Church Of Rome due to his decision to divorce his wife and the church would not let him. This then caused the formation of the Protestant Church.

This painting was commissioned by Jean de Dinteville to show the ambassadors visit to London to solve the rift between the Church of Rome and King Henry VIII. The main theme of this painting is that no amount of wealth, power or knowledge could prevent death which indirectly indicates that no man, including the pope could not stop the King’s decision in creating his own Church.

Hans Holbein the Younger, The Ambassadors - 1533 Jean de Dinteville, is placed on the left of the painting. The French ambassador, is dressed in very rich clothing which includes a heavy black coat with lynx-fur over a pink silk tunic. The ambassador also wears a hat which features his insignia and occupies the most space in the painting.

The bishop however is dressed in more clerical clothing and has a similar stance to that of the French ambassador, both leaning against the table although George de Selve occupies more space than Jean de Dinteville.

The shelves placed in the far back centre of the painting contain objects such as a lute with a broken string which shows the disharmony during the Reformation of the church. This is represented as the symbol of discord which could include the rift between Protestants and Catholics. Furthermore, Holbein also include a book which is placed in front of the lute. It is opened on the “Dividirt� which further plays on the idea of the divide between the Church and the Church of England.

http://arthistoryblogger.blogspot.co.uk/2012/06/holbeins-ambassadors.html

Hans Holbein the Younger, The Ambassadors - 1533 The book which de Selve rests his elbow upon, shows the age of the Bishop and also portraying that de Selve is leading a contemplative life.

However, de Dinteville, casually holds a dagger in his hand which has his age on the sheath of the dagger. This shows that de Dinteville is a man of action unlike George de Selve.

The two shelves placed in the far back of the painting, contain scientific objects such as a luxurious oriental carpet, a Celestial Globe and sundials which could be associated with the heavenly realm and instruments which tell the time.. These could suggest the worldliness of the two ambassadors.

This shelf contains the objects from the earthly realm such as the globe of the earth, a book open to reveal mathematics, a lute and song books with specific hymns.

An anamorphic skull is placed in the foreground of the painting.

This skull is unrecognizable when viewing the painting head on and only seen when stood at the side which is so as to be taken by surprise by it. This gave the viewers a reminder of death and the transition between human values.

A crucifix is also present in this painting, however it is half hidden suggesting the divide within the Church.

Harmen Steenwyck, An Allegory of the Vanities of Human life - 1640

My next painting is a pure still life painting and and like my previous images explores the theme of death and time in art.

Harmen Steenwyck, An Allegory of the Vanities of Human life - 1640

Harmen Steenwyck

Harmen Steenwyck is widely known for his still life’s with common use of fruits in his paintings. He was an active painter in Leiden where he took his last breath between 1628-1633. Steenwyck was born in Delft and was the brother of Pieter Steenwyck.

His artworks include “Still Life with Fish and fruits” – 1652, “Still life with Earthenware Jar, Fish and Fruit” - 1652 and ”An allegory of Vanities of Human Life” - 1640. Steenwyck mostly based his artworks on Still life paintings which was famous during the era of his lifetime.

Harmen Steenwyck, Still life with fish and fruit - 1652

Harmen Steenwyck, 1612-1656 Netherlands

Throughout the history of Art, still life is a low genre as it demonstrated the artists technical skills as opposed to the imagination and was mostly associated with themes of transience, decay and earthly things.

Harmen Steenwyck, An Allegory of the Vanities of Human life - 1640 The art form Still life originated in the 16th century and portrays a non religious image with detailed realism and the possibilities for layers of symbolism like transience, decay and vanity of earthly things. Furthermore, the use of chiaroscuro is also present in paintings which is shown in this painting.

Vanity, Vanitas for Latin is the sense of emptiness or a worthless action therefore urging viewers to take into account the inevitability of death, the futility of worldly ambition like riches, knowledge and power.

“An Allegory of the Vanities of Human Life” is a classic examples of still life art form and Dutch ‘Vanitas’ paintings too. It is reminding us about placing too much importance in the wealth and pleasures of this life as their only an obstacle on the path of salvation. In regards to this, each object in this painting has a different symbolic painting which adds to the overall meaning.

Harmen Steenwyck, An Allegory of the Vanities of Human life - 1640 The skull is a reminder of death, “Memento Mori” also in Latin. This is centrally placed in the foreground of the painting and is the focal point of the artwork. This represents death and decay as a whole.

The shell placed on the left foreground of the painting is similar to the size of the skull. Shell could only be collected from south east Asia. It is drawn to be highly polished portraying it to be a symbol of wealth and only rich collector could have such an object of richness. It could also symbolize travel however the shell is empty portraying the empty shell our body will one day become.

The purple silk could portray an example of physical luxury as the material silk was very expensive whereas the color purple was the most expensive colour dye.

In addition the Samurai sword could portray superior craftsmanship and military power which is beautiful but deadly power hinting at sufferings in hell.

The chronometer which looks like a pocket watch showing the length of life. It shows that time is limited on earth and is the most valuable possession. The chronometer is set towards 12 o’clock symbolizing the start or end of time.

Whereas the gold oil lamp has been extinguished with a slight trace of smoke which could show the passing of life and time portraying life has a blown out candle.

On the right side of the painting, two books and a musical instruments are placed. The book being opened could show that the book has been used and is now worthless after it’s read. However this could also portray knowledge while the musical instruments suggest the pleasures of the senses. These objects reflect luxuries in life which are meaningless in death.

Willem Claesz Heda, Still Life with Food and Drink - 1631

My next painting is another pure still life painting like my previous image but explores the theme of death and time in art through food.

Willem Claesz Heda, Still Life with Food and Drink - 1631 Willem Claeszoon Heda (1594-1680) was a Dutch Golden Age artist, born in the city of Haarlem. His work consisted of still lifes and is known for his innovation of the “late breakfast” genre of still life painting and is known for his breakfast pieces which are also called as “ontbijt”.

Willem Claesz Heda, Still life with Gilt Goblet – 1635, oil paint.

His painting technique focused with painting different textures and contain characteristics of human transience and achievements.

Heda’s work contained perfectly draped fabric and assortments of fine glass and skillfully placed food objects. Over time, he mastered the skill of knocked over objects such vases and crinkles in table clothe which added to realism.

Willem Claesz Heda, Still Life with Food and Drink - 1631 Willem Claesz Heda created a masterpiece with many meanings and symbolisms present in the painting. All the objects are painted with precise tonal modelling and texture.

This accentuates realism and also shows the symbols of these objects without putting too much focal view point on just one object. You can see by looking at the colour palette of this artwork such as browns and ochres which blend into a harmonious effect of tonal modelling.

This effect of realism heightens the use of symbolism as the objects look so real.

Willem Claesz Heda, Still Life with Food and Drink - 1631 On the left side of the painting, a large “Tazza� is centrally placed on a white clothed table. This cup is often used for wine in Italy and is heavily crafted which shows only the rich could afford this kind of ornament. This is symbol of richness is knocked over bringing forward the fact that death is evitable and no form of wealth can avoid it.

In the midground, a half eaten mince pie is also placed in the painting. The mince pie is painted with precision which symbolises wealth and status however due to the pie being half eaten, this could portray that pie will soon decay and rot which is similar to the idea of the end of time in our lives too.

A small butter knife is also located in the painting. The knife can symbolise danger or war just like our lives which can be cut away just with a sharp end of sword or a butter knife.

A different kind of wine glass, a goblet is also placed in the midground of the painting. This goblet however contains reflections and bubbles within the glass and shown to be half full. This could symbolise the passing of time slowly just like sipping wine.

On the right hand side of the painting, a pocket watch is also present which again plays on the idea of time passing and our limited time on earth and eventually lead to our demise.

Lastly, the most dominant and colorful object of this painting is the lemon placed in the foreground which is half peeled with it’s skin trailing of the edge of the table. Lemons are usually tasteful at first glance however once tasted are very bitter and sour which could symbolise the colorful and earthly beauty.

Hendrick Andriessen, Still life with a Mask – 1607 1655

My next painting is another painting exploring the theme of death and time in art.

Hendrick Andriessen, Still life with a Mask – 1607 -1655

Hendrick Andriessen Andriessen is a Flemish Baroque painter who specialised in still-life paintings. Flemish is a synonym for artists from the 17th Century in Holland/Belgium.

Hendrick Andriessen was born in Antwerp and died in Zeeland. His paintings are highly regarded which gained him access to the Guild of St. Luke in 1637. His work consisted of still life’s and always in the category of Vanitas such as “Still life with Vanitas Objects” – 1650. In addition, his famous works knowns as “Vanitas Quiet Life” which is believed to be a reference to the death of King Charles I. The reason was decapitation and the skulls, the crown and sceptre are symbols of this.

Hendrick Andriessen, Still life with Vanitas Objects 1650

Hendrick Andriessen, Still life with a Mask – 1607 -1655 The atmosphere in this painting very dark. The colour pallet is very limited and dark which adds to the atmosphere of this painting. The objects in this painting are very unusual and placed almost carelessly on to a table which is half covered in a dark black cloth.

The objects in this painting are placed on the edge of a table almost like they will fall off which creates a sense of unease.

It shows to the readers there is something wrong within the painting which gets the readers looking closer into the painting and trying to decipher what the artists is trying to say which are what Vanitas paintings about.

An unknown source of light is shown unto the table, the direct light is shown straight at a side turned skull which is the symbolism of death similar to all Vanitas paintings.

Furthermore, Hendrick places the skull right in the centre of the painting which could suggest that death has more control over our lives.

Hendrick Andriessen, Still life with a Mask – 1607 -1655 In the paintings one of the unusual objects are the mask placed closer to the foreground at the edge of the painting. This could suggest deceit and lies which lies within us but are covered up almost as if a mask is placed over our faces to cover up ourselves . This then leads to suggesting that during our lifetime, we get so lost into our Vanity and decking ourselves, that we loose the meaning of being ourselves.

Similar to the mask, the unseen light reflects its light and makes the cup shiny. The metal of this cup could symbolise wealth and class due to it’s detailing and expensiveness although the colour of this cup is similar to every other object within the painting which suggests that this is another luxury which we invest in but don’t need in our lives.

Dying flowers are also present in this painting on the left hand side of the painting. This is also an example of passing of time and how death does not wait for anyone. It shows that life should be admired whilst we have it and will end at some point in our lives.

Musical instruments such as a violin are present in the painting which is again playing on the idea of nothing lasts forever no matter how beautiful it is.

Hendrick Andriessen, Still life with a Mask – 1607 -1655 In the background of the painting, an opened book is also present which could suggest that the pleasure of it reading was over and is now worthless. Furthermore, due to death the knowledge gained through these journals have been forgotten and used in vain.

Towards the back within the cluster of objects, a globe is drawn by the artist, Andriessen. This could suggest the knowledge we all desire to have whilst alive. This object is one of the largest amongst others however the same colour as all other objects which could imply that all knowledge acclaimed is worthless because the end outcome is the same.

A skull is very important in a Vanitas painting similarly which is present in this painting. However, the skull is shown to be facing sideways almost turning away in fear which could suggest us cowering away in fear towards death by not thinking about it.

Although, Andriessen this fear is depicted clearly through this piece of artwork.

Throughout the painting Hendrick plays with the unseen light on a smooth surface. The oil on canvas plays a huge part on this element for example the bubbles which are present in the background. They reflect shine and light light from the unseen light source. They have a very delicate and elegant floating sphere which is similar to our lives. Similar to these bubbles, our lives are delicate a simple touch of a pin could end our lives.

Intention I have now studied a number of paintings with the theme of death, but moving forward I intend to focus on symbolism in art. I was very much inspired by the use of symbolism in the Holbein painting. Therefore my new intention is to create an exhibition of approximately 8-10 artworks that use symbolism.

I will use these development points to create a poster, a booklet and a ticket stub. I will also include 3d images that show how the work will be displayed.

Symbols in Art Symbols in Art could be a solid objects representing a recognizable thing which stands for someone's whole story. To show this in a painting or a sculpture is hard which is why objects such a plant, animal or books are used to represent an idea. Unlike Impressionism where art was highly focussed on the reality of the created paint surface, symbolism focussed on the emphasis on the objects which are present in the paintings and the meanings behind them.

Furthermore, symbolism was said to be the forefront of the modernism as there were always new objects being developed within the artworks of artists which each had new and abstracts meaning to them which could express the psychological truth and the spiritual reality.

Examples of symbolism would be showing time passing through a pocket watch.

Key features of symbolism:

• Symbolism expresses emotions, feelings, motifs and subjectivity rather than realism. • Symbolism also expresses erotic, the perverse, mysticism and the decadent motifs of the human nature.

International gothic The art movement, International Gothic started in France and Italy in the 14th and 15th century. The style of international gothic is a new appreciation of nature where viewers understand it’s deeper meaning. The artists of this style, focussed their attention on the aesthetic, ideals and accurate details.

Furthermore, this art style is also called Christian art due to the attributes all being similar across Europe which focussed on deep devotional mysticism.

International Gothic styled painting consisted of many traits and characteristics. For example, the human figures were more elongated, Also, the figures were depicted to be elegant and graceful in style which contained perfect blonde hair, delicate facial features and small lips which are either sweet or smiling.

In addition the colours within the paintings are more detailed and bright coloured which can be seen in the costumes of the figures present in the paintings. The costumes are embellished with gold and have splendid processions.

Baptism of Christ, Gentile da Fabriano - 1423

Northern Renaissance The Northern Renaissance c. 1430- 1580) is a term used for Renaissance in Europe where artists used oil paints to replicate the world, to create realism in their paintings as they believed if it looked real enough the painting would come true.

The word “Renaissance” itself means “rebirth” and other national as well as local movements where developed through this art movement. Italian artist attained this greater naturalism through classical art like the study of anatomy and perspective whereas northern artists achieved it by mastering oil paint and focusing their attention on detail.

The Arnolfini Portrait, Jan Van Eyck - 1434

Masaccio

Holy Trinity 1427-1428

Masaccio, Holy Trinity – 1427 -1428

Masaccio Known as Tommaso di Ser Giovanni di Simone at birth, Masaccio was the first great Italian painter. He was specifically known was his skill at imitating realistic nature and life like figures. Masaccio gets the name from Tommaso which means “clumsy” or ”messy” Tom. Masaccio was one of the first artists who used linear perspective in his paintings. His original style was international gothic however he then evolved to a more naturalistic mode which contained techniques like chiaroscuro and vanishing point within his works.

One his works were “San Giovenale Triptych” in 1422. This piece of artwork was discovered at Cascia de Reggello which is very close to this artists hometown. This painting depicts the Virgin and Christ in the centre with angels. This is drawn in the central panel whereas on the left there’s Saint Bartholomew and Blaise. Next on the right panel, we see San Giovenale and Anthony Abbot. All these figures have been expertly foreshortened and threedimensionally.

Self-portrait, Ausschnitt – 1420s

Masaccio, San Giovenale Triptych – 1422

Masaccio, Holy Trinity – 1427 -1428 This painting is one of the best example for early renaissance paintings. This painting has three figures. The most dominant figure is Christ on the cross placed centrally. Furthermore, in the background we see God the Father who is standing on a ledge behind Jesus. Mary and St. John are placed at the foot of the cross. One step down, Masaccio’s donors are also present in this painting.

Lastly, right at the bottom of this fresco there’s a skeleton which is placed in a tomb. Masaccio has mastered the art of realism expertly through this painting. It convicts the illusion of space which adds to it’s magnificence and realism. Since this painting was presented inside the Santa Maria Novella, Florence the size of this painting is massive which adds to its realistic features.

Masaccio, Holy Trinity – 1427 -1428 The representation of classic architecture is present in this painting. This shows the new interest in antiquity however, the use of classical settings within the painting makes the painting blend in with the architecture around the painting which shows a sense of realism Masaccio was a master of foreshortening which Vasari described “an barrel vault drawn in perspective” this adds to the sense of realism. The illusion of a vaulted ceiling has been precisely calculated which was invented by the famous artist Brunelleschi.

The holy spirit is represented through the dove at the top of Christ. The use of humanism in this painting through modernism makes it more humanly accessible

In this painting the power of god and it’s elegance is hardly visible and he has been depicted as a ordinary man.

Christ on the cross is foreshortened and looks sickly due to starvation.

Furthermore, God the Father supports the slumping corpse of Christ as if to raise him up portraying the idea of resurrection.

When the viewer of the painting kneels down before it, they will be in eye level with it.

Therefore, when viewing the skeleton, the viewer is brought back to reality. Which is eventually they will end up like the skeleton in it’s tomb. Above the skeleton there’s an inscription saying “what you are I once was; what I am, you will be” which adds to the idea of mortality and future death. However, due to the resurrection of Christ it also shows hope that Christ will be risen again. This is painting is a very easy example of linear perspective

Piero Della Francesca, Polyptych of Perugia 1470

Piero Della Francesca, Polyptych of Perugia - 1470 Piero Della Francesca Piero Della Francesca was a Italian painter in the Early Renaissance Art period. To further praise his skills, he was also said to be mathematician and geometer (Giorgio Vasari). Piero was born and died in Borgo, Italy. His first employer was the famous Antonio di Giovanni d’Anghiari and was listed to be one of the most eligible for the City Council of San Sepolcro. Leonardo da Vinci abandoned plans to write a book about Piero’s comprehensive mastery in perspective where he combined clarity of colour, form and outline.

His treatment of life builds on the perspective using shadows to give solidity and sense of depth which is then a result of stillness and religious solemnity.

Francesca’s paintings contain serene humanism, geometric forms and perspective. This can be seen in one of his works, a fresco called “The History of the True Cross” which is located in the church of San Francisco. Another one of his works are “The Baptism of Christ” which was made in 1440-1450 which showed Piero’s deep interest in his study of perspective. This painting was displayed on the high altar of the church of the Priory of S. Giovanni Battista.

Piero della Francesca, Finding and Proving of the True Cross, Italian, 1452– 1455, Arezzo, San Francesco

Piero Della Francesca, Polyptych of Perugia - 1470

Polyptych of Perugia also known as Polyptych of St. Anthony is an Italian Renaissance painting. At the centre of the painting there is Madonna and child with Saints Anthony, John the Baptist, Francis and Elizabeth the artists draws similarities within Spanish paintings which could be found in Rome. In addition to these figures, there also three panels which are also known as Predella which show the narrative of St. Anthony of Padua resurrecting a child, Stigmatisation of St Francis and St Elizabeth saving a boy who has fallen down a well.

This painting was commissioned by the nuns from the Convent of Saint Antonio da Padova. A great deal of spatial and light composition has been achieved by Francesca which further depicts his skills.

Piero Della Francesca, Polyptych of Perugia - 1470 Right in the centre of the painting, we see an arched decorated frame which showcases Madonna and Mini Jesus sitting on an ornate bench. In the background of this frame a decorated dome is placed above the Madonna’s head. This creates the illusion of space which adds to the life like features of this painting.

On the left side of the painting, beside Madonna we see Saint Anthony and John the Baptist.

Saint Anthony is placed behind John the Baptist which again creates the illusion of space.

With the flooring a striking white this creates the illusion of light which gives a sense of reality.

On the right side of the painting, Francis and Elisabeth are also present in the paintings. Both these figures are similarly placed and are placed onto a very highly decorated wall of gold. This represents wealth and easily masters the art of the vanishing point.

The Saints present in this painting have connecting predella panels at the bottom of the painting. The first frame showcases Saint Anthony resurrecting a child, in the second frame stigmatization of St. Francis and in third we see St. Elisabeth saving a boy who had fallen down a well. To further my research, I looked at more works done by Francesca.

Piero Della Francesca, Baptism of Christ - 1450

Piero Della Francesca, Baptism of Christ - 1450

The Baptism of Christ is Italian Renaissance painting, painted by the master itself Piero della Francesca. It was commissioned for the Camaldolese Monastery in Tuscany.

This painting shows Christ being baptised by John. A dove is also located the top of Christ’s head signalling the presence of Holy Spirit. This painting is a very good example of the golden ratio which is said to be representing perfection mathematically. Furthermore, there are more figures including three angels dressed in simple clothing and a man struggling to get out of his clothing. This painting was originally an altar piece which is a central part showcasing Christ’s baptism by John.

At the centre of the painting, Christ is drawn.

The figure of Christ has it’s hands raised to it’s chest and are crossed. Christ’s figure shows in the moment of prayer which can be seen due to the crossed hands. Christ is wrapped in a beige dirty cloth around the lower region and is almost dressed as a human and not a good. Due to this painting being located as an altarpiece this adds more to the holy feel of this painting.

On the left side of the painting, three angel are also presented in this painting.

Normally angels are dressed in ornate clothing and are replaced with simple clothing. They seem to be holding hands and watching the exchange taking place at the centre of the scene.

John is placed on the right side of Christ. He is dressed in a brown tunic and his left leg is lifted upwards to show his movement. This makes it life like and adds to the sense of realism. Furthermore, John’s hand is extended towards Christ’s head pouring holy water over him. This depicts the Baptism ritual which the church believes can be done when a child or an individual is bathed in Holy water.

There is a dove place at the top of Christ’s head which is depicted to be the Holy Spirit. The dove is sort off blending in with clouds however the dove again looks to be about to move forward which is what most of the figures are seen to be doing. This further adds to sense of realism which Francesca has achieved through this piece of artwork. These objects form an axis which divides the painting in two symmetrical parts.

Piero della Francesca, “The Baptism of Christ� is a painting deemed with divine proportion because of the Golden Ratio arrangement. We can see the golden ratio down the tree on the left hand side which is vertically shown whereas horizontally through the wings of the dove and in the clouds the ratio is presented in the upper half as well. The circle represents heaven and square represents Earth, Francesca tells us that Christ is the bridge between two which shows the importance of being baptized which links to heaven. This is typical of the renaissance period where geometry is now used to represent heaven on earth.

Sandro Botticelli, Primavera - 1482

Sandro Botticelli, La Primavera - 1482 Sandro Botticelli Alessandro di Mariano Filipepi Botticelli (1445-1510), famously known as Botticelli for short was an Italian painter of the Early Renaissance and was known to be one of the most acclaimed painters in Italy and earned the patronage of leading families in Florence like the Medici Family.

Botticelli’s work contains depth into the human figure rather than on space, his work display melancholy and thoughtful images and his best known works are ‘Primavera’ and ’The Birth of Venus’ which I am going to use as one of my examples.

Self-Portrait, Adoration of Magi, Botticelli, 1475

Sandro Botticelli, La Primavera - 1482 The Primavera is an allegorical painting displayed at the Uffizi Museum in Florence. It is said to be created for the marriage of Lorenzo di Pier Francesco. There are multiple figures present in this painting which does not follow the one-point linear perspective which is different to the previous Renaissance masters and also don’t add up to one story within itself.

The figures are supposedly represented within the classical mythology in the atmosphere of a garden.

The history of this painting is not known but it was commissioned by one of the Medici’s drawing attention to poems such as Ovid and Poliziano.

Sandro Botticelli, La Primavera - 1482

On the left side of the painting, first we see Right from the beginning we can Mercury, the god of the see multiple figures present in this month of May which can painting. Six females figures, with be identified by the two males and also cupid. Similar winged sandals on his to ‘The Birth of Venus’ this feet. Mercury’s right painting also depicts classical hand is raised above his mythology. head which he may be using to usher the winter On the very right of the painting, clouds away whereas his the first figure is depicted to be left hand is rested Zephyrus also known as the biting amongst his hip almost as wind of March. Zephyrus is shown if his been doing this all taking a nymph named Chloris. It is the time. said after Zephyrus took the nymph Chloris, she turned into Flora who is Next after Mercury, there is a group called the Three Graces. These figures represent feminine virtues such as shown on the left side of the two figures. Flora is the spring Goddess Chastity, Beauty and Love. They are dressed lace very light white clothing which depicts purity. The middle which is also depicted by Flora grace seems to be looking towards Mercury whilst the throwing flowers which are others are looking at each other. gathered in her dress. This shows symbolism of springtime and also fertility.

Sandro Botticelli, La Primavera - 1482 Right in the centre, at the far back is Venus. She is dressed in red-draped dress which is in blue with her gaze focussed at the viewer itself. It is said her presence is a reflection of the humanist interest. Furthermore, she is an idealized woman which can be seen by her longer limbs and also the elegant tilt of her head. Also, the trees limbs form an arch above Venus which shows her importance.

Above the head of Venus, there is a blinded folded cupid who is pointing it’s arrows towards the middle grace. Cupid is known for his lack of morality and his attempts to take apart marriage which could explain the blindfold and also the direction his arrow is pointed which is to take apart the three graces.

This painting is said to be depicted to show the idea of springtime marriage however this painting is an allegorical painting which is why this depiction is not certain. This painting is said to be commissioned by the Medici family.

Sandro Botticelli, Birth of Venus - 1486

Sandro Botticelli, Birth of Venus - 1486 The Birth of Venus by Sandro Botticelli was made in 1486. Venus was born when Uranus (father of the gods) who was castrated by his son Cronus. He threw away away the severed genitals into the sea through which Aphrodite (Venus) was born.

Poliziano is an Italian poet and this painting portrays a renaissance classical story. It can be interpreted that this painting was made for Lorenzo di Pier Francesco de ’Medici.

A Greek philosopher Plato says that “contemplation of physical beauty allowed the mind to better understand spiritual beauty” which looking at Venus who was the beautiful goddess lifted the viewers mind towards god, lifted them towards the realm of divine love. The two aspects that Venus portrays through this painting is that she was a goddess who encouraged physical love or she was a heavenly goddess who inspired intellectual love.

Sandro Botticelli, Birth of Venus - 1486 Venus is centrally placed with none of 3 figures overlapping her figure. This focus the viewers full attention on her and shows her importance. The goddess Venus holds her hands in the ‘Venus Pudica’ position which is similar to the famous statue of Aphrodite of Knidos by the Greek sculptor Praxiteles.

Similarly, Venus is also standing in a contrapposto which is common in the classical which makes the figure seem alive and dynamic. The equal distance between the breasts, between the navel and breasts, navel and crotch, add up to the position of contrapposto just like Michelangelo’s David 1501-1504. The proportions show a lot of exaggeration however the long neck adds to the mysterious figure.

Birth of Venus is Botticelli’s first large scale canvas creates in Renaissance Florence where tempera pigments, unusual for the time period. This then resembled a fresco and is preserved exceptionally well. Venus’s hair, sweeps gracefully with a vibrant gold which is said to be inspired by Donatello’s Penitent Magdalen. This factor also adds to its mystifying qualities

Sandro Botticelli, Birth of Venus - 1486 On the left side of the painting is the figure of Zephyrus who carries the nymph Chloris (Aura) as he blows the wind to guide Venus as she rides on the sea shell and sea foam to the Island of Cythera. The Zephyrus figure is leaning towards Venus in the centre and is half nude with wind blowing away the cloth wrapped around him showing movements.

The flowers are said to be born when Venus was born. The figure Zephyrus carries is said to nymph associated with spring and blossoming flowers like those.

Furthermore, blues and whites in the background represent the sea with curved lines.

On the right side of the painting, what seem to be the shore is known to be Pomona (goddess of spring) waits for Venus with mantle in hand. The mantle billows in the wind from Zephyrus’ mouth which shows drapery which adds to the realism. The goddess is dressed in white contemporary dress holding the mantle in both hands.

San Giobbe Altarpiece, Giovanni Bellini - 1480

San Giobbe Altarpiece, Giovanni Bellini - 1480 Giovanni Bellini Giovanni Bellini was an Italian Renaissance painter. Gentile Bellini was his brother who had a better reputation and was highly regarded. However, Bellini is considered to have revolutionized Venetian painting therefore evolving into more sensuous and colouristic style.

Giovanni was born in Venice and lived for 65 years in which he created pioneering portrayal of natural light in works such as ‘The Agony in the Garden’. Most of Bellini’s work, in his early life contained a depth of religious feeling and human pathos.

San Giobbe Altarpiece, Giovanni Bellini - 1480

San Giobbe Altarpiece is an oil painting by the Italian painter Giovanni Bellini which is located in Venice. It is one of the artist’s famous works for the altar on the for a church of San Giobbe. It is still uncertain as to when this painting was actually created however some claim it was made during the plague which was in 1987.

In this painting Mary sits at the centre showing her importance with the Christ the child. Furthermore, there are three musical angels at Mother Mary’s feet with several saints at the side. This scene is supposedly happening at a church, which is depicted as it has a coffered ceiling at the top of the painting. This blended very within the church itself because of the similarities within the church and the painting itself. The human form is portrayed with monumentality and warmth.

San Giobbe Altarpiece, Giovanni Bellini - 1480 There are 11 figures present in this scene. Bellini painted this image which show that he figures are supposedly talking to amongst themselves. They are all placed symmetrically except the Virgin and Mini Jesus. All the other figures are grouped in a three and are placed at the bottom level of Mary and Christ.

At the bottom of Mother and Christ, three musical angels are drawn which are looking upwards towards Madonna drawing attention to Madonna and Christ. St. Job is also present within the painting who is the master of music showing that the city of Venice prefers sensual pleasures rather than scholarly ones.

Amongst all the figures, Mary and Jesus are the only pair which heightens their importance amongst the painting.

This could either suggest the presence of god which could complete this trio and is easily understood by it’s audience.

The figures at the bottom of the painting balance out the painting perfectly. St. Francis, St. John the Baptist and St. Job are present on the right whereas on the left there is St. Dominic, St. Sebastian and St. Louis.

St. Francis is dressed in traditional brown hooded cloak beckoning it’s viewers to join in the holy conversation by stretching his hand towards it’s audience. Next, John the Baptist is looking lovingly at Jesus. Furthermore, St. Dominic is looking engrossed within a leatherbound Bible. St. Francis, St. John the Baptist and St. Dominic both perhaps portray how one acts within the church or how you are meant to act. St. Francis is dressed modestly to respect Mother Mary whereas St. John the Baptist is looking at Christ wistfully showing the hope a devotee has towards Christ and Madonna. Also, St. Dominic is shown engrossed which could portray to pray with all the concentration and not be distracted.

The Swing, Jean – Honoré Fragonard - 1767

The Swing, Jean – Honoré Fragonard - 1767 Jean – Honoré Fragonard French painter, Jean-Honore was born 1732 and died 1806. His Rococo style was distinguished by remarkable facility, exuberance and hedonism. He painted more 550 paintings which excludes etchings and drawings.

Fragonard most popular works are his genre paintings due to his conveying of intimacy and veiled eroticism through his artworks. Jean-Honore is also known to be a prolific painter due to his interest in varied subject matter which includes themes of pastoral, erotic and domestic appeal. His most famous work is The Swing painting which contain sexual scene which is what Jean-Honore is famous for.

The Swing, Jean – HonorÊ Fragonard - 1767 Best known for a master piece in the rococo era, this is an oil painting and is one of the the artists, JeanHonore famous works. The painting depicts a young women on a swing. A man, supposedly her lover, is smiling in the bushes who is smiling smugly.

Furthermore, as the women is swinging on the swing, the man can see up the skirts of her dress however another figure in also present in this painting. An older man, He is hidden in the shadows, behind the swing who is unaware of the young man right at the foot of the women. There are 3 more figures in this painting however they are not living. Although, there are not living they all represent symbolism through each of their actions or presence.

The Swing, Jean – Honoré Fragonard - 1767

In the background, on the right we see the mistress supposed husband who was initially supposed to be the Bishop. The husband is painted much older and has no idea about the hidden Baron near his wife’s legs.

This painting was commissioned by the Baron de St. Julien to paint a portrait of his mistress. He said “I should like to paint Madame seated on a swing being pushed by a Bishop.”

The young mistress, is seated on a sylvan swing who is swinging around in frivolous abandon which can be seen due to her shoe flying off in the moment.

She is placed right in the centre and an unknown Inanimate objects within this painting are also source of light, from above, is illuminating the present to add more symbolism within this mistress. scene. Just above Baron on the left, a cupid is On the left side of the painting, at the also to be seen. Made out of stone although he bottom we see Baron himself at a much is pointing his fingers towards his lips to show younger age. He is reclining in the bushes the secretive nature of this scene and affair. whilst his other arm is stretched towards the mistress on the swing. He is placed at the bottom due to his Two cherubs are placed at the request where he asked specifically bottom of the swing who appear to “place me in a position where I can be concerned about the scene taking observe the legs of that charming place above. Furthermore, one girl. This could forebode the cherub looks to be concerned supposed affair which is about to take place or is already happening. The whereas the other looked away with a baron is illuminated under the scowl. maiden’s dress.

John Everett Millais, Ophelia – 1851-1852

John Everett Millais, Ophelia – 1851-1852

John Everett Millais

John Everett Millais, is an English painter who was amongst the founders of the Pre-Raphaelite Brotherhood. He is also an illustrator who is one of the youngest to enter Royal Academy Schools.

Pre-Raphaelite Brotherhood is a organisation of English painters, poets and critics which was founded by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The artists intention was to reject the classical style of elegant and classical poses. This was founded in London which was where Millais lived however he stepped away from this movement in 1850’s and began to embody a powerful form of realism.

John Everett Millais has ever changing techniques embodied into his works. Furthermore, his reputation is influenced by his Wife too which is Effie. The wedding with wife and and annulment has sometimes been linked to his change of style within his artwork.

Everett Millais’ work is normally controversial

John Everett Millais, Ophelia – 1851-1852

This painting is known to be the greatest masterpieces of the Pre-Raphaelite style. It depicts the story of how Ophelia is driven mad by the Hamlet’s murder of her father therefore committing suicide by drowning herself. The figure of Ophelia is shown to be floating in water, her mid section slowly sinking. Ophelia wears an antique flowy dress and her hands are by her side in a pose of submission, accepting of her fate. Multiple plants and flowers drawn all around which each have a symbolic meaning. This links in with my theme which is symbolism.

John Everett Millais, Ophelia – 1851-1852 Ophelia is painted along the banks of the Hogsmil River in Surrey. The painter said in one of his letters to his friends, he got up everyday at 6 am and began work at 8. Millais did not stop until 7 in the evening.

’Ophelia’ is a character in Hamlet, by Shakespeare. Her father is murdered by her lover Hamlet which drives Ophelia to insanity.

However, this scene within the play is not played out on the stage but between a conversation within other characters within the play.

This painting is known for it’s floral setting around the dying Ophelia. This stresses the patterns of growth and decay in a natural way. Certain plants within this setting have symbolic meaning such as a ring of violets around Ophelia’s neck.

This could be a symbol of faithfulness but also chastity and death. The red poppy could also represent death and sleep.

This is common in Pre-Raphaelite paintings. The PR payed attention to serious ad important subjects which consisted literature and modern life using historical costumes.

The model of Ophelia within the painting is called Elizabeth Siddall who posed as Ophelia in a bath full of water to pretend to be the drowning Ophelia. During this time, Siddall got very ill and very cold through this process.

Ophelia is clothed in an antique dress, the dress floats over the water, showing it’s weight which shows a realistic effect.

Furthermore, Ophelia’s arms are opened wide at her sides with her gaze turned upwards which represent traditional portrayals of saints or martyrs. The pose of submission which suggests that she’s The bright and intense colors of the herbs creates contrast between accepting her fate.

Ophelia’s pure white skin and the nature around her. Furthermore, This is a perfect example of PRB which is depicting a women waiting the use of different flowers within the painting was because of the for happiness only to find her destiny on the verge of death. Also, each reed, leaf and flower depicts the exact observation of nature. play itself. Millais paints the dead and broken leaves as well as This shows the melancholy which is common in Victorian art.

flowers in full bloom.

Poster Analysis Here are posters from different events and exhibition. I chose to create a mood board out of these posters to gain some inspiration as well as ideas which would allow me to incorporate these into my final poster design. Each of these posters have a different theme, font, colour and style to match the event and what it’s about. This allows it’s viewers to gain insight into the exhibition or event allowing the viewers to get a sense of what the event or exhibition or even the movie is about.

Poster for Raaz Reboot (Bollywood) • This poster is for a thriller movie “Raaz Reboot”. The colours are simplistic and mysterious with it’s a strong red coming through the left side of the poster. On the right, an equal amount of blue is shone at the right side of the face which adds to the mysterious atmosphere and plot of the movie.

• The title of the movies and subtitle is placed at the bottom of the poster. The font is quite big which makes it visible for it’s viewers.

Furthermore, the colour of the font which blends well with the background and gives a very mysterious vibe • The star who is starring in it is also present and is placed at the centre of the poster. This gives the audience an idea of what the movie is about. This is an Indian (Bollywood) movie so the audience who will watch this movie could know the actor and he could be quite famous which would gain more followers and viewers for the movie.

• On the left and right side of poster, the logos of companies who produce and sponsor the movie are put to show who are doing them.

This logo could be recognised by the audience which good for advertisement.

• There is a limited amount of information given on this poster however due to this being a poster for a movie, there could be one or more posters out to get more publicity and advertisement.

Recreating the Raaz (Reboot) Poster safeguarding Further means of research and experimentation, I attempted to recreate this poster. I used a photography workshop to recreate the lighting in this poster. Overall, this was an interesting experimentation which allowed me to gain further knowledge.

The first shots were taking without the green and red lighting. We also thought it would be a good way of experimenting on face paints. Therefore, we made a clown face on the model to emphasize the idea of a clown make. This portrait was very easy to achieve therefore it did not take us a long time to take.

However, this portrait is taken quite far out and is not zoomed as the poster itself therefore I did not use this as my poster.

I also used different models to see who better fitted the portrait of the poster. Similar to the first photo taken, we deemed down the lighting although the pose of the model was very effective which will made it sinister.

Furthermore, the lighting added to sinister effect however the blue and red lighting was not present in the first photo therefore I could not use it within my poster.

The next to photos where taken within the red and blue lighting.

This was much closer to the poster and I liked how these two photos turned out.

The lighting was a massive trait which I decided to play on.

We took plenty of shots to match the shot in the poster however the best one out these shots was a landscape, hood up shot. I like this shot due to it’s zoom within it’s frame. It looks almost similar to the poster I gained inspiration therefore I chose to edit some of it’s traits and design a poster background using it.

The glitch workshop:

In order to further my research, I also tried different workshop such as the glitch to see which better suited the poster. I chose this image due to the models closeness towards the screen was much similar to the poster which I chose to gain inspiration from.

To create the glitch effect for this image I used Photoshop.

Title Ideas

To show the information which I have gathered over the paintings, I would like to create an exhibition which will be displayed at a destined placed. Furthermore, I will also create posters, leaflets and ticket stubs which would advertise my exhibition too. To advertise my exhibition I would have to create an exhibition name. Here are some of the title ideas which I would like to use within my exhibition.

• Symbols: I chose this title as it related to my theme. However, the title did not catch nor make the exhibition sound interesting which is why I did not chose this title.

• Symbolic Wonder: In the next title I added an extra word to see how it would sound. Overall, I did not like this title as it was not eye catchy at all.

• Symbolism: Hidden Meanings Next, I chose to another version of the word ‘Symbols’ and I also tried to include a sub heading.

“Hidden meanings” this sub heading related to the way symbols are hidden within a painting to mean something therefore I chose to use this within the title. I quite liked this title however I looked further into more titles I could come up with.

• The Magic of Symbolism: I then tried to use nouns which could make the word “symbolism” more interesting. However, I did not like this title at all.

• Symbolism – Rebooted: In the end, I looked at posters. I looked at titles within those posters and I found “Raaz: Rebooted” as one of the titles. I quite liked the tile therefore leading me to come up with “Symbolism – Rebooted”, this meant a different approach towards symbolism and it also linked in within my theme.

After coming up with a title for my exhibition, I then started with creating my poster. To create my poster I first looked a font designs from within the web and This font is acquired by the website “dafont�. This is a capitalized the programs. title which makes it effective to see when placed within a background. The thickness is quite effective which gives it sophisticated look.

The first font I looked at was the poster I looked at in the beginning to find inspiration for the title of the exhibition itself. I then looked at the style of the font. I quite liked the use of this font with the subheading at the bottom. The color and the size of the font is very visible to the eye for the viewers.

This font style has shattered effect which relates perfectly well with my theme.

The shattered effect shows the inner and outside background which is what symbolism is about. This means the inner meaning, the painting will be pulled forward therefore this would be an ideal font style to use within my poster.

Symbolism - Rebooted The next font style I found was this simple and easy style. This looked professional as well as simplistic to catch the viewers eye. However, the thickness would make it easier for the viewers to overlook the title therefore not making the viewers not look at my poster in general.

My final was this one due to it’s relevance towards my theme. The font has a shattered effect almost as if breaking a mirror or glass. I quite liked this font as when a mirror or glass shatters, what lies within the mirror or glass is pulled forward. This is what I’m doing with the paintings which I have chosen, I am bringing forth the inner meanings of the symbols present in the paintings and depicting what they mean and what they are there for.

After choosing this font, I chose to put this under Photoshop and see how I can edit it best to suit my poster.

At first, I cleared out the white edges and tried to add color within the font.

As an experimentation I tried to colors which were used within my photoshoot. The colors where red and blue which I then embedded into the font using the bucket tool.

As a means of experimentation, I then tried to use blending options such as Inner Shadow, Outer Glow and Drop Shadow which helped me transform the font a better way. This was the final outcome of the font and I liked the way this has turned out to be.

To start of my poster I opened a Photoshop file. Firstly, I decide the effect that I was going for which was similar to my font. The effect is similar as the shattered one which is what I was aiming for.

For the effect that I was going for, I first chose the options from ‘Create new or Adjustment layer� which allowed me to chose the gradient layer. A new window was opened which I then played around with for my desired effect. The page layer turned a grayish color.

Next I chose the image I would like to chose as my background. This image was taken within my shoots and is inspired by a movie poster when doing research within other posters.

Furthermore, to achieve my desired effect I also had to change the object to a smart object to edit it better.

I then required to make layer mask which allowed me to show the picture underneath almost as if dug a hole in to see what’s under. After, I used the brush tools to show the tattered and shattered effect within the image.

Furthermore, I played around with blending options to darken the image as well.

Final Poster I then added my font which I initially planned to have as my final font. I really like the way this poster has turned out to be due to it’s relevance towards my theme as well. All color are unified with it’s red and blue which gives it sophisticated look. Furthermore, the effect within the image gives a very shattered look and shows the inner meaning within the image. I also added information regrading my exhibition. This includes when and where it will be held.

Logo Analysis To gain inspiration for my logo design, I researched different types of exiting logos available for different products and events.

Each logo was different and unique in it’s own way however I would like to use some of their unique features into my logo. To do this I looked at existing logos and researched what they were for. Some logos don’t really specify what product or event their actually for however the look of them catches the eye of some people. Therefore I decided to do a logo for my exhibition.

This is the logo of the ’Play Station’ company. This is very creative and I would like to use this within my logo as well. I like how the ‘S’ although behind the ‘P’ is still visible to the eye of the viewer. Furthermore, the letters both have different color which makes it pleasing to the eye.

This is the logo of the ’Warner Bros’ company. I really like the 3D effect this logo therefore I would like to try this method within my logo too. The 3D effect of it sticking out of the page could also relate to my theme with ease as the painting are broken down so that it’s inner symbolic meanings could be known by everyone.

My first attempt for the logo was to achieve the concealed by can be still seen ‘Play Station’ logo. I free transformed the letters one by one through the combined tool in Photoshop however it did not turn the way I wanted the logo to turn out therefore I did not carry on with this experiment.

My next attempt was to try out the ‘Warner Bros’ logo. Instead of the Initials of the company I chose to add a skull within the logo due to it’s symbolic meaning within the paintings which I have researched.

I tried using the same font I used for my first logo however I thought that this font was not effective for the viewers to recognize therefore I chose a different font.

Final logo: Here is the final logo which I have developed.

Leaflet Analysis To gain inspiration for my leaflet design, I researched an exiting leaflet available for a different event. The leaflet was different and unique in it’s own way however I would like to use some of the unique features into my leaflet. To do this I looked at an existing leaflet and researched what they were for. Some leaflets don’t really specify what product or event their actually for however the look of them catches the eye of some people. Therefore I decided to do a leaflet for my exhibition.

To create my guide, I first looked at different existing guides to get some ideas and inspiration from them. The first thing I liked about this guide was the fact they added one of the artists work which will be present in this exhibition. The font of the color and it's boldness makes it stand out to it's viewers and also gives us the information about the museum. Also, it shows where its going to be held at and the logo of its foundation. This makes the readers of the guide aware of what the guide is actually about. overall, I think using an artists work as the front cover of the guide is really effective and very persuasive.

I really liked how once you flip over the guide, the back of the guide contained the events programmed which is very informative for it's viewers.

Although, I don’t like how both the front and the back cover have the same artist work which viewers could somehow disregard or even think as printing malfunction which will then lead to the viewers not getting the point of the upside down back cover.

In this guide I liked how they added the picture of the museum which the viewers will be visiting. This is very informative as the viewers will get an insight as to what they are signing up for and also maybe what theyare paying for.

However,I cannot use thisas one ofthefeaturesof my guide because my exhibition is notgenuine.

In the 'Events Programme' section, a lot of information is given as to what each programme is about however the font is very dull and boring color and style which could make the viewers not want tovisitit's programmes and shows. Therefore,the events programme section could be a lot more colorful to catch the eye of the viewers with images andcolor.

The inside of this leaflet shows an insight into the exhibition which is similar to what my leafletis going to be about. Furthermore, I really like the scale of the painting on this leaflet where it shows every detail in them and also tells about other paintings. The use of space is chosen well and I would liketo use this technique in myleaflet.

This was a roll gate folded leaflet and I really liked the inside layout of this leaflet.When you open the leaflet one whole side of the page is covered in a photograph. I really liked this technique as this could fill out a page with an inside look of the exhibition and at the same time interest it’s audience with what the exhibition is about.

I really liked the front cover of this leafletas itlooked very professional and stood out more from the other leaflets which were presented for me. The font of the tittle Furthermore, on the outside of the leaflet, the map is although simple attracts definition without messing the clearly located and seen by it’s audience. I would like to background up. The colour emerges from the use this in myleafletwhere awhole page myleaflet is filled background with the subtitle as well which is good best for with map so audiencecanevidentlysee where they are supposed to go for the exhibition. audiences looking from afar. The striking background catches the eye of it’s audiences immediately and even Moreover, the middle of the leaflet talks more about when the event will be held however I don't like this page as much because there’s not much of an inside look and none of the more for audiences who know the painting. paintings which are presented into exhibition which doesn't show the audiences what's going to happen.

Final Leaflet This is my final poster made by PowerPoint. It was very easy and effective to use. The front page contains my poster which I then thought to turn into a leaflet. I chose to do a leaflet because it could gain a wider range of audience for the exhibition.

A leaflet could contain a wide range of information as to what a certain event or programme held, is about.

Furthermore, leaflets could have information regarding where the event or programme is going to be held.

For my leaflet, the front cover was my poster. I chose to put in my poster as it shows a consistent use of sources made by me. This will then give a sophisticated and professional look for my advertisement towards the exhibition. Overall, the leaflet was a very easy to make. However I think that I could not play around very well with this sort of half folded leaflet.

When I open the leaflet, the double page contains the map and an intension as to why I created this leaflet.

First page: I included a screenshot of my online exhibition to show what the exhibition actually looks like.

Second page: I then put in a intention which shows reasons why I chose to do the leaflet. Furthermore, I added a content of the exhibition as well,

From pages 4-7 is information about the paintings which are going to be seen within the exhibition. In total I have included 8 paintings within my exhibition which I thought would be useful to add within my leaflet. This could attract more audience and viewers due to it’s content and what the exhibition is actually about.

Each page contain two paintings and a description as to what the paintings are about. Furthermore, factual information is also included within this leaflet for example the date as to when it was made and by what artist. This could interest audiences who are interested in these times periods as well as the artist himself as well.

My last page shows factual as well as useful information. At the top of the page, a map is placed which shows where the museum at which the exhibition is to be held is seen. This will help the audience know where it is. Moreover, at the bottom of the map I included a picture of the museum itself which helps the audience familiarize with the place with itself. Next to the image is the address of the place and it’s postcode.

This further emphasizes where the place is and the audience cannot miss such important information. Next, to plan ahead for the journey towards this event for people who live far from this place, can click on the buttons at the bottom which take them to ‘Google Maps’ and ’Transport for London’ website when checking this leaflet online. Lastly, I've included transport which could allow people to get to the event.

I made an entry ticket which allows my audience to view the exhibition at any permitted time.

Furthermore, I have added a barcode scanner with a QR code at the right corner of the ticket.

This can allow viewers who have this ticket access to the exhibition.

In the background, I have my logo which I prepared for the exhibition. The logo is cut off at the edges and is zoomed in creating the background. The skull is present showing one of the symbols of death. As I’m looking at symbolism present within the paintings I have researched, the skull is a major symbol of death therefore it was fitting for me to use my desired logo.

In addition to these, I have included significant information such as the address of the place where the exhibition is held at with the website link as well.

Moreover, I included the name of my exhibition in the same font format as it is on my poster and leaflet. This unifies and gives a consistent use of sources which I think is professional and makes it aesthetically pleasing for it’s audiences.

Directions to show where the viewers are going. I could use this in my model to show efficiency and put in more detail into my exhibition model.

Linear, block patterns on the flooring with a octagonal border to emphasize the shape of the room which gives it more detail and I've decided to use this technique into my module so as to show more detail.

Final Exhibition Design

Reception

Bathroom

Exhibition Space

Front Porch

Final Space Design

My exhibition floor plan contains of 1 floor with three different parted rooms. There is a reception, toilet and exhibition space for the displaying of my researched paintings.

In my reception, I have objects which would look better at a realistic museum. I included a reception so that viewers can ask more about the exhibition as well as ask the way to where certain paintings are placed could be.

In the reception, there is a sofa, doors (to the exhibition and toilets) and the entrance itself. In addition to these basic and significant objects, I included sculptures which decorates and personalises the exhibition.

In my reception, I have a door towards the exhibition space viewing. Each painting has it’s own exhibition wall space so as to when observing and viewing the painting, it’s audience do not get disturbed. I don’t quite like the way my exhibition space has turned out as I feel paintings would look better in natural lighting.

However, due to windows not fitting perfectly into my electronical diagram I decided to cut out these windows.

Through the bird’s eye camera, I have included where exactly I would like to place my paintings. I have decided to place my paintings by size order due to some of them being altar pieces. It would be best the altar pieces are placed in smaller rooms as I think having a bigger room could make the paintings look much smaller, making the viewer overlook small details.