Niamh Parkes Historical Art 230652
The Golden rectangle: The golden rectangle is a distinctive shape is mathematically pleasing because when a square section is removed, the remainder is another golden rectangle, which has the same ratio as the first. The removal of this square can be repeated over and over again, this makes the corners of the squares form an infinite sequence of points on the golden spiral. The Golden Ratio then started to be used by artists and is frequently found in artwork and architecture as a rectangular shape seemed 'right' to the eye. Artists that were not overly mathematical were fascinated by the way the golden rectangle was visually pleasing and could actually use this rule in their work. The proportions of the golden rectangle have been seen in many famous works such as Leonardo da Vinci. This golden rule is found in may natural forms like trees, animals, shells and even faces. Facial features can be made to been seen as the ‘most attractive’ if the rule is followed as the Golden ratio proportions between the width of the face and the width of the eyes, nose, and eyebrows can be made to be just right and are seen again as visually pleasing.
The Renaissance: The term Renaissance meaning Re-birth was a period in European history, that was described as the cultural bridge between the Middle Ages and modern history 1400-1600. One of the main features of Renaissance art was its progress of highly realistic perspective. The renaissance created the rebirth of art by drawing on the style of ancient times. It was most apparent in the Republic of Florence, Italy. Florence Early Renaissance is known by interest in rediscovery of classical learning and art and architecture. Artists such as Giotto di Bondoneis were so inspired by this development that he treated his painting as a window into space. Because of the renaissance there was a new religion called humanism, that included all religions and embraced the classical and traditional world. The new perspective was a wider trend towards realism in the arts. Painters developed other techniques, studying light, shadow, and artists like Leonardo da Vinci, human anatomy. Reasons for these changes in artistic technique was due to a new desire to illustrate the beauty of nature.
Botticelli: The Birth of Venus
Botticelli’s painting “The Birth Of Venus” is a key piece of artwork during the Renaissance. The goddess Venus herself, also known as Aphrodite, in Greek mythology. Appears in the centre of the painting. She is seen emerging from the sea on a shell, as a symbol of the myth that explains her birth. The shell she stand on is pushed to land from the winds of the wind gods alongside with a shower of roses. Venus is about to step off of the shell and a lady known as a Nymph is ready to cover her naked body with a cloak.
Botticelli created Venus to be a beautiful goddess of love, the fact that she is illustrated nude is a key feature. This is because usually paintings were of a Christian nature meaning women were never seen nude apart from Eve. Many aspects of the painting that have been added by Botticelli help suggest the fact she was swept in by the breeze. Such as the leaves in the background, the locks of Venus’s hair being blown by the wind, the roses floating behind her and the waves all show this idea that she was lifted to shore.
Venus’s long golden hair is being blown in the wind. The use of gold paint can be seen in the strands of hair, this was used to empathises the purity and beauty. The Birth of Venus is portrayed as a beautiful myth ad this is shown through Botticelli’s delicate lines and brush strokes. The proportions he uses are exaggerated, such as the long neck and length of hair help create her grand figure. Venus is the main focus in this painting as she is the symbol of love. Not only does she symbolise this but she also represents beauty, fortune and fertility. The positioning and size of the other figures surrounding Venus help bring the attention on to her in the centre. Venus’ pose is and the placement of her hand is a representation of the typical “Contrappisto” pose found in many classical Renaissance sculptures. It also is used to seem that she is covering herself up against the blowing wind.
https://www.khanacademy.org/humanities/aphistory/early-europe-and-colonial-americas/ren europe-ap/v/botticelli-the-birth-of-venus-1483
Botticelli illustrated Venus show that she is stood in the classical Contrapposto position, which is inspiration taken from classical statues made in the Renaissance. Her hands in the ‘Venus Pudica’ position first used in the famous statue of Aphrodite of Cnidos by a Greek sculptor. This kind of nudity was unseen other then from the first life sized representation of the first female nude (eve) that is of Christian belief. Possibly another reason for Botticelli’s attention to detail and the devotion to making Venus the mst beautiful symbol in the painting is that she could be based on a woman called Simonetta Cattaneo de Vespucci. The face of Simonetta is seen as the Italian Renaissance concept of ideal beauty both inside and out. Botticelli wanted to capture her spiritual beauty, he believed that beauty equals morality and purity. The Artist was believed to be secretly in love with Simonetta but she was the wife of the Italian nobleman Marco Vespucci of Florence. Botticelli finished painting The Birth of Venus in 1485, nine years after her death and there is a big resemblance between them.
Botticelli and Simonetta: It seemed that Botticelli used inspiration from Simonetta Cattaneo de Vepucci’s portrait when it came to painting Venus more then once. This was because he thought that the goddess of love was supposed to be the most beautiful women there was and in his eyes Simonetta was such as women. This identification is debated and weather she knew that Botticelli was in love with him is not known but to so how in love with her he was, it was said in his will that hw wanted to be burried at her feet in the Church of Ognissanti – (the parish church of the Vespucci). His wish was in fact carried out when he died some 34 years later, in 1510.
Botticelli: Venus and Mars 1485
Botticelli: Venus and Mars 1485 Botticelli’s painting of Venus and Mars shows the Roman gods Venus, goddess of love. And Mars, god of war, in an story of beauty and valour. The youthful and voluptuous couple set in a forest setting, surrounded by playful baby satyrs. It is seen as representation of an ideal view of intense love of the opposites. It seems likely that Botticelli worked out the concept for the painting and spent a long time planning how to portray the story. The painting was believed to be made to commemorate a wedding, as a piece of furniture to decorate the headboard in bedroom of a bride and groom, possibly as part of a set of works. This is suggested by the wide format and the close view of the figures and the meaning behind the painting. Venus and Mars are portrayed to have just been making love, and as a joke during this time in the context of weddings in Renaissance Italy, artist portrayed the male habit of falling asleep after sex. This is also implied by how the god is oblivious to the childish behaviour of the satyrs. Another hidden meaning in the painting is that the goddess of love is too much for Mars and that love rules over war.
Another painting on Venus and Mars by the artist Piero di Cosimo, created in Berlin 1505. likeness in the two painting suggest this was inspire by Botticelli’s painting.
About the artist Botticelli: Sandro Botticelli was an Italian painter during the renaissance period. He became one of the most famous painters in ltaly. As well as the small number of mythological paintings which are his best known works today, he painted a wide range of religious subjects and also some portraits. He was especially known for the Madonna and Childs and The Birth of Venus and Primavera, both in Uffizi, Florence. Botticelli’s work could be seen as developing in a direction opposite to that of a other new painters, creating the High Renaissance style but he also returned in some ways to the Gothic style of painting. This is why he has been described as "an outsider in the mainstream of Italian painting“. Botticelli had little interest in many of the developments most associated with Quattrocento which means cultural and artistic events of Italy. Instead when painting he focused on things such as the realistic illustration of human anatomy, perspective, and landscape, and he often used techniques from classical art. However, while his training enabled him to represent all these aspects of painting, it didn't contribute to other development.
Some of his work:
Bronzino: An Allegory with Venus and Cupid 1545
Bronzino: An Allegory with Venus and Cupid 1545 This painting by the artist Bronzino is an allegory. An allegory is a word we use in art to describe a piece of artwork which has a hidden meaning. In the centre of the asymmetrical painting are two figures, Cupid (Venus’ son) and Venus herself (the Goddess of Love). The unsettling part about this painting is the nature of the embrace between the two. Behind them it has an unhappy group of figures to be watching the disturbing act of love. This painting is about disorder the traditional allegory of love which means the pleasure and pain In a nasty image.
Bronzino has focused on Venus more in the painting then the other figures. She is the most centrally placed and in one hand she is holding a golden apple and in the other cupids arrow. Cupid on the left is resting against Venus while holding one of her breasts as well as leaning in to kiss her. We can tell that it is Venus as he carries the bow on his back. The fact that cupid is holding his mothers breast while kissing her is a very socking concept and is why then Sir Charles Eastlake purchased this painting in 1860, he thought it was considered too disgusting for the London audience so he had Various parts of the painting painted over.
Bronzino although creating a painting of disorder without traditional symmetrical planning he has in fact added traditional western painting techniques where, you can identify the characters in each story by their attributes. Attributes are the symbols or items carried by a character that allows the viewer to identify them, for example St Catherine will always have the wheel she was martyred on.
There are many symbols within the painting, the doves below cupids feet represent love, by placing them next to the centre figures suggest they are lovers. There is a boy positioned on the right that is scattering rose petals which symbolise pleasure. However, he is also stepping on a thorn but does not seem to be effected by it. This suggest that the artist is expressing the fact that there is pain within love. A further hidden meaning towards the fact the boy cannot feels pain is, at the time based in the painting a new sexually transmitted disease was spreading across Europe called Syphilis. If untreated Syphilis can become Tabes dorsalis, which causes nerves degenerate and might mean the boys foot is numb due to this condition.
Behind cupid and Venus there are two figures holding a blue cloth, the artist has included this because it show them trying to cover the goings on in the painting from others seeing. Non oft he figure have any attributes so you cannot identify who they are. The rightmost figure has an hour glass on his back, it seems that it is weighing him down. This could suggest that this figure trying to cover up the scene but is being prevented by time. The left figure could possibly represent truth or falsehood, we get this idea because of their mask like face. Meaning that they have covered up their face in order to not be associated with what is happening. As well as this the figures head is hollow suggesting that they will have no memory of this event. This figure could be a symbol of oblivion.
Another symbol in the image is the girl who has a face of a human but whose body ends in the legs of a lion and a scaly serpent's tail. She holds in her left hand a piece of honeycomb. At the end of her tail in the right she has some sort of sting, this could suggest that she is possibly the figure of Deceit. This means that she could be trying deceive someone by luring them in with her beautiful face honeycomb, but is concealing the truth about her.
Directly to the left of Cupid there is a darkened screaming figure which perhaps represents jealousy/envy but also syphilis which could deterred the figures brain and in result caused them to go mad. At the bottom right of the painting, on the floor Bronzino has added two human like mask. One with an unhappy expression the other with a smiling, this symbol is often seen in theatre as comedy and tragedy, this could suggest that everyone has come to see the two figures in the middle as if it was a performance. However it could also belong to the two lovers as a way of hiding their identity afterwards. The arrangement of figures in the painting is created so that they’re all close to each other. This allows the viewers eye to flow around the painting and see more the longer they look, all the hidden meanings be come clearer.
The overall hidden meaning in this painting by Bronzino was that you can enjoy the pleasures of life while they last but then over time those pleasures will be exposed full of misery and suffering. And to this you have been warned. This painting was believed to be given to King Francis I of France as a gift from Cosimo I, ruler of Florence, Italy, at the time. The story line and subject matter of the painting was well suited to the tastes of the King of France and It was probably sent to him knowing he would find the context of the painting amusing rather then disturbing.
About the artist Bronzino: Bronzino also known as Agnolo di Cosimo was a developing artist during the Renaissance period who was inspired by artists such as Raphael and Da Vinci. These painters used distortions of proportion and perspective in usually crowded compositions with figures that have exaggerated poses. From this Bronzino developed his own style of accurate drawings with the use of colour, the way he applied the colour gave a realistic shine to his paintings. With his talents he produced many stunning portraits as well as religious paintings.
Some of his work:
Titian: Venus of Urbino, 1538
Titian: Venus of Urbino, 1538 In this paining by Titian he shows how he was influenced by the Renaissance development of art in Florence by how he includes detail in the figures and floor tile and the background setting. This painting has a hidden meaning that “Men act , Women appear. Men look at Women, Women watch themselves being looked at.� This suggests that the artist created the painting to please the male audience. Other things in the painting that suggest it was created for males, her direct gaze the Titian has given her welcomes the viewer due to its extremely sensual feel. Titian has included a dark green cloth behind the woman's head that divides the scene in two. This helps frame her face so that it increases the impact of her gaze on the viewer.
The effect of her gaze is also helped by the way her flesh is painted, a smooth glossy texture allows the feeling of the viewer being invited into the scene. The women otherwise known as Venus ( the goddess of love) is led in a relaxed manor her skin is soft and without flaw, this would suggest that the artists intention was to make Venus pleasing to look at as she seems well kept. The soft chiaroscuro light that is shown on the woman creates the sensual feel to the work. Her body is curvy which was seen to be a sign that she will conceive children in the future during this time.
Venus is hold roses in her hand this is a suggestion to the viewer that she is fertile and her youthful. As well as this, the rose is the flower that was born with Venus in the sea and is a symbol to identify her in the painting. Another symbol the artist Titian has used in the painting to attract the attention of the male audience is the dog led at the end of Venus’ bed. The dog symbolises loyalty and that in turn means that Venus herself is loyal, a feature men at this time were believed to want in a woman. In the background there is two women. One knelt down with her a head in a calzone (a box used for storing household items such as blankets). And one standing above the other holding some kind of blanket or curtain on her shoulder. These two women represent that they are domestic and are capable of household cores. Again this was another skill that traditional men at this time wanted a women to have, suggesting that the artist included it in the painting to please the man. Finally in the background scene, in the window there is a Murtle tree, otherwise known as an evergreen (stay green forever). This is a symbol of faithfulness and suggests that the women will never leave. All of these items and techniques the artist has included in the painting is too invite the audience which was intentionally men, to the woman led naked on the bed. This was a panting created by Titan with the purpose to please men.
Edouard Manet: Olympia 1863 This painting by the artist Edouard Manet was painted in 1863 of a woman called Olympia. The artist was inspired by the painting of Venus by Titian and created his own modern version of a naked woman. Although there are many similarities between the two paintings, there is lots more differences that create a different feeling and message in the painting. Manet copies from the traditional painting of a lead down nude woman such as Titian's Venus of Urbino, but he drastically changes the viewers relationship with the subject. Unlike Venus this woman is looking at the viewer with a challenging stare, her expression is not as inviting as the first and choker necklace and mules imply a casual nakedness rather than the important visual style of Titians work. The artist uses lighting in a harsher more direct way suggesting he was trying to create the realism of the characters in the painting as well as thinking how to give a better effect rather than an idealised image. The doesn't have many 3D elements to it instead the picture surface is flattened, there are some dark contours picking out the body but compared to Titians work it does not give the feel that you could step into the painting. This could suggest that Edouard was trying to make the body itself to be as ‘perfect’, instead he has included angular, sharp edges and possibly even smudged areas with dirt. Compare to the fist painting where the woman was well kept and very clean this would suggesting both her class and profession. In her hair there is a rather cheap flower which is quite far from Titian’s elegant roses that he puts in Venus’ hand. The replacement of the little dog with a cat that is stood with quite an aggressive manor at the end of the bed. This suggests that as a cat is opposite to a dog in the sense of loyalty and a cat will come and goes as they please. The women's is the same and has all the opposite qualities to what a man wants.
The rise in urban prostitution this generation was becoming more frequent. This painting looks at modern life and had the intention to cater for wealthy single males. However, when Manet first exhibited Olympia in 1865 it was it was perceived to be so offensive that it was actually turned around, to face the wall where it was hung.
About the artist: Édouard Manet Édouard Manet was a French painter who was one of the first 19th-century artists to paint modern life, and a key figure in the transition from Realism to Impressionism. He was born into an upper-class household but cast off the future originally led out for him, instead he looked into the world of painting. An early paint of his called Olympia, 1863, was one of his most famous which caused a great debate among the young painters who would later create Impressionism. During Manet's last years of life he developed his own style that would be seen as new and was a major influence for future painters whom he formed bonds with during this time.
Manet opened a studio in 1856. His technique of loose brush strokes, simplification of details and the use of defined tones was inspired by the current style of realism created by an artist called Gustave Courbet.. After his early career, he rarely painted religious, mythological, or historical subjects, Manet had two artworks that were accepted at the Salon in 1861. They included a portrait of his mother and father, who at the time was paralysed and robbed of speech by a stroke, the other of a Spanish Singer, was admired by a man called Theophile Gautier. The first painting was ill-received by critics and seen as "slightly slapdash" when compared with the careful style of other Salon paintings. However, it in return intrigued some new young artists to create their own inspired by Manet. The second was placed in a more eye-catching location as a result of its popularity with Salon owners. The Spanish Singer, painted in a strange new fashion of painting caused many people as well as painters to open their eyes to the unique style of painting.
Some of his work:
Titian: Bacchus and Ariadne
Titian: Bacchus and Ariadne Bacchus and Ariadne (1522–1523) is another oil painting by Titian. It is one of a series of paintings on mythological subjects created for the Duke of Ferrara whom liked to decorate his private room with paintings based on classical texts. The artist Raphael, was the owner of the story of the Triumph of Bacchus of which he was to create a painting form. However, at the time of Raphael's death in 1520, only an initial drawing was completed and the job was then handed to Titian. The canvas on which Bacchus and Ariadne is painted was believed to have been rolled up twice in the first century of its existence, which had disastrous consequences for the painting and has resulted in visible damage. Since the 19th century it is frequently restored to stop paint from flaking off, but previously the last and most controversial restoration was carried out at the National Gallery between 1967 and 1968. When it was decided that the discoloured varnish that covered the paint surface should be removed. However, a considerable amount of the paint itself came off as well which then resulted in extensive repainting being carried out on top, to cover up the damage. This in return has caused some critics to point out that the area of blue sky on the left-hand side is possibly one of the worst-affected parts of the painting, in which it appears flat and colourless. It has also been debated that the removal of the clear varnish has left the painting tonally out of balance and has take the visibility of Titians where he added a delicate glaze to the paint surface to tone down some of the more sharp edged colours.
Bacchus and Ariadne, was a story derived from the Roman poets Catullus and Ovid. The painting, illustrated one of Titian's greatest works which now hangs in the National Gallery in London. The two other major paintings in the series are Titians interpretation of Giovanni Bellini’s “The Feast of the Gods” now in the National Gallery of Art, Washington, D.C. And the Bacchanal of the Andrians and The Worship of Venus which are now both in the Museo del Prado, Madrid.
The Mythological story behind Bacchus and Ariadne is that Ariadne has been left on the island of Naxos, abandoned by her lover Theseus whose ship can be seen sailing away to the far left of the painting. As she is seemingly waving out for the ship she is discovered on the shore by the god Bacchus, whom is leading a march of his followers in a crowd herded by two cheetahs. The two cheetahs were probably inspired and modelled on those in the Duke's zoo. Bacchus is illustrated in mid-air as he jumps out of the crowd to guard Ariadne from these beasts. They are refereed to as beasts for their wild behaviour of parting and noise, full on behaviour. The act of him protecting her against his followers emphasising his love for her. In the sky above the figure of Ariadne is the star constellation Corona Borealis other wise known as the Northern Crown. There are two possible variations of the story both going back to Ovid and his Metamorphoses where Ovid has Bacchus throw the crown of Ariadne into the sky where it becomes the constellation Northern Crown, as a way of promising the entire sky to Ariadne. She then would become the constellation Northern Crown. In the painting it shows her initial fear of Bacchus, the god of wine, but he raised her to heaven and turned her into a constellation, as represented by the stars above her head. The entire composition of the painting is divided diagonally into four triangles. One of blue sky where Titian used the expensive ultramarine colouring and for, the other of the two lovers caught in movement, the 3 rd a riot of movement which is mostly green/brown in colour. And finally the bottom where there is a collection of interesting items such as a dog, a Charles Spaniel that barks at the boy is a common theme in Titian's work and was probably a court pet, it could symbolise loyalty. A golden goblet, on top of a white cloth, decorated with the artist's signature may also have been familiar to the Duke as one of the antiquities in his collection, which could also represent his wealth, and finally the young boy with hooves, this is a mythological creature referred to as a Centaur. Next to him led on the floor is a cows head, this suggests that the crowd known as beasts have eaten a cow during their party. The follower of who struggles with a snake is sometimes falsely associated with the antique sculpture of Laocoรถn and His Sons who had been killed by snakes due to its similarities in context. This statue had recently been discovered in Rome. But the man in Titian's painting is not in a mortal combat with the snakes, he is merely restraining himself with them as is described in the original text by Catullus.
About the artist Titian: Titian was the most important Italian painter, of the 16th-century within the Venetian school. He was recognized by his classmates as "The Sun Amidst Small Stars“. Titian was one of the most talented Italian painters, he was equally skilled with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, mainly in the application and use of colour, would portray inspiration not only on painters of the Italian Renaissance, but on future generations of Western art. His career was successful from the start, and he became wanted by a large number of customers, initially from Venice and its properties but also north Italian princes. During the progression of his long life, Titian's artistic style changed severely, but kept his lifelong interest in colour. Although his most recent works may not contain the bright, glowing tints of his early pieces, their loose brushwork and delicacy of tone are the highest example in the history of Western painting. This period (1516–1530), also referred to the artists period of his mastery and maturity, Titian moved on from his early Giorgionesque style and undertook larger, more complex subjects, and for the first time created a monumental style. Art masters Giorgione and Giovanni Bellini died in 1510-1516, this left Titian to be the next in line for the Venetian School. For sixty years he was the well known master of Venetian painting. And he even, he completed his famous masterpiece the “Assumption of the Virgin” (1516). This unexpected piece of colourism, executed on a outstanding scale not often before seen in Italy and in return created a sensation.
Some of his work:
Gian Lorenzo Bernini: Apollo and Daphne 1622-25
The Reformation:
The Reformation was a revolutionising change of the Christian religion in the 16th century. The changed started because of a monk called Martin Luther who nailed his protests and ideas to a church door in Weimar in Germany as he believed that the Church needed to improve. Protestant Churches were overpowered. There was no art within the churches as they believed there was not need, instead they used the written word only. This was possible due to the printing press being invented in Guttenberg. Meaning the bible could be read in the countries own dialect language. The reorganisation turned the Christian church into the Catholic Faith and Protestant Faith we have today. The Counter Reformation was the Catholic church's response to the Protestant Reformation which also led to the Catholic or Counter Reformation which is seen in the Baroque section of Western Art. Art became more popular within the church and between 1545 and 1563 the Council of Trent met to discuss changes, including the role of art and architecture in displaying old narratives in new ways. However, the art that was shown in the buildings had a certain focus on death.
Portrait of Martin Luther who initiated the Reformation with his Ninety-five Theses against the Catholic Church (below)
The Baroque 1600-late 1700’s The Baroque was a period of artistic style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance, theatre, and music. The style began around 1600 in Rome and Italy, and spread to most of Europe. The popularity and accomplishment of the Baroque style was encouraged by the Catholic Church, which had decided at the time of the Protestant Reformation. It was decided that the arts should communicate religious themes with an emotional involvement. The thought that the dramatic style of Baroque art and architecture would impress visitors by projecting victory, power, and control. Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of increasing wealth. Baroque art was meant to evoke emotion and passion from the viewer instead of the calm rationality of the Renaissance.
Early Baroque Painting:
Foreshortening pushes limbs into foreground for dramatic effect.
Manipulation of Mannerism can be seen in the pose of the dead Christ in a twisted pose.
The setting is mostly dark, which draws attention to illuminated faces, hands and other features. This technique was perfected by artist at this time. As the ideas of emotion, enthusiasm, comedy, belief, passion are all interpreted differently in different parts of Europe. This meant that the Baroque style were also different. It started in Rome but then spread to different places such as Flanders, Spain, France, Dutch Republic and England.
(Annibale Carracci, PietĂ , 15991600, Altar-painting, oil on canvas, 149 x 156cm, Galleria Nazionale di Capodimonte, Naples)
Gian Lorenzo Bernini: Apollo and Daphne 1622-25 The marble sculpture by the artist Gian Lorenzo Bernini and it is a baroque composition of Apollo and Daphne that is made up of many parts. There are two figures that are intertwined with trees and drapery, both figures have an open pose meaning that there is lots more to see the longer you look at it. The characters are shown chaptered in a scene where Apollo is chasing Daphne while she is transforming into a tree, the moment of transformation is shown and Daphne seems to cry out in surprise and alarm. The story behind the sculpture is the story by a Roman poet named Ovid the story comes from his book Metamorphoses, where a nymph Daphne is turned into a Laurel tree, while Apollo is in passionate chase to get to her. Apollo himself is a great and significant god otherwise known as the Greek God of the Sun. He is also the god of many things such as music, poetry, art, and knowledge. Both figures have been precisely created with very intricate, structural details as well as natural forms intertwined within the work. The artist has carefully marked the differences of surfaces between the texture of the flesh, the hair, leaves and bark of the Laurel tree. As well as the skin and bark, the artist has made the drapery of Apollo's tunic seems to have movement this is because Bernini was successful in making the solid marble appear light and flowing. Apollo is created from inspiration on an ancient before Christ example of the God called the Apollo Belvedere. However, Bernini wanted his structure to outdo and go beyond ancient times styles. The two figures do not seem to look or associate with the viewer, instead their bodies are seen twisting around each other in their own time. This suggests that Bernini wanted to show the dramatic movement in the scene, this drama highlighted by strong position of the limbs.
Bernini (1598 – 1680) The artist who created the previous sculpture was Gian Lorenzo Bernini,an Italian sculptor and architect. He was a key body in the world of structural design, he was the top sculptor of his age due to creating the Baroque style of sculpture. Bernini was also a painter which were mostly small canvases in oil, a man of the theatre: he wrote, directed and acted in plays as well as designing stage sets like a wide variety of decorative art objects including lamps, tables, mirrors, and even coaches. As an architect and city planner, he designed both spiritual buildings and churches, as well as massive works combining both architecture and sculpture, especially complex public fountains and funerary monuments. Bernini’ artistic ability was very large, this may have been because he was introduced to art at such a young age. Due to his father also being a sculptor himself. When he was old enough Bernini could therefore begin work as an independent artist, with a great amount of knowledge on the subject. His first works were inspired by Hellenistic sculpture of ancient Greece and from there the famous Baroque artist started capturing the moment of scenes which appealed to the viewers emotions and senses. His work was described as dramatic.
Some of his work:
White marble sculptures:
Why sculptors use marble: Marble allows sculptures to create a close view of anatomical detail including like muscle definition, veins, joints such as knees and elbows, ribs and details of hands, feet and hair. This allows a variety and contrast and textures to be shaped within the sculpture. Marble also allows the artists to sand the material down for things like the smoothness of skin, folds of drapery or even the texture of hair. Marble can have a translucent quality to it which is similar to the look of flesh, in such a way that it looks like the veins and muscle underneath the skin is slightly visible. The undercutting technique that sculptors use creates definitions with a greater dramatic intensity, this is what gives many historical sculptures their intense feel. The white marble can also, in a more deeper sense is associated with nobility, heroism and status. Suggesting they would be used on big historical figures such as gods and royalty.
The Belvedere Torso: 2nd century BC The Belvedere Torso is signed by a Greek sculptor Apollonius, son of Nestor, Athenian. The information about him is very little and there is even intellectual debates as to whether it is an original Hellenistic work from the 1st century B.C. or just a Roman copy. The Belvedere Torso is a marble section showing the torso and upper legs of a idealised male figure seated on a rock. It is believed to once have belonged to the powerful Colonna family in the seventeenth century. Now it is located in the Vatican Museum and named after the Belvedere Court in the Vatican where it was originally displayed. This renowned marble torso, a fragment of a statue found in Rome at the end of the 15th century, came into the Vatican collections between 1530 and 1536.
The statue has drawn a lot of attention within art, from people who like to record drawings of Roman ruins and Renaissance works to students attending the Royal Academy Schools in Britain as part of their studding. And even people who just come to see the statue in the museum.
The identity of the figure has been the subject of various discussions through the centuries. The most favoured theory currently identifies that it is the Greek hero Ajax who was the son of Telamon. The structure seeming captures him in the act of contemplating his suicide. The story to the Suicide of Ajax is believe to be that when Achilles was killed in the Trojan War, his armour was to be awarded to the next greatest Greek hero. Ajax thought it should go to him. However, when the amour was awarded to Odysseus and not given to him, Ajax went mad and tried to kill his comrades. Athena manipulated the insane Ajax and persuaded him to think some cattle were his former allies. After he had slaughtered the herd, in anger, Ajax realised how silly he looked he committed suicide as an honourable end. Ajax used his own sword to kill himself. By pushing it through his stomach.
Laocoon and his sons: 175-50 BC Laocoon was a Trojan priest who told the people of Troy not to except the gift from the Greeks of a wooden horse as he suspected there was people hidden inside it. In an attempt to prove his theory he threw a spear into the horse to check, but nothing was found. It was then said that the Greek goddess Athena then blinded him for dishonouring the gift to them. As an extra punishment the God Poseidon also sent two serpents to kill Laocoon and sons. This marble sculpture captures the scene where this happens. The dramatic sculpture is a multi figure nude marble sculpture of human and reptilian forms, the dramatic feel comes from the strong diagonal obvious structures within the sculpture. As it has lots of complex negative space the artist would have had to create the it in different separate rocks and then put it together at the end. This technique would make it easier for the sculptor to give it its final upward structure. Laocoon is shown with his two sons fighting off large snakes, his head is the highest point of the structure emphasising his importance and dominance. All the figure are created to seem flawless. This can be seen as the artist has positioned them with an open pose, especially showing off Laocoon’s figure. None of the figures engage with the viewer , instead they have fixed viewpoint this is because the artist has given the overall sculpture a pyramidal composition.
Laocoon and his sons: 175-50 BC Laocoon and his sons sits on a marble block, his body twisting as a snake sinks its fangs into his side. The smaller son to the left leans back seemingly looking at his father while struggling to push away another snake that bites into his torso. The other larger son to the right has an adult body and is positioned lower then the others, although separate from them he is still attached to his father through the snake. He also looks at his father with one leg raised in an attempt to free himself. All the figures are shown in am intense scene of movement which is emphasised by extreme muscular strength as they struggle to free themselves. As well as this the facial expressions mirror pain, fear and terror brought upon them, all figures appear athletic but are still no match for the serpent. The marble material and technique allows all these details to be shown clearly. The colour of white marble also unites the figures. Because marble associates with nobility, heroism and status this was a suitable material to uses for both reasons. The fragility of this sculpture and low malleable strength of the marble has caused the sculpture over time to suffer some significant damage this can be seen especially where protruding or delicate features were. As the structure is made up of multiple blocks of marble the are many breaks at the joints marble is fairly soft to carve meaning that although it is easily moulded as well as easily broken.
Development of title: Golden
Symmetrical
Distinctive
Unsettling
Renaissance
Disastrous
Mythology
Successful
Ancient times
Misery
Developments
Disturbing
Traditional
Dramatic
Gothic
Monumental
Sensational
Revolutionising
Classical
Composition
Perspective
Unique
Movement
Famous
I need to put together a Exhibition title for my event so I can put it on my poster. I looked through all the key words that have come up throughout my research for the paintings. Using these key words I am able to play around with different titles and see which one I think works best in representing my exhibition.
Golden Myths
Classical Mythology
Traditional Mythology
Disturbing Mythology
Mythology Movement
Dramatic Mythology
Decision: After looking at three different titles that I liked best I have decided to go with the title “Golden Myths�. This was my final decision because of how well it describes all of the mythological paintings I have looked at. The term golden referring to the fact the paintings are rare and a treasure. I will now have to create a font that best suits my poster design.
The use of bold, block colours have been selected to attract the viewers attention and would draw them into the poster. The artists work that is used as the poster background will instantly attract people as they will want to see what is going on. This helps me see that I will need to use this technique when I create my own poster. The way the large figure and background are laid out create depth in the poster. Also the colour of the title has been cleverly thought about as it stands out from the rest of the poster. This is needed because the information could get lost within the image if the wrong colour was selected. For example some of the subheading above the title blends in with the snow meaning that it is hard to see that part of the text. This information is what would advertise the event to the viewer. So along with colour, the size needs to be thought about too. This will allow someone to se that the text says from a distance. The contact information has been added as well as the booking details to the bottom of the poster. This is so the audience know where to go and what to do if they're interested in the event. This will need to be easy to read, unlike in this poster.
Poster analysis:
There is no sign of a logo on this exhibition poster. Instead there are the letters “RA� in the background of the poster, this stands for the Royal Academy. It is important that the poster has some sort of logo or indication as to who is hosting the event so that people can access much more information about it if they wish to. The way that this poster is made is that the viewer is attention is caught by the large figure in the centre. This technique also brings he poster to life as the size involves the viewer in the image.
The font used throughout the poster differences depending on what the text is about. The title and subtitle are bold so they easily draw attention to the poster. The subheading that states the host is in a much more fancy font. And finally the information about the event is in a small printed font again making it difficult to read. I will make sure that all my fonts are the same so it make the poster neater. Overall when I come to produce my poster I will need t think about size, font and colour of text and how it complements the background image in order for it to stand out to the reader.
Intention: After looking at a number of mythological paintings and researching them my intentions for my exam piece is to create a poster of an exhibition event with a 3D digital exhibition model. I have decided to design an exhibition based on the theme of mythological events. I am also going to record the process of making the poster and model to show my progress step by step and where my ideas originated from.
Font inspiration: I started to researched poster fonts on the internet. I then went on to look at geometric style font as I though they are similar to a glitch style and would complement the poster design. The font I liked most are made up of simple lines and shapes that I could recreate my self. However, most of these fonts are also made up of different colours. When I make my own font I want the text to be mainly white or a light shades of grey, this is because my background to my poster is mostly dark and this will allow the title to stand out most. As well as this I looked at glitch style fonts to see if I could take inspiration from the poster I found and add the font within the background, this will be a more skilled and sophisticated technique to use in my design. To recreate my own fonts I will have to use Photoshop, using this I will also be able to edit a play around with the layout of the whole poster. I want my chosen font to reflect the style of myposter and also for it to stand out so that it catches the eye of the viewer and in return advertises my event.
This font is made up of simple geometric lines. I could use this by changing the colour to white and have it at the top of the poster scattered around. The font isn’t very bold and could no stand out as much as I would like.
The glitch style is based on the poster text font I found on the other posters I researched and I could try and recreate the positioning on the text within the background.
This font is made up of geometric fonts and could easily be recreated. I will have to see weather I like the text more in colour or black and white when its on the poster itself.
My font design:
Making my font: After looking at designs for fonts on the internet I was able to take inspiration from one particular text and recreate it my self. I used Photoshop to do this. First, I used three different coloured text to layer on top of each other, using black as the base I took sections from the blue and red text and put them over the black. This allowed me to create a simple glitch effect font. Now that I had my basic text I wanted to edit it so that it would stand out on the dark background of my poster. I selected blending options and played around with the outer glow of the text. I chose that I wanted my text to have a white outline and for it to be broken up so that it adds to the glitch effect. As well as this I wanted to experiment with different ways I could achieve a glitch effect using the blending options. Some where successful but the were too complicated and made them take away the overall effect of the poster design. My final font doesn’t do this and is a simple, bold font with a glitch theme. Other text of the rest of the information about my exhibition event will be, again, a simple white text so that I fits in with the rest of the design.
Logo and ticket stub Inspiration: After looking on the internet for logo inspiration I came across a selection of logos for art exhibitions. I saw that the majority of logos are made up of simple shapes, lines and bright colours. This makes the logos very bold and eye-catching but also very sophisticated and clever. These features will help advertise to the public. The text is normally simple block capital font this is because it stands out on the ,typically white, background there for making it easy to see and read. As the image on the poster is quite large and fills up most of the poster it was important that the designer does not make the logo too big or complicated so that it would get in the way of the image. What I like most about these logo designs is the simplicity of them meaning that I will be able to recreate one like the ones I have looked at successfully. When I produce my own work I will also take into consideration how I could play around with colour to get my greatest result.
My exhibition event needs tickets, tickets are used to see who has paid to come and see the paintings. They top anyone from getting in. I looked at some ticket designs on the internet to see how they are laid out and what information they need on them. I started to see that most tickets are laid out with 6 parts of information. Depending on the event some tickets have seating in formation, this would most likely be at a concert or theatre. As my event does not have designated seating areas for the guests I will not need to add this on my ticket. Instead it could have the number of people the ticket admits. A hologram strip on my ticket will ensure that the person trying to get in has actually paid and isn't showing a copy. If I didn’t include this the event could lose money and it would be unfair to those who have actually paid. One of the most important parts of Event details information that can be found on a ticket is the date and price of the event. The event could be open for more than one day so by adding the date they can see which day they have paid for and this will prevent too many people coming on one day and not any for another. Showing the price makes the ticket like a receipt. The other important information is the event details Location and location. Information like the event name, who it is hosted by and where it is make the ticket easy to understand and helps the people attending to know how to get there. Finally the barcode or a section that can be ripped off to show that the ticket Barcode has been used and cannot be used more than once. I will add this on my ticket as I could case the event to lose money.
Poster inspiration: Poster 1: After looking on the internet for poster inspiration I came across a film poster for Westworld. The poster uses a glitch technique which breaks up the image of a silhouette type figure. This technique makes the film poster very refined and clever. The colour range throughout the poster is yellow, orange which resembles the sun in the sky as the background, with brown making up the figures and foreground. The Poster is very bright due to these colour choices and is therefor eye-catching, this will help advertise to the public. The direction of the glitch effect is horizontal and is made up of small lines this allows the designer to slightly break up the image without distorting it too much that it is hard to see what the poster contains. The title is a simple block capital font with a shadow effect surrounding it, this designer has chosen this font in brown because it stands out on the background therefor making it easy to see and read. As the image on the poster is quite large and fills up most of the poster it was important that the designer did not also make the text for the title too big so that it would get in the way of the image. What I like most about this poster design is the use of colour, so that the glitch technique is clearly seen and in turn gives it its most successful outcome. The amount of lines used does not take away the professional look the poster has and the title is not fancy but still eye-catching, when I produce my own work I will take into consideration how I could play around with colour to get my best results.
Poster 2: Another poster I found on the internet for poster inspiration is one for an art exhibition. This poster also uses a glitch technique which breaks up the image of a statue. This poster uses the technique in a very complex way meaning it very detailed in comparison to the first poster. The colour range throughout this poster is mainly black and white with a slight burst of multi colour which comes from the glitch effect. The poster is very eye-catching due to this use of colour, this will help present the event to the public. Again the direction of the glitch effect is horizontal but is made up of a range of size lines, as well as different styles this allows the designer to skilfully create the glitch effect and break up the image. However, it is hard to see what the poster contains at first sight due to how much information is on the poster in relation to the glitch. This could result in the poster not advertising the event as well as it could. The title is a simple block capital font which is also broken up and scattered within the glitch image. This designer has chosen to incorporate the font in the background image to help create the over all effect. This is also an easier way of presenting the font as the over all image is large and takes up most of the poster. What I like most about this poster design is the skill in the glitch and how the designer has thought of a different way of presenting the title. When I come to make my own work I will take into thought how I can make oy own glitch effect look professional but I will be careful with how much I add and I will also try and think of a different way of showing my title.
My poster design: First I found a glitch photo online and placed it into a Photoshop document, I resized the image to fill the page. After that I then found a portrait painting that I have researched and placed that as a new layer on top of the glitch. Again resizing this painting using Ctrl and T. I made sure that the layer with the painting was positioned underneath the glitch layer. On the painting layer I selected filter, pixelate and then fragment this created a filter on the painting and then by pressing Hue/Saturation was able to change the colour. Then, pressing the F5 button to open the brush panel I was able to select the brush tool and make it large‌about 300 and hardness of 0. I coloured in black around the background of my painting. By changing the opacity I was able to blend the black. Making sure that my background and foreground layers are in black and white so I could then select the thumbnail of the painting make the layer active. Next I made a copy of the layer, then selected the filter tab, distort and shear to play and distort the image. When I was satisfied with that layer I could then add the original image back on top. After this I needed to make horizontal bars across the painting. I done this by clicking on the new layer icon to create a new layer and fill it with 50% grey by selecting shift + F5 and when the fill panel appears choose the 50% grey option. Next, to add the striped pattern I selected filter, filter gallery and open the sketch folder. I clicked the half tone pattern, then pattern type, line and with size 12 and the contrast 50. I was then able to experiment with the colour range and highlights until I was happy. The horizontal lines will become a layer mask on top of my paining. I then went in after and deleted some of the horizontal lines from the layer. To make it look more like a glitch. Finally I brought the glitch later from the start back so that it was visible underneath the paining and other layer. I adjusted the brightness to how I thought it looked best.
Analysis of existing spaces: I need to design the layout of where my exhibition is going to be and what will work and look best. To accomplish this I first looked at some plans that already existed and I quickly found which kind of shapes and designs were most common and successful. Although simple, square and rectangular shape layouts are used in many buildings for exhibition layouts. Within these building there are many small boxed rooms that come off one main centre room. When after looking at these I decided that I wanted to use these layouts to created my work because they seem to be the most successful. And I want my exhibition to be just as good as them. Once I have done this I will be able to look at the interior of my exhibition lay out and decide where I would like my paintings to go. As well as the entire layout of the exhibition I need to as how I will place the paintings on the walls. I done some more research as to what other exhibitions space out their paintings. I started to see a specific theme occurring which was that the walls were preferably a white or light grey, this means that the walls does not interfere or take away the feel of the paining. As well as this the painting either had a light coloured frame or no frame at all, depending what they were done on. This also makes an impact on the smartness of the exhibition as it doesn’t have too much on the walls apart what is important. When I add the paintings to the inside of my layout I want to create the same sophisticated atmosphere as these layouts and I will achieve this but keeping the walls a light colour and keep the painting spaced apart without any unnecessary clutter. These are what the inside of my exhibition walls look like and already you can see how I have used inspiration with the colours from my research, the next step is to add the paintings.
Designing my exhibition space:
This my final design for my exhibition I used the same simplistic, smart layout as the ones I found during my research. The way I have planned it is that all the rooms come off of the centre one and they are all attached to each other in a circuit, this is so the people visiting could walk around the building in a circle and it will flow around without causing a squash or crowding. I have also added male and female toilets so that people don’t have to leave the building earlier then the wanted to, they can continue with their tour straight after. If some people wanted to spend a long time looking at each paintings and ended up spending a day there I also added a cafÊ area so they could go to if they got hungry. This also earns money for the exhibition. By adding these things it will allow the visitors enjoy themselves more.
Using Photoshop I was able to place all of the paintings we have looked at so far and put them into my exhibition walls. By resizing and distorting the image I was able to make the painting look as though they are actually on the walls. I found a gilded frame that was a light colour and put them around the paintings. I added shadows to the paintings on the wall so it helped them look more realistic or 3D. The colours and painting that were inspired from my research work well together and make the whole design and look of my exhibition smart. Next to the paintings I added a little white rectangle I added this because it is the information that is found beside all paintings in exhibitions, they give a brief description and background knowledge about the painting and artist. As I have added this in my exhibition my next step could be to actually put the information that I have found my self about the artists and paintings in my research on the rectangle next to the painting. This will make my images of the walls much more sophisticated and professional. Also when I create my booklet for the event I could include one or two of the paintings with the information to give the viewers a little taste as to what they will find at the exhibition. This help the advertisement of the event.