Niamh Parkes AS Historical Art

Niamh Parkes 230652 Critical and Contextual Studies H206 Theme 1: Twisting

Intention: I plan to analyse a number of artworks which are associated with the theme of twisting, and present a final painting of my own. I will research different artistic styles that I can then interpret into a final piece that reflects this chosen theme.

The Belvedere Torso: 2nd century BC The Belvedere Torso is signed by a Greek sculptor Apollonius, son of Nestor, Athenian. The closed composition show the muscles in torso have a twisted quality.

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. This can be seen in this torso.

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.

The Belvedere Torso: Print and study After looking at the sculpture of the Belvedere Torso I wanted to do some life drawing studies of my own inspired by the sculpture of the torso. I may even have a go at recreating a study of the Belvedere torso its self. From one of these images I would like to make a dry print.

Using my crosshatch study of the Belvedere Torso I turned it into a dry print. I decided to use this technique of etching into acetate and using thick ink to produce as print, due to the crosshatching. The different directions of lines in the study allowed the ink to get into the marks to produce tone. My first attempt of the print turned out blurry and the paper around it was dirty from the ink. I didn’t think that it was very successful because of this. However my second attempt had much sharper lines and it had a cleaner finish.

The statue of Laocoon and his two sons is another example of a sculpture I found that relates to my theme of twisting due to the snake attacking within the figures.

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, and is typical Hellenistic Greek sculpture, as 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 use for both reasons.

The fragility of this sculpture and the 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.

Donatello: David. Bronze 1430 This bronze sculpture by Donatello also has a clear twisted composition within the pose and muscles, and was indirectly inspired by Greek art.

Donatello: David. Bronze 1430 This elegant contrapposto figure of the Biblical character David and is a bronze symbol for the city of Florence. The upright unsupported figure has smooth features made possible by modelling wax and then bronze. The use of bronze means that the sculpture would be sturdy and strong, it also allows sharp, crisp detail and smooth modelling of body. Its extremely smooth shine and highly polished surface contributes to its elegance and refinement.

The Renaissance: The sculpture belongs to the Renaissance and 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.

The position of the bronze David by Donatello links with my chosen theme of twisting.

Donatello: Bronze David 1430 The artist has captured the scene of victory after the battle where David stands with sword in hand above decapitated head of Goliath. This story is from the Old Testament, 1 Samuel, Chapter 17 and is known as Youthful David slew giant Philistine Goliath. It is said that the boy David threw a stone at Goliath’s head using a sling shot and once the giant hit the floor David then took his sword and beheaded him. These two items are seen in the sculpture. The under life size model of David and his unlikely victory against the powerful brute Goliath is designed to be viewed in the round so that all details and textures can be seen. Such as the feather of Goliath's helmet caressing David's right leg, which can only be seen from behind. The figure of David is completely nude apart from his hat and footwear. He is shown to have one foot stood on the head of the giant with a relaxed/confident expression on his face, this suggests that the young boy does not seem to be effected by the event and in fact found it to be a very easy task. It is powerful symbol for the city of Florence as the head of Goliath could represent an Italian rival city-Milan. Suggesting the statues meaning of the victorious underdog. The artist Donatello made the sculpture for the Medici family whom placed it in the centre of the newly built courtyard of the Medici Palace. This style of sculpture suggests a sophisticated and refined taste, of which the nudity of the boy David, may come from a Neo-Platonic idealistic understanding of David as an symbol of heavenly love. It was also said that by looking at the forms in the figure you can get closer to heaven.

About the artist Donatello: Donatello studied classical sculptures and used this inspiration to develop and complete Renaissance style sculptures of his own. Throughout his long and productive career he became popular to other parts of Italy as well as Rome, Padua and Siena. He worked with stone, bronze, wood, clay, stucco and wax which he was very skilled in and was able to produce highly detailed works. His best known works were mostly statues and has produced many in his life time including his most famous marble statue of David. He also developed a new type of small works, although his main interest was in larger architectural works. While undertaking studies with Filippo Brunelleschi that would gain the attention of treasure seekers in Rome.

The two men, Donatello and Brunelleschi made a living by working at goldsmiths' shops. Their Roman holiday was vital for the entire development of Italian art in the 15th century, and it was during this period that Brunelleschi undertook his measurements of the Pantheon dome and of other Roman buildings.

Brunelleschi's buildings and Donatello's sculptures are both considered supreme expressions of the spirit of this era in architecture and sculpture, and they exercised a strong influence upon the artists of the age.

Some of his work:

Donatello: Wooden Mary Magdalen 1453 This wooden sculpture made for the Baptistery of Florence by Donatello has links towards twisting due to the hair of the figure falling across the body.

The life size wooden Mary Magdalen was painted with gold, this technique is called gilding. The term gilding covers a number of decorative techniques for applying fine gold leaf or powder to solid surfaces such as wood, stone, or metal to give a thin coating of gold. The sculpture is freestanding and Mary seems to be in an attitude of prayer. The model Mary Magdalen was a sinner who had given up her life of luxury to follow Christ. She was often portrayed as youthful and pretty. However, here Donatello is showing a Renaissance artistic style and emphasising the damage of old age. He does this by creating her to be a withered, hollow-eyed, almost toothless figure. In return this gives the overall feel of the sculpture to be a brutal and almost horrific image. Donatello expresses individuality which is an essential difference from classical models. There are lots of detailed and deep carvings of this wooden figure which enhances its expressive qualities. Such as the use of Marys hair in uses of what first seems as clothing.

Michelangelo: Marble David 1504 The marble David by Michelangelo portrays the theme of twisting due to the contrapposto stance the artist created.

Michelangelo: Marble David 1504 This single figure sculpture is another interpretation of the Biblical character David but this time by Michelangelo. This belongs to the High Renaissance style and is much more advanced than the Donatello bronze version. The adolescent male sculpture is made of marble which captures and displays a scene before the event, where David defeats the giant Goliath. The technical figure is carved from single block of white Carrara marble with the addition of subtle carving to the muscles and veins with a smooth texture for the skin. Rough undercutting for the hair demonstrates the skill of the artist Michelangelo. It also shows how he had taken a long time to look at this old testament subject so he can create such a detailed, idealised contrapposto figure. The influence from Classical Sculptures is clearly seen within his sculptures as they have relatively naturalistic but idealised qualities, similar to Antique sculptures. For example, the tree trunk used as support to his right leg is seen in many ancient examples. This is because unlike bronze, marble isn’t very strong resulting in many sculptures not being able to stay upright on their own. This simple solution of adding a support in the form of a tree trunk was a very typical technique in ancient sculptures. The marble David was a particularly large creation due to the original intention, decoration for the exterior of the Duomo Cathedral, Florence.

Its heroic scale meant that is was appropriate for a public situation and could been seen in all its glory from all around.

Michelangelo: Marble David 1504 The head and hands of David are enlarged further in proportion to the rest of his body, this was done intentionally by the artist because of the angle David was first shown in. The sculpture initially was on high ground meaning that it was viewed from below, without the technique Michelangelo used the head and hand would have the opposite effect and look too small. The steady silhouette figure stands in Contrapposto pose which means the majority of his weight is on the right leg. The artist Michelangelo represented David as ready to fight, instead of capturing him as victorious due to being prior to the battle. This is easily concluded as he does not stand above decapitated head of Goliath and seems to be looking towards the giant ready with the stone and slingshot. Most of the sixteenthcentury saw Italian art and architecture, especially in Rome use the term High Renaissance when describing their creations to symbolise and refine characteristics such as harmony, simplicity, splendour, guaranteed treatment of multi-figure compositions, technical mastery, deeper examination and relationship with classical antiquity. As well as development of more immense forms and the creation of compositions that rejected the unnecessary decorative details of 15th-century art. David implies that an ordinary human can become great, through significant action.

About the artist Michelangelo: Michelangelo was famously known as a painter and sculptor, but worked in architecture and wrote poetry as well. He trained in Florence under an artist called Ghirlandaio. In 1492, he studied the art of human anatomy, via dissection which was completely illegal, to glorify God. Due to the removal of the powerful Medici family and the gloomy rules set up after under the mad monk Savonarola.

Michelangelo moved from Florence but later returned when it had cleared. He was a skilled was an Italian sculptor, painter of the High Renaissance an was born in the Republic of Florence.

Michelangelo, throughout his lifetime, showed an unparalleled influence on the development of Western art. And was considered the greatest living artist during that time, as well as being described as one of the greatest artists of all time. Along with his rival and fellow Florentine Medici client, Leonardo da Vinci. In his lifetime, Michelangelo was often called Divino which meant the divine one. His generation often admired his ability to install a sense of fear within his work.

Attempts by following artists to imitate Michelangelo's passionate and highly personal style resulted in Mannerism, which was the next major movement in Western art after the High Renaissance.

Some of his work:

Michelangelo and the Sistine Chapel Other examples of the artist Michelangelo creating twisted forms within his work can be found within the paintings in the Sistine Chapel.

Michelangelo's first paintings to be presented in the Sistine Chapel can be found on the celling. These paintings consisted of individual works of religious scenes each containing nude figures. This second painting was presented on immense scale, completely covering the back wall of the chapel and was named the “Last Judgement”. It is a illustration of the “Second Coming of Christ” and the final and eternal judgment by God of all humanity. The souls of humans rise and descend to their fates, as judged by Christ who is surrounded by famous saints. There are a total of 400 individual figures within the painting. Each of the figures poses are different as they all illustrate certain stories relating to the subject. At the centre of the painting is God himself, which was named “Wrathful Christ”. compared to the other figures he is at a much larger scale suggesting his power over the rest. All of the nude figures have drapery or other objects that cover up any genitals, such asked by the pope. This was in order to keep the painting tidy.

The nude bodies within the painting, expose the talent of Michelangelo’s technique. Their twisted compositions are the main focus point of which I have chosen have chosen to zoom into. The distinctive depiction of anatomy along with the use of colour, make details such as the muscles are strongly prominent creating idealised figures. Which often were inspired by the sculptures such as Belvidere Torso. It was said that Michelangelo took much of his inspiration from other artists artworks on anatomical details. The general organisation of the figures has been cleverly thought out by the artist. His illustration of space and how the figures move together. Michelangelo does not focus on the visible beauty of the person instead he went into depth to expose its storyline with all its horrors. Because of this the Last Judgement is seen to be the most influential growth in the art of anatomy in violent movement.

Next to the illustration of God there is painting that is said to be a self portrait Of Michelangelo himself. However, It is rightly named the “Grotesque Self-portrait” as Michelangelo painted himself as the flayed skin in St Bartholomew's hand. The reason for this is because Michelangelo describes himself to be excluded from the paradise, due to his “spiritual torment during this period”. The Belvedere Torso is also known to be an inspiration for the artist when illustrating St. Bartholomew.

Botticelli: The Birth of Venus The contrapposto pose of Botticelli’s Birth of Venus also links to the theme of twisting and shows the influence of renaissance sculpture on renaissance painting.

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.

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.

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:

Botticelli: Venus and Mars 1485 Another painting by Botticelli of Venus and Mars can also link to the theme of twisting by the poses of the two figures laying in the foreground of the painting.

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 inspired by Botticelli’s painting.

Bronzino: An Allegory with Venus and Cupid 1545

This painting of Venus and cupid by Bronzino links to my theme of twisting because of how the figures are intertwined into each other and is typical of Mannerism.

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:

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.

Mannerism: The term mannerism means style and is often used for art that originates from the 1580’s. Artist who used this style were called Mannerists.

Mannerist works are refined, sophisticated and specifically talented. They're deliberately stylish and like to make a trend of beautiful yet slightly strange fanciful illustrations. However, there is a problem with the mannerist group which resulted in a symbolic break with the ideals of the high Renaissance. Mannerist art has been seen as corrupt alongside ideas of harmonic establishments set by earlier generations. A modern definition of Mannerism is that it has more of a continuation and elaboration of trends set by the high Renaissance.

For example, the sophisticated grace of Raphael’s compositions as well as Michelangelo’s skill of portraying the male nude in artful poses are a constant inspiration for Mannerism. Although mannerist artists have been condemned by art historians for violating the high Renaissance ideals of serenity and balance, the artists initially set out to outshine their predecessors’ emphasis on imagination rather then studies from life. In result of this sculptures created figures of bizarre poses, defined muscles and exaggerated proportions. Of which had storylines that where overshadowed by dramatic movements and multiple viewpoints.

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 shows them trying to cover the goings on in the painting from others seeing. None of the figures 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.

Giambologna: Samson Slaying a Philistine Another marble statue that represents the theme of twisting is Samson Slaying a Philistine by Giambologna. This sculpture is also considered to be mannerist.

About the artist Giambologna: Giambologna was a Flemish sculptor based in Italy, known for his marble and bronze sculptures in a late Renaissance or Mannerist style. After beginning studies with the architect-sculptor Jacques du Broeucq, he moved to Italy in 1550 and studied in Rome, making a detailed studies on sculptures inspired by classical antiques. He was also considerably influenced by another sculptor called Michelangelo, but developed his own Mannerist style, where he focused less on emphasis or emotion and more on the emphasis on sophisticated surfaces, calm elegance, and beauty. The Pope Pius IV gave Giambologna his first major commission and asked him to create the colossal bronze Neptune and secondary figures for the Fountain of Neptune which was the base designed by Tommaso Laureti in Bologna. Giambologna spent his most creative years in Florence where he became well known for a fine sense of action and movement, and a refined, distinguished surface finish.

Some of his work:

Giambologna: Samson Slaying a Philistine This statue showing two nude men in combat was created by the artist Giambologna and represents Samson slaying a Philistine, an episode from the Old Testament 'Book of Judges. The sculpture shows Samson wielding the jawbone of an ass in order to slay one of the Philistines who were an ancient people known for their conflict with the Israelites who had taunted him. Its multiple viewpoints and the spiralling movement of the bodies means that there is no main view. The striking pose is inspired by a masterpiece of Michelangelo’s. Whom was in his late seventies when Giambologna met him in Rome. The sculpture was carved from just one block of marble, supported by only five narrow points. Although the marble is weathered from being outside for three centuries it still shows Giambologna's sensitive carvings and detail. This large statue is nearly seven feet high and is the only monumental marble sculpture by Giambologna ever to have left Florence.

Giambologna was employed by the Medici family to make the first of his great series of group sculptures in marble, including this Samson and a Philistine statue. This sculpture originally formed the top of an ornamental fountain made for the Medici in Florence about 1560.

Rubens: Samson and Delilah: The artist Rubens was not considered mannerist but his baroque forms use the theme of twisting in two ways, the position of the bodies and the twisted story it illustrates.

About the artist Rubens: Rubens is considered the most influential artist of Baroque tradition. Rubens' detailed compositions reference intellectual aspects of classical and Christian history. His unique and popular Baroque style emphasized movement and colour, which followed with a dramatic artistic style promoted in the Counter-Reformation. Rubens specialized in making portraits, landscapes, and historic paintings of mythological and symbolic subjects. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. His drawings are mainly very strong but not overly detailed. He also made great use of oil sketches as foundation studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works. He also used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems.

Some of his work:

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)

Rubens: Samson and Delilah: Another interpretation of Samson that represents the idea of twisting is this Baroque painting by the artist Rubens. The painting tells a story of the downfall of Samson (the heroic Israelite warrior). It captures the scene of Samson's ruin, caused by his lust for the Philistine Delilah whom manipulated him into revelling the secret to his immense strength (his uncut hair). Rubens illustrates the moment when the first lock is cut from the sleeping Samson while soldiers wait to gouge out his eyes. The story then finishes that when his hair grew back, Samson strength returned and he destroyed the Philistine Temple. Sacrificing his own life for his revenge. Rubens introduced and old woman, who is not mentioned in the bible. She acts as a counterfoil meaning her ugliness heightens the younger woman's beauty. Delilah's cheeks are flushed meaning she is filled with physical pleasure, her smooth fresh skin presents a striking contrast to that of the old woman. The intricate hands holding the scissors are a visual metaphor for the deceiving plot of Samson's downfall

Rubens: Samson and Delilah: Rubens also added a hidden meaning in each of the characters hand gestures, their positioning reveals their physical and mental state. As well as Samson's pose, the view of his back leads the eye up to the climax of the faces of the other characters. Rubens took inspiration for this muscular frame from the artist Michelangelo. The faces of the Philistines in the background are illuminated by a flaming torch they are stood at the doorway carrying sharp stakes ready to attack Samson. Rubens has included luxurious textured materials in the foreground of the painting.

This is to set the stage for the physical interaction between Samson and Delilah. The dominant colour in the bottom section of the painting is a rich red, this along with warm browns and gold, Rubens has created a range of flesh like tones to add to the mood of the painting. The red symbolizes passion and blood suggesting the gruesome event that is about to follow.

Gian Lorenzo Bernini: Apollo and Daphne 1622-25 This sculpture of Apollo and Daphne by Bernini links into my theme of twisting by the way the two figures are positioned curving around each other.

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:

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.

Gian Lorenzo Bernini: Apollo and Daphne 1622-25 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.

Titian: Bacchus and Ariadne The placement of all the figures in this painting of Bacchus and Ariadine by the artist Titan is yet another painting that links in with the chosen theme of twisting.

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.

Some of his work:

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.

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 3rd 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.

The pink cloak of Bacchus and the red sash of Ariadne form a link, causing the eye to cross between them. The cloud formation above Bacchus symbolises his movement and resembles the lines of his flowing cloak. Similarly the cloud above Ariadne resemble the movement of her twisting robes.

Jean-Baptiste Carpeaux: Ugolino and his Sons Another statue that uses the word twisting in two ways is this one by the artist Carpeaux, the position of the figures and the story behind it.

About the artist Carpeaux: Carpeaux was a French sculptor and painter during the Second Empire under Napoleon III. Carpeaux moved to Rome to find inspiration, where there he studied the works of artists such as Michelangelo, Donatello and Verrocchio. Staying in Rome he found a taste for movement and freedom, which he got from principles of baroque art. Carpeaux wanted real life subjects and looked for them in the streets with the intention of classical tradition. He spent his time admiring the paintings of Michelangelo at the Sistine Chapel. Carpeaux said, "When an artist feels pale and cold, he runs to Michelangelo in order to warm himself, as with the rays of the sun".

Some of his work:

Jean-Baptiste Carpeaux: Ugolino and his Sons This sculpture and the story comes From the Italian 13th century writer Dante and his work titled “The Divine Comedy”. It describes the imprisonment of Ugolino and his sons in 1288 , where they were placed in a room with no doors nor windows following death by starvation. Carpeaux illustrates the moment when Ugolino, is condemned to die of starvation along with his innocent sons whom cry out to him. Added with the twisted temptation to devour his children due to starvation. Carpeaux’s creation is of an intensely Romantic theme. A Romantic Sculpture is a style of art that focuses on the body that shows violent emotion, intense exaggerated poses and technical anatomical detail. The figures are a complex composition of human forms that are intertwined with one another. Ugolino’s figure is the most dominant and is the only one who engages with the viewer. He has a closed pose and expression of pain, anger and sorrow. His is four sons sitting and pleading by his side express emotions of confusion. Altogether the figures are nude with accurately observed anatomical details.

Jean-Baptiste Carpeaux: Ugolino and his Sons Ugolino sits on a marble block, his body is hunched with his hands to his mouth. The larger son looks up at his father, pleading for help. This could suggest his malnourishment. The smallest son viewed on the right is set lower in the composition and appears defeated maybe even dead.

Carpeaux illustrates the figures in dramatic movement highlighted by extreme muscular intensity and strong details of limbs as they struggle this technique idolises them and makes them appear athletic. When in fact they're are the opposite of heathy. The figures are bound together through twisting and overlapping structure in a closed composition which adds an intense drama to the story.

Material and techniques: The colour of the white marble used by Carpeaux in this sculpture unifies the figures. It also associated with nobility and heroism which is why it has been used in many historic and mythical statues. The low tactile strength of the marble has resulted in a closed composition due to the fragility of this sculpture, as if it was and larger I could be at risk of breaking. This I why the artist has created a pyramidal composition with stability provided by the broad base.

Because marble is relatively soft to carve it allows the artist to create close anatomical detail within the figures such as muscle definition, protruding veins, knees and elbows, ribs, details of hands, feet and hair. This along with Carpeaux’ skill in undercutting creates definitions and dramatic strength produced through shadowed areas between the figures.

Marble can also be manipulated to create a variety of textures, they can be seen throughout this composition from the smoothness of skin and texture of hair. Marble has a transparent quality which can help portray flesh.

Auguste Rodin: The Kiss 1886 This marble sculpture of Francesca and Paolo by Rodin has a twisted composition.

Auguste Rodin: The Kiss 1886 This sculpture is one of the most powerful sculptures ever created by the artist Auguste Rodin. Rodin was known for his ability to express intense emotion through bodily language, this particular sculpture is illustrating sexual love. The story of Francesca and Paolo and the moment that Rosin has taken is from a book called “The Divine Comedy” by Dante. Francesca, had married Paolo’s Brother. However, Paolo and Francesca fell in love with each other while reading romances of courtly love. The book can be seen in Paolo's hand behind Francesca. As soon as they exchanged their first kiss, Paolo’s Brother caught them by surprise and stabbed them. The forbidden love between the two resulted in everlasting damnation in hell, among those who had also committed sins of the flesh. The story of Paolo and Francesca was a popular theme among 19th century artists. Originally, this sculpture was created for Rodin’s Gates of Hell but due to the story of love behind it was seen as too uplifting to be added.

About the artist Rodin: Auguste Rodin was a French sculptor. Who was generally considered the father of modern sculptures.

His new style and way of working was not to rebel against the past as he was schooled traditionally but instead to have a different approach. He took a craftsman-like approach to his work, from which he desired academic recognition. However, he was never accepted into Paris's leading school of art.

When it came to sculptures, Rodin possessed a unique ability to model a complex and detailed surface in clay. Many of his sculptures were severely criticized during his lifetime as they clashed with predominant figurative sculpture traditions, in which works were more decorative than meaningful.

Although, Rodin mainly focused on traditional themes such as mythology and celebrated all individual characters through their physical appearance. Rodin was sensitive to the disagreement regarding his work, but refused to change his style. Eventually, Rodin's reputation grew and he became the finest French sculptor of his time.

Some of his work:

Auguste Rodin: The Kiss 1886 Rodin used no props or attributes within his sculpture like the more traditional works. He didn’t even include the original Italian clothing that was in the original sculpture of Francesca and Paolo by the artist Alexander Munro 1825-1871., although he did include the book. The two nude figures in a close embrace were, at first, shocking at the time of its creation but it portrayed the intensity of the embrace between them.

Although the two sculptures are very different they both share the same technique of how they positioned the two, he Kiss itself had not happened, the moment was capture just before. The sculpture itself is a closed composition that shows Rodin's reductive methods and no sign of traditional props. This alongside with the lack of negative shows how Rodin like to leave his sculptures seemingly unfinished with the carved marks still visible. Due to the two figures being engaged with each other instead of addressing the audience it stands self-contained with no reference to the outside world.

Here you can see clear attributes for the narrative. Rodin also included a book in his sculpture but people did not see the reference.

Auguste Rodin: The Kiss 1886 Rodin illustrated the two to display such an obvious passion that the viewer will see it and after later revealing the nature of the embrace would be disturbed. Paolo's strong muscular body supports and protects Francesca, contrasting with a gentle touch to her thigh. He is leaning down, depending from which angle you look at it from either him or Francesca can look like the instigator. Rodin's skill and knowledge of anatomy allowed him to incorporate subtle exaggerations and distortions in order to achieve his aim of creating language through muscular movement. For example, the twist of Francesca's back as she reaches for her lover is visible due to the muscular detail. The figures appear to emerge from the stone they sit on due the unfinished look but also showing the two are united through their love. The contrast to the smooth skin of the figures the rock has a chiselled rough surface. There are three existing versions of “The Kiss� of which neither are produced by Rodin as they lack the smooth surface and detail that his works had. Rodin created the entwined lovers to be blurry, as if they were one. He was more interested in expressing the power of love as a whole rather than focusing on refined detail. This in return portrays the figures to be on solid composition. Artists such as Michelangelo have been known to take inspiration from this technique for their own works.

Michelangelo: Series of Slaves Auguste Rodin’s inspiration for the chiselled technique used for his kiss sculpture came from Michelangelo’s life size Marble sculptures “Series of Slaves”. These four powerful statues named “The Awakening Slave", "The Young Slave", "The Bearded Slave” and “The Atlas (or Bound)” are all well known to their unfinished state. The statues initially intended as tomb decorations for the Pope Julius II tomb, were done this way on purpose. All the unfinished statues by Michelangelo’s approach a different concept of carving. He believed that sculpturing was a tool of the Gods, in such a way that it is not only creating but revealing the influential figures that were already contained in the marble. This took him days on end, without sleep, to complete the works. Michelangelo mostly worked free hand. Starting from the front and working around to the back, these figures emerged from the marble gradually noticing the most prominent parts. They are referred to as “non-finito” meaning incomplete. They illustrate the difficulty of the artist in carving out the figure from the block of marble, they have been interpreted in many ways. They're all in various stages of completion, again suggesting the strength of the concept as they try to free themselves from the weight of the marble.

Michelangelo: Series of Slaves The Series of slaves by Michelangelo are another example of marble sculptures that use twisting within their stance.

Michelangelo: Series of Slaves The series of marble figures illustrate the difficulty of the artist in carving out the figure from the block of marble, because of this they have been interpreted in many ways. As they're all in various stages of completion, it could suggest a deeper meaning. For example One of Michelangelo's most powerful and expressive works among the Slaves is “The awakening slave”. The figure looks as though it is twisting and straining in an attempt to explode out of the marble block that holds it. Suggesting the endless struggle of man to free himself from his physical restrictions, this is a metaphor for the flesh burdening the soul. All of them show the rough tracks of the large tooth chisels. There are clear unfinished grooves from mallet and pointed chisel on the marble surface from the original block. Unlike most sculptors, who prepared a plaster cast model and then marked up their block of marble so that they knew where to chip.

Michelangelo only chipped away the unnecessary excess, to reveal the masterpiece underneath.

This same technique can be seen clearly in Auguste Rodin’s work “The Kiss” where the rock in which Francesca and Paolo sit upon has the same unfinished look.

Intention: While thoroughly researching different paintings a structures I have noticed that there is a repetition of strong twisted expressions. Here are a few of them:

Example: 1 Laocoon and his sons: 175-50 BC

Here we have the mythical character Laocoon from the marble structure Laocoon and his sons. His expression illustrates the fear and pain of his situation, this captured scene is exactly what I would like to replicate in my own images. The detail in the expression is what allows the viewer to identify the emotion instantly. Using this as inspiration I am able to clearly see what detail I am aiming to achieve and if successfully completed and what standard it will be at. The pain in the characters eyes are the main focus of the expression, alongside the mouth they create wrinkles all over the face. These simple details give the structure, as a whole, a more convincing illustration of the story.

Example: 2 Another composition that captures fear and pain within a characters expression is this one by Bernini. I am mainly focusing on the character Daphne as she is the one who is illustrating being scared. Unlike Loacoon there is no wrinkles added to her face, she has a smooth complexation instead. This however, does not take away from her expression. Again the eyes and open mouth are the key features that the artist had manipulated so the fear and shock are evident. When focusing on my own image, this will be a good source of inspiration as I can see how I can position the head and features so that they give the same detailed expression and emotion.

Gian Lorenzo Bernini: Apollo and Daphne 1622-25

Example: 3 Finally this sculpture of the main character Ugolino from the composition Ugolino and his sons by Carpeaux, also demonstrates clear expressions of pain and fear. Again the artist has used the definition of wrinkles around the eyes and mouth to help visualise how the character is feeling. The showing of his teeth and the placement of his hands in this mouth, adds to the intensity of the emotion. Using this as inspiration I can see how I can interoperate features such as hands to help support the original theme of twisting alongside the expression of pain into my own images.

Jean-Baptiste Carpeaux: Ugolino and his Sons

Intention: After carefully looking at these certain works that use strong expressions and twisted forms I can now take inspiration and see how I can then demonstrate it in my own images. Then going on to find further inspiration from other artists and start to interoperate their style with my own.

Duarte Vitoria: oil on canvas

Duarte Vitoria The idea behind Duarte Vitoria's work is to illustrate peoples deep emotions and the human condition. This is achieved through a shocking and disturbing style that shows large areas of human flesh in often twisted situations. His works are presented in great scales to further exaggerate the visual effect. His oil on cavass works wake up people from their sleeping minds and allow them to question themselves. Vitoria has been exhibiting for over a decade, allowing his work to have been in a great expansion over the years.

I think is work is very intriguing and powerful. He has a great technique as well as being able to translate a powerful message between viewers. Making us look into the beautiful yet dark emotion within ourselves. Duarte’s work almost performs as a selfdiscovering piece that is preserved inside the animalistic brushes on the canvas. What I like about his work is the twisted poses he uses as they relate to my theme. The unique bright, style of his work draws me into what is going on in the image. This is also helped by the plain white background, that allows the image to standout by itself. When I come to recreating my own work inspired by Duarte I will look to achieve the same twisted and distorted poses. Taking my own photos I can then go on to using his style on them.

Recreation of Duarte’s work: After looking at Duarte’s works that link best to my theme of twisting, I then when on to practising his style for myself. I chose to work with this image as I like the simple colour pallet he has used. The cool tone makes the body look cold and adds to the disturbing feeling that most of his works have. This is my own recreation of his work.

Photography inspired by Duarte: I have taken photos like the distorted images seen in Duarte’s work. The twisted features such as the arms and hands that are also twisting and distorting the face are what inspired me for these photos. I would like to research another artist that uses realistic skin tones rather than abstract ones.

Explanation: Moving on from the abstract flesh tones that Duarte uses In his paintings, I would like to focus on the compositions that reflect the them of twisting. Which uses more realistic flesh colours. Going on further to explore the idea of quite horrific and twisted scenes from other artists work. Of which I can then take photo of my own compositions to work from.

Bouguereau: Dante and Virgil in hell One painting that I particularly like due the twisted composition and flesh like tones is this one by the artist Bouguereau. It captures a scene of “twisted damnation� where Dante and Virgil are in hell. The painting has some horrifying images within it, by looking close at these parts you can really see the quality of tone. This will help me when I come to recreating my own variation of his work.

Bouguereau: Dante and Virgil in hell The expressions that Bouguereau has illustrated in this painting are very strong and disturbing. Because of the skill artist has to create realistic skin tone, you can almost understand how the people are feeling just from looking at them. This I a very powerful technique that I will aim to replicate when I create my own works inspired by him.

Photography inspired by Bouguereau: I have taken photos that are similar to the horrific images seen in Bouguereau’s work. The twisted compositions with the body parts overlapping has created plenty of tone from which I can show in my own painting. I can now look at showing one of my own photos in the style of Bouguereau’s work.

My own example inspired by Bouguereua: Here are my own recreations of Bouguereau’s work that I had first taken photos for myself inspired by his compositions. After practising his technique I produced some works that I think were successful in reflecting his style.

Final idea: Using the photographs I have taken inspired by both my artists I have decided to create a realistic pencil drawing that has a twisted compositions.