11VA Expressionism:

Pablo Picasso (Spanish, 1881–1973)

Les Demoiselles d'Avignon

Date:

Paris, June-July 1907

Medium:

Oil on canvas

Dimensions:

8' x 7' 8" (243.9 x 233.7 cm)

Credit Line:

Acquired through the Lillie P. Bliss Bequest

MoMA Number:

333.1939

Copyright:

© 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

 http://www.moma.org/collection/object.php?object_id=79766

Use the following questions to guide your analysis of the image above:

• Describe Picasso's illusion of space.
• What viewpoint(s) has Picasso used?
• How has Picasso created illusions of form?
• What cultures has Picasso being influenced by?
• Discuss Picasso's use of the elements and principles of art.
• How has Picasso portrayed women?

11VA: Manet- The Father of Impressionism

Dejeuner sur l’herbe (The Picnic) 1863

Bar at the Folies Bergiere

1882

Manet was the father of impressionism...

Identify the visual clues in the images above that illustrate the following characteristics of Impressionism:

• Disintegration of the form in light and atmosphere
• Loose brushstrokes to disintegrate the form and create optical blending
• The invention of the camera in 1840 and the shift from religious and royal subject to documentation of everyday life.

Link to Realism Presentation

“Manet’s figures are dissolved in light” - explain this statement in paragraph, using the visual clues and characteristics that you have identified in Manet's artworks. 

Link to Essay writing document example

Grade 11VA Realism Essay

 Dear Grade 11s,

Please complete this activity for Homework. 

Image From: http://www.metmuseum.org/toah/works-of-art/40.175 

Please write your answers to the following questions in an essay format (i.e. introduction, body, and conclusion).

1. Name, date and contextualize this painting.                                                  [4 marks]

2. What is the artist’s perception of the types of women seen here? What does this say about his society in the mid-19th century?     [2 marks]

3. This movement is called ‘Realism’. Look at the visual clues and give 3 stylistic characteristics of Realism. Describe these clues.                 [6 marks]

Link to Mrs Moore's PPT on Women in Art

Link to Mrs Moore's PPT on Realism

http://www.visual-arts-cork.com/history-of-art/realism.htm#characteristics - this site is about Realism in Art

Images of Women in Art History & today: Gr11VA Theory

Artist	Sandro Botticelli
Year	c. 1486
Type	tempera on canvas
Dimensions	172.5 cm × 278.9 cm (67.9 in × 109.6 in)
Location	Uffizi, Florence

The Birth of Venus image from http://en.wikipedia.org/wiki/The_Birth_of_Venus_(Botticelli)

Link to PPT on historical depiction of Women in Art



iomage from: http://www.telegraph.co.uk/culture/art/art-features/6093122/Titian-wheeler-dealer-who-created-a-goddess.html (this article is an interesting read)


Task 1: Collect images of women based on the guidelines on Mrs Moore's blog:  women-through-ages-introduction link

Link to Mrs Moore's Gender Issues Image folder

Link to Sturgess Gender Image folder

Task 2:Link to Perspective notes

Discuss how Titian has used illusions of Space in this image.

Gender Issues Gr 11VA PAT 3

'YOUR CLOTHES AND HOW YOU WEAR THEM' 2011 Lesley Magwood Fraser 17.5cm x 17.5cm x 3.2cm - 'Artist's Blocks'

Link to PPT on Gender Issues

Link to Mrs Moore's introduction Post

Grade 11 June Exam Links

Dear Grade 11's 

You need to know the following artworks for your exam:

Link to Exam break-down post

• Delacroix- Liberty leading the people -Link to post on romantic characteristics & Link to post on liberty leading people
• David- Oath of Horattii -Link
• Alexander- Butcher boys - Link
• Murray- The Spear -Link

Art of persuasion DvD- Link to Revision on BBC DVD post

Art Politics Revision Post Grade 11

Image from: http://www.pbs.org/howartmadetheworld/episodes/persuasion/

The art of persuasion show how Art is a political tool:
Some points are that:

• The human figure is an important political logo
• Art can tell a political lie
• Art can manipulate people's perceptions of politics
• Art accessories can create an image of power
• Art can be placed in everyday places to remind people of political viewpoints (e.g. coins, propaganda posters, statues, carvings, murals, television adverts,  etc.)

Link to Art of Persuasion PPT

Link to Mrs Moore's post on the art of persuasion

Link to how art made the world website

Link to Gr11 exam break-down

Neoclassicism: Grade 11VA

"PRELUDE TO THE FRENCH REVOLUTION: MONARCHY IN CRISIS

As the 18th century drew to a close, France’s costly involvement in the American Revolution and extravagant spending by King Louis XVI (1754-1793) and his predecessor had left the country on the brink of bankruptcy. Not only were the royal coffers depleted, but two decades of poor cereal harvests, drought, cattle disease and skyrocketing bread prices had kindled unrest among peasants and the urban poor. Many expressed their desperation and resentment toward a regime that imposed heavy taxes yet failed to provide relief by rioting, looting and striking." Read More at http://www.history.com/topics/french-revolution 

Link to an article and video on the French Revolution

Some information from Mrs Moore's Blog:

The Oath of Horatii by Jacques-Louis David   1784 (1792 = French Revolution)

LINK to presentation

LINK to the Louvre

Create your first 'infographic' of the year by analyzing the above painting using these chunks:-

• Basic data 
• Context of the 'message'
• Meaning / messages
• Most obvious images that help convey the message
• Most important elements and principles that help convey the message
• Your opinion of the success of this painting. Would something like this work TODAY?

An infographic should have at least 2 illustrations and 300 words clearly divided into the above chunks. It may be on an A3 card, a double A4 or be digital (shared with studio@dghs.co.za)

Jessica's example Try evaluating this example using this tool ....

Sturgess's Class Evaluation form

Link to DIGITAL Worksheet on the Oath of Horatii

Summary of Romantic Characteristics

The following Summary is based on  quotes from Shelley Esaak's Article: Romanticism - Art History 101 Basics: 1800-1880

Read the full article by clicking on the web address below:

http://arthistory.about.com/od/renaissancearthistory/a/Romanticism-101.htm

"Romanticism is precisely situated neither in choice of subject nor in exact truth, but in a way of feeling." -- Charles Baudelaire (1821-1867)

"When we talk about Romanticism the Movement, we aren't using the root word "romance" in the sense of hearts and flowers or infatuation. Instead, we use "romance" in the sense of glorification.

Therefore Romanticisim is the glorification of concepts and things that Romantics were fighting against. Romantic visual and literary artists glorified things ... which takes us to thorny problem number two: the "things" they glorified were hardly ever physical. 

They glorified huge, complex concepts such as liberty, survival, ideals, hope, awe, heroism, despair, and the various sensations that nature evokes in humans. All of these are felt -- and felt on an individual, highly subjective level.   

Aside from promoting intangible ideas, Romanticism may also be loosely defined by what it stood against. The movement championed spiritualism over science, instinct over deliberation, nature over industry, democracy over subjugation, and the rusticity over the aristocracy. Again, these are all concepts open to extremely personalized interpretation.

What Are the Key Characteristics of Romanticism?

• Emotional Emphasis
  The paintings of the Romantic period were emotional powder kegs. Artists expressed as much feeling and passion as could be loaded on to a canvas. A landscape had to evoke a mood, a crowd scene had to show expressions on every face, an animal painting had to depict some, preferably majestic, trait of that animal. Even portraits were not totally straightforward representations -- the sitter would be given eyes meant to be mirrors of the soul, a smile, a grimace, or a certain tilt of the head. With little touches, the artist could portray his subject surrounded by an atmosphere of innocence, madness, virtue, loneliness, altruism or greed.

 Turner, “The Fighting Téméraire tugged to her last Berth to be broken” 1839 oil painting

• Nature Can Kill You ** Please see Mrs Sturgess's note below
  If there is one prevalent theme to Romanticism, it is this: nature can change direction without warning, and we puny mortals are no match for it. You will find many, many examples of shipwrecks in Romantic paintings, for example. Shipwrecks, historically speaking, have always had high mortality rates. If you didn't drown, you stood a good chance of dying slowly of dehydration and starvation.
  Likewise, Romantic art had more than its fair share of blizzards, fires, thunderstorms, lightning strikes, floods, earthquakes, volcanoes, and biblical disasters. About the only natural disaster Romanticism did not try to portray was an asteroid strike. And that is probably only because no one in the early 19th-century had yet discovered the geological evidence of impact events.

Delacroix, Raft of the Medusa

**Mrs Sturgess is adding note here that the dangerous element of a Romantic painting could also come from the political environment- such as fighting for freedom in Paris.

• Current Events
  In addition to the emotionally-charged feelings one got from looking at Romantic paintings, contemporary viewers were usually quite knowledgeable of the story behind the subject matter. Why? Because the artists frequently took their inspiration from current events. For example, when Théodore Géricault unveiled his gigantic masterpiece The Raft of the Medusa(1818-19), the French public was already well acquainted with the gory details following the 1816 shipwreck of the naval frigate Méduse. Similarly, Eugène Delacroix painted Liberty Leading the People (1830) fully aware that every adult in France was already familiar with the July Revolution of 1830.
  Of course, not every Romantic work related to current events. For those that did, however, the benefits were a receptive, informed viewership, and increased name recognition for their creators.

Delacroix Liberty leading the People, 1830

• Lack of Unifying Style, Technique, or Subject Matter
  Romanticism wasn't like Rococo art, in which fashionable, attractive people engaged in fashionable, attractive pastimes while courtly love lurked around every corner -- and all of these goings-on were captured in a light-hearted, whimsical style. Instead, Romanticism included William Blake's disquieting apparition The Ghost of a Flea (1819-20), sitting in close chronological proximity to John Constable's comfortably rural landscape The Hay Wain(1821). Pick a mood, any mood, and there was some Romantic artist that conveyed it on canvas.
  Romanticism wasn't like Impressionism, where everyone concentrated on painting the effects of light using loose brushwork. Romantic art ranged from the smooth-as-glass, highly-detailed, monumental canvas Death of Sardanapalus (1827) by Eugène Delacroix, to J. M. W. Turner's indistinct watercolor washes in The Lake of Zug (1843), and everything in between. Technique was all over the map; execution was completely up to the artist.
  Romanticism wasn't like Dada, whose artists were making specific statements about WWI and/or the pretentious absurdities of the Art World. Romantic artists were apt to make statements about anything (or nothing), dependent on how an individual artist felt about any given topic on any given day. Francisco de Goya's work explored madness and oppression, while Caspar David Friedrich found endless inspiration in moonlight and fog. The will of the Romantic artist had the final say on subject matter.

Influences of Romanticism

The most direct influence of Romanticism was Neoclassicism, but there is a twist to this. Romanticism was a type of reaction to Neoclassicism, in that Romantic artists found the rational, mathematical, reasoned elements of "classical" art (i.e.: the art of Ancient Greece and Rome, by way of the Renaissance) too confining. Not that they didn't borrow heavily from it when it came to things like perspective, proportions, and symmetry. No, the Romantics kept those parts. It was just that they ventured beyond the prevailing Neoclassic sense of calm rationalism to inject a heaping helping of drama.

This Time Cover From 2009 Looks like a Liberty Leading the People Moment.

Murray: Art and Politics Grade 12 Examples From 2013 Exams

This metal cut-out by Brett Murray hangs on the wall in the Durban Art Gallery , where it has caused much controversy.

FACT FILE:

The artist does the original drawing.

The digital design is read and cut by an automated laser-cutting machine.

Black is metal, white is the wall – a void.

The text reads:

YOU WOULDN’T UNDERSTAND IT’S A BLACK THING

YOU WOULDN’T UNDERSTAND IT’S A WHITE THING

2.1.1
What is your opinion about the role of digital / electronic media in today’s media world?                                               Could be pro or con – give reasons    þ þ   (2)

2.1.2

What elements and principles of art does the artist use? Explain how he uses them.

Eg Line (outlines become solid shapes) eg Positive & negative shapes (solids & voids – discuss) þ þ
  (2)

           

2.1.3

What message do you think the artist is trying to convey?

Does he manage to do this effectively?  Why?  (3)

Clash between B & W cultures. Colonial explorer versus the ‘primitive’ cannibal.
 Uses a humorous medium – cartoons.
Accept any reasoned answer.

Liberty Leading the People: Practical Activity: Gr 11VA

Complete an experiment based on Delacroix’s Paint technique.

• Plot in the basic shapes using one or two acrylic colours on brown card,
• Then add darker tones with pastels.  Use your finger and vaseline to blend in areas.
• Then add outlines and some details using 6B pencils and more pastel layers to blend in areas.

I started with my clouds and some small building sketches

Now I am experimenting with adding a figure

I suggest you create an example based on the clouds in the background.  

Below is an example of a current Durban artist's work based on clouds:

Grace Kotze

Habitat: 4, 2009. oil on canvas mounted on board 33.3 x 33.3cm

Image from; http://www.artthrob.co.za/Reviews/Review-of-Darkness-_and_-Wonder-New-Oil-Paintings-by-Peter-Machen-at-KZNSA.aspx

Cloud

Artist: Grace Kotze

http://www.kznsagallery.co.za/exhibitionimages/after_20_years_20_artists.htm