arts 1301 formal analysis assignment
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analysisassignment1.docxFormal Analysis Assignment
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Title of object: Mariano Fortuny, Idyll, 1868. Source: Museo Nacional del Prado, Madrid, Spain Medium: Watercolor, Gouache / tempera on paper Formal Element: volume Principle of Composition: proportion
Explanation (minimum 100 words): This watercolor offers a profile view of a child playing an instrument while sitting on a stone architectural fragment. The goat below him, his nudity, and his messy hair suggests that we see a mythological creature, a young faun. In this case, the rich colors and careful modeling of the forms cause the watercolor to look similar to an oil on canvas painting. Gathered into the center, the faun, the stone fragment, and the goat appear solid and clearly show that they take up volume within the rural space. The plants growing around them, created with thin lines, appear less solid and, while taking up space, have an open volume. The proportions of the objects seem natural. The smaller size of the human figure compared to the stone and the goat allow us to see him as a child rather than as a too-small adult. |
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1. Title of object: Jan Pietersz Saenredam, Nude Woman: Allegory of Visual Perception, 1616
Source:National gallery art,Washington DC Medium: oil on canvas this is NOT an oil on canvas – it is an engraving, which you state below – you should say Intaglio print Formal Element: Principle of Composition: proportion
Explanation (minimum 100 words): The artist made this engraving, an intaglio print, by scoring a metal plate with a sharp tool so that gouges are created in the surface. Ink fills the gouges and creates a “print” when paper presses against the surface and into the gouges. Define hatching/cross hatching and state where you see it Define proportion and state where in the image you see it
This print is based on an original work by Hendrick Goltzius, who was one of the most significant Dutch artists of those days. He learnt to draw while with Goltzius in Haarlem.Saenredam's engraving is believed to date from about 1598 but was published in 1616 by Robert de Baudous. This delightful, highly complex engraving that go by the name Allegory of Sight was aimed at connoisseurs rather than just the general art market. It presents a unique and elegant juxtaposition of humans, animals and objects. This work represents an allegory of visual perception. The artwork includes a bespectacled artist who sits before an easel, painting some beautiful nude, Venus-like woman; who kneels before a mirror held by a winged Cupid; in the foreground a cat crouches and beholds the viewer with its large, glowing eyes. The foreshortened eagle is seen flying towards the sun, since the bird was supposed to be able to look at the sun. Throughout the scene are sundials, orreries and a telescope all that act as aids to perception.
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2. Title of object: Adriaen Coorte, Still Life with a Hanging Bunch of Grapes, Two Medlars, and a Butterfly, 1687. Source: National gallery of art,london Medium: oil on canvas Formal Element: Volume Principle of Composition: proportion
Explanation Coorte lived and worked in the Dutch city of Middelburg in the last years of the 17th century. He has more than paintings that date from 1683 to 1707. He highly preffered some simplicity In his compositions as shown by just some few items on the corner of his table and that are silhouetted against a dark background. In this painting Coorte makes celebration of the bountiful harvest of fruits during the autumn through drawing of of grapes and medlars. The plump, juicy grapes dangles from a cord clearly shows some good mastery of use of light and shadow in order to render the spherical objects, that contrasts with thin, sharp highlights that describe the crisp, crinkled texture of the attached leaf. The element is wiry, and has a calligraphic grapevine silhouetted against the background, that form a two-dimensional cage for the blue Polyommatus icarus hovering weightless in midair. Other tiny insects navigate the grapes and the stone ledge in the foreground of the painting. In the shadows of the ledge are two medlars which are picked with the fall’s frost but become edible when they ripen off the tree, rendering the flesh soft and sweet. |
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3. Title of object: Frans Snyders, Still Life with Flowers, Grapes, and Small Game Birds, 1615. Source: National gallery of art,london Medium: oil on panel Formal Element: visual texture – this is good, but you have repeated it Principle of Composition: proportion scale - lifesize
Explanation (minimum 100 words): - should read like this: The slow-drying nature of oil paint makes it flexible and blendable days after application, which gives fine detail. Glazes (thin layers) add luminosity. These qualities of oil paint help an artist to recreate visual texture. Two-dimensional images (paintings and drawings) have visual texture, which means the artist created an effect that reminds us of our memory of an actual texture, but one that we cannot really feel it. In this image, Snyders allows us to see the textures of feathers, glass, grapes, leaves, metal, and flower petals. Painting at near life-size scale increased the illusion that we actually look at these objects rather than at a painting of them. The following is the kind of information that you should use for the Teamwork Assignment. Snyders trained Flemish artists such as Pieter Brueghel the Younger and Hendrick van Balen and he achieved great fame for his magnificent still lifes of market displays, trophies of the hunt, and tabletops brimming with fruit and game. Over the course of his career, Snyders frequently collaborated with Peter Paul Rubens, thereby painting the still-life and animal elements in many of Rubens’s best-known compositions. By offering a well mastered compilation of flowers, birds, and grapes, Still Life with Flowers, Grapes, and Small Game Birds is an example of the modestly scaled and beautifully detailed still lifes Snyders executed throughout his career. In the painting, finches, robins, and other dead birds are piled in the foreground, while at the same time a gleaming gold tazza that is seen to overflow with plump grapes and delicately twisting vines. A colorful bouquet of tulips, roses, and other blossoms emerges from a glass vase demonstrates the artist’s wide-ranging understanding of the natural world.
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4. Title of object: artist, The Forum at Pompeii, date. Source: The National Gallery of Art Medium: Oil on paper. Formal Element: visual texture Principle of Composition: proportion
Explanation (minimum 100 words): The Forum at Pompeii is one of the oldest existing examples of Michallon’s work in oil from Pompeii and it is thought to have been a study preparation for a more ambitious painting. A quick sketch painted en plein air, it shows his interest to depict the effects of light on the ruins. The mountains in the distance, painted with rapid brushstrokes in neutral tones, evoke an ambiguous direction of light and time of day. In contrast, the light on the ruins offers a suggestion a sunset streaming in from the right side of the canvas, depicted with light touches of color on small sections of the walls and thin lines of yellow paint that indicate the edge of a wall or side of a column. |
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5. Title of object: artist, Lights in an Aircraft Plant, date. Source: National gallery of art,london Medium: Formal Element: Principle of Composition: proportion asymmetrical balance
Explanation (minimum 100 words): Crawford played a key role in the development of precisionism in 1930s, which was an artistic movement whose focus was on urban and industrial subjects rendered in crisp, and highly simplified geometric shapes. The abstract elements, fractured forms, and broad areas of opaque watercolor in Lights in an Aircraft Plant best exemplify this stylistic approach. The subject matter and reductive figures derive from Crawford’s experience during World War II, when he employed symbolic shapes to indicate rain, snow, clouds, and other meteorological conditions for efficient communication of weather information with the military personnel. The receding white lines that stand out against a dull yellow background in the drawing suggest overhead lighting in a vast warehouse. A brilliant blue describes shadows and the dark interior of a large tubular form inside a gray-walled space. |
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6. Title of object: Plus Tax: Shopping Bag Society Source: National gallery of art,london Medium: Formal Element: volume – volume works here, but you have used it too often Principle of Composition: proportion variety
Explanation (minimum 100 words): In Plus Tax: Shopping Bag Society, Mr Outterbridge has sewn found canvas into the form of a shopping bag, on which he has colorfully painted the ground and the words the PLUS TAX on the left side, “BAG” repeated six times on the right side, and “Shopping Bag Society” done on the back. To the bag’s handles the artist has attached some colored paper tags. Plus Tax: Shopping Bag Society questions the different values that are placed on such an object in a society that is characterized with a wide socioeconomic range. It goes ahead to pose if this work represents someone’s waste, or someone’s treasure; and then who is taxed or burdened by this society, and who has it “in the bag”? |
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7. Title of object: Merry Company on a Terrace Source: National gallery of art,london Medium: oil on the panel Formal Element: visual texture Principle of Composition:
Explanation (minimum 100 words): Merry Company on a Terrace was painted during the period of Dirck’s best work of art. Dirck uses an imaginary outdoor setting and offers some suggestion of the many idyllic country pleasures which are commonly associated with the well-to-do in the society. Seated to the left are a woman who hold a lute and a man is seen with a cello; where they are joined by a fashionable young couple who look to be interested in listening to the music being played by the duo. In the background, a young servant appear to get ready for a display of very sparkling tableware and some colorful festive dishes that include a spectacular turkey pie. To the far right, some steps lead from the terrace to a still expanse of water that is bordered by trees |
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8. Title of object: I See Red: Target Source: National gallery of art,london Medium: mixed media on a canvas Formal Element: volume Principle of Composition: proportion alternating rhythm
Explanation I See Red: Target is a painting that features a target and darts arranged at the top of the work to allude to feathers in a headdress. Two canvases collaged are presentably seen attached with clippings from mainstream newspapers as well as the Char-Koosta News, a comic book cover, fabric, and a pennant. The alternating bands of historic images of Native Americans used in a reservation community service notice bear the stain-like drips of a bloodred paint, which is used to serve as an evocative device throughout Smith's I See Red series to call up issues that relate to history, identity, race, and rage. |
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9. Title of object: A Sunburst Restrained Source: National gallery of art,london Medium: collage with Japanese paper and watercolor on canvas Formal Element: visual texture Principle of Composition: proportion
Explanation: The artist has arranged the collages so as to depict some female figures in spaces of refuge and imagined utopias that highly incorporate the cultural influences and flora of South America. In A Sunburst Restrained (2019) two female figures reclining in a tiled setting. A fluid pink ground fills the bottom third of the composition, over which a branch full of leaves and lemons appears, cutting across the foreground and cropped by the bottom edge of the canvas. The artist attributes her inspiration for drawing this work to Pablo Neruda’s poem name "Ode to a Lemon," which better links the greatness of celestial light to the modest but life-affirming form of a lemon. Barrio has imbued her rendering of the two women figures and the lemons with such barely contained vitality and light. |
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10. Title of object: Triptych (3.20.15, 5.21.15, 6.8.15), Source: National gallery of art,london Medium: Applied felt, chalk, alkyd paint, and mixed media on wood panel Formal Element:volume Principle of Composition: proportion
Explanation
The large painting consists almost entirely of colored felt cut and applied to board. In each panel, dark forms suggesting figures or parts of figures are seen to move, dance, or run in and through fields of light blue, orange, pink, green, and white. Some figurative references are also contained within the fields of color. The imagery, with its simultaneous suggestions of joy and intense energy, dance and flight, echoes thematic material, from the dynamism of his works that were inspired by newspaper photographs of the 1960 massacre in Sharpeville, South Africa, to persistent themes of a grand dance evoking a sense of spectacle and ritual. Jackson has embraced felt, which he values for its saturated color and optical neutrality, is distinctive. He folds and overlaps the cloth to create sensations of depth that complicate the inherent flatness of the materials. |
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free standing sculpture |
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relief sculpture |
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fresco |
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relief print |
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photograph |
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dry medium drawing (pencil, charcoal, or pastel) |
