chapter 1.10 content and analysis part 1 fundamentals copyright © 2011 thames & hudson

Chapter 1.10

Content and Analysis

PART 1FUNDAMENTALS

Copyright © 2011 Thames & Hudson

PART 1FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Chapter 1.10 Content and Analysis

Introduction

The artist uses a visual language to communicate ideas, beliefs, emotions, and opinions

Content: Subject

Analysis: Finding meaning

Imitation and individual style Learning from the masters

Developing a unique style

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Content

Content refers to the meaning and the subject of a workof art

Identifying the subject of an artwork: Representational (one can identify the subject)

Non-objective (unrecognizable subject matter)

Abstraction

1.161 Equestrian statue of Marcus Aurelius, c. 175 CE. Bronze, 11’6” high. Musei Capitolini, Rome, Italy

1.162 José de Rivera, Infinity, 1967. Stainless steel sculpture in front of National Museum of American History, Smithsonian Institution, Washington, D.C.

1.163 Allan Houser, Reverie, 1981. Bronze, 25 x 23 x 13”, edition of 10. Allan Houser Archives

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Modes of Analysis

Iconographic

Biographical

Feminist

Contextual

Psychological

Formal (or visual)

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Iconographic Analysis

Interprets signs and symbols within an artwork

Historical and religious references

1.164 Audrey Flack, Marilyn Monroe, 1977. Oil over acrylic on canvas, 8 x 8’. Collection of the University of Arizona Museum of Art, Tucson

Click the image above to launch the video

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Audrey Flack: Photorealism and Vanitas

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Biographical Analysis

Relates artist’s life and experiences to artwork

Considers gender, race, nationality, and class

1.165 Eva Hesse, Hang-Up, 1966. Acrylic, cloth, wood, cord, and steel, 72 x 84 x 78”. Art Institute of Chicago

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Feminist Analysis

Role of women as: Artists

Subjects

Viewers

1.166 Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814. Oil on canvas, 35⅞ x 63¾”. Musée du Louvre, Paris, France

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Contextual Analysis

Interprets artwork based on time and place in which itwas made

Considers historical, religious, political, economic, and social factors

1.167 Leni Riefenstahl, still from Triumph of the Will, 1934

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Psychological Analysis

Considers the mental state of the artist when the artwork was being made and uses this to help interpret the work

1.168 Edward Hopper, Nighthawks, 1942. Oil on canvas, 33⅛ x 60”. Art Institute of Chicago

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Formal Analysis

Considers the elements and principles used by the artist Elements of art: line, shape, form, mass, volume, color, texture,

space, time and motion, and value

Principles of art: contrast, balance, unity, variety, rhythm, emphasis, pattern, proportion, and scale

1.169 Diego de Silva yVelázquez, Las Meninas,c. 1656. Oil on canvas,10’5¼” x 9’¾”. Museo Nacional del Prado, Madrid, Spain

1.170 Detail of Diego de Silva y Velázquez, Las Meninas

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What Is the Meaning of Las Meninas?

Velázquez used Las Meninas to show his importance asa painter and his intimacy with the royal family


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Diego Velázquez: Las Meninas

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Imitation and Individual Style

Artists often train themselves by studying and copying earlier masterpieces

By referring to earlier masterpieces in new artworks, artists associate themselves with other artists who preceded them

By studying other artworks, artists may learn how to differentiate themselves

1.171 Picasso, Las Meninas, first in a series, 1957. Oil on canvas, 6’4⅜” × 8’6⅜”. Museo Picasso, Barcelona, Spain

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Comparison

Compare the original Las Meninas by Velázquez with the reinterpretation by Picasso

1.172 Thomas Struth, Museo del Prado 7, 2005. Chromogenic print, 5’⅞” × 7’2”

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Conclusion

Artworks can be representational or non-objective; the degree to which they are non-objective is based upon the level of abstraction

Best interpretations are based on synthesis of several modes of analysis

Artists often look to earlier artists for inspiration


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Thomas Cole: The OxbowFor a video that uses formal analysis, watch:


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Sandro Botticelli: The Birth of VenusFor a video that uses formal and contextual analysis, watch:


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Vincent van Gogh in His Own WordsFor a video that uses biographical and psychological analysis, watch:

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PowerPoints developed by CreativeMyndz Multimedia Studios


This concludes the PowerPoint slide set for Chapter 1.10

Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Copyright © 2011 Thames & Hudson

PART 1FUNDAMENTALS

PowerPoints developed by CreativeMyndz Multimedia Studios


1.161 iStockphoto.com

1.162 © Andia/Alamy

1.163 Allan Houser archives © Cliinde LLC

1.164 Collection University of Arizona Museum of Art, Tucson, Museum purchase with funds provided by the Edward J. Gallagher, Jr Memorial Fund 1982.35.1. © the artist

1.165 The Art Institute of Chicago, Gift of Arthur Keating and Mr. and Mrs. Edward Morris by exchange, April 1988. © The Estate of Eva Hesse. Hauser & Wirth. Photo Susan Einstein, courtesy The Art Institute of Chicago

1.166 Musée du Louvre, Paris

1.167 Courtesy Archiv LRP

1.168 The Art Institute of Chicago, Friends of American Art Collection, 1942.51

1.169 Museo Nacional del Prado, Madrid

1.170 Museo Nacional del Prado, Madrid

1.171 © Succession Picasso/DACS, London 2011

1.172 © 2012 Thomas Struth

Picture Credits for Chapter 1.10

chapter 1.10 content and analysis part 1 fundamentals copyright © 2011 thames & hudson

Documents

visual arts

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artistelements of art

art institute of chicagopart

value principles of

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allan houser archivespart

religious references1