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Rhona Hamilton-Jones 1630 Presentation of Order and Disorder within Still Life Word count: 3,355 Order and Disorder: Looking at still life Throughout my study, I aim to explore the theme of order and disorder within still life. I will be comparing artists, in particular the Vanitas style and Joel Penkman, and additionally Kate Brinkworth. These artists all similarly present still life; Penkman creates simple and ordered layouts; Brinkworth magnified, disordered and stylised,
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  Rhona Hamilton-Jones 1630 Presentation of Order and Disorder within Still Life Word count 3!3   Order and Disorder: Looking at still life  #hrou$hout m% stud%! & aim to e'(lore the theme of order and disorder within still life) & will *e com(arin$ artists! in (articular the +anitas st%le and Joel Pen,man! and additionall% ate .rin,worth) #hese artists all similarl% (resent still life/ Pen,man creates sim(le and ordered la%outs/ .rin,worth ma$nied! disordered and st%lised! and +anitas cluttered *ut in a sense or$anised as all the o*ects included ha2e meanin$) & ha2e chosen this *ecause & thin, it will *e intri$uin$ to see how 2ar%in$ artists use o*ects to create a mood or reaction from the 2iewer! as well as the dierin$ st%les of not ust time (eriods *ut also the mediums used) #his stud% lin,s with m% (ractical wor, closel% as m% title is 4Order and Disorder5! loo,in$ (articularl% at food) Pen,man and .rin,worth use this as a common theme in their wor,) & ha2e chosen this theme as it will ho(efull% e'tend m% ,nowled$e and understandin$ of still life! and ma% hel( me when creatin$ a nal outcome) & am ho(in$ to disco2er how dierent artists use s(ace and arran$ement to create a dis(la% the% nd *eautiful enou$h to transferinto art wor,! li,e how +anitas (aintin$ seem eortlessl% disor$anised *ut are in fact the o((osite! and .rin,worth seems to ust let her su*ect matter fall into (lace and (aint it in the same! unordered wa%) & also want to learn how use of colour and tone aects a still life! and how artists ma% use that to their ad2anta$e) or e'am(le! +anitas (aintin$s ha2e t%(icall% dar, toned *ac,$rounds! while Pen,man creates on clean! (lain white) inall% & will loo, at the use of certain o*ects in still li2es and what messa$es artists ma% *e tr%in$ to (ortra% throu$h them) 1- Joel Pen,man- amm% dod$er and (art% rin$! 7013) 8) .onn%! 4Joel Pen,man ood 9rt5! 7011 htt(::www)desi$ns(on$e)com:7011:0 :oel-(en,man-food-art)html7-   9driaen 2an ;trecht < +anitas! com(osition with =owers and s,ull! 16>3) ?)@atrice! 4Aoure so +ain5 9u$ust 76 th ! 7016 htt(::artma$)saatchi$aller%)com:%oure-so-2ain: 3-ate .rin,worth- Boet! 701>) 8) #hornton! 4#he &m(ressi2e wor, of ate .rin,worth5! e*ruar% 17 th  701> htt(s::$eor$ethorntonart)word(ress)com:701>:07:17:the-im(ressi2e-wor,-of-,ate-*rin,worth:   #he rst theme & will *e e'(lorin$ at is +anitas! which is more of a (articular st%lethan an artist in itself) +anitas is a cate$or% of s%m*olic wor,s of art! (articularl% associated with still life) #his st%le of wor, was nota*l% seen in 16th and 1Cth centur% landers and #he etherlands) #he term 4+anitas5 ori$inall% came from the .i*le *oo, of ?cclesiastes 42anit% of 2anities! saith the Preacher! 2anit% of 2anities! all is 2anit%)5 E+anitas denition FonlineG) Place #ate museum $lossar%) 92aila*le at htt(::www)tate)or$)u,:learn:online-resources:$lossar%:2:2anitas+anitas art is (rominent for its motifs and themes dis(la%ed throu$h o*ects that ma% seem (ointless *ut are the whole messa$e *ehind the (aintin$) rom the renaissance (eriod motifs were more indirect! and still life was the main 2ehicle to dis(la% the ideals of 4the ina*ilit% of death! the transience and 2anit% of earthl% achie2ements and (leasures/ it e'horts the 2iewer to consider mortalit% and re(ent)5 E+anitas denition FonlineG) Place .ritannica enc%clo(aedia) 92aila*le at htt(s::www)*ritannica)com:art:2anitas-art @ommon s%m*ols in the still life included s,ulls! a reminder of the certaint% of death Ememento mori! a Latin (hrase meanin$ 4remem*er %ou must die E+anitas denition FonlineG) Place #ate museum $lossar%) 92aila*le at htt(::www)tate)or$)u,:learn:online-resources:$lossar%:2:2anitas! *u**les for the shortness of life and suddenness of death! musical instruments and *oo,s! and =owers and fruits for fra$ilit%)  #his is a classic Dutch +anitas (aintin$ *%Harmen Steenw%,) #he su*ect matters of this (iece ha2e *een chosen 2er% carefull% tocommunicate the 4+anitas5 messa$e) #hes,ull is the focal (oint and is the uni2ersals%m*ol for death! and the (oc,et watch ande'tin$uished $olden lam( mar, the (assin$of time) #he shell! which has *een hi$hl%(olished! re(resents wealth! as in the time(eriod of the most tra2elled and wealth%would ha2e such a shell from 9sia) &t alsotraditionall% re(resents *irth and fertilit%) #he *oo,s re(resent human ,nowled$ewhile the musical instrument is for the (leasures of the senses) inall% the sil, (resents (h%sical wealth! the sword militarism! and the metal ar! which (ro*a*l%contained water or oil! *oth s%m*ols for the sustainment of life) Steenw%, has com(osed the (aintin$ usin$ dia$onals! with the o*ects ta,in$ u( the lower half and lea2in$ the other side mainl% *lan,) #he *eam of li$ht is used to illuminate the s,ull and *alance out the trian$ular arran$ement of the lower half) #he colourscheme is harmonious! with muted neutrals for the maorit% of the o*ects and the *ac,$round! with onl% the (o( of the (in, sil, which still does not o2er(ower
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