Presents an idea that makes sense and has evidence, but can show that other ideas are also valid Covers all parts of the idea while keeping it linked to the question Uses example artists and artworks to back up the idea All ideas make sense and go into detail, are complex Analyse how traditions and conventions can influence an artists’ practice. Introduction: The conceptual practice of an artist is influenced by the convention and traditions of those movements that had a large artistic influence within the community. Traditions and conventions set by academies, guilds and the enlightenment influence the conceptual practice of artists by setting guidelines to match the idealised artwork of their time. The word ‘convention’ is defined as the cultural traits relevant towards the time. The conventions of the Academies have influenced artists to produce arts that morally instruct their audience while medieval guild's forced artists to conform to the convention that expressed religious figures. However, renaissance patronage’s granted artist the freedom explore different ranges within sizes of artworks while modernism, introduced an era in which artists could express art in ‘en plein air.’ Body paragraph #1: Elisabeth Vigée-Lebrun Peace Bringing Abundance 1780 The conventional idea that Academic paintings must morally instruct has influenced artists to share important messages that morally instruct. The Academy during the 16th century became one of the most powerful artistic institution in Europe. The Academies established its own agenda by taking control over culture while breaking the Guild System. Elisabeth Vigée-Lebrun's, Peace bringing Abundance fulfills the rules of the French academy achieving high levels of realism within the tonal glazes of light and shadows of oil paint. On the right peace is identifiable with her cool range of colours that signify a masculine presence compared to abundance. An olive branch grasped by Peace is used to solidify her identity as within ancient Greece, the olive branch is used to signify the peace and victory. The body language of peace is emphasised with the use of material, a drape, that accentuates a welcoming gesture towards abundance, guiding her. While peace is depicted with an expose breast to not only appeal to the male gaze and attract attention from the audience but to also symbolise fertility within the land that brough about the seasonal produce in the cornucopia. Lebrun presents a message that an abundance of financial security would be able to lead peace into France as it was due to their financial contribution towards the American Revolution that left them bankrupt. Not only did this add on towards the start of the French Revolution, it was the lack of abundance of money that did not bring peace but instead brough violence instead. Therefore, the conventions of the academy required artists to convey moral messages within their practices. Body paragraph #2: Verrocchio The Baptism of Christ 1474-1475 During the existence of the medieval guild's, artists were forced to conform to a certain formula that prohibited individual expression and catered towards the church. Take for example the work 'The Baptism of Christ' (1474- 1475), commissioned by the monastery church of San Salvi in Florence. Produced in the workshop of Andrea del Verrocchio, the altarpiece depicts the moment in which Christ's divine nature is revealed under the hands of God and Holy Spirit. ‘The baptism of Christ’ utilises a smooth application of the brush in order to form a chiaroscuro lighting that emphasis the realism while juxtaposing the background that is roughly painted. A cascade of yellow represents the opening of heaven as from the top a dove is depicted in order to convey the essence of peace resonating from god being brought down to Christ during his baptism. ‘The Baptism of Christ’ illuminates the strict conventions and boundaries of the idealised form of art that was monopolised within different guilds, this ranges from frescos commission made by chapels that requested for depictions of religious pictures. The guild system controlled the manufacture of artworks that revolved around religious beliefs. Body paragraph #3: Lorenzo Ghiberti, St. Matthew, bronze, completed c. 1423, 254 cm, Orsanmichele, Florence The control of wealthy patrons only allowed artist to follow the requests of patrons through commissioned artworks but enabled artists to express their art without following the strict . Patrons who often funded the artworks were able to dictate the cost, size, medium, location and subject. For example, the bankers of guild of Florence had commissioned a large bronze statue commemorating St Matthew for a shrine outside the Orsanmichele church in Florence. Sculptor Lorenzo Ghiberti reflected the status of the banker's guild being proficient in their techniques. The statue was requested to be bigger than a previous sculpture the artist made for another guild and made from a cast of no more than two pieces in a significantly large size. Ghiberti’s fame, the statue’s scale, and the technical proficiency required to cast it were all reflections of the banker’s guild’s own status. Although artists who were tied to patrons no longer had to conform to the strict standards of the guild system they were still tied to the tastes of the patron. Nonetheless the rise of the Renaissance patronage allowed artists more flexibility than the restrictions of the guild system was flexible, however was chosen by the Patron. Body paragraph #4: Claude Monet, Impression, Sunrise, 1872, oil on canvas, 48 x 63 cm An artist’s desire to pull away from conventions may influence their practice. The onset introduction of modernity in the late 19th century enabled a rise in individualism that along with enlightenment ideas formed a new generation of artists recognised as impressionists. The Impressionists, with their desire to come up with a visual language that reflected modernity, broke 500 years of tradition by no longer painting realistically. Take for example Claude Monet's Impression: Sunrise 1879, exhibited in the first Impressionist exhibition, moving away from the strict conventions of the Salon. Monet 'impression' of a Sunrise by painting 'en plein air' using quick brushstrokes to capture the effects of light on the surface of the water relying on the audience to imagine the cohesion between the roughly painted landscape. This style reflected the transient and fleeting experience the art critic and poet Charles Baudelaire coined modernity. Impressionism was the first Modern art movement whose members implemented Enlightenment ideals such as freedom of expression and desire to represent truthfully a rapidly changing Modern world. Therefore, an artist’s practice is influenced by their desire to express their art in the form of impressionism. Conceptual framework 1 out of 6 question choose. Analyse the relationships between artwork and the audience for these artworks.(8 marks) o The relationship … shares with his audience is one of…. Briefly describe the three choices the artist made about his artmaking practice. (5 marks) Investigate the way in which these artworks are a response to time and place.(12marks) Conceptual is the main idea related to the audience.(present and past) Contexual – what was happening at the time.(With contextual) Practice- idea and influence how it was made. Frames Artwork Public(past and present) o This artwork is directed to the present with the use of modern conceptual ideas Art historians Art critics Curators Who is the audience that the artwork is made for. Mannerism – after renaissance (exaggerated certain features) Art Movement Timeline 1400-1500: Renaissance 1600: Baroque (highly realistic- or dark background with figures illuminated, French Baroque is bright) 1700: Neoclassical Early 1800: Romanticism Late 1800s: Late realism, impressionism, post-impressionism. Structural What does it look like? How has the artwork been made? What techniques have been used? What materials have been used? What is the composition like? Cultural What is its context? When and where was the work made? How has this influenced it? Who was the artist? How did their context influence the work? Subjective How does it make you feel? What is the mood of the work? How is the mood created? What do you think the artist felt? What does the audience feel? Postmodern Is it a new take on something? Does the work appropriate another artist? Does it appropriate another artwork? Why does it appropriate them/it? How has it changed the original meaning?
