Art Appreciation Group 4: Iconic Plane Iconic Plane or the Image Itself What makes an Image “Iconic”? Leonardo da Vinci’s Mona Lisa and Edvard Munch’s The Scream have all achieved something that most paintings—regardless of their art historical importance, beauty, or monetary value. They communicate a specific meaning almost immediately to almost every viewer. These few works have successfully made the transition from the elite realm of the museum visitor to the enormous venue of popular culture. This prompted me to ponder the idea of iconic images. icon 1. a ·picture, image, or other representation. 2. Eastern Church. a representation of some sacred personage, as Christ or a saint or angel, painted usually on a wood surface and venerated itself as sacred. 3. a sign or representation that stands for its object by virtue of a resemblance or analogy to it. 4. Computers. a picture or symbol that appears on a monitor and is used to represent a command, as a file drawer to represent filing. 5. Semiotics. a sign or representation that stands for its object by virtue of a resemblance or analogy to it. To be truly iconic an image must also carry with it some connection to a larger contextual meaning. For example, Warhol’s soup can is not just a soup can. It symbolizes the artistic movement out of which it arose and tells us something about the times in which it was created. Thus, an image to be truly iconic is that it must represent something beyond what is pictured to some significant subset of the population. ICONIC PLANE This level is still part of the semiotic approach since it is still based on the signifier-signified relationships. The only difference is that it has to do with the particular features, aspects, and qualities of the image. This image signifiers are about celebrating a war’s end and the excitement of what post-life offer. The image is regarded as an “iconic sign”, which means – beyond its narrow association with religious images in the Byzantine style – that is unique, particular, and highly nuanced meaning, as different from a conventional sign, such as traffic or street sign that has a single literal meaning agreed upon by social convention. Empress Theodora and her retinue, mosaic, 6th century; on the south wall of the apse, church of San Vitale, Ravenna, Italy. Signifier-signified Relationships Signs are made up of both signifier and signified. Signifier is the sign’s physical or material form whereas signified is the meaning conveyed by the sign. However, the relationship between a signifier and signified is arbitrary since various signifiers can be used to indicate the same signified concept. • In the basic semiotic plane which deals with the material aspects of the work and in the iconic plane which deals with the features of the image itself, one can see that cannot be separated from the signified, concrete fact or material data cannot be divorced from value. CHOICE OF SUBJECT It refers to the main idea that is presented in the artwork. It bears SOCIAL and POLITICAL implications. It brings the essence of the piece. GUSTAVE COURBET a FRENCH REALIST ARTIST. He chooses to paint WORKERS and ORDINARY People. His choice of the subject involves a personal statement of what appears typically in his surroundings. THE STONE BREAKERS (1849) One of his famous paintings shows case realism. He expressed the feeling of exhaustion of the society’s hardship. He uses the French People as a POLITICAL ENTITY. He shows sympathy for the workers and disgusts the upper men. Presentation of the Image & it’s Relationship to the Viewer Parisian Life aka “Interior d’un Café” by Juan Luna features an interior scene in a café with a woman seated prominently on a banquette and three men at the far left corner. Subject-viewer relationship implies the facial expression, body language, costume and accessories, natural or social background and all possible nuances in which the subject potentially addresses to the viewer. The painting portrays contemporary social norms, gender politics and national allegory. The woman in the painting is believed to be a prostitute which is a subject of the male gaze. Women in Paris were seen as a threat to the status quo if they didn’t conform to the traditional role of a femme honnête (respectable women) they were seen as a courtisane or prostitute who bore the stigma of infecting men with a venereal disease, thus embodies femme fatale (dangerous woman) which represents both desire and death (loved and loathed at the same time). Parisian Life mirrors the constructions of masculinity and civility among three men wearing European clothes. Despite the civilized middle-class body, their brown faces discloses their racial identity. Their eyes are fixated on the woman which appears to be an erotic encounter as their gazes are filled with desire which personified moral disintegration. Positioning 1) Frontal 2) Profile 3) Three-fourth and the signification that arises from these different presentations. •Luna’s Tampuhan (1895) - brings to the fore the artist’s sensitivity to language. Some artists use cropping as a device to imply the extension of the figure into viewer’s space. A painting may expand or multiply its space by having not just one integral image but several sets of images in montage form, from the same of different times and places. May occur in temporal sequence to constitute a narrative or may take the form of simultaneous facets or aspects of reality. Relationship of Figures to One Another In portraits the gaze of subject directed not only important in defining the relationship of subject and viewer but also describing the pictorial space. A Woman with Chrysanthemum In cropping figures intended to create a random, arbitrary effect as against the deliberate and controlled. Isolate segment of the object (hand or feet) in order to draw attention to its physical qualities. Relationship of the figures to one another relationship the way they are composed whether; 1) Massed figure 2) Isolated figure 3) Juxtaposed figure 1) Massed figure 2) Isolated figure 3) Juxtaposed figure Painting May expand or multiply its space May occur in temporal sequences Serial images Style of Figuration - It implies a particular re-presentation of the world view, if not ideology. - has 4 types: 1. Classical Figuration 2. Realist Figuration 3. Impressionist Figuration 4 Expressionist Figuration Classical Figuration Basically follows the proportion of 7 and half to 8 heads to entire figure in its pursuit of ideal form, as in a formal studio portrait with the subject enhanced by makeup, all imperfections are concealed. Aphrodite of Cnidus created by Praxiteles Realist Figuration Based in keen observation of the people, nature and society in the concern for truth of representation, thus creating portraits of individual without glossing over physical imperfections and defects or exposing the environmental squalor that arises from social inequalities. Los Trabajadores (The Workers), 2005 by Susan Contreras Impressionist Figuration It is fluid and informal, often catching the subject unaware like a candid camera. By Fongwei Liu Expressionist Figuration Follows emotional impulses and drives, thus often involving distortion and clashing of colors that came from strong emotion. The Scream created by Edward Munch SUMMARY The Iconic Plane or the Image Itself This level is still part of the semiotic approach since it is still based on the signifier-signified relationships. The only difference is that it has to do with the particular features, aspects, and qualities of the image. The iconic plane includes the choice of the subject which may bear with social and political implications. Also, part of the iconic plane is the positioning of the figure (frontal, in profile, three-fourths, etc.) that implies its bearing to the meaning of the work. This is important not only in defining the relationships of the subject and the viewer but also in describing pictorial space. Also takes into account the relationship of the figures to one another, whether massed, isolated, or juxtaposed in terms of affinity or contrast. The style of figuration or the proportion of the body deals with the image itself. REPORTERS: • Lendio, Hannah Mae • Manco, Arwela • Montecillo, Rosaree • Navales, Namier • Navarro, Eunice • Tan, Cara