Narrative art
From Wikipedia, the free encyclopedia
Narrative art is art that tells a story, either as a moment in an ongoing story or as a sequence of events
unfolding over time. Some of the earliest evidence of human art suggests that people told stories with
pictures. However, without some knowledge of the story being told it is very hard to read ancient pictures
because they are not organized in a systematic way like words on a page, but rather can unfold in many
different directions at once.
Pictures do not naturally lend themselves to telling stories as stories are told over time (diachronic) and
pictures are seen all at once (synchronic). Although there are some common features to all narrative art,
different cultures have developed idiosyncratic ways to discern narrative action from pictures. Prior to the
advent of literacy most narrative art was done in a simultaneous narrative style with very little over arching
organization. Once literacy developed in different parts of the world pictures began to be organized along
register lines, like lines on a page, that helped define the direction of the narrative.
This method of linking scenes together led to a popular ways of telling stories in the 20th century, the
newspaper, comic strips and comic books.
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1 Types of Narrative Art
2 Simultaneous Narrative
2.1 Lukasa
3 Monoscenic Narrative
3.1 Achilles kills Penthesilea(amphora) by Exekias
4 Continuous Narrative
4.1 Column of Trajan
4.2 Bayeux Tapestry
5 Synoptic Narrative
5.1 Chaddanta Jataja, Amaravati
6 Panoptic Narrative
6.1 Siphnian Treasury North Frieze
7 Progressive Narrative
8 Sequential Narrative
9 Notes
10 References
11 Bayeux Tapestry
Types of Narrative Art
Narratives occur in a space and unfold in time. In narrative art, the artist chooses how to portray the story,
represent the space, and how to shape time within the artwork. [1] Narrative art can be categorized into
various types, also known as modes or styles. A piece of artwork is not limited to only one type of
narrative. An artwork may have a narrative type as a whole, as well as portions of the artwork itself that
depict separate types of narratives.
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Simultaneous Narrative
Monoscenic Narrative
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Continuous Narrative
Synoptic Narrative
Panoptic Narrative
Progressive Narrative
Sequential Narrative
It important to understand that landscape is not the same as a “place” or “scene”. A depicted action in itself
can suggest a different scene or setting. The quote below is a good explanation of this way of understanding
scenes in narrative artwork.
“You can imagine the Trojan War taking place at Troy without having to depict the actual city of
Troy.
You can show Achilles dragging Hector’s body around the city of Troy without having to depict
the
walls of the city. Nonetheless, the idea that each action is limited to a specific place can still
pertain,
because the Trojan War did take place at Troy and Achilles did drag Hector’s body around the
city.”[2]
Simultaneous Narrative
A simultaneous narrative is a type of narrative that has very little visually discernable
organization to those who are not acquainted with its purpose. It can focus on geometric
or abstract designs as well as the placement or arrangement of items within the artwork.
Simultaneous narratives concentrate on repeatable patterns and redundant systems with
a focus on dualities.[3] The interpretation of a simultaneous narrative is dependent on the
reason for its creation or its creator because this would convey who would be able to
interpret it as it was meant to be.
This type of narrative is common in cultures that are oral in nature rather than literate.
This is because simultaneous narratives require human agency in order to be understood
as originally intended. This is common in illiterate societies because of a lack of ways to
transpire information from one generation to another without a written language. Thus
simple patterns and dualities are used because they can be easily remembered and
referenced to by those for whom the piece of art is meant.
Lukasa
A Lukasa is a mnemonic device, a device that is used as mind memory or learning aid. It
is often referred to as a memory board. Because it is mnemonic, it relies on simple
patterns and associations so that it may be remembered easier. Lukasa fulfilled many
mnemonic functions and because of this can be interpreted many ways. While the type
of information represented on a Lukasa can be generally agreed on by interpreters, the
meaning of bead patterns and carvings are very much dependent on the creator. Though,
there is evidence of size and shape standardizations of the board itself, not its content,
among tribes.[4] Lukasa can contain secret information, genesis myths, and
organizational structures. In order to retain a proper interpretation of a Lukasa it must be
orally transcribed to the next generation interpreter. If the original interpreter were to die
without passing on the meaning of the arrangement of beads and carvings, the meaning
might be lost and never properly realized.
Lukasa focus on patterns. This makes them easier for the interpreter to remember the
meaning within the Lukasa. In Lukasa beads can be arranged in three ways: a large bead
surrounded by smaller beads, a line of beads, and one isolated bead. [5] Each pattern
conveys some sort of information. Holes and carvings in the board were also used as
means to convey information.
Dualities were also displayed within the Lukasa. One prime example is that suggest a
longitudinal division that separates the board into female, Bene Nyembo, and male,
Bene Kahungo, parts. It can have either male of female qualities. A male memory board
has a phallic symbol protruding in the center bottom half of the board, while a female
memory board would have a carved whole where someone was usually hidden(
medicine or metal). These boards could be mated, even with boards that are from tribes
or societies a good distance away. This is evidence of standardized design and the use of
common symbols and patterns to help comprehension. [6] Dualities are also seen in a
horizontal division which represent many ideas including spirit and the life realm, good
and bad, past and present.
Monoscenic Narrative
Amphora by Exekias.
A monoscenic narrative is a type of narrative that represents a single scene. There is no
repetition of characters and there is only one action taking place. The scene is one that is
easily identifiable in context of the narrative and is of significant importance.
Under this definition most art that is usually not considered a narrative would fit under
the monoscenic narrative type. It is important to stress that narrative art is art that tells a
story, either as a moment in an ongoing story or as a sequence of events unfolding over
time. This in retrospect makes a good portion of art narrative art. Landscapes and
portraits however do not meet the criteria of the definition provided, though might be
depending on the artist’s intention.
Achilles kills Penthesilea(amphora) by Exekias
Exekias was an ancient Greek vase-painter and potter. A good portion of his vase work
included scenes from Greek mylthology. He was known for his ability to capture the
most critical points of a story and illustrate them into one simple scene. The amphora
portraying Achilles kills Penthesilea is such an example.
This monoscenic narrative illustrated on this amphora exemplifies a vital part of the
Trojan saga. It is the moment in which Achillies and Penthesilea fall in love. In the heat
of battle, Achillies battles Penthesilea and with a fatal blow, causes her helmet to be
pushed back. When their eyes meet it is said that they fell in love. This, of course, is
ruined by Achillies’ inability to control his bloodlust. Due to this tragedy Achillies
refuses to fight and from this many consequences arise that eventually could be linked
to his demise.
Continuous Narrative
Trajan's Column is an example of a continuous narrative
A continuous narrative is a type of narrative that illustrates multiple scenes of a
narrative within a single frame. Multiple actions and scenes are portrayed in a single
visual field without any dividers. The sequence of events within the narrative is defined
through the reuse of the main character or characters. It emphasizes the change in
movement and state of the repeating characters as indicators of scene or phase changes
in the narrative.[7]
Column of Trajan
The Column of Trajan depicts one event: the Dacian Wars. This continuous narrative
can be broken down into a series of events. These events flow from one scene to another
without any physical indicators such as vertical lines. Because of how the narrative is
read, from standing in front of the column, it seems to ebb right to left and then left to
right which is common in continuous narratives.[8]
The narrative becomes rather hard to read as the column gets higher. Research suggests
that the column was originally planned to be read while walking a circular staircase
around the column itself .[9] The story then would not ebb and continue on in a
sequential manner.
A segment from the Bayeux Tapestry
Bayeux Tapestry
One of the most famous embroideries is the 'Bayeux Tapestry'. Ironically it is misnamed
with the word tapestry in it. It tells the story of the Norman invasion of England in 1066.
The theme of the Bayeux Tapestry is treason and deception. [10] The narrative reflect the
Norman view on the conquest of England. Thought the tapestry seems to be framed
because it is separated by registers, horizontal lines, it is still a continuous narrative.
Registers are needed in order to separate a story to fit within a certain area. If cut up and
placed next to each other, a continuous narrative would exists. A continuous narrative
does not have any dividers between scenes and actions, vertical dividers, which create a
frame.
Synoptic Narrative
A synoptic narrative depicts a single scene in which a character or characters are
portrayed multiple times within a frame to convey that multiple actions are taking place.
This causes the sequence of events to be unclear within the narrative. Synoptic
narratives typically provide visual cues that convey the sequence, but still might be
difficult to decipher for those unfamiliar with the story. [11]
Chaddanta Jataja, Amaravati
An instance of a synoptic narrative is one represented in a medallion from the stupa at
Amaravati.[12] It , like many synoptic narratives, can be difficult to interpret. The
medallion is meant to present the reader with the story of Buddha’s previous birth as the
elephant Chaddanta. The center of the medallion has only decorative carving, which is a
visual queue on how the medallion is meant to be interpreted; which is in a circular
pattern. Other than that subtle visual queue the artist leaves very little indication of the
order.
Illustrates how the medallion is meant the be read.
The medallion can be separated into 3 episodes:
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1 - Chaddanta presents his chief queen with lotus.
2 - Junior queen in offended.
3 – She, the junior queen, leaves to be on her own.
4 – She lays dying, hoping for revenge.
5 – A hunter aims an arrow at Chaddanta.
6 – The hunter saws off Chaddanta’s tusks.
7- The hunter is seen departing with the tusks. (This isn’t numbered but is at the
very top center)[13]
Panoptic Narrative
A panoramic narrative is a narrative that depicts multiple scenes and actions without the
repetition of characters. Actions may be in a sequence or represent simultaneous actions
during an event.
Siphnian Treasury North Frieze
The Siphnian Treasury is well known for the marble friezes it houses atop its structure.
The treasury has four friezes, one for each cardinal direction. These four friezes depict
panoramic narratives through the use of carvings of the marble. The north frieze is an
illustration of a battle between the Olympic gods and the giants. In the far left two giants
attack Zeus in his chariot, who is no longer visible due to deterioration. Hera is seen
finishing off a giant to the right of Zeus with Athena behind her (further right) fighting
two giants. To the right of Athena is her brother Ares who is fighting two other giants
with one already dead at his feet.
This exemplifies the mode of panoramic narrative. There are multiple narratives taking
place with each combatant in varying scenes. The dead giant at Ares feet was downed
by Athena but Ares is depicted as moving forward in the narrative by stepping over the
corpse.[14]
Progressive Narrative
A progressive narrative portrays a single scene in which characters do no repeat.
However, multiple actions are taking place in order to convey a passing of time in the
narrative. A progressive narrative is not to be interpreted as group of simultaneous
events but rather a sequence that is dependent on its location.[15] Actions displayed by
characters in the narratives compact present and future action into a single image.
Sequential Narrative
A page by Rodolphe Töpffer, whose is well known for his amazing ability to create
sequential narratives.
A sequential narrative is very much like a continuous narrative with one major
difference. A sequential narrative focuses on enframement to develop temporal
development while a continuous requires criteria provided by the image itself. [16] Each
scene and action is represented within its frame as a unit. Each frame is a particular
scene during a particular moment.
A sequential narrative is the type of narrative used in comics and manga.
A Walk to School – Norman Rockwell
Posted on February 23, 2011 by lukranrot
This painting, “The Problems we all Live With” by Norman Rockwell is a poignant symbol of the
injustice that once occurred in our nation. Rockwell painted this picture in 1963 after a long time
of painting “pretty” images of the American family. In this picture a young girl is being escorted to
school by 4 men as a mob is willing and waiting to get an opportunity to pounce on what they
believe to be a lesser being. The little girl in the picture is Ruby Bridges who famously walked into
a public school six years after the Supreme Court ruled it unconstitutional to segregate white and
black schools.
This image gives a message of grit and determination. It is almost a haunting picture of
realization as we see the young girl clothed in white, representing innocence, as she steps away
from the hatred. The hatred is written on the wall with the word ‘nigger’ and it is seen by the
fallen tomato that was presumable thrown at her. The young girl represents a brilliant resiliency
as these things do not seem to phase her. This painting gives a message of justice with the little
girl. It is an appalling fact that such a young and innocent being could be the focus of so much
hatred. But as you look at the picture it is clear to see how she was treated with injustice and
unfairness. This picture also represents hope as the girl walks by all this hatred and moves
forward to a better future, not only for herself but for all the black people of the time.
This image was intended for all audiences. Rockwell painting this picture to show the struggle
with prejudice in the United States. Rockwell decided after years of painting happy portraits of
American Life, to do something he believed in. He painted this because he believed that the
intolerance of black people was wrong and he wanted to show that. He put himself in a very
vulnerable position as well as he stepped and fought against something that so many of his
patrons believed in. His normal target audience for his painting were white families and with this
painting he made many people angry. With this painting Rockwell was able to show what he stood
for and he proclaimed it a very bold way.
This image still stands in a very powerful way to show where our nation has come. It serves as a
beautiful reminder of how innocent the people were we once treated with hatred. This portrait
will always be an important piece of American art.
John Singleton Copley
Works of art that tell a story are called "narratives"; their subject matter may be derived from literature,
scripture, mythology, history, or current events. Narratives may be designed to teach, enlighten, or inspire,
and often carry moral, social, or patriotic messages. Throughout the history of American art, artists have
used narrative imagery to illustrate different facets of the American experience.
The challenge for the narrative artist is to orchestrate various figures and their setting so that the
significance of the depicted incident, or "story," is clearly communicated. John Singleton Copley's Watson
and the Shark is a masterful example of narrative staging. The painting illustrates a true story from the life
of Brook Watson, London's mayor at the time, who had been attacked by a shark as a youth. Every element
in Copley's composition--from the frenzied actions of the rescuers to the look of horror on the victim's face-contributes to the drama of this scene.
Background
The painting is based on an attack that took place in Havana harbour in 1749. Brook Watson was a 14-yearold orphan serving as a crew member on his uncle's trading ship. While swimming alone, he suffered two
attacks by a single shark. On its first attack, the shark bit off a chunk of flesh from Watson's right leg below
the calf; on the second attack, it removed his foot at the ankle. The crew of a small boat, which had been
waiting to escort their captain to shore, fought off the shark and rescued Watson. His leg was amputated
below the knee, but he went on to live a full life, including a term as Lord Mayor of London. This is the
earliest attack by a shark on a human to be fully documented.
Copley had never visited Havana, and it is likely that he had never seen a shark, much less one attacking a
person. He may have gleaned details of Havana harbour from prints and book illustrations: he includes the
landmark of Morro Castle in the background. The shark, with its forward-facing eyes and lips on the
mouth, is less convincing.
The painting was exhibited at the Royal Academy in 1778. Copley produced a second, full-size replica for
himself, now in the Museum of Fine Arts, Boston. His third and smaller version, with a more upright
composition, is held by the Detroit Institute of Arts.
At his death, Watson bequeathed the 1778 painting to Christ's Hospital, with the hope that it would prove
"a most usefull Lesson to Youth". In September 1819 the school's committee of almoners voted to accept
the painting and place it in the great hall. The school later moved to Horsham, Sussex. In 1963 they sold the
painting to the National Gallery of Art, Washington, D.C.[1]
Pablo Picasso's mural "Guernica" (1937)
Guernica is a painting by Pablo Picasso. It was created in response to the bombing of Guernica, Basque
Country, by German and Italian warplanes at the behest of the Spanish Nationalist forces, on 26 April
1937, during the Spanish Civil War. The Spanish Republican government commissioned Picasso to create a
large mural for the Spanish display at the Paris International Exposition at the 1937 World's Fair in Paris.
Guernica shows the tragedies of war and the suffering it inflicts upon individuals, particularly innocent
civilians. This work has gained a monumental status, becoming a perpetual reminder of the tragedies of
war, an anti-war symbol, and an embodiment of peace. On completion Guernica was displayed around the
world in a brief tour, becoming famous and widely acclaimed. This tour helped bring the Spanish Civil War
to the world's attention.
His reaction to the Nazi bombing of the Basque
city of Guernica: the mural "Guernica" (1937):
"Guernica" mural (72K)
Scene takes place in darkness in open
space, possible town square surrounded by
burning buildings. Figures within the
triangle: fleeing woman, the wounded horse
(suffering humanity, originally had small
winged horse/soul leaving gash in side), the
broken statue of the warrior (classical image
perhaps of fallen Spanish republicans). Tip
of triangle "eye" of electric light globe
(image of sun/eye) and woman with the
lamp (light holding darkness/bull at bay). To
right burning building with falling woman
(perhaps also burning, in stance of suffering
Mary Magdelene). To left wailing woman
with dead baby (originally on ladder, like
bringing Christ down from the cross) behind
which stand bull (threatening or protecting
woman and child?). Other figures are bird
(rising or falling, originally small winged
horse/soul) and flower (symbol of
regeneration and hope, like 600 year old
tree left standing).
Details of the mural
Symbolism and interpretations
Interpretations of Guernica vary widely and contradict one another. This extends, for example, to the mural's
two dominant elements: the bull and the horse. Art historian Patricia Failing said, "The bull and the horse are
important characters in Spanish culture. Picasso himself certainly used these characters to play many different
roles over time. This has made the task of interpreting the specific meaning of the bull and the horse very
tough. Their relationship is a kind of ballet that was conceived in a variety of ways throughout Picasso's
career."
When pressed to explain them in Guernica, Picasso said,
...this bull is a bull and this horse is a horse... If you give a meaning to certain things in my paintings it may be
very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too,
but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are. [3]
In "The Dream and Lie of Franco," a series of narrative sketches also created for the World's Fair, Franco is
depicted as a monster that first devours his own horse and later does battle with an angry bull. Work on these
illustrations began before the bombing of Guernica, and four additional panels were added, three of which
relate directly to the Guernica mural.
Picasso said as he worked on the mural: "The Spanish struggle is the fight of reaction against the people,
against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction
and the death of art. How could anybody think for a moment that I could be in agreement with reaction and
death? ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I
clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death. [4]
However, according to scholar Beverly Ray[5] the following list of interpretations reflects the general consensus
of historians:
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The shape and posture of the bodies express protest.
Picasso uses black, white, and grey paint to set a somber mood and express pain and chaos.
Flaming buildings and crumbling walls not only express the destruction of Guernica, but reflect the
destructive power of civil war.
The newspaper print used in the painting reflects how Picasso learned of the massacre.
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The light bulb in the painting represents the sun.
The broken sword near the bottom of the painting symbolizes the defeat of the people at the hand of
their tormentors. (Berger 1980; Chipp 1988) [5]
In drawing attention to a number of preliminary studies, the so called primary project, [6] that show an atelier
installation incorporating the central triangular shape which reappears in the final version of Guernica, BechtJördens and Wehmeier interpret the painting as a self-referential composition in the tradition of atelier
paintings such as "Las Meninas" by Diego Velázquez. In his chef d'oevre, Picasso seems to be trying to define
his role and his power as an artist in the face of political power and violence. But far from being a mere
political painting, Guernica should be seen as Picasso’s comment on what art can actually contribute towards
the self-assertion that liberates every human being and protects the individual against overwhelming forces
such as political crime, war, and death.[7]