Referencing Narrative.
“Term used to describe art that provides a visual representation
of some kind of story,sometimes based on literary work.
Narration,the relating of an event as it unfolds over time, is in principle a difficult task
for the visual arts, since a work of art usually lacks an obvious beginning, middle and end
essential features of any story.
Since ancient times many works
of art have had as their subjects figures or tales from mythology, legend or history.
The artists overcame the inherent limitations of visual narrative by representing stories
that the viewer might be expected to know and would therefore retell
in his or her mind while taking in the representation”.
Grove Dictionary of Art
Hercules captures Cerberus.
(Hans) Sebald Beham, 1545.
Heracles fighting the Nemean Lion
Attic Red Figure Stamnos ca. 490 b.c.
By the Kleophrades Painter
As mentioned above narrative relates closely to the telling or the depicting
part of a story with a beginning middle and an end.
The story takes place over or during a period of time so that that
time is inferred within the artwork or unfolds during its viewing.
The book as narrative
Looking through a book is different to looking at a single sheet of paper.
A sheet of paper has two sides or a front and a back. It has a slight
relationship to time. If we fold a piece of paper in half to produce four
pages then it can no longer be seen in a single viewing. We need to
view each page seperately. In his book Non Adhesive Bindings,
Keith Smith suggests that the four pages then become like a play
in four acts or a symphony in four movements.
As an artist we can have some control in determing how we would
like someone to view it. How quickly for example do we want the pages
turned or examined.
A representational artwork, may not have a defined
beginning or and end but may still be viewed as having a
relationship to a larger narrative that may exist outside of the
image.
Visual narratives consisting of a series of images can feature in
a print series, a book, a cartoon strip.
In the case of these examples above the individual images relate together to give
us a sense of the narrative.
A single visual image such as a print a
Singlenarrative
narrativesimply through the simple relationship
drawing or a painting mayThe
suggest
between the image and accompaning text or in the case of a work without a title through
the symbolic relationship of different narrative elements within the image.
Nobody knows why her collagen lips exploded at 30,000 ft
Etching Ron McBurnie
With the meg-barka-bucket. Ron McBurnie etching
British artist Glen Baxter
cleverly combines image and
text to produce works which
convey a sense of humour as
well as making witty
observations about art.
In this ancient engraving Collaert is giving us a window into the
land and seascape of 16th Century Flanders as well as to
show us a collection of the fish caught there. We may
even deduce that he is suggesting that the land is beautiful
and the sea is abundant in its harvest. Although we are
not sure of the artists exact intensions, we can suggest a
number of possible narrative readings of this image.
Multiple Narrative
If an artist has created a series of individual but related art
works they may create a narrative relationship in the way
in which these works function together in a particular order
or sequence. In the same way a curator may build their
own narrative relationships into the choice and grouping
of works for an exhibition.
Like two dimensional art, sculpture
may have its own internal narrative
which may relate to history or a
given story or myth. Within one art
work there may be a large number
of different narrative possibilities
or readings. If we use a work like
Rodin’s “Gates of Hell” as an
example, we will observe that a
number of different narrative
possibilities could be overlayed
or interrelated within this single
work.
Martin de Vos
Engraving 1580
In this engraving relating to
the conversion of Paul the
apostle we observe that the
artist has included a number
of different aspects of the
narrative leading up to Paul's
baptism
The Historical Narrative
The Temptation of St Antony is an
example of a historical narrative based
on the life of a third century Egyptian
saint. Aspects of his life have been
depicted by artists for many centuries.
Each time the theme is represented by
an artist, they build and add to what has
gone before them. It is important to
have a knowledge of what has come
before when embarking on such a
project.
Martin Schongauer :
Temptation of St. Anthony
Engraving Germany, 1470s
Hieronymus Bosch. The Temptation of St. Anthony is an oil painting on
wood panels. The centre panel measures 131.5 by 119 cm, and the
wings measure 131.5 by 53 cm.
Hieronymus Bosch
oil on panel
70 cm × 51 cm Museo del
Prado
Temptation of St. Anthony
Savoldo, Giovanni Girolamo (c. 1480 - 1548)
Max Ernst. The Temptation of St. Anthony. 1945. Oil on canvas. 108
x 128 cm. Wilhelm-Lehmbruck-Museum, Duisburg, Germany
LEONORA
CARRINGTON
The Temptation of
Saint Anthony
Temptation of St
Antony.
Ron McBurnie 1994
The story of Tobias is another example of a narrative that has been
interrelated by many artists. It is a moral tale in which by listening to the
angel or his inner voice miracles are achieved.
The Cologne Bible Illustration. Tobias with the Angel Raphael, Tobit vi
Tobias and the Angel (‘the small Tobias’) Adam Elsheimer
Landscape with Tobias and the Angelby KERSTIAEN KEUNINCK
Pieter Lastman ca. 1583 - 1633 A giant fish in the river Tigris attacks
Tobias. The angel tells him to catch it and to cut out heart, liver and gal.
Later Tobias would use them to cure his blind father. Lastman's student
Rembrandt would later produce several works featuring Tobias and Tobit
Etching by Hendrick Goudt, Dutch 17th century, Tobias and the Angel .
Etching by Hendrick Goudt, Dutch 17th century, Small-Tobias and the Angel .
Wenzel Hollar (1607–1677)
Tobias and the Angel, etching Ron McBurnie 2009
MELONE,
Altobello
Tobias and
the Angel
1521-23
Oil on panel,
112 x 48 cm
Ashmolean
Museum,
Oxford
Rembrandt Harmensz.
van Rijn 1606 – 1669
Tobit, who recently had
lost his sight, has just
suffered his wife’s sharp
rebuke after he accused
her of stealing a goat. In
his despair, he thinks it is
all because of his sins and
those of his ancestors.
Here he prays for his
suffering to end:
"command my spirit to be
taken from me, that I may
be dissolved, and become
earth: for it is profitable
for me to die rather than
to live [..]". Anna looks
on, flabbergasted by the
old man's prayers.
Rembrandt Harmensz.
van Rijn 1606 – 1669
Tobias cures his father's
eyes with the gall of a fish.
An angel looks on. Tobit's
wife sits at the table.
Rembrandt used this
episode in four drawings
and one painting.
Domenico Feti,, Tobias Healing his Father
1620-23 Oil on canvas, 66,7 x 85 cmThe Hermitage, St. Petersburg
Rembrandt Harmensz. van
Rijn 1606 – 1669
The Angel Leaving the Family
of Tobias, Louvre, 1637
The Angel Leaves Tobit and his Family. Etching, 1641 Second state of four.
Temptations of St Anthony, Jacques Callot 1635, Spencer Museum of Art,
University of Kansas
Temptation of St Antony,
Marten de Vos
1591-1594, Koninklijk
Museum voor Schone
Kunsten, Antwerp
The Rake’ Progress is a more recent morality tale which was popular
with the British public in the 18th Century. It follows the progress and
eventual downfall of the Rake, seen here inheriting the possessions of
his wealthy father.
William Hogarth 1697 - 1764.
The Rake's Progress. Plate I. The Inheritance. 1735.
William Hogarth. The Rake's Progress. Plate III. The Orgy at the
Rose Tavern 1735.
William Hogarth. The Rake's Progress. Plate VII. The Rake in a
Debtor's Prison. 1735.
David HOCKNEY The arrival 1961 -3 Etching in two colours 30 x 40cm
David HOCKNEY The drinking scene 1961 – 3 Etching in two colours 30 x 40cm
David HOCKNEY Receiving the inheritance 1961 – 3 Etching in two colours 30 x 40cm
The inheritance or the
barbeque
Ron McBurnie 1989,Hard
ground etching and aquatint
74.5 x 50.3cms
A short story of progress
Ron McBurnie1989. Hard
ground etching and aquatint 74
x 50cms
White dreaming with a black
conscience
Ron McBurnie1989. Hard ground
etching and aquatint 74 x
50.1cms
First project of two
Duration 3 weeks
► Produce
a series of etchings which relate,
reference and add to a historical narrative of your
choosing. (Elements of drawing can also be
included within the prints)
Cupid and Psyche by
Isaac Beckett, published
by John Smith, after
Alessandro Turchi.
mezzotint, circa 1680-4