Practice using the Frames.
Using the Subjective Frame, what could we say about
this work by JMW Turner?
Review: the Subjective Frame talks about emotions, feelings, how you feel
about the work or how you think the artist might feel. It also covers dreams
and the imagination.
JMW Turner , (U.K. 1775-1851)
Snow Storm: Hannibal and his
Army Crossing the Alps, 1812, oil
paint on canvas, 146 x 237 cm
Practice using the Cultural Frame
The cultural frame looks to the time and place of an artist. It may also refer to
religious beliefs, philosophies, politics. Questions may include:
Are the signs and symbols specific to a particular culture?
How might other cultures understand this?
Is the artist attempting to reflect the attitudes of a time and place? How?
Are beliefs about race, gender, social class included in the work?
Does the work have a political significance?
Using the Cultural Frame, what can we say
about
This image?
LANDCSCAPE IV – NINETEENTH CENTURY
In 19th century France,
landscape painting became
recognised as a significant
genre at last. Gradually the
idealised landscapes which
looked back to Ancient
Greece and Rome (such as
Claude Lorrain’s) were
replaced by art describing
the artists’ own
contemporary world. This
was a revolutionary step.
Claude Monet (French, 1840–1926) Poppy Field,
Argenteuil, 1875 oil on canvas, 54 x 74cm.
Claude Monet, Impression: sunrise,
1873, oil on canvas, 48 x 63 cm
Monet was interested in capturing the effects of light. A group of artists (who
came to be called Impressionists) were interested in this idea – a quick capturing of
the effect of light in a landscape, often with short dabbing brushwork that doesn’t
pretend to be absolutely realistic. (These artists had various styles, they didn’t all
paint the same way. However they were all interested in experimentation, rather
than looking back to Classical times and traditional techniques.) This painting was
really a sketch in oil paint, but was exhibited in 1873 as a finished work of art. This
was a radical step at the time.
In the 19th century, new technologies meant that for the first time, oil paint was
available in tubes. This made painting en plein air (outside, in front of the
subject) much more manageable. Previously painters had to grind up pigment
in to a powder and mix it with oil. Also new colours were available that were
brighter than traditional colours. These new colours were somewhat shocking
to the public.
August Renoir (French,1841–1919)
Hills
around the Bay of Moulin Huet,
Guernsey,
1883, oil on canvas, 46 x 65.4 cm.
During the 19th century various theories about colour were developed. Ideas
about how colours effect the eye, especially if they are placed next to each other.
The Impressionists were Interested in exploring these new ideas. One of these
ideas was using complementary colours in shadows, rather than brown or black.
Negative after-image. Stare at the centre of the coloured square for 20 seconds,
then look at the black dot on the right. then look away to the black dot on the
right. After a moment (it helps to blink your eyes), a faint afterimage of the
coloured squares will swim into view — but the colours will be different. What
colours do you see? – Handprint, http://www.handprint.com/HP/WCL/color4.html#negafter
Photography was invented during the first half of the 19th century and became
portable in the 1870s. For the first time, painting was not the primary recorder of
a likeness of someone or something. The technology of photography and film,
(which arrived in the 1890s as silent film) changed the visual arts enormously.
http://www.slideshare.n
et/zhoeben/introduction
-to-landscapephotographypresentation
This image depicts a scene of everyday life, a popular subject of the Impressionist
artists. It could almost be a photograph – the viewer seems to be in the middle of
the action. Odd and ‘photographic’ points of view began to be used at this time.
Gustave Caillebotte (French, 1848–
1894) Paris Street; Rainy Day
1877, Oil on canvas, 212 x 276 cm.
Interesting links to find out more:
Colour Theories: http://www.handprint.com/HP/WCL/color4.html#negafter
The Impressionists: Metropolitan Museum of Art:
http://www.metmuseum.org/toah/hd/imml/hd_imml.htm
Photography: http://www.slideshare.net/zhoeben/introduction-to-landscapephotography-presentation