Explain how the concept of schema and correction can
apply to the use of "still life" in these works?
Think about the works in terms of all three planes of analysis: formal, iconographic and contextual.
Think about the artists’ goals or intentions.
Think about the works in terms of all three planes of analysis: formal, iconographic and contextual.
Think about the artists’ goals or intentions.
Schema and correction may apply in the above 12 pieces of "still life" in that each canvas is not an attempt to capture the inner life, the energy and power, from an intellectural view point of the subject but the viewer's interpertation. "Still life" art is a correction of classical art. Using #1 through #12, I will comment on a few pieces before bed.
ReplyDeleteStill Life 1 & 2 Boy Being Bitten By Lizzard by Carvagio,1906: This painting is of a boy, whom some may see as a young lady. He is shown from the waist up with one bare shoulder. He wears a flower in his hair. The look on his face is startled. The boy is foreshorten and shouts drama, something is happening.
The softening of the boy's hair looks muggy. The vessle of water is lurky. One hand seems to be pulling away from a flower stem or bug. The other bare hand is held away and clear.
The symbolism of the one hand which is bitten by the lizzard is contrasted by the hand held up and clear as a sign of charity. The contextual analysis implies a loss of inoccence.
Still Life #4 is a correction Da Vinci's Last Supper. This painting is not symentrical. The Lord sits off to the right. Jesus seemed to be saying to the man who sits across from him with his outstretched arm, hand, "Wait, listen to me, my brother." The man who has started to raise himself from his chair has stopped with Christ's words.
Still Life #5 is a a table with a blue table cloth and white linen napkins.There is two types of wine decantors and a wine class. There is also a few piece of fruit on the table.
The blue table cloth and linen napkins may represent wealth. One wine class and two decantors put emphasis on the alcohol in the still life. The fruit, apples seem to be out numbered by the amount of alcohol.
I think this still life shows more importance to wine than food. The few apples may be a symbol of immorality.
This painting seems to emphasise on drink. There is one glass so I think it may symbolize someone who drinks alone and does not care of daily needs such as food.
Still Life #6 We see half eaten fruit here along with a skull. There is also fruit that has not been touched. The skull is a symbol of death as well as the half eaten fruit.
This painting speaks "to live is to die" and as we die, new generations come forward to eat the untouched fruit.
I am going to publish this because I am not using micro soft word and do not want to loose what I have written so far. I will continue with Still Life #7 in the morning. Please excuse any mis spelled words. No spell check either. Laurie Ericson Art 103 B
HI I am going to try to cut and paste from micro soft word since I lost everything I wrote this afternoon on the discussion format! It will help me with spelling and grammar too! Something good always out of bad, if we are patient! I will get ahold of Blackboard techs and suggest they have a “Browse” on discussion boards as I am use to with Moodle through UMWestern, possibly on exams as well. Well, here goes, should be quicker second time around!
ReplyDeleteStill Life #7 “Still Life with Baskets of Apples” artist Paul Cezanne, 1890-1894
This still life by Cezanne may seem at first look to be drawn incorrectly. The table is titled; the right side is higher than the left. The wine bottle has two different silhouettes; the pastries on the serving plate are titled up towards the onlooker, as the fruit is seen head on. This is not because of incompetence but of Cezanne’s purposeful discard for traditional perspective. Cezanne corrects the schema of the Impressionist to the corrected form of defined forms.
Cezanne’s actual brush work is deliberate and controlled. His brushstrokes are “chucked up”. They vary from short cross-hatchings to sketchy lines to broaden swats of flat color, weave the elements of the painting into a unified but flatten pictorial design. This is to say he uses cubism and dots with his paint. He uses chiaroscuro but is not consistent. His work gives a 3D effect.
Cezanne uses non-local color which he intensifies. He uses warm colors with a gray-blue to regulate the color temperature.
The iconographic analysis in this painting is in the way the viewer may see and enjoy the art piece in a composting view. One may observe the painting in many different positions. The art lover may move around and turn his/her head many different ways to grasp everything in this still life.
Cezanne states, “…his artwork is something other than reality…not a representation of nature but a construction after nature.” Cezanne chooses not to give us a faithful reproduction of static objects from a stable vantage point but to re-create or reconstruct our experience through time. Cezanne’s work takes the observer out of the box, presenting a psychology view.
Laurie Ericson Art 103B
ReplyDeleteThe above post is mine.