MODULE 13& 14

     I chose women in art as my subject because I had just finished a paper on feminism in art history. I was interested in the different ways women are portrayed though out the years in art. I began my search for images by looking up my favorite artists and paintings. I made sure to include various mediums because the subject matter for all of the art works was the same.
     Choosing the background for the slides was simple, I wanted something that would compliment the art works I chose and settled on a feminine light purple-pink. A cursive font complimented the simple font that was used more frequently. Although these things are stereotypically "girly", its ok to embrace typically feminine things.

MODULE 16

My expectations of this course were to improve my ability to understand, interpret and write about art. My expectations were achieved, I got a lot of practice writing about artwork using elements and principles. 

Art is created with the intent to express an idea or emotion. This definition is about the same as my initial one. 

In my original post, my favorite artist was Hayv Kahraman. This always changes as I look at different art. After taking an Italian Baroque class this semester, my favorite artist is Caravaggio.

I still enjoy the structure of an online class but the battle with my bad quality wifi might prevent me from taking another online class. I knew this would be a problem in the beginning but knowing the due dates of all assignments has its advantages. 

MODULE 15

     I chose to use charcoal because of how it allows you to blend smooth areas too look realistic but also when left rough and unblended it gives a more rough unfinished look. The most challenging part of creating this drawing was getting started and mapping out where all of the features are. This piece represents me mainly because it looks like me but also because the mix of smooth and rough charcoal marks describe my art making process. First I make a rough, freehand marks and later go in to refine it to be more specific and intentional. 

     I looked for shapes when shading areas of my face. Each value had its own unique organic shape. the way they curve reveals the form of my face. Heightening the contrast of the photo helped distinguish each area of value. I enjoyed working on this project after I was able to look past the fact that it was a drawing of a face and was able to see it as shapes. I think my self portrait was successful and looks like me.
     Visiting the Albright this morning, I could only find a couple self portraits. I enjoyed visiting the gallery in person and "hunting" for inspiration. Here is Frida Kahlo's Self Portrait with Monkey. I chose hers as inspiration because she is known for her self portraits. I noticed how even though she has drawn and painted herself many times, it doesn't always look exactly the same and that's ok.
   

Frida Kahlo

Self Portrait with Monkey

oil on canvas

1938

20 x 10 in

Next, Edgar Degas' self portrait was chosen for the mood it gives off. The dark values and sullen stare the subject is giving creates a darker portrait. This is a good example of expressing emotion through art.

Edgar Degas

Self Portrait

oil on canvas

1884

16 1/4 x 13 1/4 in

The next art work is not a self portrait, but I couldn't find anymore in this gallery. However, I chose this sculpture because the artist had to pay attention to every detail when sculpting this  woman in the round because the viewer is able to walk around the entire thing. I also liked how the form was simplified into rounded shapes. It gives the figure an exaggerated form but that helps you appreciate her body.

 

Gaston Lachaise

Standing Woman

bronze

1912

74 x 18 in

MODULE 15

Pablo Picasso

Guernica, 1937

oil on canvas

11' 6"x25' 6"

     Pablo Picasso’s Guernica, painted in 1937, is one of the most emotional, impactful and important Cubist images of all time. The scene takes place inside of what looks like a home. Light is cast on the various figures from the doorway on the far left of the composition as well as a light fixture mounted on the ceiling in the center of the room. Many of the figures are filled with despair and the monochromatic blue color scheme adds to the melancholy. In true Cubist fashion, the figures are composed of simple geometric shapes and flat planes of color. Curved lines are used to make people and animals, while straight angular lines and shapes are reserved for the structure of the room’s walls, windows, and door. 

In the doorway at the far left, a bull stands stiffly with an alarmed look, tail flung high in the air, legs stiff and straight. In front of it kneels a woman holding her dead baby, her head thrown back and mouth open as she cries out. In the center lies a dead man in pieces on the ground. Behind him is a wide-eyed horse neighing and perhaps thrashing its body around the room. Three figures are on the right side of this long painting. One is sticking their arm and head through a window holding a candlestick. They are shocked looking at the scene in the room. Another figure is dragging their body towards the door. They are low to the ground which gives their body a weighted feeling. The third figure is to the far right. Their arms are flung upwards and they are crying out in despair. 

Upon further research, I discovered the bull and horse are symbols of Spain. The meaning of each animal varies according to who is analyzing the painting. Some think the bull was a symbol of Fascism and the wounded horse represents the Spanish People. Picasso himself never specified what they represent. He believed the interpretation should be left up to the viewer. 

The entire scene is chaotic and jumbled with shapes. Since we read things from left to right, a long and narrow canvas is appropriate for this composition. The viewer is able to take in and slowly analyze each figure individually from left to right. The artist organized the composition linearly which makes it easier to read, which is usually difficult for a Cubist piece of art. Picasso and other Cubist artists take a subject apart and put it back together in an unexpected, jumbled way. The middle of this piece is hard to understand because of the overlapping figures and shapes. It is only after doing additional research on this painting was I able to understand that the body on the ground is likely in pieces.

  The reason Picasso wanted to illustrate this deadly, gruesome scene is the series of arial attacks on the unsuspecting Spanish city of Guernica by the Spanish government. With funding from the Germans, Hitler’s Nazis used the village as a test run of a training mission composed of over two hours of bombing the city, reducing it to rubble. This city was of no strategic military value and 1,600 innocent civilians were killed or wounded.

Picasso felt strongly against the war going on in his homeland and wanted to tell the world about this horrifying attack on civilians. Guernica is his response to the event.  He completely abandoned the commission he had been creating for the Spanish Pavilion and dispassionately working on for months and completed this mural-sized artwork in less than a month. Its grand size paired with moving imagery effects every person who stands in front of it. Because of its scale, it is as if you are surrounded by the chaos erupting in the small village.