|
 |
| Monday, October 5, 2009 |
| Last |
Well the sem's been fun. Cut short by Ondoy but it's still been quite insightful. Just had our last class yesterday... talking about our art journal and stuff.
Will upload the last parts of my projects here to add :)
----------------
JUNE 23 HW
Lisa Macuja-Elizalde and Adoration of the Magi
In the book, “The Photography of Paola Luz” by Vic C. Valenciano, I found a work that depicted a woman standing sideways, backlit by textured windows. The woman is hinted as a ballerina, considering her posture, her hairstyle, and the ordering of the ballerina-themed photographs before it.
Paola Luz’s photograph entitled Lisa Macuja-Elizalde takes on a chiaroscuro effect, creating a striking appearance upon first glance. In the work, the solid and straight lines of the background provide an interesting contrast to the silhouette of the ballerina and her softer outline. The feeling of depth is subtle, with only highlights on the silhouette as hints and makes the subject matter stand out from its window backdrop.
Luz makes use of the rule of thirds, composing the image in such a way that the ballerina, though not in the center, creates emphasis. Her posture echoes the vertical lines made by the window behind her. Meanwhile, the horizontal lines of the window create the illusion of length in the photograph and nicely frame her face and upper part of her body. Overall while the atmosphere of the artwork seems cold and serious, the soft lines and window textures help contribute to the gentle and graceful idea that that most ballerinas are characterized as having.
On the other hand, the work Adoration of the Magi by Giambattista Tiepolo, found in a compilation and study of his works “Tiepolo and the Pictorial Intelligence” by Svetlana Alpers and Michael Baxandali, makes use of color to portray the atmosphere and tone.
He uses a warm palette of browns, reds, golds, and yellows to evoke a light and calm feeling. It’s also obvious that there is action involved within the image, conveyed by the ruffling of clothes, positions of the hand. The lines made by these details are mostly diagonal except for that of the subject matter, the holy family. The holy family is portrayed still, making use of straight vertical lines.
Tiepolo has painted the visitation of the Magi to the nativity. The baby Jesus Christ is painted off-center, again following the rule of thirds. Several subjects in the image also form triangles, a strong figure that further emphasizes the composition.
In the work, all faces are directed towards Jesus and even the use of light creates a great halo around the subject matter and only makes him stand out more. The illusion of depth is also made by using light and perspective. The closest and farther objects are more indistinct than the real focus at the “middle” of the event.
----------------
Aug 3 HW
Myth
“[A myth is] A traditional sacred story, typically revolving around the activities of gods and heroes, which purport to explain a natural phenomenon or cultural practice.” - By David Emery, About.com
Myths are fantastical stories that serve as means to explain natural origins and phenomenon to a specific ancient culture, in the context of their norms, traditions, and beliefs – particularly in their supernatural faith (i.e. gods, goddesses, deities, and spirits).
These myths seek to answer the questions of ancient civilizations regarding events and things that are beyond their science to explain. In order to understand certain happenings, they incorporate the knowledge and culture they have and that they can comprehend to find a “logical” reason for why things are the way they are. More often than not, blame or thanks for the creation of object, place, or event falls on their gods and goddesses. Many myths, like those of ancient Greece also narrate the births, exploits, and wraths of their gods and heroes.
One such myth was that of the birth of Athena.
Metis, a titan of wisdom and knowledge, was seduced by Zeus. But because of the prophecy of an Oracle of Gaea that Metis’ first child would be a girl but, her second child would be a boy that would overthrow Zeus, Zeus swallowed the pregnant Metis.
Ancient Greeks believed she is the source of Zeus’ knowledge, giving him wisdom while inside his stomach.
The birth of Athena happened when Zeus developed a headache. “He howled so loudly it could be heard throughout the earth. The other gods came to see what the problem was. Hermes realized what needed to be done and directed Hephaestus to take a wedge and split open Zeus's skull. Out of the skull sprang Athena, full grown and in a full set of armor. Due to her manor of birth she has dominion over all things of the intellect.” (http://www.desy.de/gna/interpedia/greek_myth/athenaBirth.html)
-------------
SEPT 7 HW
Michelangelo da Caravaggio
Something New
It’s funny to me that I never bothered actually learning more about some the painters of some of my favorite pieces of works. Many times, all I know of them are the basics – name, nationality, and important works. Through the documentary, however, I was able to get a glimpse of Caravaggio’s life, a story probably as dark and interesting as his works.
Aside from Caravaggio’s biography, however, I also learned to look at his paintings more carefully. Though many of his paintings are religious commissions, they were beautifully portrayed in scenes of ancient every day Italian life. And though this is the style of portrayal Caravaggio has worked with, one could still see the iconography that easily identifies what we could see as Christian representation though in a rather subtle way.
The Attention-Grabber
The film has begun by scanning Caravaggio’s painting of David with the head of Goliath, his self-portrait. Even after going through the paintings of the St. Matthew, doubting Thomas, or the “death” of Mary, it is still the first image that has drastically drawn me.
Before knowing the story of Caravaggio’s crime and repentance, it struck me that he would use such an intense scene to depict himself. The darkness and heavy feel of the painting elicits such a dramatic mood that easily captures my attention. I found the mystery behind this self-portrait just as interesting as the facial expressions Caravaggio must have carefully detailed. David’s face for instance, is not an impassive face like Michelangelo’s pensive David. It’s not even a proud or confident face. Instead it’s one of sadness and something like disgust. Not something heroes of stories are normally depicted as. Other than the beautiful lighting and contrast, it was this oddity expression that struck me most.
A Thought
A question came to my mind as the documentary narrated Caravaggio’s commissions from the religious institutions at the time. Caravaggio’s works often depicted the darker side of distinct religious events. They are often drastic contrasts compared to what was more familiar at the time – paintings that depicted the divinity of saints, the purity of the holy family, the splendor of the heavens, and the like. If Caravaggio’s works were as carnal and human as described or thought of, even during his time, how could they belong and be displayed in Churches?
-----------
|
posted by GMDG @ 7:00 PM  |
|
|
|
|
 |
|
