Art History
FC -> Name: El Grito, first Hopeless / Author: Munch / Clients: – / Date: late nineteenth / Rel. a conj: part of the Frieze of Life collection, collection of work which reflects on love, illness, loneliness and death. There is a first version of the box with the name of hopelessness. There are also several copies of The Scream / Style: Expressionism / Ubi origin: it was presented in Paris / Ubi Act: National Gallery of Oslo / / D -> Medium: tempera and oil / Size: small / short descr: about bridge, features a figure not quite look human while calling us with their hands. In the background, two people are indifferent to this scene. The landscape looks like a last sunset, with some ships on the horizon / Support: cardboard / Fig / no fig: fig / / AF -> Drawing / color: color / colors: flat colors without mixing. Mixing hot and cold. The predominant use of unreal shades of red, blue and white enhances the feeling of pain / Light: chiaroscuro not, use the colors for lighting effects / brushwork: lightweight, fast / EDC: asymmetry, disorder as feeling as not Spatial distribution, vertical and horizontal lines. Great strength of the diagonals as shown in the railing. Also of sinuous lines that help strengthen the feeling of unease life of the protagonist / compo lines: – / Centre pictorial: the man who calls. Coincides with the physical center / Vista (theological, linear, aerial, etc.): very strong linear perspective with regard to the railing. But the absence of aerial perspective: the background is more blurred than the rest / Plans: Two plans very clear: primeríssim a plan with the protagonist and other men with the background and the background. If desired, the latter elements can be placed in a flat second and third respectively anatomy and proper: not interested in the anatomical drawing is only a hint of man with disproportionately as the hands, eyes or body winding. Nature is painted with the same sinuous / Clothing: the clothing can not place them in any specific time or situation. Should serve as a universal value / Expression: hopelessness, anxiety, loneliness / Mov: small, balanced / Time: medium / Rhythm: the lines of the bridge / real / il.lusi / cash: sensationalism, and inspire the viewer wants to hit / detail / child elements: not much detail or child elements /
IMCI -> Rel other copyright works: Other works The frieze of life as melancholy, voice, dance, life or Vampire. Also other works such as the Sunset ride with Karl-Johan strong diagonals, the figures slightly and human feeling of loneliness despite the presence of other people / rel period style with other works: the paintings of Matisse as Fauvist or post -Impressionists like Gauguin and Van Gogh, especially for the use of color / style Depth: 1. deformation especially human figures. 2. use of strong colors and pure. 3. interest in emotions and not by reprsentació objective reality. 4. issues such as loneliness, illness and death. 5. Using the line and curve to convey feelings / Innov: he is considered the initiator of Expressionism / Influencing: Goya Black paintings both for technical as the pictorial themes / / IIC -> Gender: human figure / Sign inconograf: Munch himself tells us that the subject comes from an experience that took one day while walking with two friends for their city: “a heaven of blood and fire I heard a howl that penetrated all the infinite nature “/ Sign iconology: Now it describes a personal experience but the hopelessness of man in the world of loneliness, lack of meaning of existence. Munch was very much influenced by personal circumstances such as enfermedat and death of several people in the family. It seems that the inspiration for the main character comes from a Peruvian mummy that saw Paris / /FIF -> Purpose: expressive, showing their inner angst and beauty, find new ways in technics / Rel work with time: theoretical philosophers like Kierkegaard and Nietzsche and the playwright Ibsen’s plays. In addition, Paris at the time was dominated by a constant boycotts, general strikes and sabotage terrorist, a very troubled situation / provide: determining influence on the constitution of the German expressionist group Die Brücke (Bridge) and all Expressionism (up even film)
FC -> Name: The Great Masturbator / Author: Dalí, Salvador / Clients: – / Date: 1929 / Rel. a Conj: The painting is in itself a world created by the author which are rpesents hidden aspects of everyday life / Style: Surrealism dream / orig Ubi: Teatre-Museu Dalí (Figueres) / Ubi act: Museum ‘Arte Reina Sofia (Madrid) / / D -> Medium: Oil Size: Small / Short descr: This painting is part of one of Dalí’s obsession, and from here wants to communicate his fascination for her Gala / Support: cloth / no fig-FIG: fig / / AF -> Drawing / Color: Drawing, detailed and accurate / Light: Focus lluminic to the right. Arbitrary / EDC: – / compo Lines: – / Perspective: Linear anatomy and propor: surrealism, distorted anatomy. The proportions between the different objects are unreal / Expression: Expression of a sexual nature Gala / Time: Medium / Color: Bright colors that are used to set another world Mix bright colors with precise drawings and objects to paint realistic landscapes; Shades warm colors typical of the Mediterranean / brushwork: precise drawing / painting Centre: Self supported a large nose. Are adhered to face different objects / Plans: The work center is in the foreground. (The figure is treated as impossible) / Clothing: – / Mov: Looking for balance in the elements of the painting / Pace: – / Real-excites cash: illusionism (surrealism) / Details elem-secondary : The lobster, the figure of the woman, the bait, the lion, and two figures embracing a lonely figure / / IMCI -> Rel works with other authors: Persistence of Memory (1931), El enigma sin fin (1938) / Rel with other period pieces like: Outside the Netherlands and, Miró and Guernica, Picasso / Depth style: 1) The mind has no control, 2) The sex is so shameless; 3) Plasma through the abstract shapes subconsciente; 4) Thought hidden and forbidden as a source of inspiration; 5) paranoiac-critical (Figures Tobes and hard) / Innov: He showed that the daily life and personal experiences can lead to be art; Dalí through this box set as the relationship between new members / Influencing: Influenced by the top pointillism, cubism and futurism, soon evolved into the surreal; also influenced by the School of Fine Artes de Madrid, Vermeer and Meissonier in the way of expressing space and the development of a miniaturist technique / /
CII -> Genre: Surrealist / Sign inconograf yet distinguish which costs, what it wanted Dali represented in this table, we see that a mixture of several images, among them we see some shells and stones, a broken rope a gall installation, a lion, a lobster, a person, a couple hug and a lily.It is said that the theme of the painting draws the desire to be Dalí Gaya (before their relationship began two walked together to the beach. In the table we can see elements that remind Hens coastal scenery, example: pexines) / Sign iconology: Dalí use this box to express some anxieties that he had a personal level, and especially sex. All the elements that I mentioned in the section have the meaning iconography iconològic 1) Shells and stones that symbolize Riding is done with his wife Gala to the beach in Cadaqués, 2) The rope broken with the hook: link to his family who wanted to retain his side and return to a traditional way of life which he gives examples of wanting to rid themselves forever, 3) The FEL Notes: The feelings of passion, emotional and carnal that Gala will provoked; 4) The lion as sexual desire, with a pink tongue like a phallic symbol; Dalí use this box to express some anxiety that he had a personal level, especially sexual 5) lobster: With belly full ants are fears children lived, the panic which had these insects; 6) The person: Represents the application litud; 7) The pair hug: Woman is the Wales / 8) The lily; symbolizes purity a convoluted way to define masturbation as sex pure / / FIF -> Purpose: Transport / Rel work with time: – This work is closely related to Sigmund Freud, as Dalí felt very identified with the ideas of this: the importance of the unconscious; paranoid-critical method of Dalí was to discover, through hallucination, new types of images; paint is longish, narrow gaps, break the metamorphoses ,…; social conventions make large eccentricities, … / provide: His work a negative influence among his contemporaries is not well regarded, to the point of surreal that the eject.