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Have fun and research your phobia! www.pinterest.ie/usefulartifacts/ Here's a link to my pinterest page
Click on this link to access my pinterest page www.pinterest.ie/usefulartifacts/ . I have lots of examples and it provides plenty of inspiration. Be inventive, personalise your work and have fun! Below is how my profile should look. Here are 2 boards on my account that will be useful in helping to inspire you. Personalise the work by exploring the theme and drawing what interests you. Nature is a very broad theme. It is in everything we see around us. Use whatever materials suits your idea best and have fun. Include notes about the drawing and how you created the work Draw from primary objects! use the world around you e.g. friends and family, personal objects like old toys or musical instruments. Try to use a variety of materials. Enjoy the break and try to do a little, often. Your workshop will take place on Friday the 27th. In preparation for this you are being asked to:
Please click the link that brings you to an excellent sample answer www.studynotes.ie/leaving-cert/art-lc/van-gough-self-portrait-essay-plan-art-history/
Joseph Mallord William Turner was an English painter, watercolourist and printmaker who lived and worked in the late 1700s and early 1800s. You might know him from his swirling, light-filled Romantic paintings of land- and seascapes. A famous artist in his own lifetime, Turner is considered today to be one of the great British painters and has inspired generations of later artists. For example: when French artists Claude Monet (best known for his Water Lilies) and Camille Pissarro took refuge in London during the Franco-Prussian War of 1870–71, their discovery of Turner’s atmospheric paintings played a major role in the development of their art. (Monet and Pissarro were Impressionists: they sought to capture light, colour, and natural effects in their paintings.) A century after the Impressionists found Turner in London, the American abstract painter Mark Rothko donated his Seagram Murals to Tate, in part because of his admiration for Turner’s late painting. That painters as diverse as Monet and Rothko drew from Turner’s work only goes to show Turner’s importance then and now. From Romanticism to pre-Impressionism, watercolours to oils, architectural details to churning seascapes, there is something in Turner’s work for everyone. Turner the manJoseph Mallord William Turner was born in London on April 23, 1775, in London, to a barber and a wig-maker. He remained a Londoner and kept a working-class Cockney accent all his life, avoiding the veneer of social polish acquired by many artists of the time as they climbed the professional ladder. Possibly due to the ill health of his mother, the young Turner was sent to stay with various relatives as a child, and from a young age was captivated by the sea—a subject that would appear in his paintings again and again. At the age of 14 he decided to become an artist, and began to study at the schools of the Royal Academy. Turner exhibited his first oil painting at the Royal Academy, Fishermen at Sea, in 1796, when he was twenty-one. He continued to exhibit at the RA and remained involved with the Academy throughout his career. A fiercely private man, Turner kept the details of his life private from most people, including his own family. His primary loyalties were to his professional colleagues and friends, including a few patrons and benefactors who regularly supported and bought his work. In later life, he became much more of an eccentric individual. His colleague, friend, and great critical champion John Ruskin described him like this: "I found in him a somewhat eccentric, keen-mannered, matter-of-fact, English-minded gentleman: good-natured evidently, bad-tempered evidently, hating humbug of all sorts, shrewd, perhaps a little selfish, highly intellectual, the powers of his mind not brought out with any delight in their manifestation, or intention of display, but flashing out occasionally in a word or a look."Turner’s health began to fail in 1845, when he was seventy, although he lived and continued to paint, until the age of seventy-six, when he died at his home in London. John Constable's focus was on the natural English landscape that he idolized since childhood. His paintings rebelled against the work of artists of the Neoclassical style who had simply used landscape to display historical and mythical scenes. Instead, he used his work to showcase the beauty and power of nature and his work is today synonymous with the Suffolk landscape and the Romantic Movement he embodied. John Constable was born in the second half of the 18th century, at the beginning of the Industrial Revolution when poverty was rife within the poorer communities of England. In the art world, many professionals were rebelling against the pure and realistic lines of the Neoclassical period and started producing paintings and sculpture which took the viewer into a new world, far removed from the realities of everyday life. In this respect Constable was different; he loved painting nature and used it as the focus of his pictures, creating realistic landscapes. His style was to take a natural landscape and paint it just as he saw it without enhancing or changing it. This realism made Constable's work stand out from his contemporaries as well as the techniques he used to create a more life-like feel to his paintings. Constable was a landscape revolutionary and it is thanks to him that the work of Monet and the French Impressionists developed in the way it did. I hope all of you are safe and sheltered. If the power is out it could be a perfect time to get some sketches done for our 3rd year students. Refer to the checklist and call in to us at any stage in the week should you need to discuss your projects
Click here to When brainstorming ideas for an Art project, remember that:
Draw lots of small pictures to illustrate ideas visually, as inspired by this Curiocity map of London illustrated by Nicole Mollet: . Integrate a mind map with an ‘incomplete’ image that extends across the page, inspired by this digital illustration by Alex Plesovskich:
I highly recommend that you watch this documentary. It elaborates further on the artist's techniques and his eventual succumbing to his mental health. vimeo.com/100156306
Click the link below for additional info on Delacroix and Gericault. www.khanacademy.org/humanities/becoming-modern/romanticism/romanticism-in-france/a/delacroix-liberty-leading
Homework:
Introduction
Jean Auguste Dominique Ingres The ups and downs of Jean-Auguste-Dominique Ingres' career are a most fascinating aspect of his artistic journey. During his 87 years he had frequently seen the critical response to his work go from unabashed scorning to enthusiastic accolades. This fluctuation literally occurred overnight after one Salon exhibition, but it was without significant longevity. Though the opinion of his worth as an artist was inconsistent the majority of his life, he ultimately finished on top. In his latter years he was well respected, highly sought after and even deemed the best living artist in France. Ingres is credited as an icon of cultural conservatism in 19th century France. He is known for his obsessive quest for ideal beauty which resulted in his famous (or infamous) anatomical distortions. He was a respected portraitist and was commissioned to do work for the royal family. Jean Auguste Dominique Ingres Artistic Context Ingres is considered one of the last Neoclassical painters. When his life ended, so did the movement. Neoclassicism is the 18th century revival of classical beliefs. It differs from other revivals because the old interest was paired with new findings of both ancient worlds; Greece and Rome. The artifacts uncovered at Pompeii and Herculaneum contributed significantly to this rebirth of classicism. Artists like Ingres portrayed the absolute truth of life as seen through the mirror of the "pure and simple" verities of antiquity. Neoclassicism replaced frivolity and superficiality of the Rococo era. Jean Auguste Dominique Ingres BiographyThere's no specific age to pinpoint when Ingres became interested in art. As his father was an artist, Ingres likely began training at an early age. His career experienced many ups and downs, but as a true Neoclassical artist, Ingres stayed true to the classical notion of idealized beauty. Early Years: He elevated to more formal training, moving to France then to Rome and back between the two places throughout his life. Ingres spent the majority of his early years following his own artistic impulses, thus being rejected almost entirely by the Salon's critic approval. Intermediate Years: The reaction to Ingres' art fluctuated during his middle years. He spent his time moving back and forth from Paris to Rome according to if he had a favorable response or not. Likewise, his critical reception went back and forth; in and out of his favor. Despite the fickle public, Ingres eventually became a well respected teacher. Advanced Years: In his latter years, Ingres continued to paint and shock his critics. He ultimately ended on top, being viewed as one of the greatest living artists in France during that time. He left behind many fans but no pupils to carry on the Neoclassicism legacy. Jean Auguste Dominique Ingres Biography Jean Auguste Dominique Ingres Style and Technique Though Ingres was an artist known to follow his own impulses he was still a devout student of cultural conservatism, never straying completely from Neoclassical's new but traditional beliefs. Ingres' cool, meticulously drawn works constituted the stylistic antithesis of the emotionalism and colorism of the contemporary romantic school. Defining Characteristics: Nudes: Ingres was undoubtedly among the most experimental artists of the 20th century. His constant search for the idealized human form, particularly in the female body, was the cause for his highly controversial anatomical distortions. He made a habit of elongating backs, his nudes sometimes described by critics as "creatures not found in nature." The exception was La Source, in which Ingres displayed his model body in much more realistic proportions. This canvas was highly praised but in his later years, Ingres returned again to drawing with anatomical manipulations in The Turkish Bath. His quest for idealization was unending. Historical Paintings: Ingres' first historical paintings were done in the troubadour style, echoing the idealized atmosphere of the Middle Ages. In Napoleon I on His Imperial Throne, derivatives of medieval and Byzantine prototypes are seen; rigidity, flatness and lack of modeling. Ingres was accused by critics of purposely taking art back to its primitive state. Still, typical to troubadour style, Ingres also painted with a minute and illusionistic description of detail and was praised for his historical accuracy. Midway through his career Ingres adopted a more classical style after moving to Florence and studying the work of Raphael. His form and subject matter is more reflective of the Italian master's and his evolution as an artist is evident. Portraits: Though Ingres preferred history painting, he was also a well-known portraitist. In the sketches he'd drawn for tourists in his early years in Italy he portrayed an uncanny control of a delicate yet firm line and an inventiveness in posing sitters to reveal their personalities. He captured his figure with an impressive photographic likeness. Years later, as the most sought-after portraitist in France, Ingres painted the grace and splendor oh his female elite sitters, again with photographic realism. Color Palette: As a student of David, Ingres was under the firm belief that more attention should be paid to the drawing of lines rather than color. Though insistent on this belief, no attention to detail, especially concerning fabrics, was lost when Ingres' colors brought his subjects to life. Lighting: Ingres' earlier works were attacked for a flatness resulting from a lack of conventional modeling. The artist continued to paint in such a fashion up until his later years. His attention to lighting can be seen in the fabrics of his most elite sitters. Who or What Influenced Jean Auguste Dominique Ingres
Troubadour Style: Early in his career Ingres demonstrated an interest in the troubadour style. Taking its name from medieval troubadours, this was a French artistic movement aiming to regain the idealized atmosphere of the Middle Ages. Ingres' earlier art reflected derivatives of medieval and Byzantine prototypes as seen in Napoleon I on His Imperial Throne. Critics have attacked the severity, flatness and lack of modeling that Ingres continued to use on and off during his career. Typical to troubadour style, Ingres also painted with a minute and illusionistic description of detail, specifically in his rendering of fabrics and other technical means. Renaissance / Raphael: Ingres took a particular liking to the classical style of Raphael. After moving to Florence, Ingres adopted a more conventional style similar to his hero's. Raphael's influence can be seen in The Vow of Louis XIII and The Apotheosis of Homer, commissioned for the ceiling of the Louvre. The Apotheosis is a variation on the Classical pattern of Raphael's The School of Athens, painted for the Vatican. Ingres considered School of Athens a doctrine on canvas of his artist beliefs but in true neoclassical form, he revisited all classical themes with a more modern, scientific approach. Jacques-Louis David: Ingres worked in the studio of David, a most celebrated artist during his day. David taught that the basis of art was the contour and so he can be held partly responsible for the excessive emphasis on drawing that characterized European academic painting in the 19th century. His influence can be seen in Ingres' work more so than earlier Neoclassical artists whose initial style was not much more different than Rococo. David was interested in narrative painting rather than ideal grace and this notion is clearly echoed by Ingres. www.artble.com/artists/jean_auguste_dominique_ingres Originality and imagination are key! Copying another person's work or images from the internet are not allowed You can draw from real objects/own photos/direct observation or imagination. You may not use another artists work in your design. For example If you decided to base your project on a tiger you would have to go to Foto and photograph a real tiger. This year there is a big focus on your style and creativity. This project allows you to be an ARTIST. -importance of developing your OWN artistic style and not copying from someone else. It's important to learn from others artists but not to steal their artwork! Be unique and individual, not a carbon copy!😀 You can create your own movie characters or stories but you cannot use another artists work like the covers from Alice in Wonderland. You could read the book and invent your own poster. You can get a friend to pose in costumes and create your own unique spin on it. Use a dictionary to help explore all the words and the meanings behind the themes. I have made boards on Pinterest for the projects. Follow me by searching Ms O'Reilly's Artclass on Pinterest. or click this link www.pinterest.ie/usefulartifacts/ |
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