YEAR 11 UNIT 2 EXAM REVISION 2014

ART MOVEMENTS AND STYLES

ART ELEMENTS AND PRINCIPLES

CULTURAL AND FORMAL FRAMEWORK

Birth of Venus and Propped

Sandro Botticelli
Birth of Venus, 1485
Oil on canvas
172.5 x 278.5cm

Links
1. About the painting and influences
2. Uffizi Museum info
3. Humanism and Neoplatonism

Jenny Saville
Propped, 1992
Oil on canvas

213.5 x 183cm


Links
1. Article 1
2. Independent newspaper article on Saville - Propped
3. Re-invention of the beautiful
4. "Branded"

"Propped was the last piece I did for my degree show. And the quote is from a French feminist writer. I wanted the idea of a female body that is put on a pedestal to look at, to observe and it is almost like a bird the way I have painted it with the heel shoes and the connotation that brings in the language of women as birds or chicks."

Jenny Saville

The French text carved in reverse, to imply the self scrutiny of looking into a mirror, translates, 

“if we continue to speak in this sameness, speak as men have spoken for centuries, we will fail each other again”

By Feminist writer, Luce Irigaray

"There was "immense conviction" in making these pictures, she says, and an element of self-loathing. "There is in everybody. We are taught to judge ourselves from a very young age, to groom ourselves." And this creates a neurosis for women, she says. "You see this dichotomy in women's magazines all the time: an article on breast cancer - empowering; an article on skin products that make you look younger - neurotic."

Jenny Saville talking to Suzie Mackenzie in The Guardian, Saturday 22 October 2005

"More influential, more enduring in her work, is the experience of sitting in on plastic surgery operations. You realise something about the flesh, she says, when you see a surgeon put his hand through a woman's breast. Or smell the burning of a facial peel. You realise that the flesh is everything. "It's all things. Ugly, beautiful, repulsive, compelling, anxious, neurotic, dead, alive." And it is nothing. "Eventually we expel ourselves. We rust away. Our own body rejects us. I don't find that tragic."

Jenny Saville talking to Suzie Mackenzie in The Guardian, Saturday 22 October 2005

YEAR 11 REVISION 2013

Click here to access year 11 revision 

Goya and Holzer

Francisco Goya
The Third of May, 1814
Oil on canvas

268 cm x 347 cm

1. website information 1
2. met museum
3. info site 3
4. Romanticism in Spain

Jenny Holzer
Torso, 2007
10 double-sided, curved electronic LED signs with red and blue diodes on front and blue and white diodes on back Text: U.S. government documents
219.2 x 146.8 x 73.4 cm (86.3 x 57.8 x 28.9 in)

Information link

"Jenny Holzer’s words ask us to consider our thoughts and actions in the world. This essentially humanist and philosophical project encourages us to seek self enlightenment through examining our prejudices, false beliefs, fall back positions, and habits, to reach a new level of tolerance, understanding and self awareness"

- Juliana Engberg, ACCA’s Artistic Director.

Comparing Sandro Botticelli and Jenny Saville - The Nude

Sandro Botticelli
Birth of Venus, 1485
Oil on canvas
172.5 x 278.5cm

1. About the painting and influences
2. Uffizi Museum info

Jenny Saville
Propped, 1992
Oil on canvas

213.5 x 183cm



1. Article 1
2. Independent newspaper article on Saville - Propped
3. Re-invention of the beautiful
4. "Branded"

Comparing Russell Drysdale and Gerda Steiner & Joerg Lenzlinger: the environment

In order to research for your interpretation and comparison of Deserted Out-Station and The Water hole access the links below.

Russell Drysdale
http://www.abc.net.au/arts/drysdale/themes/essay1.htm
http://www.abc.net.au/arts/drysdale/paintings/24.htm - about Deserted Out-Station
http://www.hyperhistory.org/images/assets/pdf/drysdalepdf.PDF - access page 2 and 3 for CULTURAL INFORMATION



Gerda Steiner and Joerg Lenzlinger

Education 1 
Education 2
http://www.steinerlenzlinger.ch/stomachj_pipedreamsthewaterhole.html

Wild Horses

Glenn Brown, Wild Horses, 2007

In Wild Horses, Glenn Brown distorts Jean Baptiste-Greuze’s Innocence (c.1790), a portrait of a young woman with a cherub-like face, draped in a swath of fabric tenderly cradling a lamb in her arms. Brown transforms the seemingly romantic image of purity and youth into a contemporary representation of the bizarre and the fantastic; the woman’s eyes have no pupils and her flesh morphs into swirling brushstrokes of acid yellow, and the lamb is displayed as vivid red with green eyes. By recontextualizing and mutating the original image, Brown’s masterful technique imbues it with another reading, inviting the viewer to examine the medium, the subject and the notion of beauty.






via http://www.flagartfoundation.org/exhibition/67/description

This link gives you a really close look at Glenn Brown's swirling technique. 

Jean Baptiste Greuze, Innocence, 1970