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Artist Style Analysis
 

Artist Style Analysis

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January 17, 2013, Interactive Arts & Technology: Drawing As Inquiry (IAT 208)

January 17, 2013, Interactive Arts & Technology: Drawing As Inquiry (IAT 208)

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    Artist Style Analysis Artist Style Analysis Document Transcript

    • Tink  Newman   301116260   1st  Artist:  Agnes  Cecile     Personal  Appeal   The  artist’s  name  is  Silvia  Pelissero  best  known  as  Agnes-­‐Cecile.  She  was  born  in   Italy  in  1991.    She  later  attended  an  art  high  school  in  Rome  and  continued  self-­‐ taught  as  a  painter.  Her  piece  below  is  titled  “loss”.       1  of  8  
    • Tink  Newman   301116260       The  piece  above  is  an  intentional  half  painted  watercolor  image  of  a  woman  facing   left,  her  eyes  downcast,  with  the  paint  primarily  describing  the  shadows  on  her   torso.  There  is  a  series  of  blues,  pinks  and  purples  flourishing  inside  her  head  and   two  birds  at  the  back  of  her  head  over  the  ear,  almost  as  if  they  were  resting  in  a   nest  on  a  side  bun  of  hair.    A  long  stream  of  blue  paint  coming  from  underneath  the   birds  and  back  of  the  head  draws  the  eye  down  to  her  partially  painted  shoulders   and  chest.  This  is  where  the  viewer  likely  guesses  she  wearing  a  dress  or  towel.     I  like  this  painting,  not  because  of  how  it  makes  me  feel  currently,  but  because  I  can   remember  times  when  I  felt  great  sadness.  The  simple  choice  that  Cecile  made  to   fade  out  edges  and  highlight  the  shadows  and  darker  areas  in  colour,  pink   especially,  seems  to  bring  a  seed  of  hope  into  the  painting  for  overcoming  the  female   figure’s  loss.  The  painting  holds  interest  because  it  creates  warmth  of  tones  through   the  watercolors.  It  also  creates  an  interest  in  the  feeling  of  freedom  of  thought  due   to  the  relaxed  stroke  choices,  layering  of  colors  like  the  complexity  of  brain  and  the   artist’s  attention  to  detail  and  broad  strokes  to  create  balance.    Cecile  communicated   this  message  by  condensing  the  areas  of  focus  by  creating  delicate  combination  of   overlapping  splashes  of  watercolor  in  tones  of  pink,  blue,  purple  and  torquoise   mixed  with  fine  brushwork  for  the  fine  points  of  the  birds  and  facial  features.   Historical     Cecile’s  style  reflects  a  millennial  take  on  Italian  futurism  that  was  established  on   the  cusp  of  the  20th  century.  Futurists  featured  red,  blue  and  white  as  dominant   colours  and  humans  in  motion.  Futurism  was  a  modernist  era  that  focused  on  speed,   technology  the  violence  of  the  future.  It  later  was  responsible  for  influencing   surrealism,  Art  Deco  and  other  forms  of  art.  Cecil’s  art  seems  to  rebel  against  the   harsh,  ridgid  style  of  futurism  with  softer,  playful  strokes,  splashes  of  overlapping  of   the  blues,  reds  and  whites  watercolour  paint,  with  dripping,  naturally  created   suggestive  forms.     Her  drawing  techniques  accent  the  edges  and  shadows  of  the  forms  that  are   necessary  to  make  out  the  basic  human  shape  and  details  of  facial  expression.  She   uses  dark,  small,  fan  like  strokes  in  the  crease  of  an  elbow  just  to  show  that  it  is   there,  yet  not  to  draw  attention  to  it.  She  sometimes  paints  controlled  strokes,  other   times  she  lets  the  color  run  or  expand  naturally  and  surrealistic  like.    There  seems  to   be  multiple  sources  of  light  in  the  painting  as  the  edges  fade  out  into  white,   revealing  highlights  on  the  nape  of  her  neck,  her  forehead  and  her  chest.  She  uses   specific  colors  to  convey  certain  emotion  and  life  such  as  pink  to  give  the  face  a   human  glow,  a  blue  line  to  indicate  sadness  or  tears  and  white  for  the  temporary,   “not  all  there”  or  unfinished  nature  of  sadness.       The  speckles  of  paint  in  front  of  the  woman’s  face  as  well  behind  the  head  indicate     2  of  8  
    • Tink  Newman   301116260   perhaps  she  is  moving  her  head  to  the  right.  However,  the  straight  blue  line  and   waves  of  blue  above  the  head  suggest  the  user  is  melancholy,  deep  in  thought  and   grounded  to  one  place.  The  birds  however,  contrast  this  outer  shell  of  the  body,   suggesting  she  longs  for  relationships,  freedom,  joy  or  happiness  that  she  once  had   as  signified  of  the  two  birds  nestled  together  and  those  flying  around.   Thematic     Perhaps  the  artist  is  trying  to  have  the  viewer  understand  that  this  person  is   struggling  with  loss  and  memories,  but  the  process  of  being  distressed  or   downhearted  is  natural  because  she  is  still  human,  beautiful  and  full  of  life  and   colour.  The  viewer  should  look  for  beauty  in  what  memories  there  are  and  realize   the  world  is  still  beautiful  and  shining.    People  look  because  they  know  there  is   some  truth  to  this  feeling  the  work  conveys.    Viewers  subconsciously  realize  there  is   a  balance  to  everything  and  even  in  loss  and  sadness,  beauty  can  arise  out  of  it  after   the  tears  are  shed  and  memories  are  cradled.   Analysis  of  Style     The  space  is  filled  with  soft  definitions  of  a  human  form,  with  a  large  amount  of   curving  white  space  on  either  side.  White  lines  are  carved  into  the  face  and  neck,   likely  through  taping  before  watercolor,  seeming  to  reference  a  sun  or  complexity  of   thought  and  inner  turbulence.  There  is  a  strong  focus  at  the  top  right  hand  corner   with  first  the  eyes  and  mouth  of  the  face,  then  the  birds,  then  down  to  the  shoulders   and  chest.     The  edges  use  a  similar  style  to  classical  Italian  sketch  artists  in  that  the  edges  are   faded  out  for  what  is  least  important  to  convey  the  meaning.  The  watercolor  goes  off   the  page  almost  to  suggest  it  is  a  never  ending,  ceaseless  emotion  or  memory  that   never  culminates.    The  back  shoulder  is  has  a  more  defined  edge  due  to  the  darker   color.  All  the  areas  with  intense  paint  are  the  most  defined  edges  though  there  are   no  hard  edges  made  with  ink  or  pencil.  It  is  as  if  to  suggest  a  peaceful,  soft  sadness,   versus  an  angry,  vengeful  sadness.     The  artist  uses  a  value  scale  that  is  quite  varied  from  soft,  pale  pastel  versions  of  the   hues  to  the  more  saturated  versions  of  the  pigments.  The  value  scale  darkens  in   shades  as  it  goes  up  towards  the  head,  the  main  focus.       The  piece  speaks  volumes  of  sadness,  understanding,  some  of  wisdom  and  life’s   natural  cycle  of  beauty  arising  out  of  loss.  This  female  in  the  picture  is  still  beautiful   though  she  struggles  with  her  loss  and  how  to  communicate  her  emotion.           3  of  8  
    • Tink  Newman   301116260       2nd  Artist:  Dale  Chihuly   Personal  Appeal   Dale  Chihuly  was  born  in  1941  in  Tacoma,  Washington,  United  States.  He  was  first   introduced  to  the  properties  and  beauty  of  glass  while  as  a  child.  He  remembers   discovering  gem  coloured  bits  of  glass  while  beach  combing.  He  later  spent  time  as  a   fisherman  on  the  shores  of  the  New  England.  For  his  education  he  attended  the   University  of  Washington  for  Interior  Design  and  the  Rhode  Island  School  of  Design.       Chihuly’s  materials  for  the  work  “Blue  Herons”  are  blue  and  white  colored  blown   glass.  His  installation  was  on  display  in  the  Royal  Botanic  Gardens  or  Kew  Green   Gardens,  Richmond,  Surrey,  England  from  May  28  -­‐January  15,  2006.         4  of  8  
    • Tink  Newman   301116260       The  two  images  I  choose  for  the  piece  conveyed  a  sense  of  rhythm  and  life  that   represented  great  birds.  The  first  image  shows  the  texture  of  the  glass  and  the   segmented,  divisions  that  give  a  fluid  feeling  of  feathers  laid  flat.  At  the  base  of  each   glass  piece  representing  a  bird  is  a  medium,  hollow  glass  stem  in  variations  of  dark   blue  to  teal,  fading  into  a  lighter  tint  as  the  stem  travels  vertically  along  the  form.     This  piece  stood  out  to  me  as  an  abstract  yet  realistic  capturing  of  a  beautiful  and   graceful  species.  The  birds  seemed  as  if  the  reveled  in  their  freedom  and  were   dancing  across  the  water,  all  in  their  own  natural  stages  of  being  upright,  looking   around,  drinking,  poised  for  flight  or  sleeping.     Chihuly  communicated  his  message  by  studying  the  arches  of  heron’s  necks,  and   bending  the  glass  to  follow  their  forms.  He  also  looked  at  the  most  prominent   bodylines  when  they  stood  on  one  leg  to  abstract  the  form  into  a  single  flowing   sculpture.  He  arranged  the  glass  creatures  in  a  nature’s  seeming  random,  idealistic   placement  near  an  open  space  of  pond,  near  tall  grasses.  The  height,  color  and  grace   of  the  conveyed  movement  through  glass  clearly  indicated  that  the  installation  was   describing  the  beauty  and  motion  of  large  blue  and  white  birds  known  as  blue   herons.   Historical     Chihuly  historically  is  known  for  his  beautiful  glass  creations  that  reflect  the   iridescence  and  sparkling  of  light  from  that  in  nature  and  his  imagination.  He   traditionally  creates  his  art  with  a  team  in  a  studio  called  The  Boathouse,  located  on     5  of  8  
    • Tink  Newman   301116260   the  Northwest  coast.    He  carries  himself  as  a  professional,  is  always  well  dressed   and  lives  with  a  passion  for  what  he  creates.    When  describing  how  he  began   creating  glasswork  such  as  the  “Blue  Herons”  he  said,  “I  learned  more  about  the   technical  and  fluid  possibilities  of  the  material  and  soon  became  immersed  in  my   glasswork.”  He  has  taken  his  passion  and  shared  it  with  others,  directly  through  his   over  200  museum  installations  and  through  the  Pilchuck  Glass  school  which  he  co-­‐ founded.     His  style  is  known  for  an  amalgamation  of  tight  and  loose  curves  of  glass.  He  uses   different  colours  and  thicknesses  of  glass,  some  that  span  the  imagination  and   others  that  reflect  a  wilderness  from  the  natural  world.  He  introduces  a  scientific   feel  into  his  pieces  by  showcasing  a  flowing  depiction  of  physics  such  as  in  his  birds   and  other  life  forms  from  the  sea.  He  shapes  the  rims  of  the  glass  to  bounce  light  in   all  directions  so  viewers  from  every  angle  will  see  his  magnificent  works  glow,   immersed  in  their  environment.       Chihuly  uses  a  “stick”  or  blowpipe  to  blow  air  into  the  glass,  a  unique  process,   because  no  other  material  can  be  blown  to  create  a  form.  He  is  more  fascinated  with   the  end  product  than  the  process  itself.  He  uses  teamwork,  with  each  member   assigned  to  a  certain  task  and  the  master  finishing  the  end  product.    His  style  was   initially  characterized  by  creating  environments,  then  shifted  to  Navajo  basket   forms,  progressing  later  to  aquatic  forms  and  large  speckled  pieces  called  Macchias.   He  never  completely  closed  a  door  in  aesthetics  and  continues  to  make  pieces  from   previous  series  in  the  past.   Thematic     I  believe  the  artist  is  just  fulfilling  his  inner  imagination  and  dreams  by  creating  and   placing  added  beauty  in  the  world.  It’s  almost  a  way  of  an  artist  fixing  a  broken   world.  They  add  beauty  since  they  feel  a  need  to  be  a  creator.  He  is  not   communicating  greatness  or  splendor  of  himself  or  his  works,  but  more  of  a  gentle   merging  of  reality  with  his  own  works  bringing  them  his  own  version  of  life.    He  was   a  humble  spirit  that  allowed  him  to  say,  "I  don't  think  about  how  I'll  be   remembered;  I  think  about  what  I  want  to  do  next."     People  look  at  his  works  because  of  the  eye-­‐catching  uniqueness,  similarity  to   reality  and  abstraction  of  beauty  down  to  its  essence.  The  forms  he  creates  are  as   interesting  as  the  hidden  creatures  in  the  depths  of  the  sea.  The  way  he  integrates   his  pieces  into  exhibits  and  into  gardens  makes  them  a  fascinating  spectacle  to   wander  through,  absorbing  and  seeing  through  a  great  artist’s  lens.     Analysis  of  Style     His  space  is  filled  by  leaving  open  space  for  some  the  outside  forms,  especially  those     6  of  8  
    • Tink  Newman   301116260   integrated  with  nature.  These  pieces  are  known  for  their  layering  and  bending  of   glass.  Other  pieces  fill  space  with  air  inside  such  as  in  the  case  of  the  heads  of  Blue   Herons,  giving  them  a  breathing,  lifelike  character.     The  edges  of  the  Blue  Heron’s  work  are  both  placed  integrated  with  their   environment  of  the  water  and  above,  are  curled  up  in  a  proboscis  like  fashion.  If  he   had  chosen  to  represent  a  beak  directly,  he  would  have  taken  some  of  the  beautiful   abstraction  away  and  the  sharp  edges  of  the  beak  would  have  looked  like  daggers.   His  decisions  for  all  edges  create  soft  and  peaceful  feelings,  never  aggressive  or   dangerous  looking  with  perpendicular,  harsh  edges  or  sharp  points.  Everything  is   created  with  a  flowing  nature.       He  traditionally  has  used  a  changing  value  scale  and  saturation  of  colors,  but  in  the   Blue  Herons,  he  uses  a  saturated  hue  of  blue  that  fades  in  different  degrees  to  a   translucent  white  glass.       The  composition  is  structured  to  allow  the  viewers  to  be  across  from  and  almost   surrounded  by  these  Blue  Herons  standing  in  the  pond.  Their  different  body   postures  created  a  convincing  brood  of  birds,  their  motion  captured  in  colorful   stillness  of  glass.                                 7  of  8  
    • Tink  Newman   301116260   Bibliography   Arthistory.net  (2009).  Introduction  to  the  Artistic  Style  of  Futurism.  Retrieved   January  15,  2013  from   http://www.arthistory.net/artstyles/futurism/futurism1.html   Casden,  E.  (n.d.)  Italian  Futurism.  Retrieved  January  15,  2013  from     http://smarthistory.khanacademy.org/futurism.html   Cecile,  A.  (n.d.)  About.  Retrieved  January  15,  2013  from  http://agnes-­‐ cecile.cleanfolio.com/about/   Cecile,  A.  (n.d.)  Gallery  +Water:  loss.  Retrieved  January  15,  2013  from  http://agnes-­‐ cecile.cleanfolio.com/gallery/631458#12   Chambers,  K.  (1987)  The  man  who  made  glassblowing  a  fine  art:  Washington’s  Dale   Chihuly  and  the  glass  movement.  The  World  and  I.  Retrieved  January  16,  2013   from  http://www.chihuly.com/the-­‐man-­‐who-­‐made-­‐glassblowing-­‐a-­‐fine-­‐ art_detail.aspx   Chihuly,  D.  (2006)  Blue  Herons.  Retrieved  January  16,  2013  from     http://www.chihuly.com/Data/Sites/2/PhotoDetail/IMG_1632_06.25.06_NYB G_TNR_B.jpg   Dtgpix.  (2011)  Dale  Chihuly  Blue  Heron.  Retrieved  January  16,  2013  from   http://www.flickr.com/photos/dansflickpics/5504697196/   Earle,  S.  (1995)  Chihuly  and  the  Sea.  Chihuly  Seaforms.  Portland  Press.  Retrieved   January  16,  2013  from   http://www.chihuly.com/chihuly-­‐and-­‐the-­‐sea_detail.aspx         8  of  8