Explore how artists depict loneliness

ART IN ISOLATION
HOW ARTISTS EXPLORE THEMES
OF LONELINESS

INTRODUCTION TO RELATED STUDY AIMS
The aim for this Related Study is to investigate how artist
have depicted isolation in their work. As part of my
Personal Investigation I have explored themes of
loneliness through the creation of photographic still life
compositions, using miniature figures. My related study
will provide deeper understanding into how artists outside
the world of Photography have depicted isolation in
paintings. I will look at a range of painters
including Edward Hopper, de Chirico and Henry
Darger which will form the basis of my related study into
depictions of loneliness.

Thoughts of you by Dennis Wilson
The sunshine blinded me this morning love
Like the sunshine love comes and goes again I love
you I love you
he sea air it's flowing through my room again
Like the thoughts of you fill my heart with joy again
I'm sorry I miss you
All things that live one day must die you know
Even love and the things we hold close Look at love
look at love look at love
Look what we've done
Loneliness is a very special place
To forget is something that I've never done Silently
silently you touch my face
I think one of the important reasons why art can be called art is that it can bring
people to think. Leonardo da Vinci's Mona Lisa, the woman with the mysterious
smile, has given the world countless reflections. Music is also a kind of art, music
brings people feeling is also a quiet meditation.
MEDITATIONS ON LONELINESS
Loneliness is a Very Special Place to Be
"These artists helped me not just to
understand loneliness, but also to
see the potential beauty in it"
Olivia Laing’s The Lonely City
I think the reason Mona Lisa looks lonely is that
we can't guess what she's thinking. In fact, each
of us, for each other, even ourselves, is the
Mona Lisa's smile. No soul can be fully
understood by anyone else. Maybe this is the
loneliness that everyone has to experience.
Mona Lisa

EDWARD HOPPER NIGHTHAWKS 1949
Who was Edward Hopper?
Born in 1882, Edward Hopper trained as
an illustrator and devoted much of his
early career to advertising and etchings.
His famous works include
"House by the Railroad" (1925),
"Automat" (1927)
and the iconic "Nighthawks" (1942).
Influenced by the Ashcan School and
taking up residence in New York
City, Hopper began to paint the
commonplaces of urban life with
still, anonymous figures, and composit
ions that evoke a sense of loneliness.
His painting not photo realistic
which was popular at the time.
And his paintings are clean,
smooth not detailed.
Having completed his studies, in 1905 Hopper found work as an illustrator for an advertising agency.
Although he found the work creatively stifling and unfulfilling, it would be the primary means by which he
would support himself while continuing to create his own art. He was also able to make several trips
abroad — to Paris in 1906, 1909 and 1910 as well as Spain in 1910 — experiences that proved pivotal in
the shaping of his personal style. Despite the rising popularity of such abstract movements as cubism
and fauvism in Europe, Hopper was most taken by the works of the impressionists, particularly those of
Claude Monet and Edouard Manet, whose use of light would have a lasting influence on Hopper’s art.

Locations and Environments
He likes to
take cafes, taverns, gas stations,
motels, home rooms and empty
streets as the background.
"Nighthawks" is Hopper's most famous painting. In the
painting, it is a restaurant that is not closed yet.
The main character of the painting
seems to be the restaurant, whose
oblique tangents are very clear and the
bar and high stools are highlighted.
Edward Hopper said that Nighthawks was inspired by ‘a restaurant
on New York’s Greenwich Avenue where two streets meet’

"Glass is a persistent symbol of loneliness,
and for good reason. Almost as soon as I
arrived in the city, I had the sense that I was
trapped behind glass. I couldn’t reach out or
make contact, and at the same time I felt
dangerously exposed, vulnerable to
judgment, particularly in situations where
being alone felt awkward or wrong, where I
was surrounded by couples or groups."
Olivia Laing’s The Lonely City
Looking through the window
Compositions / Viewpoint =As if we are walking past the
restaurant looking through the window.
His compositions are arranged so
the subjects are both in front and
behind windows
They are depicted as if they are not even
there (empty space to look through)
Window inside
Window outside
This window of the dining room occupies two
thirds of the space of the picture. The surrounding
street is in darkness, but the lines around the
window are particularly bright. It seems that this
window is the real protagonist of the painting.
There are four people sitting here. It was as dark outside as if
this cafe was the only place in the world with the lights on.
There was no communication between the four people sitting
inside. It was as if they had just found a place to relax.
As Laing said, I think the glass in
Hopper's painting represents the
relationship between people.
They can see each other. But
they can't go through the glass.
It's like an invisible wall.

Sunlight streamed in through the open glass
Windows. A woman got up and sat down on a
bed directly opposite the window. The sky
outside was clear blue against the red buildings. I
don't know if I'm just enjoying the sun or lost in
thought, but the silhouette of the woman is sad
and lonely.
The morning sun, 1952
Looking through the window – a recurring theme?
The multiple appearances of glass in his paintings may have been
intended to keep the person inside the window and looking out.
Windows complicate the separation between outside and inside. Because
even though our bodies can't go through glass. But our eyes can.
Meanwhile, in Hopper's painting, the window feels both present and
absent. Unlike other artists, the glass in his paintings can never be seen.
Night Windows,1928
Cape Cod Moning,1950
The woman in the painting is looking out of the window. The grass outside the window
had turned completely yellow, but the sky was still very blue. This painting makes me feel
lonely warm for a moment. Balcony with bright glass Windows. Inside, the room was
clean and simple, almost allowing us to see the emptiness of the room. But the artist was
not painted window on the wall at all, but it still made me think it was a window.
The painting shows the back of a woman bending over. She was
unaware of anyone's gaze. In the painting, the combination of
three Windows creates a sharp contrast between the bright lights
of the interior and the dark night.

Lonely People – looking at the subjects
In the painting, the four people in the restaurant seem to have some interaction. In fact,
when we look at them carefully, we can see that their eyes do not make any contact. The
man on the left, dressed in black, with his back to us, was drinking alone, facing the dark
window. The woman on the bar was playing something on her hands. The man next to her
was looking straight ahead. And the waiter in the middle of the bar seems to be trying in
vain to find someone to talk to, no one can understand each other.
When I look closely, I can feel the emotions of the people in
the painting, even if they are still, but like a
movie picture, telling the story.
No matter how many people there are in the pictures, these
figures hardly communicate with each other, which shows
the feeling of emptiness in the picture.
‘No one is talking. No one is
looking at anyone else. Is the
diner a refuge for the isolated,
a place of succour, or does it
serve to illustrate
the disconnection that
proliferates in cities?’
Olivia Laing’s The Lonely
City
They sat near each other, but they knew each other. But there was no
physical contact between them, and all their indifference suggested that
they might be strangers, or that they were temporarily estranged.
I think the faces and emotions of these four
people strongly evoke a sense of loneliness in
hindsight. The lonely relationship described by
Hopper always makes me feel quiet and
harmonious, maintaining an indescribable
sense of tension and being frozen at a loss.

Lonely People – looking at the subjects
A well-dressed woman sat drinking coffee alone with only one glove off. It was
already dark outside, and there was no more light outside. Two rows of
chandeliers were reflected in the glass, far and near. She looked a little
nervous.
One thing that Hopper's paintings have in common is that the
characters are seated. These characters all look like they're
waiting for something. And these waits are not looking forward to
wait , but very lonely. I don't think they seem to know what they're
waiting for. So I think the artist uses this kind of sitting and waiting
to express loneliness. The scene in Hopper's painting seems to be
right in front of us, and the characters' faces are expressionless.
Even the light in the painting is extremely lonely.

How Hopper uses light and colour to create a sanctuary for the subjects
LIGHT
Hopper's expression of light and sharp lines
The first time I saw Hopper's painting, I was attracted
by the light and color in it.
What impresses me most
in Hopper's paintings are the expression of light
and sharp lines of the pictures.
Dark blackness of night behind
framing the subjects
Warm inviting light
inside the bar
COLOURS & TONE
The main colors of red and
green form a sharp contrast
with the intense light and
shade. However, such a
contrast does not make the
brightly lit room bright and
warm, but instead gives rise
to a quiet atmosphere.
The night time scene is
important in creating a lonely
environment for the subjects
in his painting, because the
night accentuates the
loneliness and the contrast
that the place is still bright in
the dark.
I think Van Gogh and Hopper’s style of painting with their light and
interiors colour make their painting similar. And all of their paintings
show an atmosphere of loneliness and desolation
But Van Gogh's perspective is inside, Hopper's is outside. It made
a big different between their paintings.

Paolo Barretta is a photographer who lives in Italy. He
started taking pictures at a very young age and immediately
felt a connection to the world view. His photographs are
nostalgic, combining compassion with human loneliness. His
aesthetic research is mainly concerned with color correction,
creating exquisite, unique, elegant and intimate scenes.
Connections with Paolo Barretta
Paolo Barretta is also good at
photographing people, taking advantage of
the atmosphere created around him. The
unique emotions of the characters are
created on each work by the contrast of
light flashes and dimming s.
Like Edward Hopper, his works are cold in tone, with low
color saturation and lightness. And he uses the clever
combination of scenes and characters' body movements to
create an atmosphere of loneliness.
From the point of view of composition, the scene is also
large, empty and far away. The figures are relatively small in
the picture. Through the contrast to foil people's
insignificance and inner loneliness. Like Hopper, Paolo
Barretta also uses facial expressions and eyes to express
feelings of loneliness.
The characters in his
works also have a
sense of silencev.The
atmosphere of the
photos is quiet and
oppressive. It gives a
feeling of
restlessness and
depression.

Summary - related to depictions of isolation
I think Edward hopper‘s paintings are very good at incorporating our own experience of life into his paintings.
Once immersed in the painting, I will inevitably follow his theme to understand life. In his most famous work
(Nighthawks), almost all of his themes are of loneliness, alienation, contemplation, and more.
This painting depicts four people in a restaurant late at night in New York. It was supposed to be somewhere in
the city where he lived. But people searched and found no such place. There is a waiter and three customers in
the painting, the relationship between them is not clear. An empty restaurant late at night. They sit very close,
but the communication between the mind seems to be far away.
Hopper's characters seem to huddle together, resisting the present moment. Lonely, waiting for something.
Nighthawks characters are the same way. But such images and situations also coincide with the isolation and
loneliness of the current epidemic. Hope's paintings gave me the feeling that they were somewhere between
reality and fiction. It's because those scenes can correspond to one to one in our lives. It was the feeling of light
that made it all a little fanciful, too perfect. Then is the first sight of Hope's painting, may give people a feeling of
loneliness, helpless. But look back in the past, more is to give a person to look forward to, hope.

Giorgio de Chirico (/ˈkɪrɪkoʊ/ KIRR-ik-oh, Italian: [ˈdʒordʒo deˈkiːriko]; 10 July
1888 – 20 November 1978) was an Italian[1][2] artist and writer born in
Greece. In the years before World War I, he founded the scuola metafisica
art movement, which profoundly influenced the surrealists. His most well-
known works often feature Roman arcades, long shadows, mannequins,
trains, and illogical perspective. His imagery reflects his affinity for the
philosophy of Arthur Schopenhauer and of Friedrich Nietzsche, and for the
mythology of his birthplace.
In 1936, photographed by Carl Van Vechten
After studying art in Athens and Florence, de Chirico moved to Germany
in 1906 and entered the Munich Academy of Fine Arts. His early style
was influenced by Arnold Böcklin's and Max Klinger's paintings, which
juxtapose the fantastic with the commonplace.
GIORGIO DE CHIRICO
Introduction
"If a work of art is to truly achieve immortality, it must cross all the
boundaries of human nature. It can be neither rational nor logical."
--- Giorgio de Chirico

In the fifth period, there is a rather complex
sense of self-exaggeration in the sense of
metaphysical sadness, and sometimes some
ironic strokes and rare poetry will make them
slightly softer.
His work can be loosely divided into five periods. In the
first period, when he lived in Munich and first stayed in
Italy, he was greatly influenced by the Swiss Symbolist
painter Arnold Bocklin, who painted in the style of late
Romantic and Symbolist painting.
The second period is typically metaphysical. During this period, Kirriha
thought more carefully and deeply about what he
had learned, and wrote entirely according to his own imagination. The
objects and places he painted were far removed from reality. In
addition, there are strong symbolism in his works. For example, clocks
represent the relentless passage of time. Trains and sailboats represent
the inescapable dark side of human life.
The third period is the second
Romantic period of
Kirlixa, which surrealists call
treachery, filled with profound
themes and feelings that are
hard to understand. It's like in
"Love Song," he used gloves
to make people feel what life
is.
In the fourth period, he returned
to metaphysics from
Romanticism, but he did not
break the traditional rules of
painting as obviously as
the metaphysical period in the
second period. At this time, he
often used dolls to create works.
GIORGIO DE CHIRICO
Introduction

De Chirico's metaphysical painting
included recurring motifs of empty
arcades, towers, elongated shadows,
mannequins, and trains among others
He arranged these motifs to create empty
world with isolated lonely figures
GIORGIO DE CHIRICO
Images of forlornness and emptiness
"the way you take in buildings and vistas from the perspective of a train
window. His towers, walls, and plazas seem to flash by, and you are made to
feel the power that comes from seeing things that way: you feel you know
them more intimately than the people do who live with them day by day."
Sanford Schwartz
His own interest was likely encouraged by his childhood
experiences of being raised in Greece by Italian parents.
And, while living in Paris in the 1910s, his homesickness
may have led to the mysterious, classically-inspired
pictures of empty town squares for which he is best known.
empty
arcades
towers
elongated shadows
trains
I think although the things he painted are real and
simple, the relationship between these things is
actually random and inexplicable, so the whole
picture does not have a sense of logic. His work
may express an impression of the world in
his own mind, which, like his most famous series,
Piazza Italia, can be unsettling and confusing.
In this painting, the distance between the
objects seems very far away. It makes the
picture look very empty. Just like the epidemic
world, there is a sense of distance between
people. I think he uses this sense of remoteness
to express solation and emptiness。

Chirico those early works ,those bizarre melancholy town squares that came
to my mind .When the coronavirus tore through the world and cleared our
public spaces of people for a little while cities and towns became immense
museums of strangeness .The kind of reflection that Chirico sought to speak
with his work ,thought the pandemic isn’t over our spaces are already filling
back up the routines .We dropped in March and the built world will fade
again into the background of our lives. Every once in a while there like those
paintings will resurface and will remember that time when our world become
profoundly strange.
GIORGIO DE CHIRICO
Covid19 - When The World Became A De Chirico Painting
elongated shadows

I think although the things he
painted are real and simple, the
relationship between these
things is actually random and
inexplicable, so the whole
picture does not have a sense of
logic. His work may express an
impression of the world in his
own mind, which, like his most
famous series, Piazza Italia, can
be unsettling and confusing.
His usual subjects include empty
squares, statues, arcades and
railways, as well as mannequins. The
sharp contrast of light and shadow
exaggerates the performance of
perspective and gives the person a
dreamy feeling.
GIORGIO DE CHIRICO
Lonely figures

GIORGIO DE CHIRICO
Lonely figures
The yellowing silence in the picture
is unnerving. While the child could
not see faces, there was a man (or
something else?) waiting for her in
the distance.
As I understand it, the girl in the
painting symbolizes the unguarded
purity of human nature, while the
shadow of the man symbolizes the
contingency and crisis waiting in
front.
The shadow of a man or something
The litte girl is playing

Randy P. Martin is an American photographer based in Austin. Martin
is a photographer who understands that we need to be alone. The people
in his work are looking for a place of peace and quiet, away from
distractions. Each picture has a protagonist, the figure of each protagonist
appears to be enjoying or lonely, when the noise is over, everyone should
have a lonely heart, it will let you get calmer and precipitation.
GIORGIO DE CHIRICO
Lonely Figures - Connections with Randin Martin
The figures in
these paintings
are very small, in
sharp contrast to
the huge place.
Both express a
feeling of
loneliness.
The works are based on
fantasy, not on worldly
scenes.
There are huge shadows in
the painting.
GIORGIO DE CHIRICO
The people and scenes in
these photos are real in the
world.
Randy P. Martin
The composition of the two photos
is very similar, with the object
placed in the center.
object

GIORGIO DE CHIRICO
Few people characters appear in Giorgio de Chirico’s paintings,
much like the streets of the epidemic now, empty of people. His
paintings are always lonely, giving people a strange sense of
tension and mystery. I think his paintings can connect together
very well with isolation. Real and lonely.
In the works of Giorgio de Chirico , we see very specific objects,
such as corridors, statues, buildings and more , but these concrete
forms do not express their original meaning, but through light,
shadow, different arrangement and combination, emit a mysterious
and obscure tone.
Moreover, in his works, the colours he chooses and the collocation
between them also bring people a feeling of loneliness and
desolation. His work often appears in khaki and dark green. These
colours will bring people a feeling of depression. So I think his
work is also related to the life of isolation and repression.

HENRY DARGER
A tragic life story
Darger as photographed by David Berglund in 1971
Darger had no friends all his life, and his
way of life was almost constant: he
attended mass every day, collected all sorts
of strange rubbish from the streets, and
tried to maintain a clean and tidy
appearance. Always alone, he had only one
best friend in his life, William Hurd, and they
had a strong desire to protect abused and
abandoned children, so they secretly
formed the Children's Protection
Organization. Darger's lifelong ambition was
to adopt a child, but his poor living
conditions prevented him from doing so
until his death.
Henry Darger escapes from a
nightmarish asylum and is taken in by a
Catholic hospital on his way out. He
becomes the janitor of the hospital,
where he has worked since then only as
a doorman and as a painter. Every day
after work, he likes to pick up strange
things from the rubbish in the street.
When he got home, he cut out the
figures from these strange things
(magazines, newspapers,
advertisements, cards, etc.) and
sketched out the world in his mind.
Darger was born in the Chicago suburb of
Lincoln Park in 1892. Almost immediately, his
life was touched by tragedy: at four, his
mother died in childbirth, and the baby girl
was given up for adoption. Darger's father, a
disabled tailor, struggled to bring up the
remaining son alone, but times were hard.
Loneliness can wed people to machines, and
it can also drive them away from the world.
The lonely disappear in plain sight, retreating
into their apartments because of sickness
or bereavement, mental illness or the
persistent, unbearable burden of shyness, of
not knowing how to impress themselves into
society.
Or his childhood experiences, suffered all the abnormal at shelters, led to his fear and
violence is wanton growth, 17 years old young Henry finally escape from the nightmare of
shelter, flee was a Catholic hospital received, and stay here and began a new chapter in
life, they always pick up something strange, which later became his inspiration.
Henry Joseph Darger Jr. (April 12, 1892 – April 13, 1973) was an American writer, novelist and artist
who worked as a hospital custodian in Chicago, Illinois.He has become famous for his posthumously
discovered 15,145-page, single-spaced fantasy manuscript called The Story of the Vivian Girls,
in What Is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the
Child Slave Rebellion, along with several hundred drawings and watercolor paintings illustrating the
story.
Henry Darger's work is unlike Hopper's or Chirico's. His work
was not about isolation. But his work was made in isolation.

For decades Darger lived alone in a boarding house
room crammed with hoarded rubbish. In 1972 he became ill
and was moved unwillingly to a Catholic mission. When his
room was cleared, it was discovered to contain hundreds of
paintings, of almost supernatural radiance.
Guardian
HENRY DARGER
A tragic life story

Henry Darger’s visionary ambitions belie the humble circumstances of his reclusive life, spent primarily in
a rented room. Around 1909, he began writing an apocalyptic epic, The Story of the Vivian Girls, in what
is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave
Rebellion. More than a decade later, Darger completed nineteen thousand pages, organized in twelve
volumes. Subsequently, he executed approximately two hundred and fifty large, horizontal drawings to
illustrate events and characters in his complex narrative. His elaborate, radiant drawings appear to have
occupied him until the late 1960s. Only after Darger’s death was his obsessive project discovered by his
landlord, photographer Nathan Lerner.
HENRY DARGER
A tragic life story

THE LONELY DISAPPER INTO
THEIR APPARTMENTS
"Darger’s life illuminates the
social forces that produce
isolation – and the way the
imagination can work to resist it."
Olivia Laing
HENRY DARGER
An artist in isolation
Henry Darger may or may not
have been a murderer. He was
definitely a remarkable artist,
says Sean Thomas.
https://www.theguardian.com/
artanddesign/2005/jan/12/art

HENRY DARGER
A child who never grew up
I think it is the shadow of Henry Darger's childhood that influenced him.
The children in his works are often little girls. They basically appear in
the picture in group form, either playing among flowers or on the grass in
spring, or holding hands and dancing or running against the wind...
Because of the shadow of his childhood life, it was difficult for him to
have trust or attachment to the people around him all his life. He could
only place his desire for beauty, love and purity in his paintings, and
these children were just the carriers of his ideals. Occasionally, though,
those little girls will stand up together as warriors or warriors against
force or violence. He tells the stories of children with pure brushwork.

Darger's success lies in his ability to consciously learn from professional artists and his results. But what
fascinates me most about Darger is taking his depiction to the extreme. When we are not able to skillfully
control ourselves to draw the desired image, drawing is a solution. Just like the drawing book we played
when we were children, we put the copy paper on a picture and carefully drew the known image. We will
be deeply immersed in this kind of focus on the hands and beyond their level of results. But artists or
adults rarely take this approach. Darger has been drawing in this way, as if it were a game.
Henry Darger is one of the few Outsider
Artists to achieve significant fame in
mainstream culture, and is often named as
the quintessential American Outsider due to
the extensive and powerful body of artwork
he kept hidden during his reclusive life.
He collects many pictures of
newspapers, magazines, book
s and other printed matter and
collects them in his self-made
notebook, from which his
illustration works come. For
example, when he needed a
cloud for a painting, he would
find an image of the cloud in
his notebook and transfer it to
his painting. In
addition, Darger had a habit of
writing down what images he
needed on each of his
paintings, and of keeping
track of when each painting
was painted.
HENRY DARGER
Child like style

HENRY DARGER
Child like style
Darger used an inventive stencil
technique to transfer images Xeroxed
from popular magazines onto his long
paper scrolls, creating richly layered
compositions and an uncanny
synthesis of the familiar and the
exotic.
He collects many pictures of
newspapers, magazines, books and other
printed matter and collects them in his self-
made notebook, from which his illustration
works come. For example, when he needed a
cloud for a painting, he would find an image of
the cloud in his notebook and transfer it to his
painting. In addition, Darger had a habit of
writing down what images he needed on each
of his paintings, and of keeping track of when
each painting was painted.
The visual subject matter of his work ranges from idyllic scenes
in Edwardian interiors and tranquil flowered landscapes populated
by children and fantastic creatures, to scenes of horrific terror
and carnage depicting young children being tortured and
massacred.106 Much of his artwork is mixed media with collage
elements. Darger's artwork has become one of the most celebrated
examples of outsider art.

HENRY DARGER
Henry Darger is the kind of artist who makes me feel that life and work can't be
separated. His paintings are beautiful in themselves, but knowing the loneliness he
experiences, I can understand that those girls are born out of hatred rather than
infatuation. Untrained, he made the pictures by mimicking magazine illustrations,
posters and merchandise advertisements. I thought of the darkness and beauty of
his heart that never ceased in the unknown corners. And I think a lot of happy
people just can't feel what he's going through and how lonely he is.
His work is always very dramatic, everything allows me to think with a story. I think
his work tells the story of his own fantasy. It may be scary, but it tells a story. And it
seems these stories are not over yet. These are just moments in the storyline.
I think his work is his way of expressing himself. People are sometimes shocked
when they see his art. When I saw these pictures, I thought the characters were a
little scary. But I think for these paintings, it's more important to understand the
meaning of art. Early in his life, he began writing a novel, "In the Realm of Illusion."
And then later in his life back, from the year he served in World War I, he began to
tell the story. He wrote this 15,000 page novel about a Vivian girl.

CONCLUSION
I think that loneliness is a common theme
in the paintings of social fearful artists.
Whether it is "Nighthawks" or "Morning Sun", the characters in Edward
Hopper's works are just like the taciturn himself, who are always alienated and
disturbed. He vividly portrays the troubles of the artists struggling and worrying
in the whirlpool because they cannot socialize.
And Henry Darger had been alone. He seldom goes out except for his work. He
always locks himself in his rented room. But this talented artist, who has
devoted his life to children, shows incisively and vividly in his works that
"children should have the right to play, to be happy, to dream and to develop
all ideas in their hearts equally".
For de Chirico, he was fascinated by how people, in the face of the unknown,
can take comfort in the mystery, the mystery and the extreme. At a time when
history is rapidly being swallowed up by a greedy future, de Chirico wants to
portray what is invisible: the inner lives of lonely, confused witnesses to time.
He visualizes the invisible.
These three artists all have their own different
ways to express their inner loneliness

A response to loneliness
"You can feel lonely no matter where you are , but living in a city surrounded by
millions of people creates a different kind of loneliness." Olivia Lane, the British writer,
wrote about the "loneliness peculiar to cities" in her book, "The Lonely City".
Loneliness in the City
(Picture from the Internet)
In her works, from the American
realist painter Edward Hopper , the
famous "outside the art" artist Henry
Darger , and then to pop art leader
Andy Warhol , these had been living
in the contemporary art in New York,
kept in deep loneliness, to face alone,
and attempts to describe the "lonely".
https://www.waterstones.com/boo
k/the-lonely-city/olivia-
laing/9781782111252
For example, in Hooper's representative works A
Room in New York, Nighthawk and the cafeteria,
both silent men and women, roadside coffee shops
and late-night cafeterias are isolated and lonely,
exudes a kind of static and profound loneliness,
just like everyone in daily life.
Author Oliva Laing ended her relationship and left for New York City, in the
great city, alone in the world. She often wandered aimlessly in the city. Only
the strange messages on social network connected her with others. Her
loneliness was like a glass wall, isolating her from the world.
She projects her personal experience of loneliness into the exploration of art,
showing the struggle of artists against loneliness.
But now, with most of the world's population seemingly facing voluntary or forced self-isolation, the topic of loneliness is more pressing than ever.
Each individual enters the world alone and leaves it alone. Between these two places, each person weaves a web of connections with other people,
objects, and the world around them.

The End of Violence by Wim
Wenders(1997)
IN CONCLUTION
Hopper's Legacy of Loneliness on Cinema
Blade Runner by Riddley Scott (1982)
Another Hopper painting that’s often been referenced in films (and TV shows from The Simpsons to That ‘70s
Show) is Nighthawks. There are explicit recreations of it in Wim Wenders’ The End Of Violence and Dario Argento’s
Profondo Rosso, but it also served as a visual reference for Ridley Scott’s science-fiction masterpiece, with the
painting’s colour palette faithfully reproduced onscreen. “I was constantly waving a reproduction of this painting
under the noses of the production team to illustrate the look and mood I was after,” says Scott. Presumably, after
a full day of this the production team would slope off to a quiet diner to escape the paintings being waved under
their noses; however it happened, the influence comes across in Deckard’s isolated city life.
https://www.empireonline.com/movies/features/paintings-inspired-movies/
A scene in the film shows a live recreation of the
painting Nighthawks by Edward Hopper.
Hopper has inspired countless painters, photographers, filmmakers, set
designers, dancers, writers, and musicians and the term "Hopperesque" is
now widely used to connote images reminiscent of Hopper's moods and
subjects.（He created a world of loneliness, isolation and quiet anguish
that we call Hopperesque.）
The atmosphere of the two
photographs is the same
The scenes in the two
photos are similar

-Hopper's paintings depict the poor souls of the characters; Towering city buildings where
people are alone in their apartments;People eat alone...He use these scenes to represent
loneliness.
-Giorgio de Chirico uses colors, such as shadows and sunlight, to create a sense of loneliness.
His works are dark, flat, lonely and depressing. In his painting, chirico used shadows and dark
colors to reinforce feelings of repression and anger. In addition, he used a lot of sculptures,
buildings that were out of proportion... To show loneliness.
-I think Henry Darger's way of expressing loneliness is very simple. Due to the things he
experienced in his childhood and the loneliness he has now, he just expresses what he wants to
express in the form of collage.
IN CONCLUTION
Hopper Chirico Darger
Henry Darger differs from Hopper and De Chirico in
this respect. His works are not about isolation, but
are created in isolation. And the other two artists
are very lonely in their style of painting.
Darger is remembered as a masterful
storyteller and unsurpassed artist, and his life
and work have inspired generations of artists
to work outside the bounds of the expected.
I think one thing that Henry Dargar and Edward
Hopper have in common is that they both have
social phobias. They can't express themselves
verbally in reality. So, I think they use painting to
express what they want to express. But it was
enough to show how lonely they were.
Compared with Darger, Chircio and Hopper's
painting style is more mature. Perhaps because
they have been trained in professional learning,
they express loneliness in a deeper way.

IN CONCLUTION
Development on Practical Portfolio
I think I prefer the paintings of Edward Hopper, whose paintings inspire me in all kinds of ways.
Colors, composition and so on. He uses color to express different emotions and feelings, and
the color expression in his paintings always brings me to the world he is in.
As the famous photographer Vittorio Storaro said, "Color is a part of the language of film. We
use color to express different emotions and feelings, just as light and shadow are used to
symbolize the conflict between life and death."
Edward Hopper said that some of his work expressed a deep and forlorn
loneliness. He said it was not premeditated and denied that he was trying to
portray a sense of confinement. But the fact is that this feeling is unconsciously
reflected in his paintings.
In the current form of the epidemic. It makes us very sad when we see the grief
that people are going through. And if I want to express my present heart, I feel
that this sadness will also be unconsciously reflected in the painting. For the
present state of our world is lonely and sad.
There are a lot of scenes of one
person alone in his paintings, which is
very much in line with the current
epidemic world, where people are not
communicating with each other.
I learned from his paintings that to express loneliness,maybe
sometimes don't have to express it deliberately. I can take a closer
look at the lives of the people in this epidemic. Perhaps the true feeling
of loneliness is the best way to express loneliness.

BIBLIOGRAPHY
• Portraits of a serial killer
https://www.theguardian.com/artanddesign/2005/jan/12/art
• Olivia Laing In the Guardian
https://www.theguardian.com/books/2016/feb/28/the-lonely-city-olivia-laing-edward-hopper-andy-warhol
• How art helped me see the beauty in loneliness
https://www.theguardian.com/books/2016/feb/28/
the-lonely-city-olivia-laing-edward-hopper-andy-warhol
• Olivia Laing’s The Lonely City
https://www.amazon.co.uk/Lonely-City-Adventures-Being-Alone/dp/1250039576
• When the world became a De Chirico painting
https://youtu.be/FkPmiUFZyu8
• Edward Hopper
https://youtu.be/pzp62IMj650
• How to Be Lonely
https://www.nytimes.com/2020/03/19/opinion/coronavirus-loneliness.amp.html
• The secret life and art of Henry Darger
https://m.youtube.com/watch?v=-BGA4wNTljY
• Henry Darger: Art and Selected Writings
Henry Darger: Art and Selected Writings: Bonesteel, Michael: 9780847822843: Amazon.com: Books
• The Psychology of solitude
https://youtu.be/C5SwcrVnyLc
• The lonely City
https://www.audible.co.uk/pd/The-Lonely-City-
Audiobook/B01LXYCZ9W?source_code=M2M30DFT1Bk13109292002JW&&ipRedirectOverride=true&gclid=CjwKCAiA9bmABhB
bEiwASb35V9DFbSkBzrCzlRS_du8dCCs7Cyix3ojPfNVXtQzvZ19PtRgo_aPiDxoCpnIQAvD_BwE&gclsrc=aw.ds

• A Biography of Loneliness: The History of an Emotion
https://www.amazon.co.uk/Biography-Loneliness-History-Emotion/dp/0198811349
• Robinson Crusoe
https://zh.m.wikipedia.org/zh-hans/%E9%B2%81%E6%BB%A8%E9%80%8A%E6%BC%82%E6%B5%81%E8%AE%B0
• Justin Bieber & benny blanco -Lonely
https://youtu.be/xQOO2xGQ1Pc
• Only piano - Loneliness
https://youtu.be/vohFxJ982Ic
• Nightcore -You don't know
https://youtu.be/YQk9Wc20y1c
• Another Hopper painting that’s often been referenced in films (and TV shows from The Simpsons to That ‘70s Show) is
Nighthawks.
https://www.empireonline.com/movies/features/paintings-inspired-movies/

I think that Giorgio de Chirico's work is about the mystery, about
the fusion of images of the imagination with everyday objects, or
classical traditions. Fusing reality with fiction. His paintings are full
of rigid buildings, strange silhouettes and plaster sculptures in
exaggerated perspective, giving people an eerie atmosphere of
terror and uneasiness.

Brooke DiDonato, a New
York-based contemporary art
photographer. He uses extremely
real but beyond the dreamlike
presentation form, one by one
dream interpretation of the story,
through a photo, a complete
expression.
Brooke DiDonato is good at
matching ordinary street scenes,
residential environments and
unremarkable natural landscapes
with tranquil colors, and using
clever thinking and unique
composition to shoot paintings
with a collage sense in dreams.
ARTIST WHOSE WORK DEALS WITH ISOLATION & LONELINESS

ARTIST 2
EVALUATION
The term "Outside Art" was coined by British Art critic Roger Cardinal in 1972. The French artist DuBuffay has written about this at
length. He called it "Art Brut," which translates as "rough Art" -- free from the traditional rules of culture and Art. Most of these
artists are self-taught and have not received professional training. They also include mental patients, disabled people, criminals...
These marginalized groups of people who are excluded from the mainstream art world. Interestingly, Outside Art had a huge
influence on contemporary Art in the late 20th century, even becoming a special and successful Art market category.
According to a study of avant-
garde artists from the 18th and
20th centuries by experts at
Columbia University, the
fundamental reason why many
artists failed to gain recognition
from others was not lack of
skill, but lack of social
interaction. Some brilliant
masters were too immersed in
their own creative world when
they were alive, so they
appeared to be independent
and incompatible, and thus
remained unknown.
A complex diagram of avant-garde artists
As can be seen from this picture, how can one become famous without social contact?
However, socializing is not as easy as people think. On the contrary, a large proportion of
artists are plagued by the fear of not being able to socialize, for a variety of reasons. Like the
artist Henry Darger, he was isolated all his life because he couldn't socialize. It was not until
he died alone in a nursing home that his work became famous.
The artist, who is good at writing and
collage, was sent to a shelter for
children with weak minds due to
mental illness when he was a child.
He was often forced to work and
subjected to corporal punishment in
the shelter because he had severe
developmental disabilities. I think this
painful memory has deeply affected
his social skills.

FURTHER DEVELOPMENT
AND
CONNECTIONS
Demonstrate analytical and
critical and understanding
-He is an outsider artist. "An outsider artist is just what
the name implies：an outsider at least in relation to the
mainstream art establishment. The simplest
characteristic of an outsider artist is that they are self-
taught, having very little to no formal training in the art.”
-He tells the stories of children with pure brushwork.
-Much of his artwork is mixed media with
collage elements.
Henry Darger
-Lonely theme
-Accepted
professional
school painting
training, have a
certain foundation
-Shadow
-Buildings
-The layout of the
picture has
structure
Edward Hopper Chirico
-At least one figure in
the picture
-The painting style is
more grandiose
-Unreal
His usual subjects include empty squar
es, statues, arcades and railways, as w
ell as mannequins. The sharp contrast
of light and shadow exaggerates the p
erformance of perspective.
His painting
not photo realistic which was po
pular at the time. And his paintin
gs are clean, smooth not detailed
.

LIGHTING
What kind of lighting has the photographer used? From where is the light
coming?
Light: what areas of the photograph are most highlighted? Are there any
shadows? Is the light natural or artificial? Harsh or soft? Reflected or
direct?
Direction: Where is the light coming from? Where do the shadows appear,
if any? Can you describe the lighting as high key (bright) or low key
(dark)?
Natural light: does the photograph allow you to guess the time of day,
dawn/dusk (the Golden Hour), or is it midday - how can you tell? Is the
lighting soft and ‘defused’.
Studio: What is lighting the set up, strobe/continuous?
- How many lights have been used?
- Draw a diagram of your lighting setup.
Annotate with; key light, hair light, fill light...
CAMERA AND LENS CONTROL
What photographic techniques has the photographer used to capture types of blur,
movement/focal?
Technology: Film or digital? Other specialist materials / processes
Focus: what area appears to be the sharpest in the photograph? What do not?
Depth of Field: What aperture has the photographer used to ensure the
photograph is either:
- Deep DOF - all in focus e.g. f/10
- Shallow DOF - small amount in focus e.g. f/2.8
Central focus: the objects(s) which appears most prominently and/or most clearly
focused in a photograph.
Movement: What shutter speed has the photographer used to captured motion?
- No Motion photo completely frozen - fast shutter speed e.g. 250/1 sec
- Motion Blur subject moving / background frozen - slow shutter speed e.g. 10/1
sec.
- Tracking Motion (camera moving with the subject)
subject frozen / background blurred - slow shutter speed e.g. 10/1 sec
Lens Type
- Wide angle / telephoto/zoom lens (how can you tell?)
COMPOSITION
The arrangement or structure of the formal elements that make up an image, how
the photograph is arranged and fits together. Is this the best angle?
Angle: the vantage point from which the photograph was taken; generally used
when discussing a photograph taken from an unusual or exaggerated vantage
point. Can you say anything about perspective? Are there any converging lines
adding depth, where does the vanishing point lead?
Focal Point: where is it and more importantly - why is it?
Law of symmetry: the human mind is always trying to find balance in visual imagery.
- Symmetrical balance distributes visual elements evenly in an image.
- Asymmetrical balance is found when visual elements are not evenly distributed in
an image.
- Counter part, is needed to balance the image, if not is this a bad composition?
- Vertical balance (breathing room) Horizontal balance (gazing direction)
Framing: What has been placed within the boundaries of the photograph?
- How has the photographer broken up the frame, what spaces have been
created? Is there any natural framing used within the photo?
- Can you use figure ground relationship to separate the subject from the
background?
Space: Are there important negative spaces in addition to positive spaces? Is there
depth to the photograph or does it seem shallow? What creates this appearance?
Is there depth created by spatial illusions? Does the photographer completely fill
the frame?
Background: the part of a scene or picture that is or seems to be toward the back.
Format: What is the shape of the photograph, square, panoramic, 4x6, 5x7, 10x8?
DIRECTION OF SUBJECT
What direction has the photographer given to the subject(s) in the
photograph?
Subject: the main object or person(s) in a photograph.
Emotions: happy, sad, fearful, excited, proud, crazy...?
Direction: standing, sitting, jumping or laying? What are they doing with
their arms, hands, legs?
Gaze: which direction are they looking - into/out of the frame, at the
camera (how does this make you feel), at another subject?
Props/clothes: what are they wearing/holding
Environmental portraits: how has the photographer used the location to
provided more context to the subject? How does the subject fit in the
frame and do the subjects clothes, eye colour match/complement the
backdrop?
FORMAL ELEMENTS
This is the combination of visual elements within the photograph, the building
blocks of all visual work
Colour: Bright, dull, sombre, subtle, or fiery red, golden yellow, forest
green…
Line: are there objects in the photograph that act as lines? Straight, wavy,
thick, thin, wobbly, smooth, curved. Has the photographer used line, such
as converging verticals/vanishing points, to lead your eye and create
direction in the photograph? Do they outline? Do the lines show movement
or energy?
Texture: if you could touch the surface of the photograph how would it feel?
How do the objects in the picture look like they would feel?
eg. Smooth, rough, lumpy...?
Shape: what 2D shapes can you pick out in the photograph?
Form: what 3D forms can you pick out in the photograph.
Tone: is there a range of tones from dark to light? Where is the darkest
tone? Where is the lightest?
Think black shadows, grey midtowns and white highlights.
Organic: shapes based on natural objects such as trees, mountains,
leaves, etc.
Geometric shape: simple rectilinear or curvilinear shapes found in geometry,
such as circles, squares, triangles, etc.
Abstract: an image that emphasises formal elements (line, shape, etc)
rather than specific, recognisable objects.
Repetition: are there any objects, shapes or lines which repeat and create
a pattern?
Contour: the outline of an object or shape.
Title of work - photographers name - date + size media
IMAGE ADJUSTMENT /
MANIPULATION / DARKROOM
How has the photographed been processed?
Digital (Photoshop/Lightroom), analogue darkroom
Colour / saturation: washed-out desaturated colours or bold
vivid colours
Exposure: Lighten / darkened the image
Contrast: High contrast / low contrast, level and curves
Removing unwanted detail: cropping, masking, clone stamp
Photomontage: Collage, typography, mixed media, layer
blending, layer effects
Other media and materials: drawing/painting/illustration
Darkroom: Dodge/burn, filters, multiple exposure,
solarisation
INSIGHTFUL ANNOTATION
- only highlight features/elements relevant to your project
- Don’t repeat yourself
VISUAL LANGUAGE
ideas / feelings/emotions / theories
(cultural, political, philosophical /aesthetic)
REFLECT CRITICALLY
TAKEAWAY POINT
- What have you learned from exploring and analysing this image?
- Describe connections to previous knowledge
- Based on your observations, explain how you will develop own ideas and
improve your practical photography.
WWW / EBI
- How was this an improvement (technical/visual) of a previous shoot?
- What aspects of your photography needs to be improved?
Use specialist language to describe
photographic techniques/processes

3. PROJECT LINKS
How/why does this link
with your project?
- this could be technical,
theoretical or both
6. CONNECTIONS
- does their work remind you of
anyone/thing else? History of
Photography - tools and equipment,
movements, styles, genres and ideas
- Use a Venn diagram to visually
compare and contrast styles.
2. WHO ARE THEY WHAT ARE THEY
BEST KNOWN FOR?
- Put in context & describe style /
summarise photographic genre
conventions
e.g. “Guy Bourdin hyper real fashion
photographs of the everyday”
1. PAGE HEADING
NAME OF PHOTOGRAPHER / IMAGE
ASK YOURSELF
How can this photograph
help you develop ideas for
your own project?
7. TAKEAWAY POINT
What have you learned from exploring and analysing this image?
- What connections can you make to previous knowledge?
This could be technical/theoretical or both.
- Based on your observations, explain how will you develop your own ideas and
improve your own practical photography.
Image
adjustment
Cold blue tones
LO: Record observations through focused investigation while demonstrating analytical and
critical understanding
1
Halpern
2
Soth
4. FORMAL ANALYSIS / TECHNICAL
say what you see, breakdown image
Composition /
framing
uncluttered
negative space
Lighting
direct
light/strong
shadows
Direction of
subject
crouching, gazing
away from the
camera
5. VISUAL LANGUAGE
have an opinion
How are ideas and
meanings
conveyed and
interpreted?
How do you feel
when you look at
the image, if so
how?
Can you apply any
theories to your
understanding of
the image? (e.g.
cultural, political,
philosophical/aest
hetic)
Stars on hand
representative of
American flag (stars
and stripes.)
Symbolic of the
American dream?
GREGORY HALPERN
ZZYZX, 2017
Technical
Shallow DOF and long focal length ensures the hand is the focal point
- Warm tones
- Summer
- Urban city
Winter -
Rural -
Posed -
Gazing -
towards
camera
USA
Sub
culture
American
dream

CONNECTIONS
REFLECTIONS IN STREET
PHOTOGRAPHY
Harry
Callahan
Lee
Friedlander
- Self portrait
- Added depth
and multiple
layers (with the
mirror
reflection)
- natural
framing
- cluttered
composition
- Candid
portrait of a
lone subject
- Illusion of a
floating head
(black jacket)
- cleaner
blend of
layers
- Central
figure
- Shop
window
reflection
- Straight
perspective
- Black and
white
VENN DIAGRAM
COMPARE AND CONTRAST

[Designing, constructing, developing, producing, manipulating, painting]
Creating
Creating a photograph: Camera control (shutter, aperture), lighting, composition
What ways would you render the subject differently? Create your photograph in
different styles
[Judging, evaluating, appraising, defending]
Evaluating
Does the art use complementary colour?
Does the photograph direct eye movement to the main subject of the photograph?
Is the picture in balance and represent the style well? Why?
[Comparing, contrasting, experimenting, testing, questioning, examining]
Analysing
In what ways does the photo illustrate various elements and principles of
photography?
What is the photographers main message of their work?
What is your opinion of the photograph?
[Dramatising, sketching, using, solving, illustrating, writing, demonstrating]
Applying
If you could interview the photographer, what questions would you ask?
After your lesson on Rembrandt lighting, what equipment would you
need to shoot the portrait?
[Classifying, describing, discussing, explaining, paraphrasing, locating, translating]
Understanding
What is the subject or theme of the photograph?
Why is this considered Pictorialism?
[Memorising, listing, recalling, repeating, reproducing, copying]
Remembering
Who used the ‘decisive moment’?
What style of photography was Henri Cartier-Bresson associated with?
Brief Bio
BLOOM'S TAXONOMY FOR
PHOTOGRAPHY
AND A2 DEVELOPMENT GRADE
BOUNDARIES
A/A*
- Perceptively analyse of photographs
- Shows mature understanding of purpose and
meanings and related context.
- Language is mature and fluid
B
- Confident analyse of photographs
- Detailed and sustained understanding
- Language has good structure and informs
connections
C
- Thoughtful analyse of photographs
- Relevant understanding of purpose and meaning
- Language has growing accuracy and starts to analyse
in a positive way
D
- Competent analyse of photographs
- Emerging awareness of purpose and meaning
- Languages purely descriptive
E
- Uneven analyse of photographs
- Some awareness of purpose and meaning
- Language is incorrect and basic in structure and
grammar

WHAT ARE OCR
LOOKING FOR
IN YOUR
RELATED STUDY?

THE RELATED STUDY IS
A…
FOCUSED STUDY SHOWING DEEPER
UNDERSTANDING OF KNOWLEDGE
OF PERSONAL INVESTIGATION
THEMES
PI
RELATED
STUDY

SHOW DEEPER
UNDERSTANDING
• Historical and Art Movement
In order to establish the broader context of the theme the students could
identify key historical events and art movements relevant to their
intention.
- Historical Context
Time and place, (pre/post war fashion)
- Art Movements + other photographers
Surrealism, modernism, Pictorialist, Constructivism, Bauhaus, Dada,
Performance Art
• Photographic Genres
Still life, fashion (Haute couture, street fashion, fashion portrait),
documentary (reportage/photojournalism, street photography,
• Links to Wider Issues
Social and cultural, current affairs, local/global issues, mental health,
race, environment feminism, race, LGBT…
PI
RELATED
STUDY
’Related’ Study
(not repeated)
of
themes/ideas/tech
niques touched in
your portfolio

THE RELATED STUDY
IS PRESENTED
SEPARATELY
ALONG SIDED
YOUR PORTFOLIO
PI
RELATED
STUDY
• Illustrated essay (handwritten or word)
• PowerPoint
• Sway
• Magazine
• Book or journal
• Information panels
• Timeline or sequence
• Video
The presentation of your related
study could employ a magazine
style format where the use of
specialist language and visuals are
combined to produce a succinct
and relevant outcome.
Formats could include…
ONLY
1000
WORDS
!!!

WRITING OF
YOUR
RELATED
STUDY WILL…
Show deeper understanding of knowledge of personal
investigation themes through:
- communication of ideas with showing critical and
contextual understanding.
- Use of specialist language and vocabulary when
analysing photographic work
- Knowledge and understanding is shown, realising
intentions set out in the introduction.
- Connections between visual and other elements are
insightful.
PRESENTATION OF
YOUR RELATED
STUDY WILL…
Combine specialist language and
visuals to produce a professional
looking and relevant outcome.

Level 1 - 1 to 4 U
Simplistic ability to communicate ideas, with minimal exploration of critical and contextual understanding. Some
inaccuracy and incoherence in recording when using specialist language and vocabulary are demonstrated. Simplistic
knowledge and understanding are shown when presenting the study and realising intentions. Connections, where
appropriate, between visual and other elements are minimal.
Level 2 - 5 to 8 U
Limited coherence when communicating ideas, with some exploration and limited evidence of critical and contextual
understanding. Limited accuracy and partially structured recording when using specialist language and vocabulary are
demonstrated. Some evidence of knowledge and understanding is shown when presenting the study and realising
intentions. Connections, where appropriate, between visual and other elements
Level 3 - 9 to 12 E
Effective communication of ideas, with appropriate exploration and clear evidence of critical and contextual
understanding. Accurate and mainly structured recording when using specialist language and vocabulary are
demonstrated. Evidence of knowledge and some understanding is shown when presenting the study and realising
intentions. Connections, where appropriate, between visual and other elements are appropriately developed.
Level 4 13 to 16 C
Detailed communication of ideas with informed exploration, refinement and critical and contextual understanding.
Purposeful use of specialist language and vocabulary in recording is demonstrated. Evidence of knowledge and well-
developed understanding is shown when presenting the study and realising intentions. Connections, where appropriate,
between visual and other elements are well developed and purposeful.
Level 5 17 to 20 B
Well-considered communication of ideas with insightful exploration, refinement and critical and contextual
understanding. Extensive and well-considered use of specialist language and vocabulary in recording is demonstrated. A
high level of structured and reasoned knowledge and understanding is shown when presenting the study and
realising intentions. Connections, where appropriate, between visual and other elements are fully developed and
insightful.
Level 6 - 21 to 24 A
Sophisticated and sustained communication of ideas with thorough exploration, refinement and excellent critical and
contextual understanding. Extensive and sophisticated handling of specialist language and vocabulary in recording is
demonstrated. An accomplished level of structured and reasoned knowledge and understanding is shown when
presenting the study and realising intentions. Connections, where appropriate, between visual and other elements are
sophisticated.
RELATED STUDY GRADING
PI
RELATED
STUDY
MARKS OUT OF 24

UNDERSTANDING
PHOTOGRAPHS
ANALYSIS
EXAMPLES

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