Carel Weight

Anthony Green
Cezanne
Cy Twombly
Arth Daniels
Fernando Vicente
JMW Turner- Paintings of an extraordinary storm
Giuseppe Arcimboldo
Maggi Hambling- Waves
William Bowyer
Landscapes
Anselm Kiefer
Kurt Jackson
Anselm
Keifer
HENRI MATISSE

PABLO
PICASSO
VINCENT
VAN GOGH
PIERRE
BONNARD

PAUL KLEE
PAUL CEZANNE
Franz Marc
William Kentridge
Amy Diamond

GEORGIA OKEEFFE
EDWARD HOPPER
Henri Rousseau

LUCIEN FREUD
FRANCIS
BACON

DAVID HOCKNEY
PETER BLAKE

PATRICK CAULFIELD
BRIDGET
RILEY
Angie Lewin
Chinoiserie
(chinese design)
Tsang Kin wah
Roxanne Worthington
Lorenzo Duran
Briony Morrow Cribbs
Jon Shireman
Bryan Nash Gill
Bryan Nash Gill
Bryan Nash Gill

MAGGIE HAMBLING
PAULA REGO

ROBERT LUCANDER
LIAM SPENCER
Elizabeth
Peyton
34
Chuck Close
35
Chuck Close - PHOTOREALISM
36
Gene Prokop.

Ron Hicks

THOMAS SCHUTTE

Erone

Phibs

Numskull
Jackson Pollock
Shozo Shimamoto
Gunter Brus
SCULPTURE
Subodh Gupta
Stainless steel
containers
Gordon Baldwin
YaYa Chou
Peter Callesen
Paper
YaYa Chou
sweets
Jeremy Mayer
Typewriters
Marcel duchamp Eva Hesse
David Kemp
Tony Cragg

BARBARA HEPWORTH

HENRY MOORE
Lisa Milroy- Collections of ordinary objects
Claes Oldenburg- Everyday objects as giant sculptures

CONSTANTIN BRANCUSI

ALBERTO GIACOMETTI
ANTHONY GORMLEY
ANDY GOLDSWORTHY

NICOLA HICKS

CLAES OLDENBERG
Giacometti
URBAN ART
Mark Wallinger
State britain 2007
Swoon

ADAM NEATE

DAIM

GUY McKINLEY
MA CLAIM
SNUG

MILES DONOVAN

OKUDA

ZEPHYR

FUTURA 2000

SEEN
Shepard Fairy
Miles Donovan
ILLUSTRATORS
Bicicleta Sem Freio
JAMIE
HEWLETT
SIMON
BISLEY
Ian Macarthur
GLEN FABRY

H R GIGER

MAURICE SENDAK
RALPH STEADMAN
ALFONS
MUCHA

AUBREY
BEARDSLEY
YOSHITAKA
AMANO
ALEX
ROSS

MARTIN SHARP
STANLEY
MOUSE
SHAUN
TAN
DAVE
McKEAN
Karol Bak
Sarah King Artist
Gemma Anderson
81
82
Dan Ah
Kim
TEXTILES
Alli Coate
Marloes Duyker
Naomi Renouf
Carol Naynor
FASHION DESIGN
ALEXANDER McQUEEN
VIVIENNE WESTWOOD
VERSACE
YVES SAINT LAURENT
STELLA
McCARTNEY
ISSEY MIYAKE
MARC
JACOBS
DIOR
RITU BERI
JEAN-PAUL
GAULTIER
ARCHITECTURE
FRANK LLOYD WRIGHT
LE CORBUSIER
RICHARD
ROGERS
NORMAN
FOSTER
RICHARD
MEIER
DANIEL LIBESKIND
FRANK GEHRY
ZAHA HADID
MIES VAN DER ROHE
GERRIT
RIETVELD
WALTER GROPIUS
MODERN
Boyle Family
Wols
Marc Francis
RON MUECK ordinary people
Ron Mueck is a
hyper realist sculptor using techniques
developed during his career as a model
and prop maker for lms. He plays with
scale.
DUANE HANSON
Richard Billingham - family
Rineke Dijkstra- Photographs of ordinary people
Valie Export
Since the late sixties, VALIE
EXPORT has concentrated
on the body in her work,
with the intention of
challenging in a society
characterized by a false
egalitarianism of gender
contradictions, pressures,
and violence toward
women. In her practice,
performance is a means of
investigating physical and
psychological limits or is
used as a device to
destabilize sexist
ideologies.
Lynn Hershman Leeson
Leeson's work has as its themes: identity in a time of consumerism,
privacy in an era of surveillance, interfacing of humans and
machines, and the relationship between real and virtual worlds. Her
work grew out of an installation art and performance tradition. She
explored interactivity with her video work
Barbara Kruger
yves klein
Vanessa Beescroft
Helena Almeida
Tracey Emin
May Dodge, my nan
Tracey Emin
Gillian Wearing
Wearing has described her working method as editing life'. By using photography and video to
record the confessions of ordinary people, her work explores the disparities between public and
private life, between individual and collective experience.
Wearing began to use adult actors lip-synching the recorded confessions of children, and subjects, solicited from
advertisements placed in newspapers, making confessions while wearing masks. The introduction of actors signalled
an increasingly dramatic element in her work and a shift away from the use of documentary techniques.
Gillian Wearing
I decided that I wanted
people to feel protected
when they talked about
certain things in their life
that they wouldnt want the
public that knows them to
know. I can understand
that sort of holding on to
thingsits kind of part of
British society to hold
things in. I always think of
Britain as being a place
where youre meant to
keep your secretsyou
should never tell your
neighbors or tell anyone.
Things are changing now,
because the cultures
changed and the Internet
has brought people out.
We have Facebook and
Twitter where people tell
you small details of their
life.[1]
Gregory Euclide
Sophie Calle
Her work frequently depicts
human vulnerability, and
examines identity and intimacy.
She is recognised for her
detective-like ability to follow
strangers and investigate their
private lives. Her photographic
work often includes panels of text
of her own writing.
Elke Krystufek
In her paintings, videos and performances, she appears
to be offering the most private revelations about
herself and her life, whether in form of her own photo
album, her expressive self-portraits, or her intimate
poses and explicit actions. But no matter how private
or real these public displays may seem, they turn out
to be more or less stereotypical gestures, based on
socially conventional roles and preconceived patterns
or behaviour
Gerhard Richter curtains and shadows
Ed Ruscha- Ribbon drawings
Slinkachu- Little worlds
Dispatchwork Series
Urban Repair Squad
Sandrine Estrade Boulet
Javier Prez
Daan Botlek
Ben Heine
TheFunTheory.Com
Gregory Thielker
Tactia Dean
Ambroise Tezenas
Victor Rodriguez
Yinka
Shonibare
Bert Stern
DAMIEN HIRST
MARCUS
HARVEY
MARC QUINN
VIK MUNIZ
CHRIS OFILI
TRACEY EMIN
D-Face
MICHAEL CRAIG MARTIN
JULIAN OPIE
Kara Walker
Danny Haas
Jane Doe
James Fisher
140
141
Beatriz Milhazes
142
Marion Bolognesi
Agnes Cecile
143
Terbywonder
144
145
Fiona Rae
146
Diana Al-Hadid
147
Sara Rahbar
148
Elizabeth Neel
149
Kirstin Baker
150
Alexandra Birken
151
Silke Schatz
152
Corinne Wasmuhlt
Julian Opie
RANKIN - Destroy Project
PHOTOGRAPHY
Teun Hocks
Gregory Crewdson
Caryn Drexl
Caryn Drexl
Francesca Woodman
Francesca Woodman
Tom Hunter
Dan Witz
Lauren Simonutti
Lauren Simonutti
Michael Donovan
Michael Donovan
Dan Mountford
Alexey
Indris
Khan
CINDY SHERMAN
ANNIE LIEBOVITZ
RICHARD AVEDON
ANSELL ADAMS
HENRI CARTIER BRESSON
KARSH
MAN RAY
ROBERT CAPA
BILL BRANDT
DON McCULLIN
RICHARD BILLINGHAM
MARTIN PARR
ANDREAS GURSKY
DAVE
HILL
MARIO TESTINO
DAVID BAILEY
Tim Walker
Tim Walker
BARBARA
KRUGER
DAVID
HOCKNEY
MENTALGASSI
SETH BRUNDEL
Stephanie Lucas
Acrylic on Canvas
Joe Coleman
'Mommy Daddy'
Detailed small drawing by Edmund Monsiel, from Outsider Art Sourcebook and
Raw Vision #10
Edmund
Monsiel
ART FROM
OTHER
CULTURES
SAMUEL FOSSO
WILLIE BESTER
FRANCOIS THANGO
CHERI SAMBA
BODYS ISEK KINGELEZ
HOKUSAI UTAMARO
HIROSHIGE
COLLAGE
Jacques Villegl
The photographs are composed of thousands of scanned images of objects from Hong Haos own life. These commonplace things are
arranged by the artist using a computer. There is no traditional photo taken by a camera. Using a selection of brightly coloured objects
from a variety of magazines/images sourced on the net please create a well thought out consumer pattern collage.
Hong Hao
Jacques Villegle
Peggy Wolf
David Hockney
John Stezaker
Erin Case
Paul Butler
Matt Wisniewski
Linder Sterling
Partick Bremer
Wangechi Mutu
201
Kimberly Santiago
202
INSTILLATION
Dan Flavin
Pop art
Andy Warhol- Ordinary Objects
Mixed Media
Jonathan Darby
Portraiture and
Figures
Egon Schniele
Craft
Helaina Sharpley
Shelly Goldsmith
Su Blackwell
Michael Brennand Wood
Celia Smith
Lucy Brown
Debbie Smyth
Lynn Setterington
Cas Holmes
Ansel Adams
Ernst Haeckel
Nicola Holden
Rob Ryan
225
Phil Yamada
226
Jonathan Safran
Cathy Miles
Sylvia Ji
takashi murakami
Emma Plunkett
Jim Dine
Kimberly Santiago
Rachel Graves
Steph Goralnick
Jason Thielke
Takahiro
Kimura
Stefan Zsaitsits
Dan Cretu
Caras Lonut
Victor Rodrigues
Thomas Barbey
Fay Godwin
Giorgio de Chirico
Maggie Taylor
Ed Fairburn
Jason Ratliff
Bobby Neel Adams
Irena Werning
Craig Gibson
249
Jen Stark
NIKKI ROSATO
MATTHEW CUSSICK
Evelin Kasikov
SUSAN STOCKWELL
Circuit boards
maurizio anzeri
257
Pakayla Biehn
258
Jasper James
259
Aliza Razell
260
Carsten Witte
261
Olaf Hajek
262
Antonio Rodrigues
263
Greg Sand
264
Amanda Clyne
265
Emily Hay
266
Montana Forbes
267
Daniele Buetti
268
Niki Pilkington
269
Je!ery Thomas
270
Witit Karpkraikaew
271
William Morris
Tsang Kin Wah
Shepard Fairey
Ian OPhelan
Nicola Carter
Angie Lewin
Chinoiserie
chinoiserie
!"n#w$%z&ri/
noun
noun: chinoiserie
1. 1.
a decorative style in Western art, furniture, and
architecture, especially in the 18th century,
characterised by the use of Chinese motifs and
techniques.
Escher
THEMES
IN ART
The Urban Environment
! The urban environments has provided
a rich source of material for artists
such as Charles Sheeler, Paul Strand
and the Boyle family. Their work
focused on aspects of light , structure,
shape and texture. Develop your own
response, making reference to
appropriate work by others.
Charles Sheeler 1883-1965
October 16th 1890 March 31st 1976
Paul Strand
American photographer and lmmaker
Boyle Family
Caricature
! Philip Guston, Romare Bearden & Stuart Pearson
Wright Have created images that are strongly
inuenced by caricature. Their images often have a
political and/or a social dimension. Consider
examples and develop work based on a theme of
your choice in which caricature plays an important
role in your representation of the human gure
Philip Guston
June 27th 1913 June 7th 1980
Romare Bearden
1911-1988
Gallus gallus with Still Life and Presidents
The BP portrait award winner 2001
STUART PEARSON WRIGHT
Contrasting Surface
Qualities
The contrasting qualities of di!erent surfaces
can be seen in a range of work. You might like
to look at the 17
th
century Dutch still-life
paintings, the sculptures of Barbara Hepworth &
the paintings of Fiona Rae & Peter Doig. Look at
examples & produce work in which contrasting
surface qualities are a signicant Feature.
Vanitas
Barbara Hepworth
Fiona Rae
Peter Doig
Identity
! Frida Kahlo explored the nature of
identity, in her work, by changing her
appearance and surroundings. Artists
such as Francis Bacon and Lucian
Freud have explored the nature of
identity through portrait studies that
go beyond supercial appearances.
Consider appropriate work and
develop your own response.
Frida Kahlo
Francis Bacon
Lucian Freud
Islamic Art &
Architecture
The Art and Architecture of the Islamic
world can provide a rich source of study
for artists. Decoration, symmetry and
harmony are essential features. Look at
the appropriate examples and develop a
personal response to this theme based
on your research.
Islamic Art
Decoration
Islamic patterns/symmetry
Islamic
Architecture
Performance
Degas and Toulouse- Lautrec responded
in di!erent ways to the contrasting
qualities of light, tone and Colour
observed in performances. A number of
contemporary artists have used
performance to express their ideas, often
using videos to record their work. Develop
a personal response to this theme, making
reference to the work of others
Degas
19 July 1834 27 September
1917
Toulouse-Lautrec
24 November 1864 9 September 1901
Sam Taylor wood
Colour in a high
! Artists such as Erich Heckel, Sonia Delaunay
and Frank Stella have exploited the
expressive potential of using colour in a
high key. Research appropriate examples
and produce two or three dimensional work
in which colour in a high key plays a
signicant role
Erich Heckel
German Expressionist Painter,
1883-1970
Sonia Delaunay
Frank Stella
The Human Condition
Artists such as Goya, Munch and Zakine
have produced work that reveals aspects
of the human condition in often
challenging ways. Their di!erent
responses go beyond the supercial when
dealing with political and social issues.
Look at the examples and explore this
idea in your own way.
Goya
Spanish Rococo Era/Romantic Painter and Printmaker,
1746-1828
Munch
12 December 1863 23 January 1944
Ossip Zadkin
Russian-born French Painter and Sculptor
EXAMS
GCSE EXAM 2014
Order and/or
Disorder
Disorder/ War
Otto Dix, Flandern,
1934
Emily Prince
Mark Wallinger
Protest art in Denmark
Banksy
Andy Warhol Gun 1981
Shirin Neshat Allegiance
with wakefulness
Shepherd
Fairey Imperial
Glory
Eberhard Havekost Ghost 2
Diana Weiser - Blood
Andywarhol-atomic-
bomb-1965
Guerra-de-la-paz Atom Bomb
Niki De Saint Phalle
Shooting Picture 1961
Anti War Murals On Palestine Wall
And In Belfast
Tom Lee A Thousand
Yard Stare
Henry Moore Shelter Drawings
Jake And Dinos Chapman Hell 2002
Goya he Charge of the
Mamelukes 1814
Jenny Stark
Stefano Arienti.
Cornelia Parker
Dirk Skreber
Mark Chadwick Explosion
Picture
Jackson Pollock
Damien Hirst
Spin Paintings
Disorder/ chaos/
Explosion
Ursus Wehrli
The art of clean up
Kathy Klein
Lisa Milroy
Mark Dion
Tony Cragg
Susan Hiller
Damien Hirst,
Spot paintings
Order/ Collections /
Organisation
Cornelia Parker
Martin Waters
Haeckel
Christopher
Marley
Linnea Strid
George Jones
Louise Bourgeois
Order/Routine
Andrew Newton
Mandala
Order/ Cultural
patterns/ Symmetry
Henna
Islamic Pattern
Order/ disorder/ People/
Peter Bruegel
LS Lowry
Kathe Kollwitz
Francisco de Goya
A swimming pool in Tokyo during a heat
wave
Crowds at football matches
People on an
escalator
Subway
A train in India
Car parks
Jonathan Borofsky
Liz McQueen
Disorder/ Crowds
Order /Queuing
Queuing
Brazilian Shanty Towns
Indian Slums
Chinese Village
American street grid system
London streets
Colombian Island of
Santa Cruz de Islote
Michael Wolf
Order/ disorder/ Places/
Ian Davenport
Order/ Repetition
Bridget Riley
Piet Mondrian
Andy Goldsworthy
Nils-Udo
Paula Scher
Eye chart
Milton Glaser
Jasper Johns
Order/ Disorder / Text
Disorder- natural
destruction/ weather
Mark Mawson Coloured
Water
Louise Bourgoise Throbbing
Pulse
Caspar David
Friedrich
Maggie Hambling
Vincent Van Gogh
Amy Casey, impossible cities
Curtis Mann Modication 2008
Oder/ disorder of movement
Eadweard Meuybridge
Anthony Gormley
Drawing with light Picasso
Edgar Degas
E!ect of force on di!erent materials. Crush/Bend/Twist
Francois Alys
Jenny Saville
Cubism
Picasso
Distorting the human body.
E!ect of force on human
body.
Francis Bacon
Gerard Butler
E!ect of force on the human body.
Forcing the body into di!erent shapes.
David Hockney
Disorder of the body/gure
A-LEVEL EXAM 2013
ARTIST
INSPIRATION
Unit 2 : AS Externally Set
Assignment 2013
Covert
and
Obscured
ARTIST INSPIRATION
the history of place lied
hidden beneath or within its
current appearance
many artists strive to catch a
glimpse of that past which they
can sense in the present
332
Andrew Wyeth
http://andrewwyeth.com/
Geraniums
1960, drybrush on paper.
Potted owers grown by Christina
Olson sit here on the window sill
of her house in Cushing, Maine.
Through the window beyond the
geraniums, one can see the
model best known as the pink-
dressed gure in Christina's
World (1947 tempera, Museum of
Modern Art, New York). Ms.
Olson, her brother Alvaro, and
their farm were subjects of
Wyeth's paintings and drawings
for decades ending with the
siblings' deaths in the late 1960s.
The house is now open to visitors
through the Farnsworth Art
Museum.
Graham Chorlton
midcoast of Maine returning to the artist's birthplace in Chadds Ford, Pennsylvania each
fall. This scene shows a splash of unexpected color in the chilly, dark days before spring.
The painting was inspired by an actual incident when a bright piece of litter, a newspaper
advertisement, blew across a snowy hillside.
Sunday Times
1987, watercolor on
paper.
A marked difference
can be seen in the
artist's palette in the
Maine and
Pennsylvania works,
just as one can see
the weather differ
when comparing the
summer and winter
months. The artist
and his family spent
the warm months in
the
Hotel Minerva
'Hotel Minerva' (2007), the work that
lends the exhibition its name, is of a
hotel in Switzerland in which Chorlton
has never stayed. His only encounter
with it is through an old postcard he
once found a postcard that reveals
little information about the hotel, only
that it is in Lugano, or once was.
While not a particularly distinctive
building, it has a grandeur and charm
of its own, and may once have been
the most modern and stylish place to
stay in the area. The nostalgia of a
vintage postcard, celebrating the
local hot spots of yesteryear, is
carried forward in Chorltons painting
as a memory that was never
experienced. For many British people
at the time the hotel was built and the
postcard printed, continental Europe
was a far-away dream, a holiday
destination only for the rich and
glamorous a European imaginary
before the days of budget airlines.
Hotel Minerva captures this sense of
longing through the lter of Swiss
modernist architecture.
Graham Chorlton, Hotel Minerva, 2007,
Oil and acrylic on canvas, 63.5 x 76.2 cm
Rachel Whiteread
Ghost
1990
Plaster on steel frame
269 x 355.5 x 317.5 cm
Rachel Whiteread
Number 193 Grove Road used to be an unexceptional Victorian house in the East End of
London. Extensively remodelled, improved beyond habitability, it has become both
monument and memorial. It has become Rachel Whiteread's House: a strange and
fantastical object which also amounts to one of the most extraordinary and imaginative
public sculptures created by an English artist this century. 193 Grove Road is no longer a
home but the ghost of one perpetuated in art. It has no doors, no windows, no walls and no
roof. It was made, simply by lling a house with liquid
concrete and then
stripping the mould - that
is, the house itself, roof
tiles, bricks and mortar,
doors and windows and
all - away from it. The
result could be described
as the opposite of a
house, since what it
consists of is a cast of the
spaces once contained by
one.
Andrew Graham-Dixon
Daniela Gullotta
Her work depicts large empty interiors, often of an industrial nature. Her intention is to draw
the viewer's attention to the dramatic nature of space. Sometimes individual objects are
emphasized and human presence is always suggested though never depicted.
Pantheon, 2010
mixed media on wood
140 x 200 cm
Interior (w.113), 2002
mixed media on wood
138 x 198 cm
Caspar David Friedrich
Monastery Graveyard In The Snow
Wreck in the Moonlight c. 1835
Temple in Agrient
Artist often use layers to hide
or reveal information in their
work
340
Christo and Jeanne-Claude
Wrapped Reichstag, Berlin, 1971-95
Rembrandt
The small panel, "Old Man with
a Beard", dating from about
1630, was brought to art
historians in Amsterdam by a
private collector who believed
it bore striking similarities to the
Dutch master's work.
Unable to conrm the painter's
identify despite several
tantalising clues, the experts
became convinced there was a
second image lying
underneath the surface which
could solve the problem once
and for all.
They took the painting to two X-
ray imaging laboratories, the
European Synchrotron
Radiation Facility in Grenoble,
France, and the Brookhaven
National Laboratory in New
York in the hope of uncovering
the hidden layers of paint.
Old Man with a Beard, dating from about 1630
The X-ray next to another self-portrait of Rembrandt
Caravaggio
Most artists executed rough preliminary drawings on the canvas before painting in order to
be certain of composition and proportions. Amazingly, x-rays have revealed that Caravaggio
did no such thing. Instead of preparatory drawings, the artist would trace rough indications
in the rst layers of paint with the handle of his brush, and then go right ahead with the rest
of his painting.
Van Gogh
A new X-ray technique has revealed a
previously unknown portrait of a woman by
Vincent van Gogh, which was painted over by
the artist.
The peasant woman's face was hidden behind
the work Patch of Grass, completed by Van
Gogh in Paris in 1887.
Van Gogh is known to have often reused
canvasses to save money.
With a sophisticated X-ray analysis
scientists have identied why parts of the
Vincent Van Gogh painting 'Flowers in a
blue vase' have changed colour over time
- a supposedly protective varnish applied
after the master's death has made some
bright yellow owers turn to an orange-
grey colour.
Larry Rivers
"After 1961, popular and commercial images
and insignia became a major element in
Rivers' painting. He showed consistent if not
immediately conscious preferences of subject
in terms of his own particular attitudes and
technical gifts. He was drawn to the Dutch
Masters cigar box label because it in turn
reproduced Rembrandt's Syndics, and gave
him the opportunity to modulate a theme in
both crude and more nished denition across
popular media and back to its original source
in ne art. The medium of traditional art is the
theme of his popular subjects; the
contemporary world, the object of his 'ne art'
handling and painterly virtuosity."
Robert Rauschenberg
Bed, 1955. Oil and
pencil on pillow,
quilt, and sheet on
wood supports,
191.1 x 80 x 20.3
cm
Canyon, 1959. Oil, pencil,
paper, metal, photograph,
fabric, wood, canvas, buttons,
mirror, taxidermied eagle,
cardboard, pillow, paint tube
and other materials, 207.6 x
177.8 x 61 cm
Rival, 1963. Lithograph, composition
60.3 x 44.1cm
Jasper Johns
White Numbers, 1957. Encaustic on canvas,
86.5 x 71.3 cm
0 through 9, 1961 (cast 1966). Aluminum,
66 x 50.2 x 2.2 cm
David Hepher
These works
speak in a
heterogeneous
visual language,
the
Mondrianesque
grids of the
buildings are
interrupted by
segments of
landscape torn
from other urban
areas; streaks of
paint mark their
architectural
anatomies;
spray paint
mimicking tags
of grafti litter
the canvas.
Adriana Varejao
Azulejaria "de tapete" em carne viva, 1999
oil on canvas and polyurethane on aluminum and
wood support, 150 x 190 x 25 cm
A Malvada (The Wicked), 2009
graphite on paper, 64 x 72 cm
The secret of private lives and
experiences are often gidden
behind closed doors or
expressions that give nothing
away
350
Manet
Manet's Bar at the Folies-Berger
Velasquez
Las Meninas, c. 1656,
oil on canvas,
318 x 276 cm,
Museo Nacional del Prado, Madrid
video
This, the most famous of
Velzquezs works, offers a
complex composition built with
admirable skill in the use of
perspective, the depiction of
light, and the representation of
atmosphere. The Infanta
Margarita, wears white and
appears in the center of the
composition, surrounded by
her ladies in waiting, the
meninas, along with two court
buffoons and a mastiff.
The King and Queen are
reected in the mirror at the
back of the room, leading to
series of extraordinarily
complex spatial relations.
Caroline Walker
Conservation, 2010,
Oil on canvas, 200 x 290 cm
Occupying a place between document and ction, my painting practice explores the
relationship of women to domestic space, and reects on a history of representing women
in art. The locating of a specic house, most recently a contemporary grand design, is
the starting point for creating a set in which the ctitious scenarios I develop can unfold.
A combination of
the existing
contents of the
house and
additional props
are used to
subvert an idea of
domestic order,
while a lone
female gure
inhabits multiple
characters from
the cleaner, to the
mistress, to the
lady of the
house.
Francis Bacon
Four Studies for
a Self-Portrait,
1967, oil on
canvas, 91.5 x
33 cm
Three Studies
from the Human
Body, 1967, oil on
canvas, 197.5 x
147.6 cm
Justin Mortimer
Annexe, 2012, 240 x 180 cm
Creche, 2012, 220 x 180 cm
Paula Rego The Maids, 1987, Acrylic on canvas-backed paper, 213 x 244 cm
The story at the heart of the
painting came to Paula Rego
ready-made in the form of Jean
Genets play The Maids (1947),
itself based on the real-life
case of the Papin sisters,
Christine and Lea, who worked
as maids for a rich Parisian
family. One day, frightened for
no apparent reason other than
that of a power cut which
inconvenienced and possibly
frightened the sisters, they
brutally murdered the mother
and daughter of the family
while the man of the house was
out at work. In working with the
story, Paula Rego
seems to have focused on the unnatural closeness of the sisters, both to each other and the
mother and daughter they murder. Ambiguity and menacing psychosis reverberate within
the picture, much of it carried in the objects with which the room is claustrophobically
furnished.
The extraordinary often lied
hidden within the ordinary
357
Pieter de Hoogh
De Hooch is noted for his interior scenes and use of light. His favorite subjects were middle-
class families in ordinary interiors and sunny courtyards, performing their humble daily
duties in a calm atmosphere disrupted only by the radiant entry of natural light penetrating a
door or window.
A Mother and Child with its Head in Her Lap, c. 1658-1660
The Courtyard in Delft, 1658
Oil on canvas, 73.5 x 60 cm
Vermeer
Hotspots in the image!
A Girl Reading a Letter by an Open Window, c. 1657
oil on canvas, 83 x 64.5 cm
Young Woman with a Water Pitcher c. 1664-1665, oil on
canvas, 45.7 x 40.6 cm
Hotspots in the image!
Chardin
Chardin is renowned for the quiet charm of his carefully constructed genre scenes and still
lifes. His skill at recording the look and feel of objects was astutely commented upon in the
19th century.
The Silver
Tureen ,
c. 1728,
Oil on canvas,
76.2 x 108 cm
Sickert
Walter Sickert was one of the most inuential British painters of his day. He thought that most
paintings were too sentimental and that art needed to embrace the dark side of real life.
Ennui (boredom in French), c.1914
Oil on canvas, 152.4 x 112.4 cm
Girl at a Window, Little Rachel, 1907, Oil paint on
canvas, 508 x 406 mm
Morandi
Winifred Nicholson
Blue Hyacinths in a Winter Landscape
Oil on board, 1950s , 61 x 76cm
Cheeky Chicks
Oil on canvas
1950 62 x 75cm
Nina Murdoch
Prawle Point, 2010, egg tempera on
gesso panel, 48 x 78 in
Antony Gormley
Another Place, 1997
Unit 4 : A2 Externally Set
Assignment 2013
Inside,
Outside,
In Between
ARTIST INSPIRATION
Louise Bourgeois
Maman, 1999, Steel and marble, 9271 x 8915 x 10236 mm, Tate
Tate: Louise Bourgeois: Maman Work of
the Week, 1 June 2010
"Maman", the giant egg-carrying spider,
is a nurturing and protective symbol of
fertility and motherhood, shelter and the
home. With its monumental and terrifying
scale, however, "Maman" also betrays
this maternal trust to incite a mixture of
fear and curiosity.
You Tube video Maman
Placing work of art inside,
outside or in between specic
environments can have an
important impact on our
perception of them.
368
Damien Hirst
BBC News, placement of the statue in pictures.
The Virgin Mother, 2005, Painted bronze, 10232 x 4620 x 2065 mm
Barbara Hepworth
The Family of Man, Bronze, 1970,
complete groups at Yorkshire
Sculpture Park
Interview
Hepworth
ancestors and
an Ultimate
form. In
between they
cover the
various ages of
man. They are
abstract, but
clearly
represent
people,
becoming more
sophisticated as
they mature.
I kept on thinking of large works in a landscape: this has always been a dream in my mind.
The Family consists of 9 separate pieces
individuals starting with a young girl and
nishing with
Howard Hodgkin
Dark Evening, 2011, 52.7 x 66cm
The North Sea, 2000, 33.6 x 38.6cm, Oil on wood
Deviating from accepted formats
creates interesting and dynamic
optical effects
372
Anthony Frost
Anthony Frost's paintings are bright, full of colour and
expression. They include repeated motifs (lines, triangles
and dots) and a mix of materials (acrylic, hessian, sail
cloth, string and other materials that come to hand). This
hints at a complexity in the work, which at rst sight
appears quite straightforward. Although there is an
element of planning in each work, there is also a random
element which manifests itself in the creative process:
Adding a piece of material or a tie that can change the
painting's direction in unplanned ways. Zimmer Stewart
Gallery
The Beats, 25 x 25 cm, Mixed media on
canvas
Electric Honey, 76 x 61 cm, Mixed media on canvas
Sublime Frequencies II ,76 x 50 cm, Mixed media on canvas
Patrick Hughes
Three minute lm
Open Space, 2012, 69 x 155 x 21 cm
Authorities, 2008,11 x 242 x 42 cm
Artist who use gallery space as
an integral part of the work of art
with installations that utilise the
buildings they are houses in...
375
Anish Kapoor
Svayambh,
2007, Wax and
oil-based paint
Dimensions
variable
377
Craftworkers also exploit
the potential of the
interesting shaped surfaces
on the many different forms
they create
Craftworkers
Capturing the effects of light
when passing from inside to
outside
379
Edward Hopper
Summer Evening
1947; Oil on canvas, 30 x 42 inches
Nighthawks,
1942
Oil on canvas
84.1 x 152.4 cm
Morning Sun, 1952, Oil on canvas, 28 1/8 x 40 1/8 inches
Maybe I am not
very human -
what I wanted to
do was to paint
sunlight on the
side of a house.
Ken Howard
Cannareggio, Venice, 2005
Summer Evening, Sennen
From the Royal Exchange, Rain Effect
Zoos and wildlife parks provide
spectacular opportunities for
artists to encounter terrifying
wild creatures in what would be
perilously close proximity wild
382
Henri Rousseau, Surprised, 1891, Oil
on canvas, 129.8 x 161.9 cm
Cologne Cathedral, Germany
Anyone who can experienced
breaking down on a busy motorway,
and stepped out of a safe and
comfortable vehicle, noisy and
dangerous roadside verge, will be
aware of how powerful an experience
such a transition can be.
384
Edward Seago
The Anvil Cloud , Oil on canvas, 101.6 x 127 cm
The Rainbow , after 1945, Oil on board, 22.2 x 27.1 cm
Evening Haze, Thurne Dyke, Norfolk ,
Oil on canvas board, 21.6 x 26.7 cm
A Norfolk Village, Aldeby ,
Oil on canvas, 75.9 x 101.5 cm
John Virtue John Virtue's monochromatic
landscape is from a series of views
of London taken from different
points along the River Thames. St
Paul's Cathedral can be seen from
the river, looking towards Blackfriars
Bridge, its monumental dome
modelled in viscous black paint.
Initially, it seems as if little else is
distinguishable, but gradually other
details start to emerge, such as the
steeple of a church on the horizon.
This painting and 'Landscape No.
664', another work by John Virtue in
the Government Art Collection, are
the result of a unique working
process which Virtue has
developed during his career. He
applies paint to the canvas using a
wide gamut of tools, including
brushes, rollers, basting syringes,
spray guns and calligraphy
brushes, and sometimes even his
ngers and toes.
Landscape No.662 , 2003
White acrylic, black ink, shellac &
emulsion on canvas, 183 x 183 cm
JMW Turner
Turner is perhaps the best-loved English Romantic artist.
He became known as 'the painter of light', because of his
increasing interest in brilliant colours as the main
constituent in his landscapes and seascapes.
Dutch Boats in a Gale
1801, Oil on canvas,
162.5 x 221 cm
The Fighting Temeraire,
1839,
Oil on canvas
90.7 x 121.6 cm
388
Portals into different worlds or
environments are often explored by
artists and writers. Doorways,
windows and mirrors have been
used as devices to allow the viewer
glimpses into secret places. Self-
portraits often allow the viewer to
effectively step into the painters
studio or even gain access to the
artist psyche.
Jan Van Eyck
This work is a portrait of Giovanni di Nicolao
Arnolni and his wife, but is not intended as a
record of their wedding. His wife is not
pregnant, as is often thought, but holding up
her full-skirted dress in the contemporary
fashion.
The ornate Latin signature translates as 'Jan
van Eyck was here 1434'. The mirror reects
two gures in the doorway. One may be the
painter himself. Arnolni raises his right hand
as he faces them, perhaps as a greeting.
The Arnolni Portrait, 1434,
Oil on oak, 82.2 x 60 cm
Velasquez
Las Meninas, c. 1656,
oil on canvas,
318 x 276 cm,
Museo Nacional del Prado, Madrid
video
This, the most famous of
Velzquezs works, offers a
complex composition built with
admirable skill in the use of
perspective, the depiction of
light, and the representation of
atmosphere. The Infanta
Margarita, wears white and
appears in the center of the
composition, surrounded by
her ladies in waiting, the
meninas, along with two court
buffoons and a mastiff.
The King and Queen are
reected in the mirror at the
back of the room, leading to
series of extraordinarily
complex spatial relations.
391
When a building loses its roof or
windows, nature is quick to invade
and reclaim the space. Artists have
often used this imagery to make
powerful statements about the
fragility of human existence and the
futility of attempting immortality.
Richard Wilson
John Crome
John Sell Cotman
Thomas Girtin
Richard Parkes Bonington
John Constable
English Romanticism
JMW Turner
Before he had entered the Royal Academy
schools at the age of 14, Turner had worked
as an architectural draughtsman. This training
is evident in his fascination with the famous
ruins of Tintern Abbey. Tourists of the time
were as much impressed by the way that
nature had reclaimed the monument as by the
scale and grandeur of the buildings. Turner's
blue-green washes over the abbey's far wall
blend stone and leaf together.
Ruins of West Front, Tintern Abbey c.
1794-5, Watercolour and graphite on
paper, 32,5 x 23,5 cm
John Piper
Christ Church, Newgate Street, 1941
Incendiary bombs gutted Christ
Church during the Blitz. Impression
of east end of church, built by
Wren, as it looked from nave the
morning after it had been gutted by
incendiary bombs from a Nazi air
attack. Christ Church steeple, also
seriously damaged, was re-erected
in 1960 but the church was never
fully restored. This is one of a group
of paintings John Piper produced in
December 1940 and January 1941
featuring London's bomb-damaged
churches.
Anselm Kiefer
Shulamite ,1983. Oil, emulsion, woodcut, shellac, acrylic, and
straw on canvas. 541 x 368.3 cm
Audio Athanor
Athanor, 1991, oil, sand, ash, gold leaf and lead foil
on canvas, 225 x 380 cm
396
The ability to visualise the nished
piece as if it was trapped inside the
raw material has been appreciated
by many sculptors.
Michelangelo
Piet, St Peters, Rome, 14991500
David, 1501-1504 Gallery of the Academy of Fine Arts
In every block of marble I see a statue as plain
as though it stood before me, shaped and perfect
in attitude and action. I have only to hew away the
rough walls that imprison the lovely apparition to
reveal it to the other eyes as mine see it
Auguste Rodin
The Kiss, Le Baiser, 1901-4, Pentelican marble,
object: 1822 x 1219 x 1530 mm, 3180 kg
399
The idea of releasing a person or
animal from an inorganic block and
bringing it to life has inspired artist
for many centuries
Ron Mueck
"Peek inside and you can see teeth, gums and
even a little faux saliva," writes Plagens of "Mask II."
"Stand beside it for a moment, and you'll swear you
can hear him snore."
Mask II, 2000
Ron Mueck is a London-based
photo-realist artist. Born in
Melbourne, Australia, to parents who
were toy makers, he labored on
childrens television shows for 15
years before working in special
effects for lms . Muek then started
his own company making models to
be photographed for advertisements.
Eventually he concluded that
photography pretty much destroys
the physical presence of the
original object, and so he turned to
ne art and sculpture.
A seven-foot
adolescent girl
in a bathing
suit, "Ghost"
was "the
perfect
metaphor for
her poignant
discomfort
with her own
body
Ghost, 1998
Fibreglass,
silicon,
polyurethane
foam, acrylic bre
and fabric
401
Many naturally occurring objects have
startling contrasts between their inner and
outer surfaces. Fruits such as watermelon,
lychee, coconut, kiwi fruit and shells like
abalone, conch and mussel demonstrate
this. Some organic structures including
jellysh and prawns are so transparent
that their internal organs can be seen
through their outer skins. Still life painters
have been fascinated by these objects.
Pierre Dupuis
Nature morte avec des oiseaux morts
Juan Snchez Cotn
Juan Sanchz Cotn developed the basic
components of "bodegones," or still lifes:
dark background, mostly fruits and
vegetables, shadows and shades to
create a realistic appearance, and the use
of various types of lighting. His still lifes
are executed awlessly and look almost
like photographs.
Still Life with Game,
Vegetables, Fruit, 1602
Quince, Cabbage, Melon, and Cucumber, 1602
404
Many of these painters simply revelled in
the sumptuousness and beauty of such
objects, seeking no other purpose that to
produce as lifelike an image as possible.
Laura Shechter
Once the outlines of the images are transferred to the canvas, I start
painting. I control my light source--that's why it's dark in here. I want a very
specic light--I'm really trying to capture a Moment of Light. My goal is to
convey the precise visual sensation of the surfaces of the objects at one
instant of light.
White Porcelain Heart, 2002, Oil on Canvas Still Life with White Heron, 1998, Oil on Canvas