Annotate a Mythological Painting

See the attached Annotation of Bacchus and Ariadne by Titian

The photograph has been removed for copyright purposes, the painting can be seen here;

http://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne

Developed Annotation – St Jerome by Durer

This is a more developed version of the annotation of the painting of St Jerome by Albrecht Durer.

 Developed Annotation St Jerome by Albrecht Durer No Photo

The photo has been removed for copyright purposes. A copy of the image can be seen here

http://commons.wikimedia.org/wiki/File:Albrecht_D%C3%BCrer_012.jpg

Annotate a Renaissance image

See copy Annotation St Jerome by Albrecht Durer No photo

The photograph has been removed for copyright purposes, the painting can be seen here;

http://commons.wikimedia.org/wiki/File:Albrecht_D%C3%BCrer_012.jpg

Linear Perspective

Chilvers (CHILVERS 2012) describes perspective as “Method of giving a sense of depth on a flat or shallow surface, utilising such optical phenomena as the apparent convergence of parallel lines and diminution in size of objects as they recede from the spectator.”

Lucie-Smith (LUCIE-SMITH 2012) defines perspective as “The method of representing a three dimensional object, or a particular volume of space, on a flat or nearly flat surface.”    “Linear perspective uses real or suggested lines converging on a vanishing point or points on the horizon or at eye level, and linking receding planes as they do so.”    “Centralised perspective, linear perspective in which the eye is drawn towards a single vanishing point in the centre of the composition, usually on the horizon line.”

Honour and Fleming (HONOUR AND FLEMING 2009) Referring to Filippo Brunelleschi (1377-1446) “Brunelleschi’s contemporaries credited him with another achievement of equally great and far-reaching effect: the invention of linear perspective. Various devices had previously been used to suggest distance in pictures and drawings, but Brunelleschi worked out a system by which it could be rendered in a scientifically measurable way. Assuming that visual rays are straight lines subject to the laws of geometry, he seems to have been the first to realise that if a picture is regarded as a window between the viewer and what he sees, the objects on it can be made to obey the same laws. The key to his system lay in the observation that all parallel lines running into space at right angles to the ‘window’ will seem to converge on a central vanishing-point at the viewers eye-level.”

Chilvers, I. (2009), Concise Oxford Dictionary of Art and Artists (4th edition), Oxford: Oxford University Press

 

Lucie-Smith, E. (2003), Thames and Hudson Dictionary of Art Terms (2nd edition), London: Thames and Hudson

Visit a Gothic Church

Copy of report on visit to a Gothic church

Annotate a Gothic Image

See annotation of St Matthew miniature from the Lindisfarne Gospels

The photo has been removed from the annotation for copyright purposes, a copy of the image can be found here;

http://www.bl.uk/onlinegallery/ttp/lindisfarne/accessible/images/page7full.jpg

 

Exercise: Humanism

The following research paper has been published on humanism by Dr Liana Cheney at University of Massachusetts Lowell

http://faculty.uml.edu/CulturalStudies/Italian_Renaissance/8_9.htm

 

Exercise; Pugin on Gothic

Pugin believed that there were two great rules that defined Gothic architecture. These are listed in Honour & Fleming (2009 p.664) as;

“There should be no features about a building which are not necessary for convenience, construction or propriety;

That all ornament should consist of enrichment of the essential construction of the building.”

For Pugin Gothic (or Pointed) architecture and religion were interlinked Hill (2007 p.120) writes “that was what he now began to believe about Gothic architecture, that in its physical reality was embodied a communicable, spiritual truth.”

Later Hill (2007 p.192) describes his view of a Gothic church being the peak of architecture and of experience, the aesthetic and the symbolic, the spiritual and the material, were all present at once”.

References

Hill, R. (2007) God’s Architect. Pugin and the Building of Romantic Britain. London: Penguin

Honour, H. & Fleming, J. (2009) A World History of Art. London: Laurence King

Research Point: Romanesque/Gothic

Gothic architecture – ribbed vault

Gothic-Ribbed-vault-005

 

Gothic pointed arch

Gothic-arch

 

Gothic flying buttresses

Flying-buttress-003

Exercise; Draw classical figure sculptures

This was an interesting exercise. My drawing skills are very limited to say the least, so I decided to trace the figures. I started with old fashioned tracing paper on blown up copies of photos I had taken of statues at the British Museum. This was OK but then I had the idea of using Photoshop and a graphics tablet, I created an extra layer in Photoshop then traced the outline of the sculpture using the pen and brush (and eraser!) tools.

I liked this exercise, it made me look more closely at the lines of the sculpture and to appreciate the great skill in achieving the facial expressions and sense of movement.

I chose the statue of Lely’s Venus to develop further by doing extra drawings of the statue from different angles.

The original photos and my drawings can be seen in the following document Statue Drawings