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nicholas1673 · 4 months

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Feminist art

Feminist art refers to works of art created by women that address and explore themes related to gender, equality, and the experiences of women, the feminist movement started in the 1960. Feminist artists sought to challenge and critique traditional representations of women in art, question gender norms, and bring attention to issues such as reproductive rights, domestic labor, and the objectification of women.

Feminist artists often deconstructed and critiqued traditional gender roles and stereotypes, questioning the ways women have been historically portrayed in art and popular culture.

One of the primary goals was to increase the representation of women in the art world. Feminist artists sought to depict women in diverse and empowering ways, challenging the historical objectification and idealization of the female form.

Feminist art explored the complex and multifaceted nature of women's identities. Artists addressed issues related to race, sexuality, class, and other intersectional aspects of identity.

Many feminist artists were actively engaged in political activism. They used their art to advocate for women's rights, reproductive rights, and social and political equality.

Feminist artists often worked collaboratively and formed supportive communities. This collective approach aimed to challenge the individualism often associated with the art world and foster a sense of solidarity among women artists.

Feminist art utilized a wide range of mediums, including painting, sculpture, performance art, photography, and video. Artists embraced diverse forms of expression to convey their messages effectively.

Feminist artists sometimes appropriated symbols and images to subvert traditional representations. This included reclaiming symbols of femininity and using them to challenge societal expectations.

Prominent feminist artists include Judy Chicago, Yoko Ono, Guerrilla Girls, Faith Ringgold, Cindy Sherman, and many others. The feminist art movement has had a lasting impact on the art world, contributing to a more inclusive and diverse representation of artists and themes.

Feminist artist Barbara Kruger

Barbara Kruger, a prominent contemporary American artist born on January 26, 1945, in Newark, NJ, is celebrated for her bold and incisive cultural critique. Using a striking palette of red, white, and black, along with the Futura Bold Oblique font inspired by Constructivist Alexander Rodchenko, Kruger explores consumerism through a feminist lens with jarring sophistication. Employing short yet impactful phrases like "Thinking of You" (1999-2000) and "I shop therefore I am" (1987), she delivers pointed criticisms. Kruger, influenced by her studies under Diane Arbus and Marvin Israel, articulates, "I work with pictures and words because they have the ability to determine who we are, what we want to be, and what we become." Similar to multimedia artist Jenny Holzer, Kruger utilizes language across various mediums, including prints, T-shirts, posters, photographs, electronic signs, and billboards, leaving an indelible mark on contemporary art. Her influential legacy extends to a generation of artists, including Shepard Fairey and Lorna Simpson, as she continues to challenge societal norms through the potent combination of visuals and language.

Untitled (Your Body is a Battleground) is a seminal 1989 silkscreen portrait by Barbara Kruger, a renowned artist, feminist, and activist. Originally created for the Women's March on Washington to protest anti-abortion laws undermining Roe v. Wade, the artwork remains relevant, addressing contemporary gender inequality issues. Kruger combines mid-century images with bold Futura Bold Oblique titles on red panels, utilizing a determined language to emphasize reproductive rights as a societal battleground.

Kruger's artistic journey, marked by mature themes in black and white, involves dissecting and layering images with provocative text. The intersected face in the poster, gazing resolutely, represents the stereotypical societal view of women as objects of beauty. The composition initially suggests a division between pro-choice and pro-life perspectives, yet the caption "Your body is a battleground" transcends political battles, highlighting the ongoing feminist struggle against objectification.

The dichotomy in the image's positive and negative sides mirrors the tensions between women's rights and patriarchal control, challenging viewers to remain vigilant. The artwork compels audiences to confront the complex issues women face, with Kruger urging society to rethink stereotypes and consumption habits. The piece serves as a poignant form of protest, prompting reflection on women's rights, patriarchy, and societal expectations.

Kruger's insightful commentary extends beyond the visual, with her stating that the artwork explores the blurred lines between public and private in a seemingly shock-proof yet secretive society. The artist acknowledges the challenges women encounter in a society fixated on physical attributes, prompting contemplation on self-image and appearance.

In essence, Untitled (Your Body is a Battleground) transcends its initial political context, offering a powerful and enduring critique of societal norms, gender inequality, and the ongoing struggle for women's autonomy and self-perception. The artwork, with its bold visual language and thought-provoking captions, encapsulates Kruger's commitment to addressing profound societal issues through her artistic lens.

Reference list

artnet (2022). Barbara Kruger. [online] Artnet.com. Available at: https://www.artnet.com/artists/barbara-kruger/ [Accessed 18 December 2023].

Public Delivery (2020). Barbara Kruger - Your body is a battleground. [online] Public Delivery. Available at: https://publicdelivery.org/barbara-kruger-battleground/ [Accessed 18 December 2023].

The Art Story (2017). Feminist Art Movement Overview. [online] The Art Story. Available at: https://www.theartstory.org/movement/feminist-art/ [Accessed 18 December 2023].

#art criticism #task 3 #feminist art #female artist #Barbara Kruger #artwork called your body is a battleground

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nicholas1673 · 4 months

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Pablo Picasso's print was made by etching and engraving on metal that creates an lithography titled print of an artwork called Minotauromachy in 1935, a powerful and complex artwork that captures a moment of intense confrontation and symbolism. Here's an analysis of the key elements and their potential interpretations:

The scene depicts a dramatic confrontation in a narrow and confined space, emphasizing a sense of tension and claustrophobia. The spatial constraints may symbolize the emotional or psychological constraints experienced by the characters involved.

The main characters are a young girl holding a candle and a bouquet of flowers, juxtaposed with a massive Minotaur—a mythical creature with a human body and a bull's head. The frozen nature of their confrontation suggests a moment of suspended action, inviting viewers to delve into the symbolic meaning behind this encounter.

Between the young girl and the Minotaur, a wounded female bullfighter is depicted on a lacerated horse. This image might symbolize the struggles and conflicts within the female figure, potentially reflecting Picasso's complex personal relationships and the turmoil in his own life.

Above the main scene, two girls with doves appear in a window, symbolizing peace. This juxtaposition of violence and peace adds a layer of complexity to the narrative, suggesting a contrast between the brutality below and the yearning for harmony above.

A bearded man on a ladder and a tiny sailboat on the far horizon add further enigmatic elements to the composition. The ladder might represent a connection between different levels of existence, while the sailboat on the horizon could evoke notions of journey, escape, or distant possibilities.

Executed during a tumultuous period in Picasso's personal life, the print reflects his troubled marriage with Olga Khokhlova and his ambivalence about the pregnancy of his mistress, Marie-Thérèse Walter. The figures in the artwork may bear resemblances to these women, and the Minotaur, a recurring theme for Picasso, represents a complex and contradictory aspect of his psyche.

The description notes the prophetic nature of "Minotauromachy" in relation to the Spanish Civil War, which began a year after the print's execution. It served as a visual source for Picasso's monumental mural, "Guernica" (1937), which also featured some of the same imagery. The violent and disturbing representation in "Minotauromachy" can be seen as a precursor to Picasso's later exploration of the horrors of war in "Guernica."

In summary, "Minotauromachy" is a rich and multi-layered artwork that intertwines personal, mythical, and political themes. Picasso's use of symbolism, coupled with his deeply private mythology, invites viewers to interpret the scene through the lens of his complex emotions and the tumultuous events of his time.

The Minotauromachy as Jungian archetypes Picasso was the creator of that artwork, innocent of the people in the artwork, it has a meaning of sage of distinguished for wisdom and a mature or venerable person of sound judgment, it has a feeling of rebel, power, lover and belonging.

The artwork has form of a 3D shape of a cuboid it as two types of line cross hatching and four different lines vertical, horizontal, diagonal and curved. The figures are closer to the horizon line appear farther away, the print has a lot textures and value. The artwork has balance and movement behind the minotaur it has repetition of pattern, rhythm and unity.

Reference list

MOMA (2023). Pablo Picasso. Minotauromachy (La Minotauromachie). 1935 | MoMA. [online] The Museum of Modern Art. Available at: https://www.moma.org/collection/works/60110 [Accessed 17 December 2023].

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nicholas1673 · 4 months

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The artist is David Hockney, the artwork that I choose is Garrowby Hill in 1998. The medium used is oil on canvas and the size of the artwork is 152.4cm x 193cm, the style that he used is pop art and it's located in the Museum of Fine Arts, Boston.

David Hockney, born in Bradford, United Kingdom, was associated with the Modern Art and British Pop Art movements. His diverse body of work includes paintings, drawings, and prints. Hockney gained prominence for his innovative approach to art, and his contributions extend to various styles and themes.

"Garrowby Hill" is a vibrant landscape painting featuring a blue road winding through geometric pastures in shades of green and orange. The artwork includes a bright green hill with dark trees along the base. The predominant colors are green, blue, yellow, and brown. Hockney employs straight lines to depict fields in the background, while curved lines represent the road and hillside. Bold brushstrokes and parallel lines contribute to the textured, "rough" feel of the piece.

The composition appears balanced, with proportional elements creating harmony. Dark trees in the foreground are balanced by lighter fields, and the skyline complements the overall equilibrium. Geometric shapes and cool colors create rhythm and harmony, while warm and cool colors contrast. The focal point is the foreground, leading the viewer along the road through the hills to the fields below.

"Garrowby Hill" reflects Hockney's memories of the Yorkshire countryside near his mother's house and the emotional impact of a friend's death. Created in his studio from memory, the artwork exhibits a vibrant palette, bold brushstrokes, and a high horizon, suggesting a distant viewpoint. The style acknowledges early 20th-century pop artists.

The theme of the artwork is the serene and beautiful landscape, possibly serving as a reflection on life's journey. Hockney's distortion of the Yorkshire scenery may symbolize his emotional response to the experience. The road could represent life's journey, with its ups and downs leading to the beauty depicted in the fields and pastures.

The contrasting colors, thematic depth, and underlying message make "Garrowby Hill" a compelling artwork. Hockney's ability to create harmony and rhythm contributes to the overall impact. Considering the piece's connection to the artist's personal experiences, it becomes a poignant expression of inner peace amidst life's challenges.

Reference list:

Cox, T. (2015). ‘Garrowby Hill’. [online] Art Assignment. Available at: https://popartwork.weebly.com/garrowby-hill.html#:~:text=David%20Hockney%20has%20used%20bold [Accessed 15 November 2023].

MFABoston (n.d.). Garrowby Hill. [online] collections.mfa.org. Available at: https://collections.mfa.org/objects/51520 [Accessed 15 November 2023].

#task 3 #art criticism #contemporary artist #david hockney #Garrowby Hill

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nicholas1673 · 4 months

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Omar Rayo, a prominent Colombian artist, left an indelible mark on the art world with his geometric abstract paintings, aligning himself with the Op Art movement. His distinctive style involved distorting and overlapping forms to evoke a sense of vibrating light and volumetric shapes.

Born on January 20, 1928, in Roldanillo, Colombia, Rayo was recognized for his use of red and black as dominant colors in his works. He drew inspiration from Pre-Columbian tribes, equating the use of red in his art to the contemporary Western culture's utilization of black. Rayo creatively discovered the red color in shadows, transforming it into a powerful element in his compositions.

During the 1960s and 1970s, Rayo spent a significant period in New York, where he encountered the poet Águeda Pizarro, his future wife. His artistic journey led to widespread recognition, including a retrospective exhibition at the National Room of the Palacio de Bellas Artes in Mexico City.

Rayo's contribution to the art world extended beyond his creations; he played a pivotal role in establishing the Museo Rayo de Dibujo y Grabado Latinoamericano in Roldanillo, his hometown. This institution stands as a testament to his commitment to the promotion and celebration of Latin American drawing and printmaking.

Omar Rayo's artistic legacy lives on, and his geometric abstractions continue to captivate audiences, reflecting his profound impact on the world of Op Art and contemporary Latin American art. He passed away on June 7, 2010, in Palmira, Colombia, leaving behind a rich body of work and an enduring influence on the art scene.

In the artist’s works, you can see that he likes to work on hue colours, it has geometric patterns, used different types of lines that create optical illusions with the line quality. It has overlapping effects and value of scale and highlights of shadows. The work that he did has the effect of balance, movement, and repetition of patterns it also has rhythm and unity.

Reference list:

artnet (2023). Omar Rayo. [online] Artnet.com. Available at: https://www.artnet.com/artists/omar-rayo/ [Accessed 15 November 2023].

#task 3 #art criticism #contemporary artist #favourite artists #op art #Omar Rayo

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nicholas1673 · 4 months

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Banksy's Iconic "Girl With Balloon": Symbolism and Soaring Value

"Girl With Balloon" stands as Banksy's quintessential image, utilizing his distinctive graffiti stencil technique to create an internationally recognizable motif. Originally released in 2004/2005, the print exists in limited editions, with just 150 signed prints and 600 unsigned prints, making it highly coveted among Banksy's works.

The image portrays a young girl, her hair and dress caught in the wind, reaching for or releasing a red, heart-shaped balloon slipping from her grasp. The poignant gesture and the red balloon, symbolizing childhood and freedom, convey a powerful message open to various interpretations. Whether interpreted as the girl losing innocence or anticipating new hope and love, the artwork's meaning resonates on multiple levels.

First appearing on London's Southbank in 2002 with the accompanying quote 'there is always hope,' the original mural was painted over by the council. Banksy responded by recreating it in a new context—a miniature version on the cardboard backing of a cheap Ikea frame. This version made waves in the art market, realizing £73,250 at a Bonhams sale in 2012.

Subsequent versions of "Girl with Balloon" have consistently surpassed this value. The gold-colored screenprint, "Girl with Balloon – Colour AP (Gold)," achieved £1,104,000 at Sotheby’s Modern Renaissance sale in March 2021, nearly doubling its high estimate. This exceeded the previous auction record set by another Banksy print, "Girl with Balloon – Colour AP (Purple)," which fetched £791,250 at Christie’s in September 2020.

The enduring popularity and increasing value of "Girl With Balloon" reflect Banksy's ability to capture universal themes and emotions, coupled with his enigmatic persona that adds an extra layer of intrigue to his artworks. The piece's symbolism, combined with its limited availability, continues to make it a highly sought-after and iconic piece in Banksy's oeuvre.

The artwork has three hue colours, a value scale of two black and white and one curved line, it also has positive and negative space. when looking at this artwork has an effect of balance and unity of hope.

Reference list:

MYARTBROKER. (2023). Girl With Balloon by Banksy Background & Meaning. [online] MyArtBroker. Available at: https://www.myartbroker.com/artist-banksy/series-girl-with-balloon?showBigButton=1 [Accessed 15 November 2023].

#task 3 #art criticism #contemporary artist #banksy #Girl with Balloon

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nicholas1673 · 4 months

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Damien Hirst's "For the Love of God" stands as an icon of opulence and artistic grandeur, shattering records as the most expensive contemporary artwork to date, with a staggering price tag of £15 million. The piece commands attention with its diamond-encrusted platinum skull, adorned with 8,601 crystal-clear diamonds totalling an impressive 1,106.18 carats, including a massive 52.4-carat pink diamond at the forefront. This manifestation of luxury is a testament to Hirst's unapologetic penchant for the extravagant.

Despite Hirst's bold claim of selling the piece for £50 million in 2007, recent revelations suggest that it may have never changed hands. Whether the astronomical price proved impossible, or Hirst intentionally retained a significant share for a planned global tour, "For the Love of God" remains an enigmatic masterpiece, either residing with White Cube or tucked away in undisclosed locations.

The macabre touch that defines the artwork stems from its origin—a real human skull sourced from a taxidermist, cast in platinum, and retaining its original teeth. This infusion of reality into the dazzling spectacle adds a layer of morbidity to an already ostentatious piece, provoking contemplation on the intersection of life and death.

The craftsmanship behind this diamond-encrusted marvel was entrusted to Bentley & Skinner, a royally appointed jeweller renowned for their century-long association with the British royal family. Their expertise seamlessly complements Hirst's vision, creating an artwork fit for a monarch and emphasizing the regal extravagance inherent in the piece.

Inspiration for the artwork can be traced back to Hirst's childhood, where the focal stone on the skull's forehead takes on a powerful, God-like significance reminiscent of Hirst's comic character 'Tharg the Mighty.' This autobiographical element reveals Hirst's aspiration to influence the world through his art, transcending the boundaries between the fantastical and the tangible.

The title, "For the Love of God," adds a touch of humor and irony to the piece, derived from Hirst's mother's exclamation whenever confronted with his "crazy ideas." The stark contrast between the extravagant title and its humble origin introduces a layer of irony, challenging perceptions of high art and adding a touch of humility to the opulent creation.

Hirst's fascination with death, evident throughout his oeuvre, finds inspiration in Aztec mosaic skulls from the British Museum. Drawing from the Día de Los Muertos celebration, Hirst incorporates intricate details reminiscent of these ancient artefacts, connecting the contemporary with the historical and cultural aspects of mortality.

"For the Love of God" serves as the ultimate memento mori, inviting viewers to reflect on mortality. Embracing the inevitability of death, the piece, according to Hirst, exudes a "transcendent feel," using the precious diamonds not only to symbolize mortality but also to mock it—a provocative commentary on the fleeting nature of life and the superficiality of material wealth.

In the realm of contemporary art, this diamond-encrusted skull becomes the pinnacle of commodity fetishism. Hirst's financial success, exemplified by a $201 million auction the year after creating the piece, places material excess and profit at the forefront of his artistic pursuit, reinforcing the intersection of wealth and mortality in this unparalleled artwork.

The meaning of "For the Love of God" is multifaceted. The title carries a double entendre, oscillating between exasperation and spiritual connotations. The valuable materials challenge traditional notions of wealth, engaging with themes of mortality and impermanence. The choice of platinum and diamonds emphasizes the tension between beauty and death, creating a striking visual effect that adds depth to the artwork.

Critically acclaimed yet met with scepticism, "For the Love of God" has ignited debates within the art world. Supporters applaud Hirst for challenging norms and questioning the relationship between art and commerce, while critics accuse him of prioritizing spectacle over genuine artistic expression, labelling the piece as a manifestation of commercialism and ostentation.

In conclusion, Damien Hirst's "For the Love of God" is a monumental work that transcends the boundaries of traditional art, inviting contemplation on mortality, wealth, and the intersection of life and death. Its enigmatic nature, combined with its record-breaking price and controversial reception, solidifies its status as a symbol of contemporary art and the complexities inherent in the pursuit of artistic expression.

Reference list:

Argun, E.A. (2023). 10 Facts About Hirst’s ‘For the Love of God’ | Article. [online] MyArtBroker. Available at: https://www.myartbroker.com/artist-damien-hirst/10-facts/ten-facts-damien-hirst-for-the-love-of-god?showBigButton=1 [Accessed 15 November 2023].

StudyCorgi Free essay (2023). ‘For the Love of God’ Sculpture by Damien Hirst | Free Essay Example. [online] StudyCorgi.com. Available at: https://studycorgi.com/for-the-love-of-god-sculpture-by-damien-hirst/ [Accessed 15 November 2023].

#task 3 #art criticism #contemporary artist #damien hirst #for the love of god

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nicholas1673 · 4 months

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JP Migneco Irregularity series

"Irregularity," a series by artist JP Migneco (born 1989) based in Malta, explores the intricate relationship between natural and artificial environments. Using a diverse range of artistic mediums, including photography, drawing, digital media, and painting, Migneco reinterprets landscapes near coastal areas in Malta.

The artistic process involves mapping and tracing images of landforms, extracting diverse shapes and tones. The resulting fragmented compositions seamlessly integrate elements of the natural and the artificial. Central to this process is the use of irregular polygonal grids, drawing inspiration from models of fractal terrain and biomorphic architecture.

Migneco's project delves into themes of urbanization and technological advancement, seeking to evoke discussions on human-environment interaction in the digital age. The irregular grids, derived from fractal terrain and biomorphic architecture, visually convey the complexities of contemporary landscapes shaped by both nature and technology.

JP Migneco's interdisciplinary approach involves planning and experimentation, bringing together different subjects to create a unique form of art. His work draws inspiration from landscape painting, geometric abstraction, and color theory. Through illusory color patterns, often derived from modern art, geometry, and geology, Migneco reinterprets symbolic objects and locations. The resulting artworks reflect a synthesis of various influences, creating a visual dialogue on the intersection of nature, technology, and human experience in the contemporary world.

As you can see in this artwork the understanding in the colour theory of hue colours and the different values of colours. It one diagonal line and geometric shape but in an organic feeling of a real landscape. It as balance of colour, value and asymmetrical balance of the landscape and the random effect of patterns. It a bit of movement to create the effect of the rocky landscape and the artwork also has a random pattern of rhythm and unity of repetition and similarity. I liked this artist work because he combined natural and man-made to look interesting and effective as an overall artwork.

Reference list:

Migneco, J.P. (2023). IRREGULARITY. [online] VallettaContemporary. Available at: https://www.vallettacontemporary.com/irregularity [Accessed 15 November 2023].

#task 3 #art criticism #artist work #contemporary artist #maltese artist #JP Migneco #Irregularity series

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nicholas1673 · 5 months

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Maltese Crafts and Trades

I am going to talk about a Maltese painting called Maltese Crafts and Trades in 1969 it was made by Frank Portelli. The size of the painting is 227x730 cm, the technique is oil on canvas on a panel and it’s located in The Artist Gallery from Tradition to Self-expression.

This painting has a lot of interesting colour's that go well together, the artwork has a geometric effect that makes it look like a crystal cubism with the colours by having good colour combinations also with different values of light and dark colours. This artwork is a balance of colour, value and asymmetrical balance. The painting emphasizes the effect of colours, values and shapes. The artwork has a repetition of patterns of geometric effect that make a random rhythm but at the same time it looks like it was planned. The painting also has a unity of repetition and similarity.

Frank Portelli's mural, once decorative at the entrance of Mellieħa Bay Hotel, stands as a testament to his innovative spirit within Malta's artistic landscape. This attractive artwork intricately weaves together a narrative that celebrates the work, trades, and crafts essential to Maltese identity.

At its core, the mural is a visual ode to the diverse activities that defined the daily lives of the Maltese people. Workers engaged in trades such as fishing, spinning cotton, weaving, pottery, water carrying, and selling vegetables are depicted with a beautiful blend of dynamism and simplicity. These representations serve as a collective homage to the vibrant tapestry of Maltese life, capturing the essence of a community deeply rooted in its traditions.

Frank Portelli, an artistic trailblazer in Malta, demonstrated his adaptability by perfectly integrating his craft into the burgeoning tourism industry. His ability to cater to the evolving tastes of this sector reflects not only his adaptability but also his keen understanding of the power of art to communicate identity and culture to a broader audience.

A striking aspect of Portelli's artistic repertoire lies in his foray into design, particularly in the realm of interiors. The mural at Mellieħa Bay Hotel exemplifies this fusion of art and design, where Portelli's creative touch transforms a hotel lobby into a cultural tapestry. The mural, once a dynamic focal point of space, employs viewers with a visual narrative that transcends mere decoration, becoming an integral part of the hotel's identity.

What sets Portelli apart as an artist is his audacious departure from convention, epitomized by his embrace of Crystal Cubism. This avant-garde style, which gained prominence during the First World War, is marked by its emphasis on formal abstraction over literal representation. In the Mellieħa Bay Hotel mural, this stylistic choice takes center stage as Portelli navigates away from a straightforward portrayal of workers. Instead, he delves into the formal aspects of Cubism, infusing the mural with a visual language that transcends the figurative.

The timing of Portelli's mural is significant. Created just after Malta gained independence in 1964, it becomes a potent symbol of the island nation anchoring its peculiar characteristics and customs. The mural, serving as a backdrop to the 'crowd' of portraits in the first part of 'The Artist' Galleries, becomes a forceful statement of identity and self-determination.

In conclusion, Frank Portelli's Mellieħa Bay Hotel mural is a masterpiece that goes beyond its role as decorative art. It is a vibrant chronicle of Maltese life, a testimony to Portelli's adaptability, and a bold statement of artistic audacity. In embracing Crystal Cubism, Portelli leaves an indelible mark on Malta's artistic heritage, inviting viewers to explore the intersection of tradition, innovation, and identity.

Figure 1: Maltese Crafts and Trades, Frank Portelli, 1968

Reference list:

Heritage Malta (2021). Maltese Crafts and Trades - MUŻA. [online] MUZA. Available at: https://muza.mt/maltese-crafts-and-trades/ [Accessed 21 Nov. 2023].

#art criticism #task 3 #maltese painting #maltese crafts and trades #Frank Portelli #oil on canvas

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nicholas1673 · 5 months

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The basic time line of history in art

My basic understanding of the history of art in the prehistoric era is that I know of it from my past research. The first art that existed was prehistoric art like the Paleolithic era in 500,000 BCE-10,000 BCE the media that they used were Cave Paintings like Lascaux, Altamira and Portable Art small sculptures also engravings. The materials that they used were natural pigments of ochre, charcoal, animal bones, stones, and clay. The techniques that they used were painting on cave walls using fingers, brushes made from animal hair, or blowing pigment onto surfaces. Engraving and carving on bone and stone. Sculpting small figurines from clay or stone. In the Mesolithic era in 10,000 BCE-6,000 BCE, the media that they used were Continued use of cave art, rock engravings, and portable art. The materials that they used were the same as in the Paleolithic era, with an increased use of more varied tools as technology advanced. In the Neolithic era 6,000 BCE-1,000 BCE the media that they used were Petroglyphs, Megalithic Art, and Pottery. The Materials that they used were stones, bone tools, and pottery. The techniques that they used were Engraving on stones and megaliths, pottery decoration using simple geometric patterns and later, more intricate designs. The themes that they worked on were mostly Hunting and animal imagery, Fertility and Motherhood, Ceremonial and Ritualistic Imagery, Connection to Nature, Shamanistic and Spiritual Imagery, Narratives and Storytelling, Toolmaking and Technology, and Identity and Community.

It's important to note that the prehistoric period was not uniform across the globe, and different regions developed at different paces. Additionally, the transition from prehistory to recorded history varied in different parts of the world, with the advent of writing systems marking the end of the prehistoric era. Prehistoric art was closely tied to the daily lives, rituals, and beliefs of ancient communities. The limited technology and materials available during these periods influenced the simplicity and directness of their artistic expressions.

Next was the ancient art period basic knowledge like Mesopotamian art in c. 3500 BCE - 2340 BCE (Sumerians, Akkadians, Babylonians, Assyrians), the themes that they worked on were Mythology and Religious: depictions of gods, goddesses, and mythological scenes were common in Mesopotamian art. Ziggurats and temples were built as religious structures., Power and Authority, royal figures and rulers were often portrayed in artworks, emphasizing their authority and connection to the divine. Steals and reliefs celebrated military victories., and Narrative art, cylinder seals were used for imprinting images onto clay and served as a form of early narrative art, depicting scenes from daily life, mythology, or religious rituals. The media that they used were cuneiform writing tablets, bas-reliefs, statues, and cylinder seals. The materials that they used were mudbrick, stone, and metals like bronze and clay. The techniques that they used were sculpture in the round, bas-relief carvings on palace walls, cylinder seal impressions, and pottery decoration as well as glazed bricks for colourful architectural ornamentation.

Egyptian Art in c. 3100 BCE - 30 BCE (Old Kingdom, Middle Kingdom, New Kingdom), the themes that they work on are Religious Symbolism: art reflects a deep religious belief, with depictions of gods, pharaohs, and afterlife rituals, Hieroglyphics and symbolic imagery conveying spiritual concepts., Funerary art: elaborate tomb paintings, sculptures, and artefacts were created to accompany the deceased to the afterlife. The Pyramids served as monumental tombs for pharaohs., and Stylized Portraiture: Pharaohs and elite individuals were depicted with idealized and stylized features, emphasizing their divine status and immortality. The media that they used were Hieroglyphs writing system, sculptures like Statues and Sphinx, and Wall Paintings. The materials that they used were limestone, granite, basalt, metals like gold and copper, and papyrus. The techniques they used were Hieroglyphic writing on temple walls and tombs, Sculpture using block construction, wall paintings in tombs with fresco and tempera, and jewellery-making with precious metals.

Greek Art in c. 900 BCE - 30 BCE (Archaic, Classical, Hellenistic), the themes that they work on are Mythological Themes: Greek art often depicted mythological narratives, with gods, heroes, and legendary events as popular subjects. The Parthenon's friezes, for example, showcase scenes from Greek mythology., Idealized Human Form: Sculptures emphasized the beauty and perfection of the human body, embodying the Greek ideals of balance, harmony, and proportion., and Political and Athletic Themes: art celebrated civic pride and the achievements of city-states. Athletic contests, such as the Olympics, were a common subject. The media that they used were sculptures like statues and reliefs, pottery, frescoes, and mosaics. The materials that they used were marble, bronze, terracotta, and clay. The techniques that they used were idealized sculpture of contrapposto, black-figure and red-figure vase painting, frescoes in public buildings, and architectural elements like the Doric, Ionic, and Corinthian columns.

Roman Art in c. 509 BCE-330 CE (Roman Republic, Roman Empire), the themes that they work on are Imperial Portraiture: portraits of emperors and political leaders were created to convey authority and power. Busts and statues were used for propaganda and public image., Architectural Innovation: Romans were known for their architectural achievements, including the use of arches, domes, and the construction of monumental structures like the Colosseum and the Pantheon., and Historical Reliefs: Trajan's Column in Rome features a continuous frieze depicting scenes from Trajan's campaigns, showcasing a narrative approach to art. The media that they used were sculptures like statues and busts, mosaics, frescoes, and murals. The materials that they used were marble, bronze, terracotta, concrete, and glass. The techniques that they used were realistic portrait sculpture, intricate mosaic floors, frescoes and murals in villas and public buildings, and concrete for architectural construction like arches and domes.

In other Ancient Cultures in c. 550 BCE - 651 CE the common techniques that were across ancient civilizations were sculptures depicting gods, rulers, and important individuals in various poses and styles., paintings decorating walls, pottery, and other surfaces with scenes from daily life, mythology, and religious rituals., relief carving creating raised or lowered images on stone or other surfaces., writing systems developing writing systems for communication, record-keeping, and religious texts., architectural techniques designing and constructing buildings, temples, palaces, and tombs using specific architectural styles and engineering methods. The eras that used those techniques are Persian Art often featured royal palaces and complex, decorative motifs. The Apadana at Persepolis, for instance, showcased processions and tribute-bearing figures., and Mesoamerican Art Maya, Aztec, and Olmec art featured symbolic representations of gods, rituals, and warfare. Hieroglyphic writing was used to record historical events.

These themes provide a broad understanding of the artistic priorities in ancient civilizations. It's essential to recognize the diversity within each culture and the historical context that influenced artistic expression.

Medieval art until nowadays basic understanding that I know of from my past research. In medieval art in c. 476 CE-1400 CE the themes that they worked on were Religious Iconography: predominantly focused on Christian religious themes., Hierarchical Representation: reflecting the social hierarchy and order., and Ornate Illuminated Manuscripts: detailed and intricate illustrations in religious texts. The media and materials that they used were illuminated manuscripts, stained glass, frescoes, tempera painting, parchment, and gold leaf. The techniques that they used were egg tempera, manuscript illumination, miniature painting, mosaic and gilding.

Renaissance in 14th-16th centuries the themes that they work on are Humanism: a renewed interest in classical humanistic values., Classical Mythology and History: inspired by Greek and Roman classical subjects., and Perspective and Realism: mastery of perspective and lifelike representation. The media and materials that they used were Oil painting on canvas, frescoes, tempera, bronze and marble sculptures. The techniques that they used were linear perspective, chiaroscuro means light and shadow, sfumato means blurring of edges, and contrapposto in sculpture.

In mannerism in the 15th-16th centuries the themes that they worked on were Distorted Proportions: deliberate exaggeration or distortion of forms., Unconventional Compositions: Asymmetry and complexity in compositions., and Intellectual Complexity: Symbolism and allegory in artworks. The media and materials that they used were Oil painting, frescoes, sculpture, and wood panels. The techniques that they used were elongation of forms, distorted proportions, artificial poses, and complex compositions.

Baroque in 17th century the themes that they work on are Dramatic Composition: Theatrical and dynamic compositions., Religious and Mythological Themes: Emphasis on religious narratives and classical mythology., and Ornate Detailing: Richly detailed and ornate decoration. The media and materials that they used were sculpture in marble, architecture, printmaking, and canvas oil paint. The techniques that they used were tenebrism (dramatic use of light and shadow), chiaroscuro, and dynamic compositions.

In Rococo in the Early 17th- the late 17th century the themes that they worked on were Elegance and Playfulness: Light-hearted and decorative aesthetics., Secular and Domestic Themes: Scenes from daily life, romance, and leisure., and Curves and Pastel Colors: Soft curves, pastel hues, and ornate details. The media and materials that they used were decorative arts, porcelain, interior design, and canvas oil paint. The techniques that they used were ornate detailing, pastel colours, and curved forms.

Neoclassicism in the late 17th-mid 18th century the themes that they worked on were Classical Influence: Inspiration from ancient Greek and Roman art., Heroic Themes: Depiction of heroic figures and moral virtue., and Clear Composition: Clarity, order, and rationality in compositions. The media and materials that they used were marble sculpture, architecture, prints, and canvas oil paint. The techniques that they used were the emphasis on classical ideals, clear composition, and idealized figures.

Romanticism in the late 17th-early 18th century the themes that they work on are Emotion and Individualism: emphasis on emotional expression and individual experience., Nature and the Sublime: the celebration of nature's beauty and power., and Nationalism and Folklore: incorporation of nationalistic themes and folk traditions. The media and materials that they used were lithography, literature, music, canvas oil paint and watercolour. The techniques that they used were expressive brushwork, emphasis on emotion, and atmospheric landscapes.

Realism in the mid-18th-late 18th century the themes that they worked on were Everyday Life: Depiction of ordinary, everyday scenes., Social Critique: Critique of societal issues and conditions., and Attention to Detail: Meticulous attention to realistic details. The media and materials that they used were photography, literature, canvas oil paint and photographic Plates. The techniques that they used were detailed representation, attention to everyday life, and social critique.

Art Nouveau in the late 18th-early 19th century the themes that they worked on were Organic Forms: Curved and flowing lines inspired by nature., Decorative Arts: Integration of art into everyday objects., and Symbolism and Whimsy: Use of symbolic motifs and fantastical elements. The media and materials that they used were decorative arts, graphic design, architecture, stained glass metal, glass, and wood. The techniques that they used were Organic forms, flowing lines, and intricate detailing.

Impressionism in the 18th century the themes that they worked on were Capturing Light and Atmosphere: Focus on the effects of light and atmosphere., Everyday Scenes: Depiction of ordinary scenes and landscapes., and Loose Brushstrokes: Visible and spontaneous brushwork. The media and materials that they used were outdoors plein air, painting canvas oil paint and watercolor. The techniques that they used were loose brushstrokes and emphasis on light and atmosphere.

Post-Impressionism in the late 18th-early 19th century the themes that they worked on were Individual Expression: Focus on personal expression and individual style., and Symbolism and Abstraction: Introduction of symbolism and exploration of abstract forms. The media and materials that they used were pointillism, symbolism and canvas oil paint. The techniques that they used were individual expression and the use of color symbolism.

Fauvisms in the late 18th -early 19th century themes that they worked on were Vivid Colors: Bold and non-representational use of colour and Brushstroke Expression: With emphasis on visible and expressive brushstrokes. Media: Oil painting. Materials: Canvas, Oil Paint. The techniques that they used were bold and non-representational use of color and expressive brushstrokes.

Expressionism in the early 19th century the themes that they worked on were Emotional Expression: Depiction of emotional states with distorted forms and Subjective Reality: Exploration of subjective and emotional experiences. The media and materials that they used were printmaking canvas oil paint, and woodcut. The techniques that they used were distorted forms, visible brushstrokes, and emotional expression.

Cubism in the early 19th century the themes that they work on are Geometric Abstraction: Fragmentation of forms into geometric shapes and Multiple Perspectives: Presentation of multiple viewpoints simultaneously. The media and materials that they used were canvas oil paint and Collage Elements. The techniques that they used were Geometric abstraction, multiple viewpoints, and fragmentation.

Futurism in the early 19th century the themes that they work on are Dynamic Motion: Depiction of movement, speed, and technology and Celebration of the Machine Age: Embrace of industrial and technological themes. The media and materials that they used were sculpture metal, literature and canvas oil paint. The techniques that they used were Dynamic motion and celebration of technology.

In Dada’s early 19th century, the themes that they worked on were Anti-Art and Absurdity: Rejection of conventional art norms and embrace of absurdity and Found Objects: Use of everyday objects in artistic expression. The media and materials that they used Collage, assemblage, performance art, found objects, and photomontage. Techniques: Anti-art sentiments, use of found objects, absurdity.

Surrealism in 1924-1966 century themes that they work on are Dreamlike Imagery: Exploration of dreamlike and fantastical imagery and Automatism: The use of automatic techniques to tap into the subconscious. The media and materials that they used were sculpture, drawing, canvas, oil paint, and photomontage. The techniques that they used were Dreamlike imagery, automatism, and symbolic representation.

Abstract Expressionism in 1943-1965 themes that they worked on were Gestural Abstraction: Emphasis on gestural brushstrokes and the act of painting and Emotional Expression: Expression of emotions through non-representational forms. The media and materials that they used were canvas oil paint and metal. The techniques that they used were gestural abstraction and emphasis on the act of painting.

Op Art in 1960-1970 the themes that they worked on were Optical Illusions: Use of geometric patterns to create optical effects and Contrast and Abstraction: Emphasis on contrast and abstract geometric forms. The media and materials that they used were graphic design, canvas acrylic paint and print. The techniques that they used were Optical illusions and geometric patterns.

Pop Art in 1950-1970 themes that they worked on were Popular Culture Imagery: Incorporation of everyday objects and mass media and Consumerism and Irony: Critique of consumer culture with elements of irony. The media and materials that they used were sculpture, printmaking, canvas acrylic paint and mass-produced objects. The techniques that they used were the Use of mass media imagery and everyday objects.

Arte Povera late 1960-1970 the themes that they worked on were Everyday Materials: Use of humble and everyday materials in art and Anti-Commercial: Opposition to commercialism and a return to simplicity. The media and materials that they used were assemblages, installation art, found objects, everyday materials, stone and wood. The techniques that they used were the Use of humble and everyday materials.

Minimalism 1960-1970 themes that they worked on were Simplicity and Geometry: Emphasis on simplicity, clean lines, and geometric forms, and Materiality: Focus on the physical and material aspects of artwork. The media and materials that they used were sculpture, installation art, painting, metal, plastic, and concrete. The techniques that they used were clean lines, geometric forms and focus on materiality.

Conceptual Art 1960-1970 themes that they worked on were Idea over Object: Prioritization of the concept or idea behind the artwork and Language and Text: Use of language and text as artistic materials. The media and materials that they used were various media including performance, installation, and language-based art, varied and depending on concept. The techniques that they used were the emphasis on the concept and idea, often challenging traditional artistic mediums and language-based art.

Postmodernism and Contemporary Art themes nowadays are working on Eclecticism by drawing from a variety of styles, genres, and cultural sources. Deconstruction challenging established norms and narratives., Multimedia and Technology incorporation of various media and technology., and Identity and Social Issues exploration of identity, social justice, and global concerns. The media and materials that we are using nowadays are multimedia, installation, digital art, performance, diversity, and incorporating found objects and technology. The techniques that we are using nowadays are eclecticism, appropriation, deconstruction and engagement with new technologies.

That is my basic understanding of the history of art and from history, a person can learn a lot and get interested, in effective combinations that can create the best art style nowadays by fusing the classical and the new to show new artwork and sculptures that people like to see or interested on a type of theme that they like or show an emotional feeling.

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