Introduction The artist uses a visual language to communicate ideas, beliefs, emotions, and opinions Content: Subject Analysis: Finding meaning Imitation and individual style Learning from the masters Developing a unique style

Content Content refers to the meaning and the subject of a work of art Identifying the subject of an artwork: Representational (one can identify the subject) Non-objective (unrecognizable subject matter) Abstraction

1. 161 Equestrian statue of Marcus Aurelius, c. 175 CE 1.161 Equestrian statue of Marcus Aurelius, c. 175 CE. Bronze, 11’6” high. Musei Capitolini, Rome, Italy

Equestrian statue of Marcus Aurelius Representational Recognizable as a man on a horse Artist tries to create realistic movement and expressions

1. 162 José de Rivera, Infinity, 1967 1.162 José de Rivera, Infinity, 1967. Stainless steel sculpture in front of National Museum of American History, Smithsonian Institution, Washington, D.C.

José de Rivera, Infinity Non-objective Unrecognizable subject matter Subjective: individual viewer creates his or her own interpretation

1.163 Allan Houser, Reverie, 1981. Bronze, 25 x 23 x 13”, edition of 10. Allan Houser Archives

Allan Houser, Reverie Representational Abstraction Can identify two faces Size of faces and positioning of forms suggest mother and child Abstraction To emphasize, distort or simplify forms The degree to which an artwork is less representational and moves toward non-objective

Modes of Analysis Iconographic Biographical Feminist Contextual Psychological Formal (or visual)

Iconographic Analysis Interprets signs and symbols within an artwork Historical and religious references

1. 164 Audrey Flack, Marilyn Monroe, 1977 1.164 Audrey Flack, Marilyn Monroe, 1977. Oil over acrylic on canvas, 8 x 8’. Collection of the University of Arizona Museum of Art, Tucson

Audrey Flack, Marilyn Monroe Representational: Marilyn Monroe Still life objects Symbols of vanitas (reminders of mortality): Time: Calendar, watch, hourglass Vanity: Cosmetics, mirror, jewelry, perfume Death and decay: Candle, fruit, flowers Wealth and fame: Marilyn, necklace Individual meaning: Our mortality Photograph of artist and her brother

Audrey Flack: Photorealism and Vanitas

Biographical Analysis Relates artist’s life and experiences to artwork Considers gender, race, nationality, and class

1.165 Eva Hesse, Hang-Up, 1966. Acrylic, cloth, wood, cord, and steel, 72 x 84 x 78”. Art Institute of Chicago

Eva Hesse, Hang-Up Representational Biographical analysis Empty frame Materials are wood, cloth, steel tube, and cord Biographical analysis Title may relate to issue (hang-up) artist has not resolved: Born a Jew in Nazi Germany Mother’s suicide Divorced The artist herself did not claim these associations

Feminist Analysis Role of women as: Artists Subjects Viewers

1. 166 Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814 1.166 Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814. Oil on canvas, 35⅞ x 63¾”. Musée du Louvre, Paris, France

Jean-Auguste-Dominique Ingres, Grande Odalisque Feminist analysis Objectified subject (nude woman in a harem) Male audience/viewer Pose is sensual and submissive

Contextual Analysis Interprets artwork based on time and place in which it was made Considers historical, religious, political, economic, and social factors

1.167 Leni Riefenstahl, still from Triumph of the Will, 1934

Leni Riefenstahl, still from Triumph of the Will Contextual analysis Film made for Hitler of his speech in Nuremberg in 1934 Film as propaganda for Nazi regime

Psychological Analysis Considers the mental state of the artist when the artwork was being made and uses this to help interpret the work

1. 168 Edward Hopper, Nighthawks, 1942. Oil on canvas, 33⅛ x 60” 1.168 Edward Hopper, Nighthawks, 1942. Oil on canvas, 33⅛ x 60”. Art Institute of Chicago

Edward Hopper, Nighthawks Psychological analysis Made during America’s entry into World War II Emotion conveyed through figures and setting

Formal Analysis Considers the elements and principles used by the artist Elements of art: line, shape, form, mass, volume, color, texture, space, time and motion, and value Principles of art: contrast, balance, unity, variety, rhythm, emphasis, pattern, proportion, and scale

1.169 Diego de Silva y Velázquez, Las Meninas, c. 1656. Oil on canvas, 10’5¼” x 9’¾”. Museo Nacional del Prado, Madrid, Spain

1.170 Detail of Diego de Silva y Velázquez, Las Meninas

Diego de Silva y Velázquez, Las Meninas Combining modes of analysis Formal analysis—Multiple focal points discovered: Princess Margarita King and Queen Velázquez painting Nieto in doorway Contextual analysis Identification of members of the court in scene Biographical analysis Artist’s desire to be knighted Artist’s relationship with King Philip IV Iconographical analysis Cross on Velázquez

What Is the Meaning of Las Meninas? Velázquez used Las Meninas to show his importance as a painter and his intimacy with the royal family

Diego Velázquez: Las Meninas

Imitation and Individual Style Artists often train themselves by studying and copying earlier masterpieces By referring to earlier masterpieces in new artworks, artists associate themselves with other artists who preceded them By studying other artworks, artists may learn how to differentiate themselves

1. 171 Picasso, Las Meninas, first in a series, 1957 1.171 Picasso, Las Meninas, first in a series, 1957. Oil on canvas, 6’4⅜” × 8’6⅜”. Museo Picasso, Barcelona, Spain

Picasso, Las Meninas Picasso painted 45 paintings using a poster of the original Las Meninas (by Velázquez) as a model Picasso competing with earlier Spanish master

Comparison Compare the original Las Meninas by Velázquez with the reinterpretation by Picasso

1. 172 Thomas Struth, Museo del Prado 7, 2005 1.172 Thomas Struth, Museo del Prado 7, 2005. Chromogenic print, 5’⅞” × 7’2”

Thomas Struth, Museo del Prado 7 Artist is studying the act of looking Discuss whether the students are viewers or are subjects of an artwork Consider the experience of looking at this photograph while it hung next to Las Meninas in the Prado

Conclusion Artworks can be representational or non-objective; the degree to which they are non-objective is based upon the level of abstraction Best interpretations are based on synthesis of several modes of analysis Artists often look to earlier artists for inspiration

Vincent van Gogh in His Own Words For a video that uses formal analysis, watch: Thomas Cole: The Oxbow For a video that uses formal and contextual analysis, watch: Sandro Botticelli: The Birth of Venus For a video that uses biographical and psychological analysis, watch: Vincent van Gogh in His Own Words

Gateways to Art: Understanding the Visual Arts This concludes the PowerPoint slide set for Chapter 1.10 Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Copyright © 2011 Thames & Hudson

Picture Credits for Chapter 1.10 1.161 iStockphoto.com 1.162 © Andia/Alamy 1.163 Allan Houser archives © Cliinde LLC 1.164 Collection University of Arizona Museum of Art, Tucson, Museum purchase with funds provided by the Edward J. Gallagher, Jr Memorial Fund 1982.35.1. © the artist 1.165 The Art Institute of Chicago, Gift of Arthur Keating and Mr. and Mrs. Edward Morris by exchange, April 1988. © The Estate of Eva Hesse. Hauser & Wirth. Photo Susan Einstein, courtesy The Art Institute of Chicago 1.166 Musée du Louvre, Paris 1.167 Courtesy Archiv LRP 1.168 The Art Institute of Chicago, Friends of American Art Collection, 1942.51 1.169 Museo Nacional del Prado, Madrid 1.170 Museo Nacional del Prado, Madrid 1.171 © Succession Picasso/DACS, London 2011 1.172 © 2012 Thomas Struth