SUMMER15UVC9
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Transcript of SUMMER15UVC9
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ART 100Summer 2015
Class 9Considering Context
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agenda 7.14.15
paper feedback
Matisse and context
what is inside the frame [text] vs. whatever surrounds it [context]
synchronic vs. diachronic perspectives on a work of art
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Brassai, Matisse in His Studio on the Boulevard Montparnasse, 1934
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copper coffeepot, French, 19th century
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brass coffeepot, French, 19th century
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Vija CELMINSHiroshima1968graphite on acrylicon paper13 ½ x 18 inches
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synchronic [syn=together]
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synchronic
Both formal and semiotic analyses are synchronic in nature: they consider meanings generated by an arrangement of elements within a single moment in time.
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Synchronicunderstandingof a tree’s functions
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diachronicunderstandingof a tree [dimension of time is present]
Dia=across or through timeDiachronic analyses take into account meanings generated over time, including the accretion and depletion of meanings.
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Dia
chro
nic
dia=
acro
ss
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Diachronic analysis takes change into account. Meanings of cultural objects are dynamic over time. New meanings accrue to images, old ones fall away and have to be painstakingly recovered, if at all.
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looking at a visual image
start with your reactions and impressions
then ask yourself: how is the overall form is put together?
formal elements to considercomposition
line
color
shape
size
texture
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• make a list of all formal elements. these, along with the subject matter, will become your signifiers.
• write them down in a column on the left. in a column on the right, list the possible signifieds that correspond to these signifiers.
• now, look at the whole list of signifieds together. how do they add up to a meaning?
semiotic analysis
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Ganesha with His ConsortsCentral India, early 11th century (41 3/8 x 27 x 13 in.) Sandstone
But, what if we don’t knowwhat is signified? Or, what if we get it wrong?
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Who is Ganesha?
elephant-headed god
son of Shiva and Parvati
god of wisdom and learning
“remover of obstacles”
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Sandro Botticelli, Primavera (Allegory of Spring), c. 1482, o/c, 80 x 124 inches
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Sandro Botticelli, Primavera (Allegory of Spring), c. 1482, o/c, 80 x 124 inches
Zephyr
ChlorisFlora
Venus
Cupid
The Three GracesMercury
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Lorenzo LOTTOPortrait of Bishop Bernardo de' Rossi 150554 x 41 cmGalleria Nazionale di Capodimonte, Naples, Italy
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Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991
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our cultural horizons are very similar to the artist's
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possible contextual questions
• Individual style?
• Artist’s biography and preferences?
• Patron’s biography and preferences?
• Social, political, cultural, religious surroundin