Style, Form, and Content Compare/Contrast Compare/Contrast The duty of an artist is to strain against the bonds of the existing style.

–Philip Johnson • There are several characteristic methods of expression that have developed that are referred to as style. • The content of a work includes not only its form but also its subject matter and its underlying meanings or themes. • Awareness of style, form, and content helps the viewer understand and appreciate the visual arts more fully. The Language of Art

• With the “Language of Art,” we are able to communicate thoughts and feelings about our visual and tactile experiences in our world. STYLE

• Style - The handling of distinctive elements and particular media throughout the various artistic periods associated with the work of an individual artist, a school or movement, of a specific culture or time period. Art, Culture, and Context • Variations in style are sometimes linked to: – use of different media – diverse cultural contexts – characteristic approach of the artist to the subject

“Context has a profound influence on style.” Art, Culture, and Context One of the best ways to illustrate stylistic differences is to examine a group of artworks with a common theme, such as the “couple”.

 The works of most artists are a product of their culture and time.

There are LOTS of styles in art, and they change often, yet there are some standards. Fig. 4.1, p.92: Amorous Couple (Mayan, Late Classic, 700–900 CE). Polychromed ceramic. H: 9-3⁄4”. Amorous Couple (Mayan, Late Classic, 700– 900 CE). Polychromed ceramic. H: 9-3⁄4”

• Garments, hairstyles, facial features link to the life and times of the Yucatecan people before onslaught of the Europeans Fig. 4.2, p.92 ROY LICHTENSTEIN. Forget It, Forget Me! (1962). Magna and oil on canvas. 79-7⁄8” x 68”. ROY LICHTENSTEIN. Forget It, Forget Me! (1962). Magna and oil on canvas. 79-7⁄8” x 68”

• Context of piece relates connects it to United States in the 1960s Fig. 4.3, p.93 HENRI DE TOULOUSE-LAUTREC. The Two Girlfriends (1894). Oil on cardboard. 48 cm x 34.5 cm. HENRI DE TOULOUSE-LAUTREC. The Two Girlfriends (1894). Oil on cardboard. 48 cm x 34.5 cm.

• Context of turn-of-the-century Paris Fig. 4.4, p.93 ROBERT MAPPLETHORPE. Ken Moody and Robert Sherman (1984). Photograph. ROBERT MAPPLETHORPE. Ken Moody and Robert Sherman (1984). Photograph

• Draws attention to what it is like to be gay, living in America in the 1980s Fig. 4.8, p.95 BARBARA HEPWORTH (1903–1975). Two Figures (Menhirs) (1954–1955). Teak. H: 54”. BARBARA HEPWORTH (1903–1975). Two Figures (Menhirs) (1954–1955). Teak. H: 54”

• More difficult to decipher because of abstract qualities • Hepworth aims to separate work from context by reducing figures to most common denominators • Organic, vertical shapes with voids BARBARA HEPWORTH (1903–1975). Two Figures (Menhirs) (1954–1955). Teak. H: 54”

• But when viewed in the context of the grouping of couples, it seems to belong, if in a more subtle, vague way Fig. 4.9, p.97 GRANT WOOD. American Gothic (1930). Oil on beaverboard. 29-7⁄8” x 24-7⁄8”. GRANT WOOD. American Gothic (1930). Oil on beaverboard. 29-7⁄8” x 24-7⁄8”.

• Very realistic portrait • Concerning virtues of the rural life in America • Overall feel is solid, stoic, and monotonous • Notice repetition of pitchfork pattern in man’s shirt, upper-story window of house, and plant on porch Fig. 4.10, p.97: DONNA ROSENTHAL. He Said . . . She Said: “Let’s get physical”—“Do you think I’m sexy” (1999). Mixed media. Suit: 12” x 12” x 1-1⁄2”; dress: 10” x 8” x 8”. DONNA ROSENTHAL. He Said . . . She Said: “Let’s get physical”—“Do you think I’m sexy” (1999). Mixed media. Suit: 12” x 12” x 1-1⁄2”; dress: 10” x 8” x 8”. • Physical couple is missing from work • The clothes represent the couple, and give us insight into them • Suit and party dress made from discarded books and newspapers. • Thoughts and feelings are broadcasted plainly. DONNA ROSENTHAL. He Said . . . She Said: “Let’s get physical”—“Do you think I’m sexy” (1999). Mixed media. Suit: 12” x 12” x 1-1⁄2”; dress: 10” x 8” x 8”. • Cultural gender stereotypes expressed. • Conceptual art: the ideas being expressed by the artist have greater meaning than their physical expression. 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 Realistic Art realism - is the portrayal of people and things as they are seen by the eye or as they are thought to be without idealization, without distortion.

Realism - (with a capital R) also defines a specific school of art that flowered during the mid-nineteenth century in France. Realistic Art cont.

We think of most photography as realistic: • The technique of shooting, capturing, and documenting, suggests candid truth, and reality. Realistic versus Representational Art • Representational art presents natural objects in a recognizable manner, although not a realistic form. • Representational art or figurative art - is defined as art that portrays, however altered or distorted, things perceived in the visible world. Expressionistic Art

• In expressionistic art, form and color are freely distorted by the artist in order to achieve a heightened emotional impact

• Expressionistic - also a modern art movement

Abstract Art

• Abstract - Art that departs significantly from the actual appearance of things. • Nonobjective - Art that makes no reference to nature or reality. Fig. 4.11, p.98: JUDY PFAFF. Voodoo (1981). Contact paper collage on Mylar. 98” x 60” (framed). How to tell the difference

 Realistic Art

 Representational Art

 Abstraction

 Non-Objective Art 1.161 Equestrian statue of Marcus Aurelius, c. 175 CE. Bronze, 11’6” high. Musei Capitolini, Rome, Italy Chapter 1.10 Content and Analysis PART 1 FUNDAMENTALS

Equestrian statue of Marcus Aurelius

. Representational

 Recognizable as a man on a horse

 Artist tries to create realistic movement and expressions

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields 1.162 José de Rivera, Infinity, 1967. Stainless steel sculpture in front of National Museum of American History, Smithsonian Institution, Washington, D.C. Chapter 1.10 Content and Analysis PART 1 FUNDAMENTALS

José de Rivera, Infinity

. Non-objective

 Unrecognizable subject matter

 Subjective: individual viewer creates his or her own interpretation

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields 1.163 Allan Houser, Reverie, 1981. Bronze, 25 x 23 x 13”, edition of 10. Allan Houser Archives Chapter 1.10 Content and Analysis PART 1 FUNDAMENTALS

Allan Houser, Reverie

. Representational

 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

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields COMPARE + CONTRAST

• The style of a work of art refers to the characteristic ways in which artist’s express themselves and the times in which they live. • Conceptual art - The ideas being expressed by the artist are more important than their physical expression. Copy nature and you infringe on the work of our lord. Interpret nature and you are an artist. -- JACQUE LIPCHITZ

• Artist often title abstract works to provoke thought. • They may title a work “untitled” to avoid associations created by the title. • They may deliberately title a nonobjective work based on some association triggered by the work. • One of the issues that viewers have with non- objective work is that they want to it to make sense. Nonobjective work is just that, nonobjective. FORM

• Form incorporates elements, design principles, and composition in a work of art. This might include: – Color – Texture – Shape – The illusion of 3D – Balance – Rhythm – Unity of design • Formalistic criticism involves the elements and design but not the historical or biographical elements of a work of art. Content

Content - everything included in a work of art • The content of a work of art not only refers to lines and forms but also its underlining meanings or themes. The Levels of Content in a Work of Art Three levels of content: • Subject Matter • Elements and composition • Underlying or symbolic meanings or themes Compare + Contrast

• An awareness of the historical circumstances under which a work of art was created, understanding what is new about its style and composition help the viewer appreciate its significance. • Understanding the relationship between these next two pieces, makes each more meaningful to the viewer. Fig. 4.12, p.99 JACQUES-LOUIS DAVID. Death of Marat (1793). Oil on canvas. 63-3⁄4” x 49-1⁄8”. Fig. 4.13, p.99 SANDOW BIRK. Death of Manuel (1992). Oil on canvas. 33” x 25”. • Similarity based on elements and composition. • Marat is found dead in his bath, murdered by a counterrevolutionary fanatic named Charlotte Corday • Viewer is brought face to face with slaughtered hero • Birk’s Manuel is in the same pose, bu the bath has been replaced with a Chevy Impala, filled with bullets • May not be the same subject matter, but the comparison to David’s piece suggests revolution, heroism, and murder of unsuspecting victim. Figure 4.14, p.100: JACQUES-LOUIS DAVID. The Oath of the Horatii (1784). Oil on canvas. 11’ x 14’. JACQUES-LOUIS DAVID. The Oath of the Horatii (1784). Oil on canvas. 11’ x 14’.

• David worked for the King of france in the days before the french revolution • The painting became an instant symbol of the revolution. • The loyalty, courage, and sacrifice it portrayed were an inspiration to the masses • Depicts three brothers, the Horatii, swearing their allegiance to Rome on swords held high by their father. • They pledge to come back victorious, and their body language conveys strength, commitment, and bravery JACQUES-LOUIS DAVID. The Oath of the Horatii (1784). Oil on canvas. 11’ x 14’.

• Pictorially, it is also groundbreaking. • Compresses space, and makes us concentrate on the figures in the foreground. • Knowing the historical background helps us appreciate its significance Iconography

Iconography - The study of the themes and symbols in the visual arts. • In fine art, winter is a common symbol of death and aloneness. • Fall is a common symbol of harvest and decline. • Awareness of symbolism can enrich the viewing experience. Types of Analysis

Iconographic Analysis: interprets objects and figures as signs or symbols Biographic Analysis: considers the artist's personal experiences and how that may have affected the making or meaning Contextual Analysis: looks at the work in its context (historical, religious, political, economic, social, etc) Psychological Analysis: investigates an artwork through interpretation of the mental state of the artist Feminist Analysis: considers the role of women in artwork, as subject, creators, patrons, and viewers Formal Analysis (formalism or visual analysis): analyzes the artwork's use of the elements and principles of art Elements and Principles

• Elements: line, shape, light and value, color, texture, space, time and motion,... volume, form, mass

• Principles: unity, variety, balance, emphasis, focal point, rhythm, scale, proportion, ...contrast, pattern