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FND 152ART CRITICISM
NAME: NUR HIZWAN BIN HASSANMATRIX NUM.: 2010462716NAME: MUHAMMAD AMIRUL HILMI BIN
MD AYOBMATRIX NUM.:2010873152NAME: AHMED AHMED AIZAT IMAN BIN
ABBAS
MATRIX NUM.: 2010884086NAME:MATRIX NUM.:GROUP: TD2G/AD1112GLECTURER:SESSION: DEC-APR 2011
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K OWLE GE E
Assalamualaikum and good day,
reetings to all readers and may peace be upon you. his is my our first team
academic writing assignment for F 152, so anything incoherent or irrelevant with
our work, we are terribly sorry because this is our initial project in this topic.
Anyway,this is the acknowledgement part, so we will not waste anymore time in
briefing up the names of the resources providers and the people who had work
behind the the scenes in helping us to finish up this assignment which is due on
13/4/2011 sharp. e would like to thank all of the perpetrators that had b een
involved in the making of our first baby here, especially to the providers of the
information regarding our work, and to izwans roommate, afiz for lending him his
priceless book, the Art Fundamentals in finding the facts and fictions about the art
theories and principles. ith the achievement of technology today, we had managed
to incorporated a lot of ideas in establishing my work, by utilising the marvel or
modern technology, the internet. So to speak, we had managed to find many data
conclusive with our work, the assignment given to us by our current lecture, friendly
self acclaimed r. Addy. ebsites like the world renowned ikipedia for i nstance,
had made us understood about certain parts in the syllabus of the subject. Also not
forgetting our previous lecture and our current lecturer for educating us in
understanding the roots and essences of Art . But with the utmost respect, we would
like to thank Allah S. . ., praises to im in giving us the chance to make such a
high quality product in such a short time without any hard obstacle.
In conlusive, without anyones help, it migh t be literally impossible for us to finish up
our assignment here and with all our paws clutch together, we would to thank all,
again, for lending your helping hand. hank you all and thank you for reading.
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I O U IOThis academic writing is acooperation between 4 minds and soul to initiate a task
given to us which is this. Ithout any further a do, we will talk back straight to the
point. ur lecturer, r. Addy had taught us about A T ITI IS and terms
regarding the subject matter. In a sense, this academic writing is about the topic,
which is A T ITI IS . The information regarding the critic on the chosen
modified artwork of the fantasy landscape are archived here, in this report. etailed
information about the original painter, embrant and the modified works creator are
also depicted in this work. Based on the our example work on how to research on an
artwork, readers can easily understand what the artist back then and nowadays
wanted to tell. Their stories, rather bad or not, whether based on their childhood
experiences or just by following the occurring situation in today mass media, people
will able to take in the input without much of a hassle. This academic writing cover
up to the four main part in art criticism, which is the description typically about the
general infos on the work, analysis mainly about the principles and element in an
artwork, interpretation about the hidden message in the art work and its contextual
meanings and lastly the judgement this is where someone criticize the artwork, the
main point of this academic report.
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RI INA R IMA E
R t H V Rij P
t it
f
il
Oil
1666-68
H A t Ul i -M , B i
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ES IP IO O HE O IGI L
WO K
y Original Version
Title : A Potrait of a Family.
Subject : A family. A father and a mother, with 3 children.
Image : A potrait painting of a family, with no backdrop.
bject: A bowl of fruits.
edia : il on canvas
Technique : Brush stroke
Year: 1668
Format : andscape
Style : sing strong lights and heavy shadows to create depth in a paintingand a centre of interest.
y History of the Painting:
Portrait of a Family is an oil on canvas painting by the dutch painter and
etcher embrandt van ijn. It was painted in 1666 -68. This family portrait is
one of the last pictures painted by embrandt. It is undated but must have
been made in the last years of his life.
It is in his very bold late manner.
the paint applied in broad strokes, the surface texture built up with both the
brush and palette knife.T
his painting is currently housed in the erzog Antonlrich-Museum, Braunschweig.
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bout the artist:
eal name is embrandt armenszoon (son of armen) Van ijn (a family
came from the hine iver area).
Born in 1606, nited Provinces of etherland.
created his distinctive portraits with a small palette of colours dominated by
dark earth tones and golden highlights
e was a master of chiaroscuro, an Italian term f or a style using strong lights
and heavy shadows to create depth in a painting and a centre of interest
inth of the 10 children, was greatly educated -
math,literature,geography,history.
Began his artistic studies under Jacob I. van Swanenburch, a history p ainter
who had spent some time in Italy.
In 1625,he returned to eiden,set up his own independent studio,in 1629 he
began the first of his numerous self-portraits (Self Portrait, 1929). The
paintings he completed in his eiden studio show a more mature use of
chiaroscuro technique than his master, astman. ied on 1669.
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embrandt armenszoon van ijn (July 15, 1606 ctober4, 1669) was a utch
painter and etcher. e is generally considered one of the greatest painters and
printmakers in European art history and the most important in utch history. is
contributions to art came in a period t hat historians call the utch olden Age.
aving achieved youthful success as a portrait painter, his later years were marked
by personal tragedy and financial hardship. Yet his etchings and paintings were
popular throughout his lifetime, his reputation as an artist remained high,and for
twenty years he taught nearly every important utch painter. embrandt's greatest
creative triumphs are exemplified especially in his portraits of his contemporaries,
self-portraits and illustrations of scenes from the Bibl e. is self-portraits form a
unique and intimate biography, in which the artist surveyed himself without vanity
and with the utmost sincerity.
In both painting and printmaking he exhibited a complete knowledge of classical
iconography, which he molded to fit the requirements of his own experience; thus,
the depiction of a biblical scene was informed by embrandt's knowledge of the
specific text, his assimilation of classical composition, and his observations of
Amsterdam's Jewish population. Because of his empathy for the human condition,
he has been called "one of the great prophets of civilization." ife
Self-portrait in a cap, with eyes wide open, etching and burin,
1630. embrandt
armenszoon van ijn was born on July 15, 1606 in eiden, the etherlands. e
was the ninth child born to armen erritszoon van ijn and eeltgen
illemsdochter van uytbrouck. is family was quite well-to-do; his father was a
miller and his mother was a baker's daughter. As a boy he attended atin school and
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was enrolled at the niversity of eiden, although according to a contemporary he
had a greater inclination towards painting; he was soon apprenticed to a eiden
history painter, Jacob van Swanenburgh, with whom he spent three years. After a
brief but important apprenticeship of six months with the famous painter Pieter
astman in Amsterdam, embrandt opened a studio in eiden in 1624 or 1625,
which he shared with friend and colleague Jan ievens. In 1627, embrandt began
to accept students, among them errit ou.
In162
9 embrandt was discovered by the statesman onstantijn uygens, the
father of hristiaan uygens (a famous utch mathematician and physicist), who
procured for embrandt important commissions from the court ofThe ague. As a
result of this connection, Prince Frederik endrik continued to purchase paintings
from embrandt until 1646.
At the end of1631, embrandt moved to Amsterdam, then rapidly expanding as the
new business capital of the etherlands, and began to practice as a professional
portraitist for the first time, with great success. e initially stayed with an art dealer,
endrick van ylenburg, and in 1634, married endrick's cousin, Saskia van
ylenburg. Saskia came from a good family: her father had been lawyer and
burgemeester (mayor) of eeuwarden. hen Saskia, as the youngest daughter,
became an orphan, she lived with an older sister in et Bildt. They were married in
the local church of St. Annaparochie without the presence of his relatives. In the
same year, embrandt became a burgess of Amsterdam and a member of the local
guild of painters. e also acquired a number of students, among them Ferdinand Bol
and overt Flinck.
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Portrait of Saskia van ylenburg, ca. 1635.In 1635 embrandt and Saskia moved
into their own house, renting in fashionable ieuwe oelenstraat. In 1639, they
moved to a prominent house (now the embrandt ouse Museum) in the
Jodenbreestraat in what was becoming the Jewish quarter; the mortgage to finance
the 13,000 guilder purchase would be a primary cause for later financial difficulties.
e should easily have been able to pay it off with his large income, but it appears his
spending always kept pace with his income, and he may have made some
unsuccessful investments. It was there that embrandt frequently sought his Jewish
neighbors to model for his ld Testament scenes. Although they were by now
affluent, the couple suffered several personal setbacks; their son umbartus died
two months after his birth in 1635 and their daughter ornelia died at just 3 weeks of
age in 1638. In 1640, they had a second daughter, also named ornelia, who died
after living barely over a month. nly their fourth child, Titus, who was born in 1641,
survived into adulthood. Saskia died in 1642 soon afterTitus's birth, probably from
tuberculosis. embrandt's drawings of her on her sick and death bed are among his
most moving works.
uring Saskia's illness, eertje ircx was hired as Titus' caretaker and nurse and
probably also became embrandt's lover. She would later charge embrandt with
breach of promise and was awarded alimony of 200 guilders a year. embrandt
worked to have her committed for twelve years to an asylum or poorhouse (called a
"bridewell") at ouda, after learning eertje had pawned jewelry that had once
belonged to Saskia, and which embrandt had given her.
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In the late 1640s embrandt began a relationship with the much younger endrickje
Stoffels, who had initially been his maid. In 1654 they had a daughter, ornelia,
bringing endrickje a summons from the eformed hurch to answer the charge
"that she had committed the acts of a whore with embrandt the painter". She
admitted this and was banned from receiving communion. embrandt was not
summoned to appear for the hurch council because he was not a member of the
eformed hurch. The two were considered legally wed under common law, but
embrandt had not married enrickje, so as not to lose access to a trust set up for
Titus in his mother's will.
embrandt's son Titus, as a monk, 1660. embrandt lived beyond his means, buying
art (including bidding up his own work), prints (often used in his paintings) and
rarities, which probably caused a court arrangement to avoid his bankruptcy in 1656,
by selling most of his paintings and large collection of antiquities. The sale list
survives and gives us a good insight into his collections, which apart from ld Master
paintings and drawings included busts of the oman Emperors, suits of Japanese
armor among many objects from Asia, and collections of natural history and
minerals; the prices realized in the sales in 1657 and 1658 were disappointing. e
also had to sell his house and his printing -press and move to more modest
accommodation on the ozengracht in 1660. The authorities and his creditors were
generally accommodating to him, except for th e Amsterdam painters' guild, who
introduced a new rule that no one in embrandt's circumstances could trade as a
painter. To get round this, endrickje and Titus set up a business as art -dealers in
1660, with embrandt as an employee.
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In 1661 he (or rather the new business) was contracted to complete work for the
newly built city hall, but only after overt Flinck, the artist previously commissioned,
died without beginning to paint. The resulting work, The onspiracy of laudius
ivilis, was rejected and returned to the painter; the surviving fragment is only a
fraction of the whole work. It was around this time that embrandt took on his last
apprentice, Aert de elder. In 1662 he was still fulfilling major commissions for
portraits and other works. hen osimo III de' Medici, rand uke of Tuscany
visited Amsterdam in 1667, he visited embrandt at his house.
embrandt outlived both endrickje, who died in 1663, and Titus, who died in 1668,
leaving a baby daughter. embrandt died within a year of his son, o n ctober 4,
1669 in Amsterdam, and was buried in an unmarked grave in the esterkerk.
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ANALYSISOriginal Version
Element:
ine- structure line, blur line.
olour- hot colour:red , cold colour:green.
Shape- plastic shape.
Form- organic form.
Space- deep space.
Texture- simulated texture.
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Original Version
Principle
Balance- Informal balance.
Emphasis- Figure on foreground..
hythm- pattern on childs clothes.
armony- the colour.
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INTE P ETATION
Original Version
The work painted by embrant depict a potrait of a family.
There are hidden messages embedded in this painting.
The facial expression on the mothers face contrast with the
childrens faces.
Eventhough family potrait should be a happy scene, the
background were dull and gloomy, stating a problem within
the family. The black background suggest hidden problems.
sage of fake smiles, telling people that the parent are sad
within.
The bright colour on the childrens suggest that childrens are
carefree, nave. In a sense, even the most perfect family have
their own personal issues.
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JU GE ENT
Original Work
The artwork has a clear,subtle family message. hen people see this
artwork, the message can be clearly interpreted by them. The work is a great
masterpiece but it still carries embrant;s old style, which is kind of obselete
and clich. The messages direct approach helps the painting to stand out.
The family was from a state of despair but tried to hide their feeling, innermost
feeling which is mostly sad.
The artwork is just the right proportion, with revelant plays with the light and
shadow, creating a gloomy appearance in the painting.This surely show the
artists talent in the techniques of drawing.
nfortunately, the drawing are not that talkative with the audience, people
who are not really Into art might have their interpretatio n of the painting rather
vary.
The painting high aestathic value only can be understand and accepted by the
upper society, as lower class failed to comprehend its literal meaning
But still, this painting have its own soul in its. Making it stand out eventhough
with little image and depictions.
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M DIFIED R IMA E
Hi H
Vi
V
f
il
Mi i
40 76.5
2011
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ES IPTIONABOUTTHEO I IE ARTWORK
odified Version
Title : Vice Versa of a Family.
Subject : A family. A father and a mother, with 3 children.
Image : A potrait painting of a family, with an outdoor background
bject: A bowl of fruits, a tree,and a speech bubble.
Media : Mixed media on paper
Technique : Photoshopped with drawing.
Year: 2011
Format : andscape
Style : sing strong lights and heavy shadows to create depth in a paintingand a centre of interest plus a moderate lighting
Artist : ur izwan.
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ANALYSISodified Version
Element:
ine- structure line, blur line.
olour- hot colour:red , cold colour:green.
Shape- plastic shape.
Form- organic form, geometric form.
Space- deep space.
Texture- simulated texture.
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odified Version
Principle
Balance- Informal balance.
Emphasis- Figure on foreground.
hythm- pattern on childs clothes.
armony- the colour.
nity- the figure compliments the background.
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INTERPRETATIONy Modified Version
sage of a more friendly theme setting as the background to
comprehend the tactile original that contradict with more gloomy
atmosphere eventhough its a painting of a family portrait.
The artist had implied a more humourous, family theme in the
modification, as he wanted to show a picture like expression,
used the word cheese..! as a stereotype in a photoshoot.
As the mothers facial expression vaguely show happiness, its
clearly shown tints of sadness.
By the mean of fantasy themed modification, he had proposed
a more happy perspective of the drawing, truly a fantasy of the
original. In another side point of view, this is hard sarcarsm on
embrants style of painting, which are mostly serious themed.
The tree represent the family relationships, its getting weaker by
the time, when its supposed to be growing stronger.
The choosing of the father for the speech bubble, was because a
father should be the one who lead the family with love and not
hate and gloom. The speech bubble is a mocking of the father.
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JU GEM
ENT
y Modified Work
As a sarcasm to the original, the new and vibrant work has clearly jumped off
the roof. It have opposite message from the original work and even with
immature style and very basic addition of modification,it still spea ks with
clarity about its messages to the public.
The artwork unfortunately is too immature, not that suitable for an upper class
as they really appreciate good authentic art. But this kind of work are the new
revolutionary type, in-sync with today modernization, in other word a fusion
from the past and the present.
Its real advantage is that its has subtle approach, a real fantasy brought in as
a metaphor to the real one, really ripping embrants perc eption about family.
Joy should be there, as it is should be adorned, kept and maintain, there is a
silver lining in every cloud thus sadness and sorrow are not to be stored in the
family as it will be a cancer in the family.
ther than that, it is clearly have more friendlier approach toward the
audience rather than the original work by embrant itself, making people
easier to take in the input about the artwork, having no headaches doing it.
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CONCLUSION
After an almost a complete semester of the university circa, we had been taught by
Mr Addy about the theories in art, with its understanding and also with hands -on
method to be noted. From what we have learned in the the almost four month circle,
we are now able to differentiate what elements and principle s are, the terms in art
and their structural hierarchy in the art world. e are also now competent enough to
decipher what the artist wanted to tell to the observer of ther artwork. In most cases,
the artist, rand Master usually, are really clever, puttin g their secret stories,
meanings in an artwork, so its relly hard to comprehend what they are trying to
convey to us. ith proper knowledge, like the one that we had gained in Mr. Addys
class throughout the semester, we can interpret that particular meani ng. e also are
now more observant, with art senses at its peak, able to speak about the values in
art, th principles and their elemant in an artwork, the artists styles and their
proficiency ,and not forgetting about the artist itself. These information and the
knowledge are important for us as designers ourselves, we need to value and create
an artwork that have its own meanings, and are able to conveys it meanings towards
the audiences. ithout this subject, thy we are lost in the abysm of time, thee no t
slumber, thee not walk, we are paralyzed in perpetual incompleteness of the art
world.
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RE ERENCES
Books
y cvirk, Stinson, igg, Bone, ayton. Art Fundamentals, Theory and Practice.
Mc raw ill. 11th Edition. 2009.
y Jurgen Tesch, Eckhard ollman, Icons of Arts, The 20th
entury,Prestel.
y Mohd Johari Abd. amid, Falsafah dan Kritikan Seni, 2 nd Edition, Penerbit
niversiti Pendidikan Sultan Idris Tanjong Malim, 2007.
Webs
y http//:www.wikipedia.com/rembrants
y http//:www.wahoo-art.com/portrait-of-a-family
y http//:www.olga-galleries.com
y http//:www.about.com/black-colour-meaning
y http//:www.cbe.com/glossary
y http//:www.yahoo-answer/what-is-the-meaning-of-rhythm-in-art?
y http//:www.wikipedia.com/principles-of-arts
y http//:www.arttermsanddefinitions.com
y http//:www.incredibleart.org