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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

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