In Today’s class we looked at German Expressionism, specifically the works of Kirchner, Oskar Kokoschka and some Bleu Reiter and Die Bruke pieces. Through looking at the aesthetics of their work it appears that they focused on capturing primitivism through using bold expressive marks and a confident use of bright colours. I created this piece using oil pastels. We set our scene using a life model, plant life and a skeleton firstly masking the composition in Charcoal and then attacking the piece with bright colours and bold outlines.
Here are some images of the very first stages of my shaped bored painting. Using tonnes of green to create the under-painting, adding red to make the darkest shadows and adding yellow to create the highlights.
This week I have been studying the work of surrealist artists and have been mainly drawn to the idea of the unification of dream and reality. Im interested in appreciating surrealism as an enthusiasm for the world of dreams, and fantasies irrationality, and inspiration that values free-play, and imagination over convention, rules, and the imposition of social order. Im also linking this brief into my field project which is to create fantasy hidden cities. Therefore this is my design in pen of fantasy city hidden under ground which i intend to create a painting from on cut board.
in the first two decades of the twentieth century in search for a means of self expression people would affiliate themselves with Die Brucke and blau reiter, a group that looked at primitive art. During this time the works of Nietzsche popularised. Nietzsche understand modern man to be possessed of intellectual power and moral awareness, but considered these to be subservient to his psychological drives. Overcoming this state depended, Nietzsche felt, upon re-connecting with these primal drives. Nietzsche argues that the mastery of nature that man has gained through his rational mind has disconnected him from the world he seeks to dominate. Instead of the cool abstractions that he considers man to have produced through his conceptualisation of the world, Nietzsche believed that art could help man to rediscover the heat and intensity of his primal connection with the world. Sigmund Freud drew similar emphasis to “the primitive” in the development of his theory of Psychoanalysis, and his ideas of the unconscious, entered popular awareness in the first decades of the twentieth century. Freud considered that the human psyche is a dynamic structure shaped by opposing forces. The id is made up of instinctual, and unconscious drives, and the super-ego is the individual’s conscience, produced through the internalisation of societal norms, and morality. The ego or conscious mind integrates the drives of the id and the prohibitions of the super-ego, and neurosis are the outcome of a clash between these dynamically opposed aspects of the human mind. Freud felt that dream thoughts play an important role in working through tensions within the psyche, allowing for the “condensation and displacement of pictorial material”.Displacement is the process whereby excessive psychic tension based in one thought is literally displaced into another. The process of condensation is the embedding of the associations created by the displacement. Freud also considered that the dream work has the character of a “regression”. Indeed, the associations created in dreams provided a visual language that was drawn upon by many different artists in the 1920s and 1940s. This process began in the second decade of the 20th century when artists such as Max Ernst and Paul Klee shifted their focus onto the art of children and the mentally ill. Surrealism can be thought of both as a broad philosophical sense, as an enthusiasm for the world of dreams, and fantasies irrationality, and inspiration that values free-play, and imagination over convention, rules, and the imposition of social order. Surrealism can be thought of both as a broad philosophical sense, as an enthusiasm for the world of dreams, and fantasies irrationality, and inspiration that values free-play, and imagination over convention, rules, and the imposition of social order. Another Spanish artist Salvador Dali was heavily influenced by de Chirico’s landscapes. He settled in Paris in 1928, and he set about scandalising Parisian sensibilities. He produced film collaborations with Luis Bunel, such as Un Chien Andalou (1929), and L’Age d’or. (1930). These featured images of mutilation, and putrification. In summary the popularisation of Freud’s notions of the unconscious had a profound effect on the work of artists in the 1920s and 1930s. These developments centred around the Surrealist movement, which grew out of Paris Dada, but eventually broke with this group in order to bring about focused social transformation by releasing repressed and undisclosed thought and desire.
This is the third class of our painting project with James Green. By now we have finished our painting using hues of green as the under-painting and are starting new pieces using shaped boards as our canvas. The intention of today’s session was to design our boards and cut out it’s shape, ending with the priming of the board. I chose a design that reflected my field project, creating a hidden fantasy city which consists of a surface layer of the city scape and the fantastical underground fantasy world. By next Monday we need to have created and under-painting using grading hues and tonnes of green.