Artist: Henry Matisse Title: Self-portrait Year: 1906 Medium: Oil on canvas Source: www.henrimatisse.org/henri-matisse-painting-gallery3.jsp#prettyPhoto[paintings]/167/ Artist: Ken Done
Title: "Me" Year: 1992 Medium: Oil and synthetic polymer paint on canvas Source: www.portrait.gov.au/ The bright splashes of colour paint captured my attention first. It is bold with both white and black highlights to draw your attention. Ken Done uses this contrast with other colours such as the wide open red mouth that is next to yellow, pink or green to cleverly draw the audience's attention (Glatstein, J, 2019). The simplicity of the self-portrait is in the lines created with the organic shapes and colour. Images of Australia are represented in the white outline of the harbour bridge, the waves of beach and yellow sand. Done's nod to cubism can be found in the yellow line of his profile that creates further shapes within the middle of his front on perspective. Here you can see the side view of eye, nose and mouth. While there is a riotousness of colour and line, Done keeps the balance of the self-portrait through the movement of the audience's eye from symmetrical but opposing sides of his face (Glatstein, J, 2019). Note how the red on his left forehead is balanced by the equally bold red on right jaw. While the pattern may be different, the pattern is small enough that the red dominates the space. This can be seen with the green to the left his chin, balanced with the green under his right eye. (Appraisal completed using the model provided by Roy, Baker and Hamilton (2019) in table 8.3 Suggestions for looking at art: questions to ask)
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resolved artwork
Self portrait 2021 Suzy Chandler Pastels, permanent marker on artpaper critical reflectionThe following Critical Reflection follows Gibbs's Reflective Learning Cycle (Gibb, 1988). Description Starting with the three self-portraits I used these as stimulus for my own resolved artwork. Before completing this artwork I also experimented with other forms of line drawing such as blind contour and gesture drawing. Feelings The perfectionist in me struggled with blind contour drawing; however, this made me focus on the lines and shape of my face. I completed a few blind contour drawings before I stopped cheating and looking at the page. I gained confidence once I realised I was doing myself a disservice to improve my drawing skills. Gestural drawing I was too certain in my pencil movement which I think is reflected in a too perfect form. But these two drawings provided the elements of my face. These line, shapes, scale, balance, proportion and balance (Kpikuet, n.d.) helped with drawing the plannar drawing which I liked best of all and used as my resolved artwork. Evaluation I liked plannar drawing and included this in the "In the classroom" section. The geometry of plannar drawing lends itself to cubsm. I liked the proportions of the resolved artwork; however the eyes lost their expression. This could be due to using a thicker permanent marker rather than changing the medium and using an outline pen. Analysis I did not have a set idea when I started. This took time to develop. Once I had completed my resolved artwork face I had no idea where to go from there. I knew I needed a background and as the plannar drawing has distinct lines I used these as a fracture or shattering effect to give texture to a flat surface. Conclusion I have only drawn in simple lines and never faces as I have always found these particularly hard. As with most things in learning, there is a process. This step by step process of understanding the proportions of the face (Hobdell, n.d., slide 4) gave a wonderful insight in how to segment the face. I found that I am quite detail orientated so I struggled with the gestural drawing and the fluid nature of the pencil where exact detail is not required. in the classroomLinks to Curriculum
Students will investigate and compare at least three artists and the movements. At least one is to be from an Aboriginal or Torres Strait Islander artist. Choosing a portrait, not necessarily a self-portrait, students will use the Table 8.3 from Roy, Baker and Hamilton (2019, p. 242) to reflect on their chosen portraits. By engaging and view others' artworks students will gain a deeper appreciation of "personal, cultural, social and historical contexts and develop skills in critical analysis" (Roy, Baker & Hamilton, 2019, p. 241). Figure 8 - Suggestions for Looking at Art (Roy, Baker & Hamilton, 2019, p. 242)
They are then to select one artist and create a resolved self-portrait using elements from chosen their artist. When selecting First Nations' artists, students are to be aware that they are creating their own artwork in the 'style' of First Nations' People. Parents and the community offer a source of professional artists learning opportunities and should be encouraged to increase not only students' knowledge and skills and also teachers (Cultural Ministers Council, 2012, p. 7).
Before commencing their final portrait, students are to complete a warm-up activity, "Draw a Cubism Portrait" (Barbro, 2020). Students will take photos of their faces front-on and in profile. They can then use these to draw their facial features. This is a time for them to experiment with use of line, colour and drawing techniques (ACARA, 2021, Visual Arts). Figure 9 - Draw a Cubism Portrait (Barbro, 2020)
Students will then complete their resolved artwork using their artist of choice. Again they will be able to experiment with ideas and practices of their chosen artist (ACARA, 2021, Visual Arts). Once artworks are complete they will be displayed in the classroom or elsewhere in the school for students to respond using their senses and emotions (Roy, Baker & Hamilton, 2019, p. 241). referencesAustralian Curriculum, Assessment and Reporting Authority. (2021). Australian Curriculum. https://australiancurriculum.edu.au
Barbro, K. (2020, April 6). Draw a cubism portrait. artprojectsforkids.org/another-cubism-face/ Chandler, S. (2021). Blind contour drawing [Drawing] Chandler, S. (2021). Gesture drawing [Drawing] Chandler, S. (2021). Plannar analysis drawing [Drawing] Chandler, S. (2021). Resolved artwork [Drawing] Cultural Ministers Council. (2012). National education and the arts statement. https://files.eric.ed.gov/fulltext/ED534617.pdf Done, K. (1992). Me [Painting]. National Portrait Gallery, Canberra, ACT. https://www.portrait.gov.au/ Gibbs, G. (1998). Learning by doing: A guide to teaching and learning methods. Further Education Unit. Oxford Polytechnic Glatstein, J. (2019). Formal visual analsysi: The elements and principles of composition. https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/articles-and-how-tos/articles/educators/formal-visual-analysis-the-elements-and-principles-of-compositoin/ Hobdell, G (n.d.) Visual arts week 2 arts practice: Portraits - semi-realist and cubist [PowerPoint slide]. teams.microsoft.com.mcas.ms/_#/pptx/viewer/teams/https:~2F~2Fcqu365.sharepoint.com~2Fsites~2FEDCU13018TheArtsHT12021~2FShared%20Documents~2FWeek%2002%20VISUAL%20ARTS~2FPortraits%20and%20styles.pptx?threadId=19:[email protected]&baseUrl=https:~2F~2Fcqu365.sharepoint.com~2Fsites~2FEDCU13018TheArtsHT12021&fileId=8ee61aa6-ebfb-462f-8d0f-aeb5c6f00a02&ctx=files&rootContext=items_view&viewerAction=view Kpikuet (n.d.). The elements and principles of art [Slideshare slides]. https://www.slideshare.net/kpikuet Matisse, H. (1906). Self-portrait [Painting]. www.henrimatisse.org/ Roy, D., Baker, W. & Hamilton, A. (2019). Teaching the arts: Early childhood and primary education (3rd ed.). Cambridge University Press Warhol, A. (1966). Self-Portrait [Painting]. www.moma.org/learn/moma_learning/andy-warhol-self-portrait-1966 Weebly. (2021). Background picture [Photograph]. https://www.weebly.com/editor/main.php#/ |