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					                                                 GRADE NINE


COMB
ANONYMOUS ARTIST
THULE PERIOD, 1000-1600

-THULE PEOPLES SUCCEEDED THE DORSET CULTURE IN
ARCTIC CANADA AND GREENLAND, AND WERE THE
PREDECESSORS OF MODERN INUIT
-A DEPENDENCE ON THE WHALE HUNT ENCOURAGED
THULE PEOPLES TO SETTLE IN PERMANENT
COMMUNITIES
-THIS AFFORDED A GREATER STABILITY OF LIFESTYLE
AND TIME TO DEVELOP TECHNIQUES IN THE
PRODUCTION OF SMALL CARVED OBJECTS, INCLUDING
THE USE OF SHARPER, MORE SOPHISTICATED TOOLS TO
CREATE MORE REFINED DETAILS SUCH AS DRILL
HOLES OR GEOMETRIC PATTERNING (EVIDENT ON THE
EDGES OF THIS PIECE)
-THIS PIECE DISPLAYS THE ELONGATED TORSO OF A FIGURE
INCORPORATED INTO THE FUNCTIONAL CURVED SHAPE OF THE
COMB, WITH TUSK-LIKE SHAPES ON THE INTERIOR EMPHASIZING THIS
CURVATURE AND EXTENDING UPWARDS TO FRAME THE FACE
                                                  GRADE NINE


THE WOOLSEY FAMILY
WILLIAM BERCZY
1809
NEOCLASSICAL INFLUENCE– 1700
REVIVAL OF CLASSICAL ELEMENTS

-TRIANGULAR COMPOSITION WITH
MOST IMPORTANT PERSON AT THE APEX
OF TRIANGLE
-EYE AND HAND DIRECTIONAL MOVEMENT OF SITTERS TAKES YOUR
EYE AROUND THE COMPOSITION
-NEOCLASSICAL STATUARY ON THE MANTLE
-ROMAN MOSAIC TILE FLOOR
-MASTERY OF PERSPECTIVE IN FLOORING-TABLE IS INCORRECT, AS
WELL AS MRS. WOOLSEY‟S CHAIR AND MR. WOOLSEY‟S LEFT ARM
-EXIT THROUGH THE WINDOW - WE SEE THE ROOFTOPS AND THE
WALLS OF OLD QUEBEC
-CAUGHT THE CHARACTER OF THE FAMILY – FREEDOM OF THE
YOUNGER CHILDREN‟S SERIOUSNESS AND POSED ELEGANCE OF THE
OLDER SONS, AND THE SELF-CONSCIOUS INFORMALITY OF THE OTHER
ADULTS
-A PAINTING OF A SUCCESSFUL MAN WHO, WITH HIS GROWING
FAMILY, LOOKS FORWARD WITH CONFIDENCE TO THE FUTURE: JOHN
WILLIAM WOOLSEY WAS A WEALTHY QUEBEC MERCHANT,
AUCTIONEER AND BROKER
-PAINTING IS FIRMLY STRUCTURED, THE SPACE GENEROUSLY
DEVELOPED
-RELATIONSHIP BETWEEN THE ROOM AND THE LANDSCAPE OUTSIDE
IS WELL-HANDLED – IT IS A PICTURE OF „FAMILY‟, SPECIAL IN ITS
ORDINARINESS
-STRONG GEOMETRIC ORGANIZATION OF THE PICTURE (NEOCLASSIC
INFLUENCE)
-FIGURES LINED UP AS IF ON A SHALLOW STAGE
-JOHN WOOLSEY COMMISSIONED BERCZY TO PAINT THIS PORTRAIT
FOR 80 POUNDS
-THE DOG BEARS THE FAMILY NAME ON HIS COLLAR – HE WAS
PAINTED FREE OF CHARGE
-THE MAN WITH THE FLUTE IS MR. WOOLSEY‟S BROTHER-IN-LAW
                                                  GRADE NINE


SOEUR SAINT-ALPHONSE
ANTOINE PLAMONDON
1841
CLASSICAL INFLUENCE– SHADOWS, DETAILS, COOL
BLUES

-CAREFUL USE OF LIGHT TO RENDER A SOFT
TONALITY IN THE SITTER‟S FEATURES AND A HALO-
LIKE AURA IN THE BACKGROUND
-PYRAMIDAL COMPOSITION FORMED BY THE
SITTER‟S HEAD AND HABIT CONVEYS A SENSE OF
STABILITY AND TRANQUILLITY; THE TRIANGULAR
SHAPE IS REPEATED IN THE SITTER‟S VALE AND
WIMPLE FRAMING THE FACE: FORMS ARE
ORGANIZED LOGICALLY, WITH CLEAR, PRECISE CONTOURS
-CAPTURED PERSONALITY – A LOOK OF RESERVEDNESS AND PURITY,
CONFIDENCE AND INNER CALM
-AT PEACE, PIOUS AS A „BRIDE OF CHRIST‟; MARKING HER PLACE
WITH A FINGER IN A BIBLE OR PRAYER BOOK TO HELP INDICATE HER
RELIGIOUS DEVOTION, AS IF INTERRUPTED AT PRAYER
-THE BRIGHT, WARM REDS AND PINKS IN THE SITTER‟S FACE AND
FEATURES CONTRAST WITH THE SEVERITY OF HER COOL-COLOURED
HABIT IN TONES OF BLACK, BLUE AND WHITE, LENDING A SENSE FO
WARMTH AND CONTAINED SENSUALITY TO HER PERSON
-THE BRIGHT RED COLOUR OF THE BOOK ALSO HELPS EMPHASIZE ITS
IMPORTANCE AMIDST THE FOLDS OF SURROUNDING BLACK AND
WHITE CLOTH
-SMOOTH STYLE OF PAINTING WITH NO BRUSH STROKES VISIBLE
-PLAIN BACKGROUND WHICH IS CAREFULLY MODULATED GIVES A
CONVINCING ILLUSION OF SPACE AND HELPS TO FOCUS THE FIGURE
-THIS WORK WAS PAINTED FOR THE SITTER‟S FATHER, A WEALTHY
QUEBEC MERCHANT, 2 YEARS AFTER SHE HAD TAKEN HER FINAL
VOWS
-ARTIST STUDIED IN PARIS AT LEGARE SCHOOL, WHERE HE RECEIVED
A NEOCLASSICAL TRAINING WHICH IS EVIDENT IN THE UNDERLYING
GEOMETRY AND HIGHLY REFINED REALISM OF THIS PIECE
-FOLLOWS THE 18TH CENTURY FRENCH PORTRAIT TRADITION OF
DEPICTING NUNS SET AGAINST A NEUTRAL BACKGROUND
                                                   GRADE NINE


FIRE IN THE SAINT-JEAN
QUARTER, QUEBEC,
SEEN LOOKING
WESTWARD
JOSEPH LEGARE
1845-48
ROMANTICISM
INFLUENCE– REACT
EMOTIONALLY TO THE
EVENT

-ARTIST IS BEST KNOWN
FOR ROMANTICALLY
LIT LARGE-SCALE
DISASTER SCENES,
STARTING WITH HIS DEPICTION OF THE QUEBEC CHOLERA EPIDEMIC
OF 1832
-THE ACTUAL EVENT OCCURRED ON JUNE 28, 1845, WHEN OVER 1300
HOMES IN THE SAINT-JEAN QUARTER OF QUEBEC CITY BURNED
DOWN; THIS IS ONE OF 3 CANVASES DEPICTING THE EVENT
-THE BRIGHT WARM HUES USED TO DEPICT THE FIRE AND SMOKE
HELP TO EVOKE THE DRAMA AND TACTILE EXPERIENCE OF THE
EVENT (THE RADIATING HEAT, THE SMELL OF SMOKE), AS WELL AS
CONTRASTING WITH THE COOLER HUES OF THE SKY IN THE
BACKGROUND AND GRASS IN THE FOREGROUND
-LINEAR PERSPECTIVE IS USED IN THE ROAD AND BUILDINGS
EXTENDING BACK INTO THE DISTANCE; ALL LINES LEAD TO A SINGLE
VANISHING POINT ON THE HORIZON, OBSCURED BY FLAMES
-THE REFUGEES ARE DEPICTED FLEEING THE CITY WITH THEIR
POSSESSIONS IN THE FOREGROUND, YET ARE DE-EMPHASIZED BY
THEIR TINY SCALE AND DARK, DIM COLOURS: THE MAIN FOCUS IS ON
THE DESTRUCTION ITSELF, NOT ITS IMPACT ON THE CITY‟S CITIZENS
-THE ARTIST CHOSE TO IMPOSE AN ORDER ON THE SCENE, DESPITE ITS
POTENTIAL CHAOS, BY EMPLOYING A SYMMETRICAL COMPOSITION
INVOLVING 4 ROWS OF BUILDINGS DIVIDED EVENLY ALONG THE
PAINTING‟S CENTRAL AXIS BY THE STRAIGHT ROAD DOWN THE
MIDDLE, WHILE THE BURNING BUILDINGS RETAIN THEIR
GEOMETRICAL SHAPES AND THERE IS NO EVIDENCE OF VIOLENCE OR
CARNAGE
-THE ARTIST‟S MOTIVES FOR PAINTING THIS WORK WERE SOCIAL AND
POLITICAL AS WELL AS ARTISTIC, AS HE WAS PASSIONATE ABOUT
RECORDING QUEBEC‟S HISTORY IN HIS ART AND WAS ACTIVE ON A
COMMITTEE SET UP TO SEEK FINANACIAL AID FOR FIRE VICTIMS
-LEGARE OBTAINED HIS PAINTING SKILLS BY COPYING OLD
EUROPEAN PICTURES, RATHER THAN THROUGH FORMAL TRAINING
                                                  GRADE NINE


THE THREE ROBINSON SISTERS
GEORGE THEODORE BERTHON
1846
ROMANTIC INFLUENCE – INVITING
EXPRESSIONS
CLASSICAL INFLUENCE– DETAILED CLOTHING,
DRAPERY, AND ORNAMENTS

-TRIANGULAR COMPOSITION, SHALLOW
SPACE, SOFT COLOURS AND LIGHT EVOKING A
SENSE OF CALM AND REFINEMENT
-AS MEMBERS OF THE HIGH SOCIETY WHICH
WAS IN THE PROCESS OF DEVELOPING IN
TORONTO AT THE TIME, THESE THREE SISTERS
EXUDE THE GENTILITY BEFITTING THEIR
STATION AS DAUGHTERS OF CHIEF JUSTICE ROBINSON
-THE REALISTIC DEPICTION OF RICH TEXTURES, MATERIAL AND
ORNAMENTS HELPS FURTHER EMPHASIZE THE WOMEN‟S HIGH CLASS
AND WEALTH
-DEPICTED IN THIS WORK ARE AUGUSTA (ELDEST) IN BLACK VELVET,
LOUISA IN WHITE SILK, AND EMILY IN PINK; THE PAINTING WAS
COMMISSIONED BY THE HUSBANDS OF THE SISTERS AS A SURPRISE
FOR THE GIRLS‟ PARENTS
-BERTHON WAS THE SON OF A COURT PAINTER TO NAPOLEON
BONAPARTE
                                                 GRADE NINE


MADAME CYRICE TETU, NEE CAROLINE DIONNE, AND HER SON
AMABLE / CYRICE TETU AND HIS DAUGHTER CAROLINE
THEOPHILE HAMEL
1852
ROMANTIC INFLUENCE

-THE PAIRING OF
MOTHER AND SON ON
ONE CANVAS AND
FATHER AND DAUGHTER
ON ANOTHER CANVAS
WAS UNUSUAL FOR A
FAMILY PORTRAIT IN
QUEBEC AT THE TIME
-FIGURES ARE
ORGANIZED
SYMMETRICALLY WITHIN THE COMPOSITION WITH THE CHILDREN IN
THE CENTRE, AGAINST ARCHITECTURAL BACKGROUNDS SUGGESTING
TASTE AND WEALTH
-THE TREATMENT OF THE SITTERS‟ CLOTHING ALSO ADDS TO THE
EMPHASIS ON THEIR WEALTH AND HIGH CLASS, AS THE TEXTURES OF
THE CLOTH AND THE DETAILS OF RICH LACE AND ORNAMENTS ARE
REALISTICALLY RENDERED
-CYRICE TETU WAS A FLOURISHING QUEBEC BUSINESSMAN
-HAMEL WAS APPRENTICED TO THE QUEBEC PAINTER ANTOINE
PLAMONDON; AFTER TRAVELS THROUGH ITALY AND FLANDERS,
HAMEL SETTLED IN QUEBEC AND BECAME A RENOWNED PORTRAIT
PAINTER
                                                  GRADE NINE


MERRYMAKING
CORNELIUS KRIEGHOFF
1860
GENRE PAINTING (DRAWS SUBJECT
MATTER FROM DAILY ACTIVITIES
OF ORDINARY PEOPLE)

-PAINTED FOR A SPECIFIC TYPE OF
PATRON – THE TRAVELLER OR
TOURIST (USUALLY EUROPEAN
SOLDIERS)
-CHARMING, OFTEN HUMOROUS PICTURES OF A HARSH RURAL LIFE,
BASED ON EUROPEAN GENRE PAINTINGS, FORMED THE BASIS OF THIS
PAINTING TRADITION; FARMSTEADS OF HABITANTS WERE A
FAVOURITE MOTIF
-HERE THE ARTIST‟S OWN PERSONAL IMPRESSIONS OF WINTER
TRAVELLERS ARRIVING AND DEPARTING AT THE JOLIFOU INN ARE
FILTERED THROUGH THE 17TH CENTURY DUTCH TRADITION
-RECORDS A PHASE IN THE HISTORY OF COLONIZATION OF QUEBEC
BY THE FRENCH
-APPEARS LIKE A STAGE SETTING; PRESENTS AN IDEALIZED, HEROIC
REPRESENTATION OF PIONEER LIFE
-LOTS OF ATTENTION TO DETAIL
-MANY OF THE CHARACTERS AND ACTIONS ARE QUOTATIONS OF
EARLIER PAINTINGS OF ISOLATED EVENTS, SUCH AS THE
OVERTURNED SLEIGH OR THE PEOPLE IN SNOWSHOES
-REPETITION OF TRIANGULAR SHAPES UNITES AND STABILIZES THE
PICTURE PLANE
-KRIEGHOFF WAS ONE OF THE FIRST ARTISTS TO SKETCH OUTDOORS,
BUT ALL PAINTINGS WERE DONE IN THE STUDIO
                                                 GRADE NINE


MEETING OF THE SCHOOL
TRUSTEES
ROBERT HARRIS
1885
REALISM INFLUENCE- REAL
PEOPLE IN EVERYDAY
SITUATIONS- WARM EARTHY
PALETTE

-SET IN PINE CREEK SCHOOL IN
PRINCE EDWARD ISLAND
-KATE HENDERSON IS THE
TEACHER , THE ARTIST‟S WIFE BESSIE POSED, AND THE VIEWER IS
FORCED TO GO OVER HER INTO THE BACKGROUND
-SHE SYMBOLIZES PROGRESS; AND IS FULL OF SYMPATHY FOR
WOMEN AND EDUCATION ; HERE SHE DEALS WITH BACKWARD
TRUSTEES
-DEPICTS CANADIANS DETERMINED ACTION TO ESTABLISH AND
DEVELOP CULTURE
-STANDS FOR THOUSANDS OF TEACHERS WHO BROUGHT LITERACY TO
RURAL SETTLEMENTS
-FIRST WORK WITH A FEMINIST THEME IN CANADA
-SIGNATURE OF THE ARTIST APPEARS LIKE HE CARVED IT IN THE
WOODEN DESK
-COMPOSITIONAL STRUCTURE IS ADAPTED FROM NETHERLANDISH
PAINTING, WHERE LIGHT FROM THE UPPER LEFT ILLUMINATES THE
GROUP OF PEOPLE GATHERED AT THE TABLE
-THE TEACHER IS A FOCAL POINT AS SHE IS A DARK SILHOUETTE
CONTRASTED BY THE GOLDEN LIGHT
-LIKE ACTORS IN A SILENT PLAY THE TRUSTEES DECLARE THEIR
RESPONSE TO HER BECKONING HAND THROUGH THEIR FACIAL
EXPRESSIONS AND BODY LANGUAGE; SHOWING MILD HESITATION TO
CLOSE-FISTED RESISTANCE; THE TRUSTEES SHOW RELUCTANCE TO
CHANGE IN THE FACE OF NECESSARY PROGRESS AND REFORM
                                                 GRADE NINE


HMS GALATEA IN A
HEAVY SEA
JOHN O‟BRIEN
1888
FLEMISH MARINE SCENE
INFLUENCE- LOW
HORIZON LINE , SUBTLE
COLOURS

-LARGELY SELF
TAUGHT, HE LEARNED
TO DRAW BY COPYING
ENGRAVINGS FROM
CONTEMPORARY JOURNALS
-BEAUTIFUL TECHNICAL ACCURACY IN THE DETAILS OF MASTS AND
RIGGINGS
-HE HAS A PAINTERLY SENSITIVITY TO LIGHT AND ATMOSPHERE
-THIS IS THE SECOND WORK IN A TRIPTYCH THAT BEGINS WITH THE
SHIP AT SUNRISE IN HALIFAX HARBOUR, ITS SAILS FILLED WITH A
GENTLE WIND, AND HERE THE SHIP ENDURES THE TRIALS OF DARK,
TURBULENT WATERS, AND IN THE THIRD PAINTING, IT SURVIVES A
RAGING CYCLONE
-A SYMMETRICAL COMPOSITION WITH HMS GALATEA LARGEST, IN
THE CENTRE, AND AT THE APEX OF THE TRIANGLE
-ATMOSPHERIC PERSPECTIVE USED, WHICH MEANS LESS DETAIL AND
CONTRAST ON THE OTHER BOATS TO PUSH THEM INTO THE DISTANCE.
-RED ACCENTS IN THE FLAGS ATTRACT OUR ATTENTION BECAUSE OF
THE BIBRANCY OF THE COLOUR AND ALSO HELP THE FOCUS BE
DIRECTED TO THE CENTRE SHIP
-RHYTHM IN THE SEAS WITH THE STRONG CURVES OF THE WAVES,
AND THE WHITE REPETITIOUS WHITECAPS
-PAINTED FOR THE CAPTAIN OR OWNER OF THE SHIP
                                                GRADE NINE


THE FERRY, QUEBEC
JAMES WILSON MORRICE
1907
IMPRESSIONISTIC INFLUENCE-
TRYING TO CAPTURE AN
IMPRESSION OR MOMENT IN
TIME

-DESIRED TO SIMPLIFY FORM –
HERE THE FORMS ARE FAIRLY
FLAT AND THE FORM IS
DEFINED THROUGH THE USE OF CONTOUR
-HE WAS ALSO INTERESTED IN SUBTLE COLOUR HARMONIES; HERE
THE BLUE SUFFUSES THE WHOLE CANVAS
-FOCUS IS PLACED ON THE FOREGROUND HOUSE AS HE HAS USED
WARM COLOURS WHICH COMPLEMENT THE BLUE
-THE INITIAL SKETCH WAS MADE 15 YEARS PREVIOUS THE THE
EXECUTION OF THE PAINTING- HOWEVER, HE REMAINED FAITHFUL
TO HIS INITIAL IMPRESSIONS OF THE FERRY APPROACHING FROM
QUEBEC CITY
-FOREGROUND DETAILS SUCH AS THE FIGURES AND HORSES ARE
LOOSELY EXECUTED SO AS NOT TO DETRACT FROM THE OVERALL
IMPRESSION OF A STARK CANADIAN WINTER
-THE COMPOSITION IS HORIZONTAL BLOCKS WHICH ARE VERTICALLY
LINKED BY THE FERRY AND IT‟S PLUME OF SMOKE
                                                GRADE NINE


CRAIG STREET, MONTREAL
MAURICE CULLEN
1912
IMPRESSIONISTIC INFLUENCE-
TRYING TO CAPTURE THE
MOMENT

-WE PEER THROUGH A SWIRLING
BLIZZARD WHERE A HORSE-
DRAWN CARRIAGE EMERGES, GHOSTLIKE, FROM A HAZE OF
RAINBOW-COLOURED SNOW
-IN THE BACKGROUND LIGHT SHINES FROM THE ISOLATED MOONS OF
GASLIGHT, AND FROM THE WINDOWS AND DOORS OF A HOTEL
-THE HOTEL HAS NO SOLIDITY AS IT HAS BEEN DISSOLVED BY THE
SNOW-THE TWO LEAD HORSES ARE MORE CAREFULLY ARTICULATED
TO PROVIDE FOCUS ; THEY ALSO CONTRAST STRONGLY WITH THE
LIGHT AREAS AROUND THEM
-THE STRONGER FOCUS ON THE TWO LEAD HORSES REASSURES US OF
THEIR PROGRESS, AS THEIR STRIDING LEGS PUSH FORWARD-IT IS
STATED THAT “AT SOME HOUR OF THE DAY THE COMMONEST
SUBJECT IS BEAUTIFUL”
-SOFT FOCUS WITH THE EDGES OF THE FORMS DISSOLVING
-PAINTERLY BRUSH WORK WITH THE ARTIST‟S BRUSHMARKS EVIDENT
                                                GRADE NINE


THE RED MAPLE
A.Y. JACKSON
1914
GROUP OF SEVEN- LOVE OF THE
CANADIAN NORTH

-JACKSON VISITED ALGONQUIN
PARK WITH OTHER MEMBERS OF
THE GROUP OF 7 TO MAKE A
SKETCH FOR THE RED MAPLE
-HE UTILIZES WIDE SWEEPING
BRUSH STROKES AND VIVID
COLOURS
-JACKSON CREATES AN INTIMATE VIEW OF A RAPIDLY FLOWING
STREAM SEEN THROUGH A SCREEN OF CRIMSON LEAVES
(REPOUSOIRE- YOU HAVE TO LOOK THROUGH LIKE A SCREEN)-
HORIZONTALLY BANDED WITH THE RED MAPLE ACTING A A VERICAL
TO CONNECT THE BANDS
-FOCUS ON THE MAPLE AS IT HAS STRONG, WARM REDS WHICH
ADVANCE
-RHYTHM CREATED IN THE WATER THROUGH THE USE OF CURVING
REPETITIOUS LINES
-FAR SHORE IS CALM BECAUSE OF THE HORIZONTAL LINES
-COMPLIMENTARY COLOURS- BLUES AND ORANGES USED TO
INTENSIFY COLOURS
                                                 GRADE NINE


THE JACK PINE
TOM THOMSON
1916-17
GROUP OF SEVEN- LOVE OF THE
CANADIAN NORTH

-DEVELOPED FROM AN INITIAL SKETCH
THE WAS MADE DURING AN EXCURSION
TO LITTLE CAUCHON LAKE, IN
NORTHEASTERN ALGONQUIN PARK
-HERE THE LONE TREE, OUTLINED IN
RED BECOMES THE FOCAL POINT AS IT
STANDS CONTRASTED, MAJESTICALLY SILHOUETTED AGAINST THE
SETTING SUN
--THE RHYTHMICAL APPLICATION OF THE GREEN, PURPLE AND PINK
CONTRASTS THE CALM, STABLE, HORIZONTAL BRUSHSTROKES IN
THE SKY AND WATER, CREATING A PEACFULNESS AND SERENITY
-THE SHAPES OF THE BLUE HILSS WITH THEIR ROUNDED SHAPES ARE
HARMONIOUS WITH THE ORRGANIC SHAPES ECHOED IN THE TREE‟S
GREEN FOLIAGE
-HORIZONTALLY BANDED COMPOSITION WITH THE JACK PINE
ACTING AS THE VERTICAL ANCHOR
-REPOUSOIRE- YOU HAVE TO LOOK THROUGH THE PINE TO SE THE
BACKGROUND
-SQUARE FORMAT ENHANCES THE FEEING OF STABILITY
-A VERMILION RED UNDERCOAT LIES BENEATH THE LAYER OF PAINT
ON THE TREES, HILLS AND FOREGROUND ROCKS CREATING HARMONY
                                                 GRADE NINE



TANGLED GARDEN
J.E.H. MACDONALD
1916
GROUP OF SEVEN

-A DEPICTION OF THE LATE-
SUMMER GARDEN OF
MACDONALD‟S HOME IN
THORNHILL, ONTARIO
-HE DEPICTS A RHYTHMICAL
TANGLE OF RICH GREEN FOLIAGE AND BRIGHTLY COLOURED
FLOWERS
-A STREAK OF SUNSHINE ILLUMINATES THE FOCAL POINT AREA AND
THE FOREMOST SUNFLOWER WITH ITS BOWED HEAD
-THIS ACTIVE FOREGROUND IS CONTRASTED BY THE RESTFUL
HORIZONTAL PATTERN OF THE WOODEN SIDING OF THE HOUSE,
BALANCING THE INTENSITY OF THE FOREGROUND
-WHEN EXHIBITED THE CRITICS SAID HE THREW HIS PAINT POTS IN
THE FACE OF THE PUBLIC… OTHERS SAID IT LOOKED LIKE A HUGE
TOMATO SALAD.-THERE IS A DIAGONAL RECESSION IN THE PICTURE
PLANE… YOUR EYES FOLLOW THE REPETITIOUS RED FLOWER HEADS
WHICH TAKE YOU INTO THE BACKGROUND.
-TO CREATE SPACE THE ARTIST HAS USED HOT, WARM COLOUR
ACCENTS IN THE FOREGROUND, KEPT CLOSE VALUE SHIFTS IN THE
MIDDLE GROUND, AND USED COOL COLOURS TO PUSH BACK THE
BACKGROUND
                                                  GRADE NINE


LAKE AND MOUNTAINS
LAWREN S. HARRIS
1928
GROUP OF SEVEN- LOVE OF THE
CANADIAN NORTH

-SPIRITUALLY MINDED HARRIS, HAD
AN INTEREST IN THEOSOPHY AND HE
SOUGHT A LANDSCAPE THAT WOULD
BETTER EXPRESS HIS RELIGIOUS
BELIEFS
---HE FOUND THERE TO BE A POWER AND A MAJESTY AND A WEALTH
OF EXPERIENCE AT NATURE‟S SUMMIT
-IN THIS PIECE THE BLUE TRIANGULAR SHAPES OF MOUNTAINS SOAR
UPWARD TO CLOUDS WHOSE CLAWLIKE FORMS ACCENTUATE THE
FROZEN STILLNESS
-THIS SIMPLIFICATION OF NATURE‟S FORMS EVOKED AN ASCENT TO
SPIRITUAL AWARENESS
-THE BLUE MONOCHROMATIC PALETTE ENHANCES THE COLD
LANDSCAPE
-RHTHMICAL IN THAT THE COMPOSITION IS COMPOSED OF CURVING
FORMS
-STABILITY IN THE STRONG TRIANGULAR MASSES
-PEACEFUL , SERENE ATMOSPHERE CREATED IN THIS UNTOUCHED
WILDERNESS
                                                  GRADE NINE


SOUNDS ASSEMBLING
BERTRAM BROOKER
1928
ABSTRACTION

--BROOKER WAS INFLUENCED BY
DISCUSSIONS WITH LAWREN HARRIS ABOUT
THE SPIRITUALITY OF ART, AND THE
WRITINGS OF THE ARTIST KANDINSKY WHO
PROPOSED MUSIC AS A MODEL FOR THE
ARTIST SEEKING TO EXPRESS HIS INNER
SOUL
--THIS IS A REPRESENTATION OF
EXPERIENCES DERIVED FROM MUSIC… A
REPLICA OF THE COLOUR, THE VOLUME AND THE RHYTHM
EXPERIENCED WHILE LISTENING TO MUSIC
-HERE ORANGE, YELLOW, GREEN AND BLUE RODS ZOOM INTO THE
PICTURE PLANE, THRUSTING TOWARD BLUE RINGS THAT PROJECT
PALE-COLOURED POLES WITH FLAT ENDS
-THIS CREATES AN IMAGINARY SPACE WHICH EXPRESS THE INVISIBLE
INNER ENERGY AND EXCITEMENT INSPIRED BY THE JOYFUL
ACCUMULATION OF MUSIC
-SENSE OF INFINITE SPACE CREATED
-BRIGHTLY COLOURED RODS IN THE FOREGROUND ARE FOCUSED ON
BECAUSE OF THEIR INTENSITY OF COLOUR
                                                 GRADE NINE


THE DREAMER
CHARLES COMFORT
1929


-IN THE CENTRE OF THREE VERTICAL BANDS A MAN
IN A BOLDLY STRIPED DRESSING GOWN LOOKS
UPWARD WITH A WORRIED, GLAZED EXPRESSION,
HIS HAGGARD DEMEANOUR SUGGESTING THE
DESPERATE HOPE FOR SLEEP.
-LONG THIN FINGERS ARE SPLAYED ACROSS HIS LAP AND CONTRAST
THE BULK OF THE UPPER BODY
-A FEELING OF TENSION AND AWKWARDNESS PERMEATES THE
PAINTING
-THE SITTER IS A YOUNG ARCHITECT FRIEND WHO COMFORT
ENJOYED DISCUSSIONS WITH REGARDING AVANT-GARDE
LITERATURE. THE TEXT IN THE PPAINTING ALLUDES TO THIS.
-THIS PAINTING WHICH IS DISTURBING REFERS TO THE ARTIST AND
THE SITTER‟S SHARED MISGIVINGS ABOUT THE FUTURE
-A STRONG GEOMETRIC STRUCTURE TO THE PAINTING-RECTILINEAR
BANDS, AND THE TRIANGULAR SHAPE OF THE FIGURE
-FAIRLY FLAT APPLICATION OF PAINT WITH MINIMIAL MODELING OF
THE COLOUR
                                                   GRADE NINE


SISTERS OF RURAL QUEBEC
PRUDENCE HEWARD
1930

-THE TWO SISTERS FROM RURAL QUEBEC
INTERSECT TO CREATE OPPOSING
DIAGONAL THRUST THAT ARE ECHOED IN
THEIR CONTRASTING EXPRESSIONS
-YOUNGER PIERRETTE SITS WITH HER
HANDS FOLDED, BUT HER DESPONDENT
EXPRESSION IS AT ODDS WITH HER
BRIGHT TURQUOISE APRON AND VIOLET
PINK CHAIR
-OLDER ROLLANDE IS SLIGHTLY DEFIANT,
HER BACK PRESSED FIRMLY INTO HER
CHAIR AND HER DARK CLOTHES
UNDERSCORING THE SEVERITY OF HER
EXPRESSION
-STARKNESS OF THE SPACE IS DEFINED BY REPEATED WINDOW
FRAMES AND SPARSE FOLIAGE
-THIS IS MEANT TO EVOKE THE AUSTERITY OF LIFE EFFECTED BY THE
ECONOMIC DEPRIVATIONS OF THE 1930‟S
-A CRITIC CITED THAT HER PAINTED WORLD IS ONE OF SAD
REFLECTIONS…HER SUBJECTS LOOK OUT OF THEIR FRAMES
WONDERING AND A LITTLE AFRAID
-ALMOST A SCULPTURAL QUALITY TO HER HANDLING OF THE FORMS
-STRONG USE OF LINEAR CONTOURING
                                                 GRADE NINE


RED CEDAR
EMILY CARR
1931-33
INFLUENCED BY THE GROUP OF SEVEN

-TRIES TO DEPICT THE DEEP SACRED BEAUTY OF
CANADA‟S STILL WOODS
-THE LUMINOUS ORANGE-RED TREE TRUNK STANDS
MAJESTICALLY IN THE CENTRE OF THE CANVAS,
TOSSING ITS SILKEN GREEN FOLIAGE IN AN
UNDULATING, RHYTHMICAL PATTERN THAT IS
ECHOED IN THE SEA OF UNDERGROWTH ON THE
FOREST FLOOR
-BRANCHES ARE DELICATE AND TENDRIL-LIKE,
FLOATING DOWNWARD, REPEATING THE VERTICAL
RHYTHM OF THE TREES
-CARR TRIES TO DISTIL THE FORMS OF NATURE TO THEIR VERY
ESSENCE, SIMPLIFYING AND CAPTURING PURE MOVEMENT
-STRONG COMPLIMENTARY COLOUR PALETTE, WITH THE VERMILION
OF THE TRUNK CONTRASTED BY GREENS
-STRONG SENSE OF STABILITY WITH THE BROAD BASE OF THE TRUNK
SURGING UPWARDS
                                                 GRADE NINE


VERA
FREDERICK H. VARLEY
1931
GROUP OF SEVEN

THIS PORTRAIT OF VERA SHOWS EVIDENCE OF
VARLEY‟S EXPLORATION OF THEORIES OF COLOUR
ASSOCIATED WITH HIS INTERESTS IN EASTERN
MYSTICISM AND HIS BELIEFS ABOUT THE
SYMBOLIC FUNCTION OF COLOUR
-VERA GAZES FROM THE CANVAS WITH A DREAMY
EXPRESSION AND A GENTLE SMILE
-BRUSHWORK IS SPONTANEOUS AND HE HAS USED
COLOUR IMAGINATIVELY
-PALETTE ON THE LEFT IS BLUE-MAUVE AND
SHIFTS TO A DARKER AND GREENER ONE ON THE
RIGHT
-GREEN AND BLUE EVOKE SPIRITUALITY AND PALE VIOLET, BEAUTY
-IN USING THESE COLOURS TO PORTRAY VERA, VARLEY EXPRESSED
HIS FEELINGS FOR HIS FORMER STUDENT, WHO BECAME AN INTIMATE
AND SPIRITUAL COMRADE
-HARMONIOUS USE OF COLOURS WHICH ARE INTEGRATED
THROUGHOUT THE PIECE
-FIGURE AND GROUND ALMOST MERGE AS THEIR COLOURISTIC
TREATMENT IS VERY SIMILAR
GRADE NINE
GRADE NINE

				
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posted:6/17/2011
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