Abby Galloway
Here is my Art Theory In Context essay as a whole, using examples from Fine Art, Games, Animation and VFX. The segments covered in this essay will be as follows:
- Introduction
- Colour
- Volume
- Lighting
- Perspective
- Composition
- Conclusion
It is then followed by a references tab, displaying all links used within the essay.
My next post will be an overview and reflection of this essay, you can read it here.
Art Theory In Context Essay
Abby Galloway
Introduction
Art theory proposes the ideology that no piece of art can establish a certain or particular meaning, though in context, portrays that certain features can support the impact it creates and guide towards a particular perspective. I will be researching and compiling my knowledge, uncovering what elements are used that turn the original ideology in a certain direction purposefully for the conveyance of the artist’s personal depiction. I will then be presenting my observations using examples of each component and the effect it creates within fine art, video games, film and animation. This study will help gather a deeper understanding of the importance of art theory and its pivotal role, whether in an influential or poor manner.
Colour
This segment of study will focus on the impression colour can have towards presenting the artist’s intended depiction.
The Death of Germanicus – Nicholas Poussin. (1627)
This particularly influential piece is a very profound advocate on the portrayal of colour’s effects in fine art. The brighter, contesting hues implement the countless powerful themes illustrated, whilst also used to capture the heart of the piece, using the unusually arid depiction of a Roman palace. This usage of colour presents great heroism, and the bittersweet importance of tragedy.
LSD Dream Emulator – Asmik Ace Entertainment. PS1. (1998)
“Lavishly experimental with a real soul of its own” – Person, Chris. (2012)
Stated above is an excerpt regarding this equally notable and uncanny encounter within video games, which is not commonly seen in the present. LSD Dream Emulator’s usage of colour is visibly abstract, this stray from the comfort of normality challenges the psyche, establishing an eerie but immersive encounter. This directly challenges the customary outlook of art criticism indicated by this extract:
“None of us can ever retrieve that innocence before all theory when art knew no need to justify itself, when one did not ask of a work of art what it said because one knew what it did. From now to the end of consciousness, we are stuck with the task of defending art.” – Sontag, Susan. (2009)
I believe it poses such a challenge due to the daring directness of its art even throughout its abstractness; it is what is shown, and should not be questioned.
Parallelism is evident between these two works, both taunting the conventional unwritten rules and understanding of the usage of colour. They are also analogous in such a way that there is not much astray from the heart of the piece; both of these works subtract from the immaterial substance to enhance the spotlight. This handling of colour throughout accentuates the focal point to display the artist’s intent, captivating the viewer into a somewhat hypnotic state of wonder and understanding.
Nonetheless, contradistinction is also distinguishable between both pieces, particularly conveyed throughout the utilised colour variations. Stand-out though conform, the colour composition in The Death of Germanicus is still within uniform, which is undoubtedly differential from that of LSD Dream Emulator, which uses colour to create an unearthly environment.
This analysis will assist my assembly of colour variation and manipulation within future work based on the envisionment I am trying to instil within its audience.
Volume
Within art theory, volume is a predominant factor within the manipulation of depth and three-dimensional space of an artist’s work.
Guitar – Pablo Picasso. (1914)
“Picasso’s guitar sculpture is the same size and shape as the real thing, but he shatters its form. If the front of a guitar is a plane concealing a volume, he cuts that plane away, opening up the interior as an empty box.” – D. Lowry, Glenn. (1999)
Seen above is an excerpt which aids with the interpretation of this piece and how its usage of volume is a complimentative and crucial aspect of its presentation. The unconventional display is also sculpted in a way which effectively manipulates light to construct its incredible three-dimensional exhibit.
The Crimson Permanent Assurance – Terry Gillam. (1983)
“Very funny, and very smart, with an ingenious usage of props and natural surroundings.” – Thompson, Bill. (2013)
Within this set, volume is used in a way of which to portray the proportions of each attribute of the scene while also populating the frame in order to achieve this “ingenious” appearance. Depth displayed within both the ship and the pirates presents a form of togetherness, making the audience perceive them as substantially larger and hence more capable than anyone who would happen to cross paths with them.
In terms of correlation, these two insights into volume demonstrate both similarities and differences. A resemblance between these two pieces is evident throughout the use of shape, done to support the conveyance of the three-dimensional environment; shadows are presented in a way that decompiles the piece to effectively depict layers. For instance, distinguishing between background and foreground.
In spite of those correlative aspects, dissimilarities are also apparent. Scientific volume demonstrates this statement. Picasso’s Guitar is unique, it pushes the forms of normality and leaves space for individual interpretation. Inversely, Permanent Assurance brings a conventional form to a unique situation; the director constructed the set to make an impression (the pirates’s power) and did not leave room for interpretation.
This section of study will aid my work when dealing with the assembly of environments and sets, and the difference volume and depth can make.
Lighting
This section will unfold the impact lighting can have on an environment or factor of a piece of art and its interpretation.
L’apparition – Gustave Moreau. (1876)
Prominent for generations since the Renaissance, this biblical piece utilises lighting to define the focal point, Salome and John the Baptist’s head. The light emanating from the apparition creates aura-like beams surrounding itself, portraying John’s head in resemblance of a trophy. This further conveys the story the piece is trying to tell, and directly leans towards the artist’s intended depiction.
Eyes Without a Face – Georges Franju. (1960)
Eyes Without a Face is considered one of if not the best French horror films of all time, with exceptionally high ratings.
“Like a nightmare that never ends, this is a vision of madness, loneliness and, yes, horror that, once seen, demands to be viewed over and over again. It is that haunting, and that good.” – Turan, Kenneth. (2003)
Due to it being monochromatic in colour, lighting is used to replenish what colour subtracts from the film. There is a considerable manipulation of equally terrifying and astounding light throughout this film, but the most prominent being with Christiane’s mask.
A state of consistency isn’t particularly evident between these two works, though an alikeness can be interpreted through light or shadow in key sectors, in these cases the character. The way in which light is implemented creates a ‘spotlight’ effect, performed exceptionally within Eyes Without a Face when paired with uplighting to morph Christiane’s face into an uncanny view.
In contrast to these attributes, differentiation is visual within the amalgamation of lighting and colour. Lighting within L’apparition strictly portrays spotlighting, contradictory to Eyes Without a Face, which instils an unnerving feeling within its audience with well-distinguished depth, while also using this in developing compromise to the absence of colour.
I have ascertained a further understanding of the impact lighting possesses, and how it can work in harmony with colour to signify particular emotional impressions on the audience.
Perspective
Amid the bounds of art theory, perspective possesses the meaning of effectively relaying depth, or further, constructing a three-dimensional illusion within a two-dimensional environment.
School of Athens – Raffaello Sanzio. (1508-1511)
A prime exponent amongst the annals of Linear Art, and also being considered Raphael’s magnum opus, School of Athens utilises perspective in an scarcely seen way for its time. Being one of few at the time who had remarkable understanding of oblique projection, Raphael employs this technique amongst handling of a central vanishing point to vividly illustrate the depth of the Ancient Greek architecture he visualised.
Elite – Acornsoft. BBC Micro. (1984)
“Elite combines the elements of a number of classical games to produce a superb three dimensional graphical trading game of skill and absolute addiction, that squeezes every ounce of performance out of the Beeb” – Fell, David. (1984)
Emerging both unanticipated and effortlessly, 3D environments in games would be affected forever by this release. As stated above, Elite illustrates a three-dimensional perspective in a way which was scarcely seen within the games industry at the time.This, paired with the game’s basis of a singular vanishing point, is particularly effective in the reinforcement of navigating an ‘endless’ three-dimensional environment to the player.
In the sense of resemblance, both works were heavily innovative pieces for their time, and gathered a new communal outlook toward linear perspective. This impact evolved from the central vanishing point; the orthogonal lines reaching to illusory distance and depth, whilst in a two-dimensional domain. In harmony to this, aforementioned orthogonals are further utilised to place the observer’s eye to the foreground, midground and background of these images independently, despite standing interlaced with one another on a flat plane.
Divergent to the above, I deem that the artist’s implicit delineation on the vanishing point for focality, lay separately from one another. This is notable within the space surrounding the focal points. In School of Athens, the orthogonals form an extensive effect, panning out from the centrepiece in this particular fresco. Whereas in Elite, a funnel-like effect is formed to imply the perceptive form of scouring deeper inward to space.
Following this segment, I have established the forms perspective can withhold and its capability of engrossing the observers, guiding the narration of story.
Composition
Within the constraints of the artspace, the decision of placement for each element in a piece is called composition.
Stańczyk – Jan Matejko. (1862)
Stańczyk, a poignant piece of Polish artwork, exploits composition in such a facile way which evokes overlooked sympathy upon the archetype of The Fool, and its hidden alliance with conformity. The Rule of Thirds assists the conveyance of this, drawing the focal point towards Stańczyk as the heart of the piece, whilst equally declaring the significance of the lesser centred thirds. Jan Matejko particularly implemented this to form a distinctive barrier between the mood of Stańczyk himself and the simultaneous celebration playing out.
Isle of Dogs – Wes Anderson. (2018)
“As his career has progressed he has used Planimetric Composition with greater precision and for a larger portion of his films. In addition to the background being a flat plane, characters usually occupy and move through flat planes within the scene that run parallel to the background.” – Flight, Thomas. (2020)
Planimetric composition grasps the concept of perspective in art, and entirely upends it. This compositional technique places the camera perpendicular to the scene, and further, limits movement in these same ways. Subsequently, this establishes the impression of a two-dimensional environment, despite being three-dimensional.
Composition is a factor which almost always follows a sited praxis, and in consequence, there will be a predetermined relationship between many two pieces. In this case, the preceding statement is evident within the Rule of Thirds. Each work uses this rule to harness its primary recognition to observers.
Conversely, disjunctive elements can also be perceived, more so within the confines of premeditated sway of interpretation. Whilst Jan Matejko’s choice of composition leaned further toward sentimentality and emotional influence, Wes Anderson’s usage of planimetric composition and symmetry is an indication of directional substance and artistic choice.
Ensuing this investigation, I shall begin to meditate composition and the prospective result on a scene’s layers based on how it is exploited.
Conclusion
With each instalment of Art Theory in Context, perceptive traits can be altered in an influential manner to pivot the originative ideology of Art Theory. Postliminary to this study, I have instigated a tacit understanding of the intricacies within each segment of a piece, and the deviation from the fundamentals it can provide.
“The role of the artist is to find a way to articulate that, so I’m different from Danto in that I’m not trying to define art, I’m just trying to find a patent or a heuristic or an approach to how you would go about trying to appreciate or understand art. And to do that you don’t need a definition the way he expects you merely need a kind of procedural, a way of approaching art, and for that you can think of the artwork as a relationship between a purpose and a mode in which the purpose is implemented.” – Carroll, Noël. (2020)
This statement directly provides an insight into the ideology of Art Theory, and that art is not only for those who create but further those who consume. Therefore, each segment of Art Theory in Context implements momentous influence on viewpoints, in art ranging from fine art to film, from the creator’s intention to the audience’s interpretation.
References
Colour
The Death Of Germanicus, Official Gallery
The Death of Germanicus, Nicolas Poussin | Mia
Poussin, Nicholas. (1627). The Death Of Germanicus. Located: Minnesota, Minneapolis Institute of Art.
LSD: Dream Emulator
https://en.wikipedia.org/wiki/LSD:_Dream_Emulator
Sato, Osamu. (1998). LSD: Dream Emulator. PS1. Tokyo, Asmik Ace Entertainment.
LSD Dream Emulator Video – Quoted
Why You Should Play LSD: Dream Emulator
Person, Chris. (2012). Why You Should Play LSD: Dream Emulator. New York: Kotaku.
Quotes from Against Interpretation and Other Essays – Quoted
Against Interpretation and Other Essays Quotes by Susan Sontag
Against Interpretation and Other Essays
Sontag, Susan. (2009). Against Interpretation and Other Essays. London: Penguin Classics.
Volume
Guitar, Official Gallery – Quoted
Pablo Picasso. Guitar. Paris, January–February 1914 | MoMA.
Picasso, Pablo. (1914). Guitar. Located: New York, The Museum of Modern Art.
Guitar, MoMA Highlights – Quoted
D. Lowry, Chris. (1999). MoMA Highlights: 350 Works from The Museum of Modern Art, New York. New York: The Museum of Modern Art.
The Crimson Permanent Assurance
The Crimson Permanent Assurance (Short 1983) – IMDb
Gillam, Terry. (1983). The Crimson Permanent Assurance. Universal Pictures.
The Crimson Permanent Assurance, Critic Review – Quoted
This Week In Cinema: July 07-13, 2013 | Bill’s Movie Emporium
Thompson, Bill. (2013). This Week In Cinema: July 07-13, 2013. Wisconsin: Bill’s Movie Emporium.
Lighting
L’apparition, Official Gallery
The Apparition | Harvard Art Museums
Moreau, Gustave. (1876). L’Apparition. Located: Paris, Louvre Museum.
Eyes Without a Face
Eyes Without a Face (1960) – IMDb
Franju, Georges. (1960). Yeux Sans Visage. Compagnie Cinématographique de France.
Eyes Without a Face, Critic Reviews – Quoted
Ravishing ‘Eyes’ returns in all its haunting horror – Los Angeles Times
Turan, Kenneth. (2003). Ravishing ‘Eyes’ returns in all its haunting horror. Los Angeles: Los Angeles Times.
Perspective
School of Athens, Official Gallery
Sanzio, Raffaello. (1508-1511). School of Athens. Located: Vatican City, Apostolic Palace.
Elite
Braben, David. (1984). Elite. BBC Micro. Cambridge: Acornsoft.
Elite, Beebug Magazine Review – Quoted
elite – an outstanding new game from acornsoft
Fell, David. (1984). Elite – An Outstanding New Game From Acornsoft. Cambridge: Acorn Computers.
Composition
Stańczyk
Stańczyk by Jan Matejko | Obelisk Art History
Matejko, Jan. (1862). Stańczyk. Located: Warsaw, The National Museum.
Isle of Dogs
Anderson, Wes. (2018). Isle of Dogs. Searchlight Pictures.
Wes Anderson Filmmaking Video – Quoted
Why Do Wes Anderson Movies Look Like That?
Flight, Thomas. (2020). Why Do Wes Anderson Movies Look Like That?
Conclusion
Interview with Noël Carroll – Quoted
Noël Carroll On Art Appreciation – Part 1Carroll, Noël. (2020). Noël Carroll On Art Appreciation – Part 1.
Abby Galloway Games Design 