FND 152

ART CRITICISM

NAME: NUR HIZWAN BIN HASSAN MATRIX NUM.: 2010462716 NAME: MUHAMMAD AMIRUL HILMI BIN MD AYOB MATRIX NUM.: 2010873152 NAME: AHMED AHMED AIZAT IMAN BIN ABBAS MATRIX NUM.: 2010884086 NAME: MATRIX NUM.: GROUP: TD2G/AD1112G LECTURER: SESSION: DEC-APR 2011

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I LE A K E E E I I I I A KI A E -Rembrants Potrait of a Family(POAF)

ES IP I I I A

F K

. 9. 10. 11. 12. 13. 14.

A A YSIS 1 I E P E A I 1 J E E 1 IFIE KI A E -Rembrants altered version of POAF, Vice Versa Potrait of a Family ES I A A I E J IP I F I A K YSIS P E A I E E 2 SI EFE E ES

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 ac hievement 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.

I
given to us which is this. point. ur lecturer,

O U

IO

This academic writing is acooperation between 4 minds and soul to initiate a task Ithout any further a do, we will talk back straight to the ITI IS and terms

r. Addy had taught us about A T

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 etailed

modified artwork of the fantasy landscape are archived here, in this report. 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 resear ch 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.

RI INA

R IMA E

tH P t it f Oil 1666-68 il

Rij

A t

Ul i

-M ,B i

ES

IP IO

O HE O IGI WO K

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 painting and 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. This painting is currently housed in the erzog Anton lrich-Museum, Braunschweig.

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.

embrandt

armenszoon van

ijn (July 15, 1606

ctober 4, 1669) was a

utch

painter and etcher.

e is generally considered one of the greatest painters and utch history. olden Age. is

printmakers in European art history and the most important in contributions to art came in a period t hat historians call the utch

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 f it 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 armen erritszoon van etherlands. e

was the ninth child born to illemsdochter van uytbrouck.

ijn and

eeltgen

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

was enrolled at the

niversity of eiden, although according to a contemporary he eiden

had a greater inclination towards painting; he was soon apprenticed to a

history painter, Jacob van Swanenburgh, with whom he spent three years. After a brief but important apprenticesh ip of six months with the famous painter Pieter astman in Amsterdam, embrandt opened a studio in eiden in 1624 or 1625, embrandt began

which he shared with friend and colleague Jan ievens. In 1627, to accept students, among them In 1629 father of errit ou.

embrandt was discovered by the statesman hristiaan uygens (a famous

onstantijn

uygens, the

utch mathematician and physicist), who ague. As a

procured for

embrandt important commissions from the court of The

result of this connection, Prince Frederik from embrandt until 1646. At the end of 1631,

endrik continued to purchase paintings

embrandt moved to Amsterdam, then rapidly expanding as the etherlands, and began to practice as a professional e initially stayed with an art dealer, endrick's cousin, Saskia van

new business capital of the

portraitist for the first time, with great success. endrick van

ylenburg, and in 1634, married

ylenburg. Saskia came from a good family: her father had been lawyer and burgemeester (mayor) of eeuwarde n. hen Saskia, as the youngest daughter, et Bildt. They were married in

became an orphan, she lived with an older sister 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.

Portrait of Saskia van

ylenburg, ca. 1635.In 1635 ieuwe

embrandt and Saskia moved oelenstraat. In 1639, they ouse Museum) in the

into their own house, renting in fashionable moved to a prominent house (now the

embrandt

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 neighbors to model for his embrandt frequently sought his Jewish

ld Testament scenes. Although they were by now umbartus died

affluent, the couple suffered several personal setbacks; their son

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 after living barely over a month. ornelia, who died

nly their fourth child, Titus, who was born in 1641,

survived into adulthood. Saskia died in 1642 soon after Titus'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, probably also became eertje ircx was hired as Titus' caretaker and nurse and embrandt with embrandt

embrandt's lover. She would later charge

breach of promise and was awarded alimony of 200 guilders a year.

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.

In the late 1640s

embrandt began a relationship with the much younger

endrickje ornelia,

Stoffels, who had initially been his maid. In 1654 they had a daughter, bringing endrickje a summons from the eformed

hurch to answer the charge embrandt the painter". She embrandt was not

"that she had committed the acts of a whore with

admitted this and was banned from receiving communion. summoned to appear for the eformed

hurch council because he was not a member of the

hurch. The two were considered legally wed under common law, but enrickje, so as not to lose access to a trust set up for

embrandt had not married 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 paintings and drawings included busts of the ld Master

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 painter. To get round this, embrandt's circumstances could trade as a

endrickje and Titus set up a business as art -dealers in

1660, with embrandt as an employee.

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, onspiracy of laudius

died without beginning to paint. The resulting work, The

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 apprentice, Aert de embrandt took on his last

elder. In 1662 he was still fulfilling major commissions for hen osimo III de' Medici, rand uke of Tuscany

portraits and other works.

visited Amsterdam in 1667, he visited embrandt at his house. embrandt outlived both leaving a baby daughter. endrickje, who died in 1663, and Titus, who died in 1668, 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.

ANALYSIS
Original 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.

Original Version

Principle

 Balance- Informal balance.

 Emphasis- Figure on foreground..

hythm- pattern on childs clothes.

armony- the colour.

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.

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 a pproach 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 eventh ough with little image and depictions.

M DIFIED

R IMA E

Hi Vi V

H f il

Mi 40

     
i 76.5 2011

ES

IPTION ABOUT THE O 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 painting and a centre of interest plus a moderate lighting  Artist : ur izwan.

ANALYSIS
odified 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.

odified Version

Principle

Balance- Informal balance.

Emphasis- Figure on foreground.

hythm- pattern on childs clothes.

armony- the colour.

nity- the figure compliments the background.

INTERPRETATION
y 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.

JU GEMENT
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.

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 e also are

class throughout the semester, we can interpret that particular meani ng.

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.

RE ERENCES
Books cvirk, Stinson, igg, Bone, ayton. Art Fundamentals, Theory and Practice.

Mc raw ill. 11 th Edition. 2009.

y y

Jurgen Tesch, Eckhard ollman, Icons of Arts, The 20 th entury,Prestel. Mohd Johari Abd. amid, Falsafah dan Kritikan Seni, 2 nd Edition, Penerbit niversiti Pendidikan Sultan Idris Tanjong Malim , 2007.

Webs
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http//:www.wikipedia.com/rembrants http//:www.wahoo-art.com/portrait-of-a-family http//:www.olga-galleries.com http//:www.about.com/black-colour-meaning http//:www.cbe.com/glossary http//:www.yahoo-answer/what-is-the-meaning-of-rhythm-in-art? http//:www.wikipedia.com/principles -of-arts http//:www.arttermsanddefinitions.com http//:www.incredibleart.org