Essay on Richter, Peyton, Murakami, Hirst: First Draft DUE

Essay on Richter, Peyton, Murakami, Hirst: First Draft DUE

Essay onRichter, Peyton, Murakami, Hirst: First Draft DUE 12th (Tuesday class13th) November: It should beabout 450-500 words long. Final Draft DUE November 19th (or 20th Tuesday class) The firstdraft will need to be shown to me and it is mandatory for you to visit me inoffice hours to discuss your essay in person with a copy of the first draft inhand. Office is JSCE 2030. Time: 11-12 Monday Wednesday or 1 -4 Tuesday. Officemeeting will be mandatory between 12th and 14th November.
Hereare some tips for the first draft and essay:
Pleasetry to include the following elements.
1.An introductory paragraph. 200 words
2. A paragraph describing one or two images. 200-300 words.
Total450-500 words.
Detailsfor introductory paragraph:
1. The introductory paragraph should include a quotation by theartist or about the artist.
2. The introduction should introduce the broad topics and themesyour essay is going to address. Do not include themes and topics you are goingto abandon or ignore later on. ( find about five quotes from/about the artistthat strike you as informative, witty or relevant to your own observations andinclude them in a list at the end of the
Gerhard Richter.jpg”>
Linda Szabo
Art Appreciation 1050
Instructor: Daniel McGrath
October 9, 2011
Szabo 1
Gerhard Richter
“…one wouldhave to admit at the same time that a picture by Richter is alwaysidentifiable, whether it is a gray monochrome or a colored landscape or anabstraction.â€1“He is praised for being exceptionally “changeable,†but his veerings betweenabstraction and representation have a predictable rhythm.â€2 Everything in Gerhard Richterâ€s workcoheres closely and information or intended interpretation is pared down toonly the essential.
Richterâ€sintellect and artistic capability clearly projects sophistication andinnovation, yet there are certain distinctions in his lifelike-to-blurredpaintings, multi-layered squeegee drug paintings, and color charts that viewerstend to easily identify as Richterâ€s. His genres have a wide variance, but theycan all be classified with Richterâ€s style of emotional removal.
Gerhard Richter, an East German born artist is known forturning photographic pictures into beautiful oil paintings that sometimes leavethe observer to wonder: Is that a painting or a photograph? One of Richterâ€smost famous paintings, Uncle Rudi (1965) captures one of his twomaternal uncles, in a classic and clearly observable example of Richterâ€s phototo blurring painting technique. To create the illusion of a blurred photograph,Richter manipulates the surface of a painting before it dries. He smears thepaint in horizontal strokes to give it this effect. According to Richter, “Iblur things to make everything equally important and equally unimportant. Iblur things so that they do not look artistic or craftsmanlike buttechnological, smooth and perfect. I blur things to make all the parts a closerfit. Perhaps I also blur out the excess of unimportant information.â€3.jpg”>
1PetraKipphoff, “Der Maler am Ende seines Mythos†[The painter at the end of hismyth], Die Zeit, December 17, 1993, 51, quoted in Dietmar Elger, GerhardRichter: A Life In Painting, (Chicago and London: The University of ChicagoPress, 2009), 167.
2JerrySaltz, “Scaling Richter,†The Village Art Voice, February 26, 2002.http://www.villagevoice.come/2002-02-26/art/scaling-richter/3GerhardRichter, “notes, 1964-1965,†in DPP, 37, quoted in Dietmar Elger, GerhardRichter: A Life In Painting, (Chicago and London: The University of ChicagoPress, 2009), 86.
Figure2
Betty1988, 102 cm x 72 cm Oil on canvas, Catalogue Raisonné: 663-5
Figure1
UncleRudi, Onkel Rudi 1965, 87 cm x 50 cm Oil on canvas, Catalogue
Raisonné:85
Szabo 2.jpg”>
Richterâ€s Uncle Rudi was killed in the first days afterhe went to war. Maternally tied to his uncle, Richter identifies with him by modifyinghis photograph into a painting. He is depicted as a young enthusiastic Germansoldier in uniform proudly serving his country. The heavy horizontal blurringtechnique added to this painting suggests this was Richterâ€s attempt to takeout the emotion and lessen the trauma caused by the loss of his uncle in war.In a less personal but potentially culturist view, the picture expresses thehorror of war and German attempts to conceal a Nazi history.
In Betty (1988),Richter paints his daughter from a photograph taken in the 1970s. By the timeof this painting Betty is about 21 years old, yet he paints her from aphotograph when she was a very young girl. Her body tilts towards the viewerbut she is facing backwards creating a psychological line cast behind her.Instead of blurring, Richter completes the background with a uniform negativespace leaving nothing but Betty and a small corner of the base she is sittingon.
The painting is simple as are theinterpretations that can be taken from.jpg”>thisphoto. As the young girl grows into maturity, maybe she is looking behind herto see what she is leaving behind.In an interview with Babette Richter in 2002, GerhardRichter says this painting is “an idealization since itâ€s in essence a longingfor culture, for the beauty in art which we no longer have which is why sheturns away.â€4 Since Richter keeps thepainting simple one can enjoy the colorful, bright detail and take away anypersonal thoughts construed..jpg”>
4Babette Richter. GerhardRichter interview by Babette Richter, Writings, Interviews and Letters1961-2007 (London: Thames &Hudson, 2009), 442-443.
Figure3
Reader,Lesende, 1994 72 cm x 102 cm
Oilon canvas, Catalogue Raisonné: 804
Szabo 3
Reader (1994)isan alluring display of how Richtercontinues to remove the emotion witha background blurring technique. In this striking painting of his third wifeSabine, Richter captures a very focused woman reading a paper with lightchiaroscuro detailed on her hair, ear, neck, hands, and paper. Chiaroscuroshadows are dramatically cast on her neck and face. The background, paper, andSabineâ€s hands.jpg”>areslightly diffused removing any focus off of those objects and placing themfirmly onto Sabineâ€s intense reading of an article, oblivious to the worldaround her. The simple message depicts beauty as the concentration is clearlyon the woman. The picture is warm and the slight out of focus gives it aromantic feel at the same time erasing emotion.Moving on to more abstract paintings, Richterâ€s January,December, November, (1989) were all painted around the time the Berlin wallcame down. The squeegee smeared series of three multi-layered paintings seenbelow are displayed in the order painted. January, December,.jpg”>
Figure 4
Figure 5
Figure 6
November, 1989
January,Januar, 1989
December, Dezember,1989
320 cm x 400 cm
320cm x 400 cm
320 cm x 400 cm
Oil on canvas,Catalogue
Oilon canvas, Catalogue
Oil on canvas, Catalogue
Raisonné: 701
Raisonné: 699
Raisonné: 700
andNovember,eachconsists of two canvases placed so close together that they give theappearanceof one large painting. All three paintings are primarily black and whitepainted on top of layers and layers of contrasting colors of the color wheel.Strong violets, blues, reds,
Szabo 4
oranges, yellows and greenssporadically pop out at abstract points in these paintings when the squeegeewas dragged across them. The white and black colors were used last so the vividcolors underneath only come out occasionally throughout the series. This colorcombination clearly depicts the somber moods of those cold dreary months inGermany.
Januaryis painted or pulleddown in a vertical direction and contains more white than theother twomonths giving it the feeling of a brighter happier month. This painting alsoreveals more of the vibrant colors placed underneath the series of paintingsmaybe giving a hint that spring is not far away.Decembercombines bothhorizontal and vertical drags with a few areas containing acrisscrosspattern. The left side of the first canvas starts with horizon drags butchanges to vertical pulls before the middle of the first canvas. The second canvasin December continues the vertical movement and then returns to thehorizontal drags just before the center of the second canvas. This first thirdof the entire canvas is fairly clear while the last quarter of the canvas isclearly painted with a blurring technique combining vertical and horizontalstreaks. The entire painting of December is conflicted and complicated.
The November canvaseshave layered paint that is spread in a horizontal motion with very few colorspeaking through. The colors that can be seen are primarily reds, oranges, andyellows. These colors generally give the feeling of warmth and these particularcolors are associated with fall so one could imagine that fall is giving way tothe darkness and cold that is closing in. This painting contains more blurringthan the other two and it integrates several violent gouges digging deep intoprevious layers of paint.
Since thepaintings were hung in reverse it gives the appearance of going back in time.The current month is the most transparent and bright, while the distant monthsturn dark and dreary. The paintings also work like you mind, with the mostrecent being fresh and clear while
256Colours, 256 Farben 1974
222cm x 414 cm
Oilon canvas, Catalogue
Figure8
Figure7
1024Colours, 1024 Farben 1974
200cm x 200 cm
Oilon canvas, Catalogue Raisonné: 358-1
Szabo 5
the most distant isfoggy or hazy. The trio can take over a room, but the emotion taken out of the
paintings allow youto see them as the conceptual paintings they are..jpg”>Around the year 1966 and inspired by nothing more thanracks of colors seen in a paint store, Richter began painting color charts. Thecharts had no message and no agenda. They were intended to be colorful andinspirational.5 While amazingly beautiful,these paintings do not contain even the tiniest amount of expressiveness. Theyare nothing less than an explosion of arbitrary color schemes.
In 1024 Colours (1974), Richter used 1024different colors. In order to produce so many different colors, he had to usedifferent shades of the same color. Though no meaning is intended, this colorchart is certainly attention-grabbing and mesmerizing.
In 256 Colours, Richter continues with hisarbitrary color scheme. This one is different from 1024 Coloursasthe colors are actually separated with a whiteboarder around eachcolor. This boarder is “optically destabilized where the lines intersect,resulting in a black retinal pop (much like staring at a red spot and thenseeing.jpg”>greenwhen your eyes move to an empty space).â€6These paintings distribute uneven color across a broad scheme. They provide nomessage or meaning, only beautiful visions of color.
The South Transept window ofCologneâ€s Gothic Cathedral has got to be one of Richterâ€s most seen pieces ofart. He was originally asked by the cathedral architect Barbara Schock-.jpg”>5DietmarElger, Gerhard Richter: A Life In Painting, (Chicago and London: TheUniversity of Chicago Press, 2009), 86.
6RobertStorr, Gerhard Richter; Doubt and Belief in Painting,(New York: Museumof Modern Art, 2003), 89.
CologneCathedral Window, Kölner Domfenster, 1974 2300 x 900 cm Mouth-blown, genuineantique glass
CatalogueRaisonné: 900
Figure9
Szabo 6
Werner to create something with afigurative motif. This seemed to be one of Richterâ€s most difficult requestsand it is noted that he almost gave up the tasking until he accidently placed aframe on one of his color charts and came up with the idea to create the windowwith a similar approach. According to Richter, “I got a real shock, because itlooked so good, it was the only honest possibility.â€7.jpg”>For the cathedralâ€s enormous window, Richter used acomputer to randomly arrange 72 distinct colors in roughly 11,500 squares. Theexquisite kaleidoscope window pattern effectively removes any message ormeaning, no doubt hard to swallow for some of the religiously divine. Theoutcome was a burst of color that changes with the light that shines upon it.According to Monsignor Josef
Sauerborn,“in its overwhelming abundance of color…it is a symphony of light.â€8
Richterâ€shas an amazing ability to show many different styles of art to include blurredpicture art, abstract multi-layered squeegee paintings, and detailed colorcharts. Regardless of what he accomplishes he has the intellect understandingto remove insignificant details, so only necessary information is left behind.This remarkable technique has been captured in so much of his artwork that whenyou see one of his works you almost instantly know it is his. The removal ofhis own interpreted emotion allows those who view his work to see it for whatit is with very little preconceived notions provided by the artist..jpg”>
7PeterKipphoff., “Coincidence and Illumination,†Signandsight.com, September19, 2007, http://www.signandsight.com/features/1547.html
8SpiegelOnline International, “Gerhard Richterâ€s Symphony of Lightâ€, August 27, 2007,http://www.spiegel.de/international/zeitgeist/0,1518,502271,00.html
Szabo 7
Bibliography
Elger, Dietmar, Gerhard Richter: A Life In Painting,Chicago and London: The University of Chicago Press, 2009.
Kipphoff, Peter.“Coincidence and Illumination,†Signandsight.com, September 9, 2007.
http://wwww.signandsight.com/features/1547.htm.
Kipphoff, Petra. “Der Maler am Ende seines Mythosâ€[The painter at the end of his myth], Die Zeit, December 17, 1993, 51,quoted in Dietmar Elger, Gerhard Richter: A Life In Painting,(Chicago and London: The University of Chicago Press, 2009), 167.
Richter, Babette. “Gerhard Richter, interview by BabetteRichter, Writings, Interviews and Letters 1961-2007London:Thames &Hudson, 2009.
Richter,Gerhard, “notes, 1964-1965,†in DPP, 37, quoted in Dietmar Elger, GerhardRichter: A Life In Painting, Chicago and London: The University ofChicago Press, 2009.
Saltz, Jerry. “Scaling Richter,†The Village Art Voice,February 26, 002. http://www. villagevoice.com/2002-02-26/art/scaling-richter/
Spiegel OnlineInternational,“Gerhard Richterâ€s Symphony of Lightâ€, August 27, 2007,
http://www.spiegel.de/international/zeitgeist/0,1518,502271,00.html
Storr, Robert. Gerhard Richter; Doubt and Belief inPainting. New York: Museum of Modern Art, 2003.
Compareand Contrast 150 words
1. Achart that list possible topics to discuss similarities/differences LINE,SHAPE, SPACE, TEXTURE, TECHNIQUE, Abstract/figurative, realism/illusionism,COLOR: Warm/cool, complimentary/analagous/arbitrary color schemes.Make a simple diagramof points of interest you find in each image. Vanishing points, horizon linesetc…
2.Prepare150 word answers for each question by looking at similarities and differencesthat either work demonstrate. (Answers should be written in fullsentences/prose.) Do not waste time with biographical info, go straight intoimage analysis and try to craft a thesis if you can.
Suggestions: Choose select topics from those you chartout and introduce them within the first 50 words each essay. Then go on toexplain their use in each work in the next 50 words. Use the final 50 worlds tosuggest reasons why the artist is using these techniques. What might the artistbe attempting to communicate? You will not be able to address every topic in150 words so you can write more (please do so if you wish!) however if youlimit yourself to 150 words you must choose the most important topics anddevelop them carefully..jpg”>
Gustave Caillebotte
Georges Seurat, ASunday Afternoon on the Island of La Grande
Paris Street; RainyDay, 1877
Jatte 1884-1886
GustaveCaillebotteâ€s Rainy Day and Georges Seuratâ€s La Grande Jatte havemany artistic similarities mixed in with their dramatic contrasts. Thesimilarities include their compositional devices like diagonal balance, the useof scale and texture gradient to suggest 3D space, repetition of visual motifâ€slike the prominent umbrellas to unify the composition. Their contrastingfeatures include colors schemes: one is bright and saturated with intense huesthe other subdued utilizing more subtly crafted tints and shades. Lines areactual in Rainy Day, and only implied in Grande Jatte. This is largely dictatedby the diverging techniques of smoothly transitioning chiaroscuro andPointillism. In Rainy Day outlines are stark and clear, outlines in GrandeJatte are the more hazy lines are suggested by high densities and accumulationsof dots and stippled marks. Caillebotteâ€s system of multipoint linearperspective creates a very illusionistic scene versus a much flatter andabstract work by Seurat.
Compositionaldiagonal balance can be seen in Rainy Day with the couple walking downthe sidewalk in the lower right of the painting in their dark colors, Seuratemploys the same composition with the prominent couple in a similar position.Indeed Seurat was aware of Caillebotteâ€s painting and possibly borrowed theidea. In the upper left taking up a similar amount of space is a large buildingwith a light complimentary color. In La Grande Jatte, the dark bluedress of the woman in the lower right has an analogous relationship with thediagonal balance of the lighter blue lake in the upper left. Both pictures showscale with the size of the people getting smaller giving the illusion of depth.Repetition and unity can be seen in both paintings with the umbrellas in RainyDay and the parasols in La Grande Jatte. To some degree this motifunifies the activity and atmosphere each artist is trying to create. Thetexture gradient can be clearly seen in the faces, cobble stones, and buildingsin Rainy Day which turns into a smoother surface on the cobblestonesthat is almost like a reflective pool. While not as obviously visible in LaGrande Jatte, the texture gradient can be seen on the faces of the peoplein the painting. The faces up close include many colors and shades while thefaces of those farther away have less saturated or light and dark contrasts.
Thecontrasting colors include the dark colder grays and blacks used in RainyDay, while La Grande Jatte is loaded with bright warm, oranges,reds, yellows and greens. The lines used in Rainy Day are actual analyticallines, but those used in La Grande Jatte are implied by using stippling.Seuratâ€s painting technique is cartoonish where Caillebotteâ€s technique isbased on realism almost photographic looking. Caillebotte creates threevanishing points in his painting and in contrast Seuratâ€s is not visible.
.gif”>.gif”>
Jan Vermeer
Woman Holding aBalance, 1664
Henri Matisseâ€s The Red Room and JanVermeerâ€s Woman Holding a Balance are comparable in that they both havecomplimentary color schemes, a diagonal balance, psychological lines, and bothproject harmony. In contrast their pallets are either hot or cold, onemaintains depth while the other does not, and one has a linear perspective.
The complimentary color scheme in The Red Room isdisplayed in a clear use of the red and blue on the walls and table. InVermeerâ€s painting it can be seen in the womanâ€s blue jacket and the yellow andorange color projected in her skirt and the window curtain. The diagonalbalance is between both women in the bottom right and the pictures on the upperleft. The psychological lines in both paintings direct the viewer to the fruitbowl in Matisseâ€s painting and the balance in Vermeerâ€s. The calmness in thefeatures both women project harmony throughout the scenes.
Incontrast The Red Room has a very hot color pallet with bright reds whileWoman Holding a Balance uses a cold pallet of darker blues and earthtones. The Red Room has no depth. It is a flat two dimensional sceneplaying with the perception of space. In complete contrast Vermeerâ€s paintingis three dimensional and lifelike. Matisse paints without linear perspectivewhile Vermeer has one point linear perspective identified on the picture.
rough draft)
3. Then you finish the paragraph with a clever thesis sentence:
The intro should conclude with a carefully crafted thesis ofapprox 25 words. It is a useful experiment to try to sum up the point of youressay, or the general argument you are trying to make by asking your self:
“Howcan I sum up the artist in 25 or less?”
Often the answer is your authentic gutreaction to the work and it can be used as a guiding principle for the rest ofthe paper. This sentence of about 25 words can also serve as a hypothetical wayto convince a friend to go see the exhibition of the artist in question. So youcan ask your self when crafting the thesis sentence, “How can I quicklyconvince the reader to keep reading?” or “How can I get my friend togo see this show with me?” Often, what you come up with in answering thequestion is compelling enough to serve as a thesis sentence. This can work wellin any persuasive writing you do for other subjects.
Detailsfor paragraph:
1. Start with a a topic sentence that refers back to one of thetopics you introduce in the introduction. Craft this carefully. Make it catchy.
2. Then begin to describe one or more of the artist’s works, orrelated work by other artists or sources material exploited
by artist.Give the title and date of the pictures immediately if you can. Italicize thetitle and give date in parenthesis. e.g.
Painting(2001).
Then discuss pertinent details aboutthe images. color and/or line, texture, design. Refer to philosophical,religious, economic or political content if needed. Try to relate these thingsto the topic if possible.
Sometimes only a few formal elements need to be written about.Some may be irrelevant. Generally at least one description of possible contentis enough. Color or line might be equal or they may be dominant. Sometimestexture may dominate. That depends on the individual work.
3. Include a quote about the artist if possible. You should have acollection of quotes ready for this through ordinary research. The quote caneither describe the work or be related to the topic.
4. The paragraph should be about 200 words long. Feel free to use asingle paragraph to compare 2 works. This could be 2 works by same artist or 2artists or work and original source material used by artist. This often leadsto a more insightful and lively paragraph. It allows you to argue your ownpoint and identify special things about each work. Did the artist change adetail here or there? Is the theme a repeated obsession for the artist? etc.More images constitute more evidence for your arguments. Include an image ofevery image you write about.
Forthe FINAL essay just repeat this paragraph structure
until you hit about 1,400- 1,500 words.Normally you will need to leave about 200 words for a conclusion.
Sources: quote or cite at least one ArtMagazine: Artforum, Art In America, Freize, Flash Art. Quote or cite at leastone Newspaper from the following list: The Guardian, New York Times, The LondonTimes, The London Telegraph. Look at Youtube and other unusual sources foraccounts of the artists.
www.guardian.co.uk www.telegraph.co.uk
online sources for newspaper articles are good just remember touse full URL.
Use Wikipedia for initial research butdo not under any circumstances quote directly from wiki. Follow their citationsto original articles in the reference section.
I am flexible with formats but imitating the Essay I provided isthe safest bet…
DO NOT forget to add a works cited page or a bibliography.Additionally if you do mention a WORK provide an image.
Contact the studio of Artist fordetails or questions. All these artists are alive.
I hope this helps as a guide. Email me back if you havequestions.

"You need a similar assignment done from scratch? Our qualified writers will help you with a guaranteed AI-free & plagiarism-free A+ quality paper, Confidentiality, Timely delivery & Livechat/phone Support.

Discount Code: CIPD30

WHATSAPP CHAT: +1 (781) 253-4162

Click ORDER NOW..