Mediterranean Landscape, Pablo Picasso

Mediterranean Landscape, Pablo Picasso 1952

This image is completely different to all the images i have done before in my blogs. It takes a completely different approach, which is to break the parts of the image down to create the essence of what the artist has seen, rather than an accurate record of the place and time recording. The perspective of this image is not accurate, it does not have a vanishing point that creates the illusion of depth which mimics how your eyes see.

Cafe Terrace at Night, Van Gogh

Cafe Terrace at Night, Van Gogh 1888, Oil on Canvas, 80.7cm x 65.3cm


The use of perspective in this image creates a real sense of depth, the gradual decline is size of the buildings and people towards a vanishing point is a trick that artists use to achieve depth. The use of vivid yellow and orange under the sun shade is very warming in contrast to the dark sky and dark buildings on the opposite side of the street. This focuses the eyes bottom left-hand side of the painting. The viewpoint of the image is from a normal standing position on the street.

Signifiers and Signified: The Apple

The apple has for many years been associated with sin and the fall of man and original sin. Therefore the apple is a signifier as it is the image that carries the signified denotes that apples were an evil temptation. This is an arbitrary link between apples and evil. There is no relation between an apple and evil, the signifier is a just image or object that has been related to evil by convention. That is a first order semiological chain, because it relate to a set of values or ideas, it then becomes a second order semiological chain. The apple as denoted as an evil temptation then becomes a connotation of the evil temptation leading to the fall of man, as it links with the myth or social construct of the Adam and Eve story.

Originals and Reproductions: The difference in Communication

'Original paintings are silent and still in a sense that information never is. Even a reproduction hung on a wall is not comparable in this respect for in the original the silence and stillness permeate the actual material, the paint, in which one follows the traces of the painter's immediate gestures. This has the effect of closing the distance in time between the painting of the picture and one's own act of looking at it.'

This quote from John Berger's 'Ways of Seeing' suggests that the physical properties of a painting are a direct communication between the artist and yourself, the viewer. The brushstrokes are a direct link between the painting's creation and the time when you look at the painting today. Meaning that every time you create a reproduction you capture a moment in time that resembles a said image but does not carry the original method and materials. The nearest metaphor i could think of, would be to have an original recording of a song, and have a reproduction recording made from a mic in front a speaker. You would be recording the sound of the speaker vibrating rather than the instruments themselves, as you would be taking a picture of brushstrokes, instead of having the original brushstrokes.

The Importance of Location to a Painting

John Berger in his 'Ways of Seeing', states that the location and surroundings of a painting were once an integral part of the viewing of a painting.

'The uniqueness of every painting was once part of the uniqueness of the place where it resided. Sometimes the painting was transportable. But it could never be seen in two places at the same time. When the camera reproduces a painting, it destroys the uniqueness of its image.'

  

As well as continuing to say that the location and surroundings of a painting are said to be of vital importance to the viewers reception and understanding of an image. The reception of a painting that is shown on television is said to be subject to the environment that is the living room to which it is broadcast.

'The painting enters each viewer's house. There it is surrounded by his wallpaper, his furniture, his mementoes. It enters the atmosphere of his family.'

The Empyrean, Sarah Sitkin

The Empyrean Album cover, Sarah Sitkin 

'The Empyrean’ is the name of this album, it is a term for ‘the highest point in heaven’ and this album cover's art is a depiction of this, the layout of this image is used to show a contrast between physical and spiritual. The collage of images and paint make an interesting image which plays with the depth of the image. The image is divided horizontally roughly into three parts. The top third represents the empyrean, and the bottom third represents the earth and mortality, this is inferred by the resting body in the dirt. The middle third depicts a space of transition, firstly with the stairs reaching up into the clouds. Also the paint seeping down from the upper third. The image shows many polar extremes; dark and light, height and depth, as well as a mixture of two-dimensional and three-dimensional layers.

Mussolini in Venice, Alfred Eisenstaedt

Mussolini in Venice, Alfred Eisenstaedt, 13/6/1934 Gelatin silver print 19.1 x 24.4cm

This image shows a very powerful message of a very powerful subject. The dramatic pose of Mussolini in this image is of a gesture held by the photograph. The pose makes him seem impassioned and suggests an emphasis to match his speech. His is literally reaching out in front of him to his audience.  The gap between him and the group of men to the left is very significant. It suggests that he stands out from them, and is different.  The camera is looking up at him, which, as I have learnt from other images, suggests power and authority. However, the perspective of the camera means that he appears higher in the image than they do, which normally the viewer infers as unstable. The background of this image, is of a very ornate and sturdy building. Built from stone, the strength of the pillars among other properties are symbols that can attributed to Mussolini. The uniform worn by Mussolini suggest a well trained and disciplined personality.