Tudent name

Vanitas Combines PAINTING 2OO8 making VISUAL ART

S TUDENT NAME: CLASS: 10 UNIT OF WORK: Vanitas Combines Realism, Acrylic Painting and Pop Culture DUE DATE: Term 3 Submit Cnavas with Visual Diary Developmental Work & Blog Research

Vanitas Paintings - a Historical Context …

Vanitas Combines … your painting

A definition of Vanitas Painting

Although a few vanitas pictures include figures, the vast majority are pure still lifes, containing certain standard elements: symbols of arts and sciences (books, maps, and musical instruments), wealth and power (purses, jewelry, gold objects), and earthly pleasures (goblets, pipes, and playing cards); symbols of death or transience (skulls, clocks, burning candles, soap bubbles, and flowers); and, sometimes, symbols of resurrection and eternal life (usually ears of corn or sprigs of ivy or laurel). The earliest vanitas pictures were sombre, somewhat monochromatic compositions of great power, containing only a few objects (usually books and a skull) executed with elegance and precision. As the century progressed, other elements were included, the mood lightened, and the palette became diversified. Objects were often tumbled together in disarray, suggesting the eventual overthrow of the achievements they represent. Somewhat ironically, the later vanitas paintings became largely a pretext for meticulous virtuosity in the rendering of varied textures and surfaces, but the artistic quality of the genre in no sense declined. Several of the greatest Dutch still-life painters, including David Bailly, Jan Davidsz de Heem, Willem Claesz Heda, Pieter Potter, and Harmen and Pieter van Steenwyck, were masters of the vanitas still life, and the influence of the genre can be seen in the iconography and technique of other contemporary painters, including Rembrandt.

http://www.britannica.com/eb/article-9074816/vanitas

Contemporary: www.parnasse.com/vanitas.shtml

What you will do
You will be making your own contemporary vanitas painting on canvas using a combination of found images. These will be developed from a collage made by putting together a background of an existing painting with your own photographs, images from magazines, photocopies, text books etc.

To do this you will

RESEARCH http://arti.pbwiki.com/Year-10-Resources

In Brief

1. 
   select a backgroundand print the image to A4 size
   
2. 
   photograph your treasured items
   
3. 
   create a collage
   
4. 
   photocopy the collage
   
5. 
   develop your colour scheme + make experiments in Visual Diary
   
6. 
   grid the composition on to the canvas
   
7. 
   paint your work using acrylic paints and filbert tipped brushes from your art kit
   
8. 
   add final details with oil paints
   

filbert-tipped brush

Background and Assistance

Audrey
Flack

By: Jim Lane

Marilyn (Vanitas) by Audrey Flack
96"x96", 1977, oil
If you click the image you can read about Flack’s technique and the ensuing controversy

James Guppy (2 flower pieces below). He also works from photographs – examine how he changed the images to make them more potent


Other images related to Vanitas

The Significance of the skull in Vanitas Painting is to remind us humans of time … time passes and the inevitable fact that we all pass on

You will be working on a canvas approximately these proportions

You will build a background using layering and scumbling

A scumble is related to a glaze in that it is a film o

f color laid over another paint surface so that it modifies the original color but does not

completely conceal it. Unlike a glaze, the scumble

is usually a light, semiopaque color placed over a darker one. Some colors (Naples yellow, for

example) are particularly suitable for this

technique, but any color may be combined with opaque white and used as a scumble when it is placed over a darker tone. Scumbles are usually characterized by a pearly opalescence or by a

soft smoky optical effect. [p. 79] [Kay, Reed. The Painter's Guide to Studio Methods and Materials. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1983. pp.

127-129]

Jiri Anderle

More Scumbling

	1. First, I established the tonal areas of the ear with acrylic washes of burnt umber on textured Claybord. 2. Switching to heat-set oils, I built up the lighter areas by scumbling in thin layers of opaque fleshtone paint. I used a combination of straight brushstrokes and scrubbing. I took care not to completely obscure the underpainting, except perhaps in the very lightest highlights. 3. I glazed down the darker areas with phthalo blue, a naturally transparent pigment. I also scrubbed barely perceptible amounts of the blue into the halftone areas (to subdue the flesh color); opaque red oxide into parts of the ear; and opaque Genesis yellow into the planes of the ear facing the upper-left corner. These subtle chromatic adjustments create the illusion that the ear is a three-dimensional object within a three-dimensional space. A vanitas painting, while possibly containing lovely objects, always included some reference to man's mortality - most often a human skull (with or without other bones), but also by way of burning candles, soap bubbles or decaying flowers.					Click the picture below for an enlarged view. Skin Tones: Using simple brushstrokes, I’ve scumbled five opaque fleshtone values across two bars of paint, one green and one red. The underlying colors show through, thereby altering the flesh hues. Here I’ve used colors that are bold and stark. In actual practice, the contrasts are much subtler. Close up of scumbled technique

VISUAL LITERACY Symbol development Visual Diary experimentation and problem solving Major Folio work	copies ideas and information	0
	researches and develops artworks solves some problems with relevance to the concept(s)	1 -2
	researches, develops and resolves individualised artworks relevant to concept(s) uses visual language and contexts to reproduce meanings	3 - 4
	researches, develops and resolves individualised artworks, reflecting a personal aesthetic defines and solves problems relevant to concept(s) uses visual language and contexts to construct and communicate intended meanings	5 - 7
	researches, develops and resolves individualised artworks, reflecting an evolved personal aesthetic defines and solves complex problems relevant to concept(s) uses visual language and contexts to construct and effectively communicate intended meanings	8 - 10
CRITERION A KNOWLEDGE AND UNDERSTANDING	Does not reach a standard described by any of the descriptors below	0
	Has acquired limited theoretical knowledge and little understanding of the topic under consideration	1 -2
	Shows basic acquisition of theoretical knowledge and understanding of the topic under consideration. The student uses some subject-specific terminology to show a critical awareness	3 - 4
	Shows a broad understanding of the topic under consideration, and applies theoretical knowledge and subject-specific terminology to identify some of the complexities of the materials studied	5 - 6
	Shows a thorough understanding of the topic under consideration. The student confidently applies theoretical knowledge and subject-specific terminology to identify clearly the complexities of the materials studied	7 - 8
CRITERION B APPLICATION Major Folio – appropriate selection and application of skills and techniques in the execution of major work	does not reach a standard described by any of the descriptors below	0
	demonstrates limited abilities to use skills and strategies produces work of a poor quality	1 -2
	demonstrates success with basic skills and strategies and the work reaches a point of realization and shows some proficiency in techniques(s)	3 - 4
	applies skills and strategies needed to produce creative work showing reasonable proficiency in techniques	5 - 6
	shows competence in applying skills and strategies needed for the realisation of work which shows creativity and proficiency in technique(s)	7 - 8
	Is highly competent in choosing and applying a range of skills and strategies for the realisation of work. The student’s processes and resolved artwork reflect a high level of proficiency and creativity	9 - 10
CRITERION C REFELCTION & EVALUATION Visual Diary Reflections on Stimulus Materials Process work	does not reach a standard described by any of the descriptors below	0
	The students use of feedback and reflections upon themes and processes is minimal. The student completes a rudimentary evaluation of her level of skill	1-2
	finds it difficult to take feedback into account when working. The student provides an evaluation of her development as well as evaluating the themes and issues. Some aspects of the evaluation may be unrealistic or incomplete.	3-4
	reflects on themes and issues and takes feedback into account when working. The student provides an evaluation of her development and the process of working. The evaluation includes an appraisal of the quality of the produced work and an identification of areas of improvement	5-6
	Gives considered responses to feedback and provides a thorough reflection and evaluation of her development and of the process of working. This evaluation includes an accurate analysis of the quality of produced work and details of improvements which could be made.	7-8
CRITERION D ARTISTIC AWARENESS AND PERSONAL ENGAGEMENT Approach to work, level of engagement and willingness to develop creatively	does not reach a standard described by any of the descriptors below	0
	participates to some extent in activity associated with the task yet shows little interest and personal engagement in the work	1 -2
	participates in activity associated with the task and shows some self-discipline and motivation in the work	3 - 4
	is fully engaged in the work, and shows a willingness to develop further her potential	5 - 6
	Demonstrates a high level of interest and personal engagement in the work, and shows initiative, enthusiasm and commitment	7 - 8

VANITAS PAINTING Year 10, 2008
NAME:

CRITERIA

Examine the textures in the work below – imagine the technical skill required to achieve this level of finish

Stephen Bluto Vanitas Egg tempera and oil on panel 14 x 12 online photograph 12 April 2008 www.stephenbluto.com/Oil/Vanitas1.html

Vermeulen, Jan: vanitas still life." Online Photograph. Encyclopædia Britannica Online. 12 Apr. 2008 http://www.britannica.com/eb/art-97404

Hendrik Andrieszen "Vanitas quiet life"

Philippe de Champaigne "Vanitas Still Life with a Tulip, Skull and Hour-Glass"

http://www.repro-tableaux.com/a/de-champaigne-philippe/vanitas-still-life-with-a.html

Willem van Aelst (Dutch, 1627-after 1682) Vanitas Flower Still Life, about 1656

Oil on canvas, 22 x 18 1/4 in. (55.9 x 46.4 cm.)

Francis Giacco (b. 1955) Family Tradition 2005 Oil on board 70 x 91cm 12 April 2008 www.evabreuerartdealer.com.au/giacco_ex05.html