Here is a fourth model approach to the Chazen assignment, by Anoushka Syed. Notice especially the free way Anoushka moves between details of the images and their political arguments.
There is no one correct way to justly critique a piece of art, but one approach to analyzing art is to see if the brushstrokes, lighting, composition, and other aspects effectively contribute to the theme or message without falling to clichés. Hubert Robert’s Capriccio of Classical Ruins with Boats is such an example. Although this “oil on canvas” was painted in 1760 (when most artists abided by traditional rules), it successfully diverges from the clichés of artwork. The subject integrates ideas that are completely realistic yet never found together, creating an enigma that combines ancient architecture and modern boats and people sailing right up to them. Even the title plays on the irregularities of the painting. Capriccio, by definition, is a free and fluctuating music composition, which could be associated with the freeness of the subject choice of things that wouldn’t ordinarily be found together. However, capriccio also means prank, which is what the artist aims to play with this painting. At first, the artwork seems traditional; one has to look closely to see the atypical scene portrayed that combines two ordinary subjects, but grouping them so it’s unusual. In this way, Robert is able to create beauty and chaos while playing a trick on the viewers. Moreover, Robert is successful because he uses all the elements of art to compliment his painting that fools us into thinking that he is a traditional painter. Robert utilizes traditionally fine and blended brush strokes to create realism. The natural lighting that comes from the background and triangular groupings add dimensionality, and the calm hues create a relaxed mood for the viewer. Perhaps, Robert is saying that society doesn’t pay enough attention to what is placed before them, giving credibility before it’s due. One can infer this because one would think that Robert’s painting is of a serious and realistic subject until one looks closely and analyzes the unlikelihood of the scene.
Antonio Saura’s Giulietta takes on a completely different theme and message than Capriccio of Classical Ruins with Boats. This 1960s painting attempts to entirely separate itself from the norms of art by using an abstract method, but the argument of the painting is lost in the medium. The painting could be contending that the media (portrayed by the TV-like box around the figure’s face) objectifies women through idealizing them (because Juliet of Romeo and Juliet is a conventional symbol of beauty in our culture). However, the theme isn’t evident in the painting as a whole because the artistic elements do not add to this hypothesis. The viewer wonders if this artwork is really about a woman because there are no feminine attributes given to the figure. One wouldn’t even know that it was a woman if it weren’t for the title. Perhaps Saura is implying that the media strips women of their femininity, but that contradicts the first theme mentioned. Furthermore, the composition of the woman’s face is distracting and the unclear emotion on her visage creates ambiguity in the viewer’s analysis. The overall composition is also distracting because there is no real focal point. The smudges on the bottom of the painting draws one’s attention away from the face, which one would think should be the focus since nothing else is present. Lastly, the color and brushstroke style also fail to add to the theme of the piece. The dull gray, black, and white say nothing about the message, and the brushstrokes only emphasize the abstractness. Overall, the theme is missing in the abstraction of Giulietta, which diminishes the strength of the message Saura is relaying to his audience.
Hubert Robert and Antonio Saura display obvious differences in painting styles, possibly due to the influences of their time periods. One cannot justly compare which painting is “better” because the two artworks wouldn’t be classified in the same category. However, both artists share one imperative similarity: they attempt to diverge from the norms of their societies and do so on their own terms. For that reason, both should be considered noteworthy and respected.
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