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Layers in Word Count: Art 2807 Madingley Moravia 300 69559 Abbs 0 1 In my study, I am intending to explore and contrast the different techniques artists use to create layers and the ideas and concepts behind thei
  Layers inArt 1 30069559Madingley Moravia Word Count: 2807  n !y study  a! intending to e#$lore and %ontrast t&e di'erent te%&ni(ues artists use to %reate layers and t&e ideas and %on%e$ts be&ind t&eir )or*+  &ave %&osen t&is as !y title as %urrently in !y $ra%ti%al )or*  a! e#$eri!enting )it& &o) building u$ layers %an &ide )&at,s underneat&+ -o)ever  &ave .ound !y )or* so .ar &as &ad .e) strong %on%e$ts and ideas be&ind it and it &as been.o%using $urely on t&e aest&eti%s and te%&ni(ues used to a%&ieve t&ese+  &ave %&osen t&ese t&ree artists /&inoung ar* a%*son ollo%* and 4en uilty .or t&is essay as t&eir )or* $resents %on%e$ts )&i%& .eel are very si!ilar t&eir $er%e$tions o. t&e )orld around t&e! and t&eir o)n e!otions relating to t&is 123 + -o)ever all t&ree artists also ta*e a di'erent a$$roa%& in re$resenting)&at t&ey $er%eive using di'erent !ediu!s and te%&ni(ues 567 +  a! interested to see 1   Saatchi Gallery, Ben Quilty  )ebsite 201 &tt$:)))+saat%&igallery+%o!%urrentben;(uilty+&t!   <a%%essed  =ove!ber 2015> 2 A+ ?e!er The Art Story, Jackson Pollock  )ebsite   &tt$:)))+t&eartstory+orgartist$ollo%*@a%*son+&t! <a%%essed  =ove!ber 2015> 3  /+ ar* )ebsite  &tt$:)))+s&inyoung$ar*+%o!ne)subgallery;sub+$&$sortBsur.a%e$ageB0105 <a%%essed  =ove!ber 2015>   ?+ Alley Catalogue of the Tate Gallery's Collection of o!ern Art other than orks #y British Artists Date Eallery and /ot&eby ar*e4ernet London 1981 $$+61617 5   Collection online, Jackson Pollock$Guggenheim useum,  )ebsite  &tt$:)))+guggen&ei!+orgne)yor*%olle%tions%olle%tiononlineartistsbios963a%*sonF20ollo%*g%lidBC=Cl;e19sgCGe%/))od(nAA)  <a%%essed on  =ove!ber 2015> 6  &otogra$&: /+ ar* /ur.a%e no1 2009 &tt$:)))+s&inyoung$ar*+%o!ne)subgallery;sub+$&$sortBsur.a%e$ageB0105  <a%%essed on 10 anuary 2016> 7  &otogra$&: 4+ uilty rivate Cary Ada!s 7?A? 6970 201 &tt$:)))+ben(uilty+%o!art)or*;ite!+$&$art)or*B20150311135250yB20105221059 <a%%essed  =ove!ber 2015> 2  &o) !u%& t&is inHuen%ed t&eir te%&ni(ue andstyle and &o) t&e ideas be&ind t&e )or* is translated into a visual .or!+ 4y studying ar* ollo%* and uilty  &o$e to in%or$orate stronger %on%e$ts and ideas into !y $ra%ti%al )or* to .or%e t&e vie)ers to t&in* about )&at t&ey are seeing in !y )or* instead o. @ust ad!iring t&e aest&eti%s+  a! ai!ing .or t&is a$$roa%& to also inHuen%e t&e te%&ni(ues  use !ysel. as  )ould li*e to ta*e t&e vie)ers on a t&oug&t $rovo*ing @ourney instead o. a @ourney involving only t&eir eyes+n t&is essay  )ill  )ill Irstly dra) out t&e !eaning and understanding o. layering bot& te%&ni%al and %on%e$tual )it&in art+ D&is )ill be .ollo)ed by an analysis o. t&ree di'erent artists and &o) t&ey use layering te%&ni(uesto %onvey t&eir ideas+ D&e use o. s$e%iI% art $ie%es )ill t&enbe used to o'er in de$t&%o!$arison and analysiso. t&eir styles+  )ill t&en%on%lude )it& a%o!$arative analysis o. &o) t&is study in.or!sand a'e%ts !y $ra%ti%al)or*+W&en studying%on%e$tual art .or !ysel.  &ave o.ten .ound t&elonger one analyses it t&e !ore t&e $sy%&ologi%al %ontained density in%reases+  D&is is due to ones $er%e$tion o. it %&anging one begins to t&in* in a %ertain )ay and understand t&e %erebral   and e!otional layers t&e artist &as $ut in $la%e+ My understanding is t&at be.ore t&e develo$!ent o. !odernis! at around 1850 8 layering )as usually only used as a $&ysi%al te%&ni(ue used to a%&ieve t&e desiredaest&eti%s+ /eventeent& %entury $ainters began )it& t&e Jdra)ing and under$ainting stageK 9  be.ore building u$ t&e rest o. t&e $aint+ A%%ording to  onat&an anson ter!inology used by t&ese $ainters reveals t&ree or .our !ain stages in%enting, !ea! colouring, &orking up, .ollo)ed by  retouching.  -o)ever as !odernis! develo$ed artist strived to re@e%t traditional te%&ni(ues be%o!ing 8   o!ernism, Tate )ebsite  &tt$:)))+tate+org+u*learnonlineresour%esglossary!!odernis! < a%%essed on 10 anuary 2016> 3   &otogra$&: + ollo%* n%&anted Gorest 197 &tt$:)))+guggen&ei!+orgne)yor*%olle%tions%olle%tiononlineart)or*383 <a%%essed  =ove!ber 2015>   Alevel %ourse)or* $ie%e %reated using Lino $rinting and a%ryli% $aint&otogra$&: /+ ar* -eritage ?e!i# 09 &tt$:)))+saat%&iart+%o!artrint!a*ing-eritage?e!i#09657852163899vie) <a%%essed 10 anuary 2016>  !ore )ay)ard )it& t&eir e#$eri!ents in an atte!$tto %reate an untinted reHe%tion o. !odern so%iety t&ere.ore %reating a $at& into art t&at !ore t&oroug&ly toyed )it& %on%e$ts and ideas+ 8  D&is  believe &as allo)ed layers to evolve a)ay .ro! being $urely aest&eti%+ Alt&oug& layering &as beenused as a te%&ni(ue to a%&ieve t&e desired loo* and .eeling in art in !y o$inion t&e layering in so!e artists )or* <e+g+ ar*> 10  is as !u%& about t&e %on%e$tualisation o. t&e $ie%e as t&e te%&ni%al $ro%ess o. its $rodu%tion+ D&is vie)o. te%&ni%al and %on%e$tual layering is best understood by e#$loring in greater detail t&e )or*s o. uilty ollo%* and ar*+ Girstly  )ill o'er an overvie) o. t&ese artists )or*+ Australian $ainter 4en uilty 11 )as slo) to be re%ognised in t&e art )orld but des$ite t&is &is signature !$asto style o. $ainting &as !ade &i! )idely re%ognised today+ 12  D&e ri%& a$$li%ation o. $aint t&at &e &as e!bellis&ed on &is )or* is said to be ins$ired by &is Jre%*lessK 12 years be.ore adult&ood+ D&e in%onsisten%y o. &is $ers$e%tive and $ro$ortions bet)een &is $ie%es )&i%& !ay be due to t&e (ui%* s$eed &e )or*s at 13  leaves !e.eeling uneasy )&en  vie) !ore t&an one $ie%e o. )or* at a ti!e+  believe t&is isdue to our !inds sub%ons%ious desire to establis& )&at is rig&t and )rong so )&en %on.ronted )it& a body o. )or* li*e uilty,s )&ere t&e te%&ni(ue is ever evolving and %ontrasting )e struggle to $ro%ess t&e %onstituent ele!ents &e utiliNes and &o) ea%& ti!e t&ey &ave develo$ed+ 13  My vie) on &is )or* &is (uite Itting )it& &is re$utation as uilty Jis be%o!ing )idely *no)n .or bot& &is unsettling sub@e%t !atter and (ui%* )or*ing !et&odK 13 + uilty,s !$asto 9  + anson ermeer(s Painting Techni)ue* A +i%e Part Stu!y,&e#site-, $, &tt$:)))+essentialver!eer+%o!te%&ni(uete%&ni(ue;overvie)+&t!l , accesse! // 0o%em#er 12/34 10  /+ ar* )ebsite  &tt$:)))+s&inyoung$ar*+%o!ne)subgallery;sub+$&$sortBsur.a%e$ageB0105 <a%%essed 10  anuary 2016> 11   Saatchi Gallery, Ben Quilty  )ebsite 201 &tt$:)))+saat%&igallery+%o!%urrentben;(uilty+&t! <a%%essed 18 =ove!ber 2015> 12  4iogra$&y 4en uilty )ebsite  &tt$:iartistben(uilty+)eebly+%o!biogra$&y+&t!l  <a%%essed 18 =ove!ber 2015> 13   Saatchi Gallery, Ben Quilty  )ebsite 201 &tt$:)))+saat%&igallery+%o!%urrentben;(uilty+&t! <a%%essed 18 =ove!ber 2015>    &otogra$&: 4+ uilty rivate Cary Ada!s 7?A? 6970 201 &tt$:)))+ben(uilty+%o!art)or*;ite!+$&$art)or*B20150311135250yB20105221059 a%%essed  =ove!ber
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