sova-self & relationships

FELDMAN’S approach to looking at art

• D ESCRIBE what you see

• A NALYSE the elements of art in the picture

• I NTERPRET the elements into meanings

• E VALUATE the work by forming your own judgments

WATCH OUT FOR SLIDES WITH THIS SYMBOL…..

☺The artworks which bear this symbol is in the MOE SOVA Syllabus. Please remember these visuals as it may appear in your exams.

The SOVA theme you will learn this year is :

There are 3 components under the theme Self and Relationships

GENERALLY……. •Art can make people think about war, poverty, racism, violence, oppression etc.

• Some artists create art that makes a statement about events or ideas that mean a lot to them.

• Self-portrait is a projection of one’s self and their identity.

• Portraits are one art form that artists use to give a message about important issues.

Almost every artist has attempted the exploration of self in the

form of self-portraiture.

By exploring different self-portraits, we understand :

1. WHY artists create these works

2. HOW they represent themselves through their art.

Let us use FELDMAN’S approach to

critique the next piece of artwork…

Remember the steps???

☺

D ESCRIBE what you see

• A photograph

• A migrant mother – based on the title

• Mother’s face looks wrinkled and troubled

• Mother looking worriedly into the future

• Her right hand touching her face in despair

• Two children leaning against mother

• Children’s faces not shown

• Clothes look old and worn out

• Hair not combed

☺

A NALYSE the

elements and principles of art in the picture

• Colour - Picture is in black and white

• Emphasis – mother’s face as the focal point

• Proportion – The picture is in true proportion

(i.e without distortion)

☺

I NTERPRET the elements into

meanings• Black & white picture suggest that it was

taken in the past

• The old, worn out clothes suggest hardship

• True proportions of picture illustrates realistic

depiction of suffering

• The children’s concealed faces suggest that

they may not be able to see a brighter future

☺

E VALUATE the work by forming your

own judgments• Artist managed to depict suffering of a migrant

community.

• We sympathize with the family

• As teenagers, viewers will empathize with the

children in the picture for being deprived of a

promising future

• As parents, viewers will empathize with the

mother’s helplessness in caring and

providing

for her children.

☺

Background info on portrait:

Dorothea Lange’s photographs showed the

world how people were suffering during the

Great Depression in the 1930’s. This

photograph was published in a news story

which made people aware of the hardships

migrant workers suffered. As a result, the U.S.

government rushed the workers food and set

up relief programs.

• D ESCRIBE what you see

• A NALYSE the elements of art in the picture

• I NTERPRET the elements into meanings

• E VALUATE the work by forming your own judgements

Image from : http://www.princetonol.com/groups/iad/lessons/middle/Lessons/6picasso.htm

Self-Portrait (1975) Affandi (Indonesia 1907 – 1990)Collection of the Singapore Art Museum

☺Emphasis through brush strokes, colours and presentation of the subject can endow the sitter with a certain personality and disposition. In this painting, Affandi uses his signature whipping convoluted brush strokes to imbibe a sense of vitality and dynamism in this self-portrait. Using primary and secondary colours (red, yellow and green as well as a hint of brown and flesh undertones, the artist’s spiritual and emotional depth is evoked. His facial expression divulges an insight into his interpretation of self. His eyes are downcast and there are broken teeth in his mouth. We see an aging artist, yet one who exudes confidence and passion. While gazing directly at the viewer, he is aware of his success and yet realizes the frailty of his physical self.

Self Portrait with Bandaged Ear (1889)Vincent van Gogh (The Netherlands) Oil on canvas

☺In December 1888, Van Gogh chopped off a part of his of his ear and presented it to a prostitue called Rachel, so the story goes. "Self-Portrait with Bandaged Ear" depicts the aftermath of these events. This painting gives a real sense of personal catastrophe. Still dressed in winter coat and fur hat, this self-portrait includes an easel in the background. Van Gogh seems to be relating his suffering to his art. "Look what art did to me", he appears to be saying. Alternatively, the theory goes the easel reaffirms his continuing commitment to his art despite his recent breakdown. The Japanese prints in the background remain an important influence for the artist who here has a vulnerable yet steady gaze. He seems to be looking but not seeing, deep in contemplation of his own anguish.

Lang Kacang (1991)Bayu Utomo Radjikin (Malaysia 1969 – present)Collection of the Singapore Art Museum

☺

In this work, we see a profile of the warrior chief. His head is thrown back with the force of his roar of frustration and anger. The facial expression is contorted in emotion and yet the torso stands stiff and rigid, bound by bandages of metal. In contrast to the constricting armour of metal, the feathers of the headdress stand defiant and proud, symbolic of rich traditional culture and evocative of traditions past that are slowly being abandoned.

Lang Kacang – A series of 3 drawings (1990)Bayu Utomo Radjikin

(Malaysia 1969 – present)Collection of the Singapore Art Museum

☺

Self-Portrait (1946)Georgette Chen (China 1906 – Singapore 1993)Collection of the Singapore Art Museum

The artist uses sweeping and blended brushstrokes of colour in a centrally focussed composition. Through formal aesthetic elements, as well as physically, through her bright red lipstick, upswept European hairstyle, sharply plucked eyebrows and confident gaze, she has combined both Western and Eastern influences in her self-portrait. She gazes from a side angle at the viewer with her head slightly tilted back, as if in appraisal. The fresh shades of beige, light pink and white highlights on her face are complemented by the warm glow of the background. Her sharply defined cerise lips and the glossy black of her dress offer contrasts to heighten the effect of the soft lilting shades of the palette. Chen exudes a cool and sophisticated demeanour, and this is heightened by the stiffness of her cheongsum collar, the elegant 1940s rolled hairstyle and the subtle delineations of her jaw line.

Self-Portrait (1966)Mochtar Apin (Indonesia 1923 – 1994)Collection of the Singapore Art Museum

In this portrait, Mochtar does not gaze directly at the viewer but towards the approaching unknown. This does not create a sinister or wary atmosphere, instead the central focus of light cast on the forehead and cheekbones of his side-profile convey a sense of enlightenment and awakening. The background of rich mossy green, dramatic velvety blacks and shades of brown provide a contrast, evoking the heaviness of traditional Renaissance paintings. The bright sunset orange, soft flesh tones and glowing red bring a dynamic feel to the portrait and communicate Mochtar’s breakaway from stifling aesthetic and conceptual convictions. Thick angular strokes form the outline and features of the face, hinting at his forays into the abstract geometrical style in his work. Lines criss-crossing are particularly obvious at the artist’s nose bridge and lips, lending an air of steely determination.

Self-Portrait (1967)Popo Iskandar (Indonesia 1927 – 2000)Collection of the Singapore Art Museum

Portraiture is a reflection of the subject’s status in society (remember Migrant Mother??)

A painting can be used to establish a person’s status in society. A

portrait can be representative of a person’s inherent or perceived importance as an individual.

We shall explore how artists engage a variety of elements to portray their sitters’ personalities, characters and/ or status.

Portrait of Eugene Chen (1940)Georgette Chen

(China 1906 – Singapore 1993)Collection of the Singapore Art Museum

☺Eugene Chen was Georgette Chen’s 2nd husband. He was the Foreign Minister to the Republic of China. He was a big influence in her life. This is one of three portraits that Georgette Chen painted of her husband before his demise. He appears to be gazing into the distance, wrapped in thought, perhaps over the book which he has just read. He is portrayed as a scholarly and dignified character. For a high ranking person, he is dressed modestly and seated on a simple cane chair. With that kind of portrayal, Eugene Chen appears to have a disregard for material comforts but is in search of a higher intellectual concern. The use of colour also exemplifies his simplicity. The background and the figure itself is in soothing organic colours of beige, cream, brown and charcoal grey. The book in his hands however is in red/scarlet. This contrasted with the general colour scheme, and thus draws our attention to it. From the relaxed pose, we can tell that the relationship between the artist and the subject is very intimate, making the viewers almost feel intrusive.

Labourer (Lunch Break) (1965)Lai Foong Moi(Malaysia 1931 – Singapore 1995)Collection of the Singapore Art Museum

☺Lai Foong Moi (LFM) received her art education from Spore (NAFA 2nd generation artist) and in Paris. Her artworks depict subjects from all races and walks of life. Virtually all her paintings show a direct and natural finesse and yet at the same time, impart an emotional resonance. In this artwork, the labourer is portrayed as sitting casually in an eating-place, gazing into the distance and is deep in thought. He is the principal subject whilst in the background, a samsui woman is eating from a tiffin carrier. A sense of spaciousness is created in the composition by the laying out of dark chairs and tables in the background and figures in the foreground. As there is no clutter or use of shadows, a sense of simplicity and light is felt. The principal subject is dressed casually in a labourer’s outfit, but his clean clothing and combed back hair provide him with an air of respectability. His legs appear to be suntanned and muscular and his face, with the determined jaw, contribute towards the impression of an honest working man.

Find a group of 4-5 friends.

Each group will take on ONE question.

Present answers at the end of the group discussion.

You have 10 minutes to discuss…

Sir Thomas Stamford Bingley Rafflesby George Francis Josephoil on canvas,1817On display at the National Portrait Gallery

A collector and scholar, Raffles was a colonial administrator in South East Asia. In 1811 he was made Lieutenant-Governor of Java following Britain's invasion. In 1819 he took over the governorship of Sumatra and acquired Singapore where, between 1822 and 1824, he oversaw the development of a thriving commercial port for the British.


Study this portrait and explain how the artist engage a variety of elements to portray the sitters’ personalities, characters and/or status.

1. Posture? Appear posing or behaving naturally?

2. Relax? At ease or is it an uncomfortable setting?

3. Eye contact?

4. Clothing?

5. Objects in the background? What does it say about him?


SUGGESTED ANSWERS…


1. Posture? Appear posing or behaving naturally?

Ans :Posed portrait. Seated upright but quite relaxed. Very comfortable with his position/ rank. Exudes an air of confidence and very dignified.

2. Relax? At ease or an uncomfortable setting?

Ans : He looks very comfortable and how the left hand hangs over the armrest shows that he is relaxed. The portrait takes place indoors and looks like a part of a study room because there are papers on the table. He is holding a paper in his right hand. All these illustrate that he is proud of his vocation.

3. Eye contact?

Ans : He is looking directly at the viewer with a confident gaze. Exudes a superior disposition towards the viewers.


4. Clothing?

Ans : He wears a formal British (official) attire. The high neckline seems to illustrate his sophisticated demeanor. There is an air of arrogance and smugness about him.

5. Objects? What do objects in the background say about him?

Ans : The way the portrait is painted is very renaissance in characteristics. The drapes, the outdoor landscape and the furniture looks very European. There seems to be a Buddha relief sculpture on his table which might suggest his inclination to travel, especially to Asian countries. He is holding a piece of paper which may suggest that he is an administrator who deals with a lot of writing and paperwork.

Self-Portrait of My Ancestor (1994)Koh Nguang How (Singapore 1963 – present)Collection of the Singapore Art Museum

You inside, are you still ok? (1977)Chatchai Puipia

(Thailand 1964 – present)Collection of the Singapore Art Museum

Portraiture is a manifestation of relationships between people.

Portraiture can tell us about the relationships between the people in the picture. The facial expressions, poses, arrangements and setting provide rich information about the sitters and how they relate to one another.

We shall now learn how artists depict the diversity and dynamics of human relationships in their works.

Portraits can provide visual clues to the viewer about the relationships of the subjects in the painting.

We can find clues in : - facial expressions- poses- the arrangement of the subject matter- composition- background setting

General questions to ask when looking at portraits are: 1.What is the relationship between the subjects in the painting? 2.How does the painting make you feel and what does it make you think? 3.What personal experiences or opinions shape your judgement?

Family Portrait (1968)Hendra Gunawan (Indonesia 1918 – 1983)Collection of the Singapore Art Museum

☺ Hendra Gunawan : • One of the most important artists in the

history of Indonesian Art. • Self- taught• During the struggle for independence

(1945-49), he was an active nationalist revolutionary.

• Together with Affandi, he formed the Peklukis Rakyat (People’s Painters).

• Had links with the Indonesian Communists Party

• Member of the Constituent Assembly.• Became teacher at Indonesian Art

Academy from 1950 – 1957. • Popularised the theme of nationalism

and ‘concrete humanity’.• Communists downfall in 1965 saw

Hendra and his fellow members being imprisoned.

• He was imprisoned in Bandung’s Kebun Waru prison from 1967 – 78.

Make some guesses about the

relationships between the people

you see in this artwork.

Notice that there are a lot of

people in the background. Who

do you think they are and where

do you think this place is?


☺

• This family portrait was painted in 1968 during a family visit day at the prison.

• His two sons, and his wife Karmini surround him.

• On his far left is his student, Nuraeni.

• The inclusion of Nuraeni in this family portrait hinted at Hendra’s desire to marry her.

• Nuraeni later did became his second wife.

• There are crowds of families in the background but this do not interfere with the intimate air between the subjects of his paintings.

• This painting has whimsical details from the feathery brushstrokes of his wife Karmini’s sarong kebaya to the delicate softness of his son’s features.

•There is little dramatic exaggeration in this painting, illustrating Hendra’s depth of emotional sincerity.


☺

Artist and Model (1954)Liu Kang(China 1911 – Singapore 2004)Collection of the Singapore Art Museum

☺

• Liu Kang lived to Spore during the Japanese occupation.

• He is one of Spore’s pioneer artists.

• He received his art training in China and Paris.

• Liu Kang is one of the founding member of the Singapore Art Society.

• Like Georgette Chen, he too lectured at NAFA.

• He has played a pivotal role in Singaporean art history as a cultural commentator, artist and educator.

Artist and Model (1954)Liu Kang


☺

• In 1952, a few Singaporean master painters, Liu Kang, Cheong Soo Pieng, Chen Chong Swee and Che Wen Hsi, embarked on a trip to Bali.

• Their intention was to refine a Southeast Asian aesthetic and Nanyang style that would set them apart from Western and primitive art.

• In this painting, a naïve style of strong bright colours, lack of shadows and simplified form endow the painting with feelings of freshness and vitality.

• The white outlines imitate the wax outline of the batik technique, deepening the sense of the exoticness of the posing Balinese lady.

• The mountain range in the background and the triangular configurations of the chairs and table imbibe depth to Liu Kang’s composition.



☺

Cont’d

• The astute use of colours such as the bright scarlet of the flower in the sitter’s hair, the tea set, and the bag of painting materials serve to bring a sense of harmony into the highly detailed painting.

• This painting captures art making in its process. Chen Wen Hsi and the model he is painting are the subject focus.

• The viewer gains a sense of the vibrant energy and inspiration that Liu Kang enjoyed on his painting trip to Bali.



☺

• This painting reminds us of the colours used by Matisse in his works. There are bright tropical hues, particularly the rich blues of the rolling mountains and flat colours, makes you think that this is not a painting, but a paper collage.

Beasts of the SeaPapercut / collage Henri Matisse


☺

CLASS DISCUSSION Answer these questions: 1. Describe the subjects’ facial expressions2. Analyse their poses in relation to one another. Are they behaving

naturally?3. What can we tell from their clothing? 4. Interpret the intentions of the artist in this artwork.


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1. Describe the subjects’ facial expressions.- Eye contact is avoided between the viewer, the artist and the subjects.- The model’s face is cast down, giving the impression of being shy. - The artist seems engrossed in drawing, portraying that he is professional about his work.


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2. Analyse their poses in relation to one another. Are they behaving naturally? - The model is sitting on a stool with her left hand on her face. - She looks quite uncomfortable about being drawn (shy), but perhaps not about being topless. - The artist is sitting directly opposite her and looks very comfortable. He looks more occupied at capturing her image than with the fact that she is

topless. - Liu Kang illustrates the side view of the this whole art-making process. Both the subject matters in this painting seems to be oblivious about his presence.


☺

3. What can we tell from their clothings? - The model is topless. It is part of the Balinese culture to adorn such outfits in their daily lives. As such, the model must feel comfortable in that attire. - She is very traditional. Her sarong is made out of Batik. She has flowers in her

hair. - The artist is in casual clothing. He too looks relaxed and seem very

professional in executing his artwork. - The artist’s clothing suggest that he is not a Balinese local.


☺

4. Interpret the intentions of the artist in this artwork.

- Liu Kang is portraying an engrossed artist in the process of painting a

local model. The artist appears to be very professional, deep in task and quite

oblivious that he himself is being portrait.

- Liu Kang uses white paint to outline his subject matters, giving the painting a

Batik feel. He did this on purpose to incorporate the influence of traditional

Asian style/art/technique with Western influences in his portrait.

1. First Impressions – spontaneous reactions

2. Description – listing exactly what can be seen

3. Analysis – looking at relationships among EOAs, PODs and images, as appropriate. Consider the following : image, contrast, proportion, line, shape, balance, variety, harmony, colour, form, rhythm, emphasis, unity, texture, volume.

4. Interpretation – personal reflections on the artworkConsider the following : themes, expression, imagination, ideas, narratives, associations, cultural context, social issues.

5. Background Information – gathering information on the artist and the artwork.

6. Informed Evaluation / Judgement – reflective activity

Memory(1994)Eng Hwee Chu(Malaysia 1967 – present)Collection of the Singapore Art Museum

About the artist:

- Born in Batu Pahat (Johor, Msia)

- Received diploma in fine art from in the Malaysian Institute of Art.

- Exhibited works in Japan, Spore, England, Australia and US.

- Was conferred the Painting Award in Salon Malaysia by the National Art Gallery Malaysia and the Minor Award in the Young Contemporaries exhibition.

- Well known for her surreal figurative paintings that draw from her personal life.


• done a year after Eng’s Grandmother’s death.

• delves into the artist’s feelings about her loss.

• She assumes the role of a scarlet nude figure exposing her physical self and baring her emotional soul

• Eng juxtaposes herself against her grandmother.

• Her grandmother is frail in her wheelchair and yet the epitome of traditional propriety in her sarong, scraped back hair and pearl earrings.


• On the right hand side of the painting, prayer papers and a white mourning lantern emphasize traditional Chinese practices and bringing to mind filial piety.

• We cannot help but compare the two subjects in the painting – the grandmother firmly placed in her role of nurturing mother and mother whilst Eng herself appears to ponder her path in life and is able to cast aside any inhibitions to discover herself.


• In the background, blooming white lotuses rise out of the mud. Buddhist symbols of mental clarity and spiritual purity. The open blossom signifies the attainment of enlightenment whilst the floating boat symbolizes the grandmother’s journey into the afterlife.

• There are whimsical touches amidst the sombre subject of this painting – rocking horses float overhead. The depth and breadth of visual elements used evoke the innocence of childhood and the enormity of death. This leads the viewer to ponder alongside the artist on our existence, the mysterious journey through life and how actions determine fate.


1. How can you describe the relationship between the subject matters in this painting? (4m)

2. What do the objects in the background tell you about the people in this painting? (4m)

3. Are the subject matters behaving naturally? (4m)

4. How does the painting make you feel and think? (4m)

5. What personal experiences or opinions shape your judgment? (4m)


1. How can you describe the relationship between the subject matters in this painting? (4m)

• There are two women, related by blood (grandchild and grandmother).

• The grandmother is very conservative, a typical Asian woman, seated properly on wheelchair, wearing a sarong, neatly combed and tied back hair and wearing a pair of earrings.

• Unlike the grandmother who is down to earth and realistic, the grandchild is painted red (surreal), and not clothed. She squats in an un-ladylike manner.

• Grandchild appears to be more expressive and not tied down by traditions like her grandmother.

• She is gazing up into the distance, as if looking into her future.

• The 2 women have a family relationship but they do not share the same principles, characteristics, and outlook about their lives.


2. What do the objects in the background tell you about the people in this painting? (4m)

• The objects in the background tell us that the artist still believes in many of her Asian values despite her being less traditional than her grandmother.

• We see the white funeral lantern, and prayer papers distinctly portrayed on the extreme right of the painting. We see the white lotuses which signify her belief in religion (Buddhism) near the bottom left of the painting.

• The rocking horses somehow remind us of childhood while the boat and the dark river reminds us of death and the after life. From these, we can deduce that the artist probably grew up being very close to her grandmother until her inevitable.

Cinderamata Ala Indonesia (1996)(Souvenir from Indonesia)Agus Suwage (Indonesia1959 – present)Collection of the Singapore Art Museum

The Blurring Echo (1997)Ahmad Fuad Osman


Samsui Women (1977)Chua Mia Tee

(China 1932 - present)Collection of the Singapore Art Museum

The Accuser Suddenly Intervened (1992)Neil Manalo

(Philippines 1965 – present)Collection of the Singapore Art Museum

Given a chance to make 2 changes to this work, what would you do and why?

(10 m)

The Haji Family (1990)Redza Piyadasa


Canangsari II (1992)Khalil Ibrahim


The Noveau Riche, the Elephant, the Foreign Maid, or the Discreet Charm of the Bourgeoisie

(1991)Wong Hoy Cheong


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