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Analysing a painting

Analysing a painting. Look at basic facts first Where does the image fit on a timeline? Why is it so important to read a painting in historical content?. Degas Little Dancer , Aged Fourteen (1879—1881). Indigenous Art . Different versions of Aboriginal culture and history

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Analysing a painting

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  1. Analysing a painting • Look at basic facts first • Where does the image fit on a timeline? • Why is it so important to read a painting in historical content?

  2. Degas Little Dancer, Aged Fourteen (1879—1881)

  3. Indigenous Art • Different versions of Aboriginal culture and history • East coastline were more directly impacted • This had major impacts with traditional food supply, ritual practices and spoken languages

  4. Aboriginal Art • Different painting styles of aboriginal art all relate back directly to their spiritual beliefs • Traditional Rock Art • Contemporary Aboriginal Art

  5. Papunya Tula Artists

  6. Bush Yam Dreaming • Yam Country, 1993

  7. Emily Kame Kngwarreye (1910-1996) • Born in Alhalkere the region of Utopia North East of Alice Springs Between 1910 and 1916

  8. Emily's cultural narratives • In 1977 introduced to batik medium • Alhalkere • Batik application on cotton, • 86 x 89 cm

  9. Emily's batiks were a transition between body painting and painting on canvas • it is the cultural power of the mark and its reference to her Country of Alhalkere • andits ancestral connections that was important to Emily

  10. Painting • It was not until 1988 that Emily first began to paint with acrylics on canvas she was 80 years old. • She described her work as ‘everything, the whole lot’

  11. Big Yam 1996Synthetic polymer paint on canvas, 4 panels, each 159.0 x 270.0cm, overall 245.0 x 401.0cm. • The pencil yam is an edible tuber that grows beneath the ground and is visible above ground as a creeper.

  12. Emilys’ Intentions • As an elder she had become a great informer and provider for her Indigenous community. • In painting she helped maintain and interpret her country

  13. Yam 1989Synthetic polymer paint on canvas, 90.0 x 60.0cm • Yam Pencil seeds Food source and very sacred to Emilys tribe

  14. Aerial view of spinifex foothills with ghost gums. Spinifex

  15. Material and methods • In 1989 Emily was introduced to acrylic paint • Her painting style was constantly developed and pushed in new directions 1 started with loose grids of root sturctures 2 it then developed into multicoloured tracks or lines overlaid with thick dotting 3 then moved into using larger brushes and layering of colour as flowers and seeds 4 her later works are more gestural linear style of the underground network of roots or ancestral journeys

  16. Emu Woman 1988–89Synthetic polymer paint on canvas, 92.0 x 61.0cm

  17. Example 2 • 1992 and 1993, have been described as belonging to Emily's 'high-colourist' phase, characterised by a rapid succession of intensely high-keyed works in hot pinks, oranges and electric blues • The visual intensity of these paintings recalls the work of French colourists Sonia and Robert Delaunay, or even Claude Monet. Yet Emily knew nothing of their work and, while these French modernists explored pure colour as form and subject, Emily's only subject throughout her life was her ancestral home of Alhalkere.

  18. Earth's Creation 1994Synthetic polymer paint on canvas. 4 panels, each 275.0 x 160.0cm.

  19. Monet

  20. Untitled 1996Synthetic polymer paint on canvas, 152.3 x 91.7cm

  21. The last Series My Country 1996Synthetic polymer paint on canvas, 58.0 x 87.5cms

  22. Where does Emily fit back into historical content? • Why was she so important as an artist?

  23. HEYSEN, Hans In the Flinders - Far North 1951 Painting oil on canvas 102.0 (h) x 141.0 (w) cm

  24. What is modernism? • Connecting Internationally • Judge on artistic principles and not merely on its storytelling properties

  25. Untitled (Awelye) 1994Synthetic polymer paint on canvas, 6 panels, each 190.0 x 56.7cm

  26. context of modernism, these panels resonate with the works of Australian artists Ian Fairweather and Tony Tuckson, and Americans Franz Kline and Hans Hoffman.

  27. White Linesdiptych: synthetic polymer paint on hardboard Dimensions 213.5 x 244.6 cm board (1970) • Body Paint

  28. ‘Wildflower’1994

  29. George Seurat- pointillism

  30. Franz Kline: Blueberry Eyes, 1959-1960 • Untitled (Alhalkere), 1996

  31. How did she work?

  32. Conclusion • Emily had no formal training, she was self taught. • Emilys’ work matches the standards of art concepts within Australia and internationally • She connected cultures, communicated her beliefs • Incredibly individualist even though it is drawing on ancient stories pass down through 1000s generations

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