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Referencing Narrative.

Visual art portrays stories through images, challenging the traditional narrative structure. Explore how artists convey tales from mythology, history, and personal experiences through their artwork. Discover the power of sequential art, symbolism, and humor in visual storytelling.

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Referencing Narrative.

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  1. Referencing Narrative.

  2. “Term used to describe art that provides a visual representation of some kind of story,sometimes based on literary work. Narration,the relating of an event as it unfolds over time, is in principle a difficult task for the visual arts, since a work of art usually lacks an obvious beginning, middle and end, essential features of any story. Since ancient times many works of art have had as their subjects figures or tales from mythology, legend or history. The artists overcame the inherent limitations of visual narrative by representing stories that the viewer might be expected to know and would therefore retell in his or her mind while taking in the representation”. Grove Dictionary of Art Heracles fighting the Nemean Lion Attic Red Figure Stamnos ca. 490 b.c.By the Kleophrades Painter Hercules captures Cerberus. (Hans) Sebald Beham, 1545.

  3. As mentioned above narrative relates closely to the telling or the depicting part of a story with a beginning middle and an end. The story takes place over or during a period of time so that that time is inferred within the artwork or unfolds during its viewing.

  4. The book as narrative Looking through a book is different to looking at a single sheet of paper. A sheet of paper has two sides or a front and a back. It has a slight relationship to time. If we fold a piece of paper in half to produce four pages then it can no longer be seen in a single viewing. We need to view each page seperately. In his book Non Adhesive Bindings, Keith Smith suggests that the four pages then become like a play in four acts or a symphony in four movements. As an artist we can have some control in determing how we would like someone to view it. How quickly for example do we want the pages turned or examined.

  5. A representational artwork, may not have a defined beginning or and end but may still be viewed as having a relationship to a larger narrative that may exist outside of the image.

  6. Visual narratives consisting of a series of images can feature in a print series, a book, a cartoon strip. In the case of these examples above the individual images relate together to give us a sense of the narrative.

  7. A single visual image such as a print a drawing or a painting may suggest narrative simply through the simple relationship between the image and accompaning text or in the case of a work without a title through the symbolic relationship of different narrative elements within the image. The Single narrative Nobody knows why her collagen lips exploded at 30,000 ft Etching Ron McBurnie

  8. With the meg-barka-bucket. Ron McBurnie etching

  9. British artist Glen Baxter cleverly combines image and text to produce works which convey a sense of humour as well as making witty observations about art.

  10. In this ancient engraving Collaert is giving us a window into the land and seascape of 16th Century Flanders as well as to show us a collection of the fish caught there. We may even deduce that he is suggesting that the land is beautiful and the sea is abundant in its harvest. Although we are not sure of the artists exact intensions, we can suggest a number of possible narrative readings of this image.

  11. Multiple Narrative If an artist has created a series of individual but related art works they may create a narrative relationship in the way in which these works function together in a particular order or sequence. In the same way a curator may build their own narrative relationships into the choice and grouping of works for an exhibition.

  12. Like two dimensional art, sculpture may have its own internal narrative which may relate to history or a given story or myth. Within one art work there may be a large number of different narrative possibilities or readings. If we use a work like Rodin’s “Gates of Hell” as an example, we will observe that a number of different narrative possibilities could be overlayed or interrelated within this single work.

  13. Martin de Vos Engraving 1580 In this engraving relating to the conversion of Paul the apostle we observe that the artist has included a number of different aspects of the narrative leading up to Paul's baptism

  14. The Historical Narrative The Temptation of St Antony is an example of a historical narrative based on the life of a third century Egyptian saint. Aspects of his life have been depicted by artists for many centuries. Each time the theme is represented by an artist, they build and add to what has gone before them. It is important to have a knowledge of what has come before when embarking on such a project. Martin Schongauer : Temptation of St. Anthony Engraving Germany, 1470s

  15. Hieronymus Bosch.The Temptation of St. Anthony is an oil painting on wood panels. The centre panel measures 131.5 by 119 cm, and the wings measure 131.5 by 53 cm.

  16. Hieronymus Bosch oil on panel 70 cm × 51 cm Museo del Prado

  17. Temptation of St. Anthony Savoldo, Giovanni Girolamo (c. 1480 - 1548)

  18. Max Ernst. The Temptation of St. Anthony. 1945. Oil on canvas. 108 x 128 cm. Wilhelm-Lehmbruck-Museum, Duisburg, Germany

  19. LEONORA CARRINGTON The Temptation of Saint Anthony

  20. Temptation of St Antony. Ron McBurnie 1994

  21. The story of Tobias is another example of a narrative that has been interrelated by many artists. It is a moral tale in which by listening to the angel or his inner voice miracles are achieved. The Cologne Bible Illustration. Tobias with the Angel Raphael, Tobit vi

  22. Tobias and the Angel (‘the small Tobias’) Adam Elsheimer

  23. Landscape with Tobias and the Angelby KERSTIAEN KEUNINCK

  24. Pieter Lastman ca. 1583 - 1633   A giant fish in the river Tigris attacks Tobias. The angel tells him to catch it and to cut out heart, liver and gal. Later Tobias would use them to cure his blind father. Lastman's student Rembrandt would later produce several works featuring Tobias and Tobit

  25. Etching by Hendrick Goudt, Dutch 17th century, Tobias and the Angel .

  26. Etching by Hendrick Goudt, Dutch 17th century, Small-Tobias and the Angel .

  27. Wenzel Hollar (1607–1677)

  28. Tobias and the Angel, etching Ron McBurnie 2009

  29. MELONE, Altobello Tobias and the Angel1521-23Oil on panel, 112 x 48 cmAshmolean Museum, Oxford

  30. Rembrandt Harmensz. van Rijn 1606 – 1669 Tobit, who recently had lost his sight, has just suffered his wife’s sharp rebuke after he accused her of stealing a goat. In his despair, he thinks it is all because of his sins and those of his ancestors. Here he prays for his suffering to end: "command my spirit to be taken from me, that I may be dissolved, and become earth: for it is profitable for me to die rather than to live [..]". Anna looks on, flabbergasted by the old man's prayers.

  31. Rembrandt Harmensz. van Rijn 1606 – 1669 Tobias cures his father's eyes with the gall of a fish. An angel looks on. Tobit's wife sits at the table. Rembrandt used this episode in four drawings and one painting.

  32. DomenicoFeti,,Tobias Healing his Father 1620-23 Oil on canvas, 66,7 x 85 cmThe Hermitage, St. Petersburg

  33. Rembrandt Harmensz. van Rijn 1606 – 1669 The Angel Leaving the Family of Tobias, Louvre, 1637

  34. The Angel Leaves Tobit and his Family. Etching, 1641 Second state of four.

  35. Temptations of St Anthony, Jacques Callot 1635, Spencer Museum of Art,University of Kansas

  36. Temptation of St Antony, Marten de Vos1591-1594, Koninklijk Museum voor Schone Kunsten, Antwerp

  37. The Rake’ Progress is a more recent morality tale which was popular with the British public in the 18th Century. It follows the progress and eventual downfall of the Rake, seen here inheriting the possessions of his wealthy father. William Hogarth 1697 - 1764. The Rake's Progress.  Plate I.  The Inheritance.  1735.

  38. William Hogarth. The Rake's Progress.  Plate III.  The Orgy at the Rose Tavern 1735.

  39. William Hogarth. The Rake's Progress.  Plate VII.  The Rake in a Debtor's Prison.  1735.

  40. David HOCKNEY The arrival 1961 -3 Etching in two colours 30 x 40cm

  41. David HOCKNEY The drinking scene 1961 – 3 Etching in two colours 30 x 40cm

  42. David HOCKNEY Receiving the inheritance 1961 – 3 Etching in two colours 30 x 40cm

  43. The inheritance or the barbeque Ron McBurnie 1989,Hard ground etching and aquatint74.5 x 50.3cms

  44. A short story of progress Ron McBurnie1989. Hard ground etching and aquatint 74 x 50cms

  45. White dreaming with a black conscience Ron McBurnie1989. Hard ground etching and aquatint 74 x 50.1cms

  46. First project of twoDuration 3 weeks • Produce a series of etchings which relate, reference and add to a historical narrative of your choosing. (Elements of drawing can also be included within the prints) Cupid and Psyche by Isaac Beckett, published by John Smith, after Alessandro Turchi. mezzotint, circa 1680-4

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